Sex Class And Realism

Hugely impressive in its scope, with introductory chapters on social history, the film industry and theories of realism, this indispensable history of these vital years contains unusually fresh discussions of films justly regards as important, alongside those unjustly ignored. The extensive filmography which accompanies Sex, Class and Realism will also prove to be an invaluable reference source in the teaching of British cinema history.

Hugely impressive in its scope, with introductory chapters on social history, the film industry and theories of realism, this indispensable history of these vital years contains unusually fresh discussions of films justly regards as important, alongside those unjustly ignored. The extensive filmography which accompanies Sex, Class and Realism will also prove to be an invaluable reference source in the teaching of British cinema history.

British Social Realism details and explores the rich tradition of social realism in British cinema from its beginnings in the documentary movement of the 1930s to its more stylistically eclectic and generically hybrid contemporary forms. Samantha Lay examines the movements, moments and cycles of British social realist texts through a detailed consideration of practice, politics, form, style and content, using case studies of key texts including Listen to Britain, Saturday Night and Sunday Morning, Letter to Brezhnev, and Nil by Mouth. In discussing the work of many prominent realist filmmakers, the book considers the challenges for social realist film practice and production in Britain, now and in the future.

DIVA collection of essays rethinking and reviving realism as a focus for film theory, particularly emphasizing the relation of the genre to issues of the body./div

The 1960s was a decade of massive political and cultural change in Western Europe, as seismic shifts took place in in attitudes towards sexuality, gender, and motherhood in everyday life. Through case studies of British and French films, Pepsi and the Pill offers a fresh vision of a pivotal moment in European culture, exploring the many ways in which political activity and celebrated film movements mutually shaped each other in their views on gender, sexuality, and domesticity. As the specter of popular nationalism once again looms across Europe, this book offers a timely account of the legacy of crucial debates over issues including reproductive rights, migration, and reproductive nationalism at the intersection of political discourse, protest, and film.

This book presents a radical reappraisal of one of the most persistent and misunderstood aspects of British cinema: social realism. Through means of close textual analysis, David Forrest advances the case that social realism has provided British national culture with a consistent and distinctive art cinema, arguing that a theoretical re-assessment of the mode can enable it to be located within the context of broader traditions of global cinema. The book begins with the documentary movement and British wartime cinema, before moving to the British new wave and social problem cycle; the films of Ken Loach; the films of Mike Leigh; realism in the 1980s, specifically the work of Stephen Frears and Alan Clarke; before concluding with a discussion of contemporary realist cinema, specifically the work of Shane Meadows, Andrea Arnold and other recent exponents of the mode. These case studies give a thorough platform to explore the most prominent and diverse examples of realist practice in Britain over the last 80 years. The construction and critical analysis of this ‘social realist canon’ creates the conditions to reassess and look anew at this most British of cinematic traditions.

本书共8章，通过文本诠释和意识形态解析研究50年代至今的英国社会现实主义电影对工人阶级身份特性的展示，以此来审视英国工人阶级命运的变化。它探讨不同年代工人阶级题材电影的主要主题，比较和对比银幕展示的工人阶级身份特性的延续和变化，并从英国文化研究视角对变迁加以分析，探究工人阶级形象背后隐含的思想意识形态和文化抵抗。

This is the first book of its kind to look across disciplines at this vital aspect of British art, literature and culture. It brings the various intertwined histories of social realism into historical perspective, and argues that this sometimes marginalized genre is still an important reference point for creativity in Britain.