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Tom Whittaker

in 2013, the youth unemployment rate had just reached a staggering high of 56%, a rate second only to Greece. The social conditions of the 1970s and 1980s in Spain have more recently been re-evaluated in the documentary Quinqui Stars, which was directed by Juan Vicente Córdoba in 2018. Significantly, in its collaboration with the rap artist el Coleta, the documentary interrogates cine quinqui and the historical period in which it was produced through sound. Presented and narrated by el Coleta himself, the documentary combines original scenes

in The Spanish quinqui film
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‘Tears of laughter': comedy-drama in 1990s British cinema
Nigel Mather

investigate the ways in which humour is deployed for dramatic and emotional effect in the context of scenarios dealing with such seemingly non-comic subjects as mass unemployment, failed or uneasy relationships, bitter family disputes, or instances of racial tension and conflict in British society. I will seek to demonstrate that the interaction of comic and dramatic modes of narration within the films discussed proved to be a

in Tears of laughter
Looks and Smiles, Unfinished Business, Fun City, Threads
David Forrest
Sue Vice

3 Thatcherism and South Yorkshire Looks and Smiles, Unfinished Business, Fun City, Threads In this chapter, we trace the aesthetic and political effects of the early years of Margaret Thatcher’s Conservative government on Hines’s writing. His screenplay for the 1981 film Looks and Smiles takes an art-­cinematic form to explore the pressures of the era’s unemployment on young people, in his fourth and final collaboration with Ken Loach. By contrast, Hines’s novel Unfinished Business (1983) examines the possibilities of social freedom, in this narrative about the

in Barry Hines
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Portrayals of the working-class family
Philip Gillett

, though the girls have separate beds. Quite how the family afford to let the son take up his scholarship to secondary school is not clear. Unemployment and the debilitating effects of being in a pool of casual labour are stressed throughout the film. For Peter and his wife, it is a constant accompaniment to their lives. For the officer, Ben, it is harder to bear, affecting his relationship with Nora. Though Nora is working

in The British working class in postwar film
Mourning and melancholia
Guy Austin

, finally collapsed. Alienated by state corruption and secrecy, frustrated with massive unemployment and failing economic policies, thousands of young demonstrators took to the streets to protest. The army responded by firing on the people. By the end of the month, five hundred demonstrators had been shot dead and the relation between people and government had altered irrevocably. October 1988 has been described as ‘the climax of

in Algerian national cinema
Heather Norris Nicholson

Amateur cinema established itself within middle-class circles during the 1930s, when Britain’s unemployment reached almost three million. 1 What prompted the making and showing of numerous films about working people during years of mass unemployment, particularly in the industrial regions of the North West? Government initiatives, public debate, media reports and the observable reality of people – specifically the

in Amateur film
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Comedy-drama in 1990s British cinema

This book explores the interactions of comedy and drama within a group of significant and influential films released during the decade of the 1990s. It examines a group of British films from this period which engage with economic and social issues in unusual and compelling ways. Brassed Off and The Full Monty are two films invoking very different cultural traditions as possible activities for unemployed males and troubled communities in modern British society. The book then discusses a number of contemporary British films focusing upon the experiences of British-Asian and African-Caribbean characters and their efforts to feel 'at home' in Western and British society. It features an extensive analysis of East is East, a comedy-drama about the cultural and ideological tensions surfacing between members of a British-Asian family living in Salford, circa 1971. Next, the book includes case studies of Four Weddings and a Funeral, Notting Hill, and Love Actually. It investigates the ways in which humour is deployed for dramatic and emotional effect in the context of scenarios dealing with such seemingly non-comic subjects as mass unemployment, failed or uneasy relationships, bitter family disputes, or instances of racial tension and conflict in British society. The book demonstrates that the interaction of comic and dramatic modes of narration within the films discussed proved to be a dynamic creative mechanism in 1990s British cinema, facilitating and enabling the construction of innovative and genuinely exploratory narratives about characters who are striving to realise particular aspirations and hopes within a complex culture.

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This is the first book-length study of one of the most significant of all British television writers, Jimmy McGovern. The book provides comprehensive coverage of all his work for television including early writing on Brookside, major documentary dramas such as Hillsborough and Sunday and more recent series such as The Street and Accused.

Whilst the book is firmly focused on McGovern’s own work, the range of his output over the period in which he has been working also provides something of an overview of the radical changes in television drama commissioning that have taken place during this time. Without compromising his deeply-held convictions McGovern has managed to adapt to an ever changing environment, often using his position as a sought-after writer to defy industry trends.

The book also challenges the notion of McGovern as an uncomplicated social realist in stylistic terms. Looking particularly at his later work, a case is made for McGovern employing a greater range of narrative approaches, albeit subtly and within boundaries that allow him to continue to write for large popular audiences.

Finally it is worth pointing to the book’s examination of McGovern’s role in recent years as a mentor to new voices, frequently acting as a creative producer on series that he part-writes and part brings through different less-experienced names.

Youth, pop and the rise of Madchester

Madchester may have been born at the Haçienda in the summer of 1988, but the city had been in creative ferment for almost a decade prior to the rise of Acid House. The End-of-the-Century Party is the definitive account of a generational shift in popular music and youth culture, what it meant and what it led to. First published right after the Second Summer of Love, it tells the story of the transition from New Pop to the Political Pop of the mid-1980s and its deviant offspring, Post-Political Pop. Resisting contemporary proclamations about the end of youth culture and the rise of a new, right-leaning conformism, the book draws on interviews with DJs, record company bosses, musicians, producers and fans to outline a clear transition in pop thinking, a move from an obsession with style, packaging and synthetic sounds to content, socially conscious lyrics and a new authenticity.

This edition is framed by a prologue by Tara Brabazon, which asks how we can reclaim the spirit, energy and authenticity of Madchester for a post-youth, post-pop generation. It is illustrated with iconic photographs by Kevin Cummins.

John Williamson
Martin Cloonan

split these between the internal machinations and politics of the Union, and external factors such as the continuing problem of foreign musicians, building relationships with the broadcasters and record companies, and the war’s impact. Working life The events of the late 1920s and early 1930s changed the British music profession in ways that were as dramatic as they were unforeseen. This was visible in both the mass unemployment of musicians and the changing nature of the work for those who remained employed. Among the more obvious outcomes of this was a growing

in Players’ work time