This book aims to provide resources for critical thinking on key aspects of television drama in Britain since 1960, including institutional, textual, cultural and audience-centred modes of study. It explores the continuing popularity of the situation comedy, and makes a convincing case for considering sitcom as a key popular genre. By offering a sense of how 'real' audiences respond to, and engage with, actual programmes in specific social situations, dominant conceptions of the social meanings of Carla Lane's Butterflies and Jimmy Perry and David Croft's Dad's Army are challenged and renegotiated. The book takes up Queer As Folk to focus on its status as an authored intervention in debates about the representation of homosexuality. It demonstrates that The Prisoner series inhabits contradictions by unpacking the complex question of the series's authorship, and the inadequacy of attributing its meanings to its creator, star performer or production team, for example. The book argues that The Demon Headmaster makes a significant contribution to the project of exploring and defining questions of ethics and justice in social organisation, in part, by claiming children's culture as a space of experimentation, resistance and subversion. It looks at the ways in which television drama embodies assumptions about its audience, and pursues this in a sophisticated way in relation to late twentieth-century television adaptations of 'the female Gothic'. The struggle between the BBC power-base in London and its satellite Departments in Northern Ireland, Scotland, and Wales is also dealt with.
THE CLASH, REVOLUTION AND REVERSE 35
The Clash, revolution
The career of The Clash coincided with the most intense moment of economic crisis and political struggle in Britain since the Second World War. As
The Clash formed in 1976, a wave of strikes hit the UK, and hours lost in
industrial disputes reached an all-time high.1 The British working class, confident and militant, was asserting its collective power. Yet by the time their
third album, London Calling, was released at the end of 1979, Margaret
Thatcher’s Tories had come to
The ethics and politics of memory in an age of mass culture
Memory is not commonly imagined as a
site of possibility for progressive politics. More often, memory,
particularly in the form of nostalgia, is condemned for its solipsistic
nature, for its tendency to draw people into the past instead of the
present. This is the case, for example, in Kathryn Bigelow’s 1995
film Strange Days , in which the use of memory – usually
This book explores the history of the spy and conspiracy genres on British television, from 1960s Cold War series through 1980s conspiracy dramas to contemporary 'war on terror' thrillers. It analyses classic dramas including Tinker Tailor Soldier Spy, Edge of Darkness, A Very British Coup and Spooks. The analysis is framed by the notion that the on-screen depiction of intelligence services in such programmes can be interpreted as providing metaphors for broadcasting institutions. Initially, the book is primarily focused on espionage-themed programmes produced by regional franchise-holders for ITV in late 1960s and 1970s. Subsequently, it considers spy series to explore how many standard generic conventions were innovated and popularised. The relatively economical productions such as Bird of Prey demonstrated a more sophisticated treatment of genre conventions, articulated through narratives showing the collapse of standard procedure. Channel 4 was Britain's third and final broadcaster to be enshrined with a public service remit. As the most iconic version of the television spy drama in the 1960s, the ITC adventure series, along with ABC's The Avengers, fully embraced the formulaic and Fordist tendencies of episodic series in the US network era. However, Callan, a more modestly resourced series aimed more towards a domestic audience, incorporated elements of deeper psychological drama, class tension and influence from the existential spy thrillers. The book is an invaluable resource for television scholars interested in a new perspective on the history of television drama and intelligence scholars seeking an analysis of the popular representation of espionage.
Richard Attenborough has long been recognised as a significant figure in British cinema history and film culture. After his screen debut in the war-time film In Which We Serve, Attenborough's cinema career developed through acting and later through producing and directing to become one of the industry's most renowned figures. Concentrating on his work behind the camera, this book explores his initial role as a producer, including his partnerships with Bryan Forbes in Beaver Films and with Allied Film Makers. Attenborough's own belief and affection for the genre has arguably been responsible for establishing the biopic within the pantheon of recent British cinema. Thus Young Winston captures elements from the action and historical genres, Gandhi and Chaplin from the political and historical, and Cry Freedom the political and action film. Shadowlands combines the heritage, historical and romance, In Love and War the historical, romance and war and Grey Owl the historical and nature/conservation film. A similar fusion of genres can be detected in Attenborough's two war films which both offer an anti-war revisionist perspective. Oh! What a Lovely War merges the historical and action genres, while A Bridge Too Far, in contrast, is a serious and vivid portrayal of war merging with the historical and action genres. Closing the Ring, although based on a true story, merges fiction and reality within a romantic setting.
This book considers Marcel Carne's films within the broader social and political context. It reinvestigates Carné's highly contested position within French film history, and in particular how his films relate to major moments of French cinema such as poetic realism, the tradition of quality and the French new wave. The period from the late 1920s to the end of the 1930s was crucial in Marcel Carné's career: he entered the French film industry, made films now considered his masterpieces, and achieved significant box-office success. The book reflects on the main developments in his career, from his early work as a journalist, amateur filmmaker, and assistant director, to his production of his first feature films, Jenny and Drôle de drame. It also discusses his contributions to poetic realism at the end of the decade, Le Quai des brumes, Hôtel du Nord, and Le Jour se lève. The book also re-examines how Carné fitted into both popular and artistic French cinematic traditions, and his identity as a 'populist filmmaker', an area that has not received sufficient analysis. Redressing the neglect of Carné's postwar work, it highlights its value in bringing about greater understanding of Carné's cinema per se, but also its relationship with broader social, political and cinematic contexts. The book also focuses on charting the main developments that led towards the production of these films, and explains what was specific to Carné's own particular inflection of poetic realist cinema.
Film in Korea has always been under governmental censorship. This book examines the ways in which Korean film reveals the ideological orientation of the society in which it is created and circulated. It examines the social and political milieu in which the Korean film industry developed from its beginning during the Japanese colonial period to its bifurcation into South and North Korean cinemas. The book presents a critical analysis of the selected films, which were all made between 1960 and 1990. It discusses the cultural identity of contemporary Koreans by analysing five films based on a popular traditional folk tale, Ch'unhyangjŏn. Three of the five films were made in South Korea: Shin Sangok's Song Ch'unhyang, Pak T'ae-wŏn's The Tale of Song Ch'unhyang and Han Sanghun's SongCh'unhyang. The significance of gender and class issues in Ch'unhyangjŏn can be glimpsed through the three variants of the film title. The book then examines the notion of nationhood held by contemporary Koreans from two interrelated perspectives, political and cultural. It explores the films in relation to the conflicting ideological orientations of North and South Korea. In the North Korean films, anti-imperialism constitutes the core of their definition of nationhood. Class is one of the foremost factors in the formation of cultural identities of contemporary Koreans living as a divided nation. The book discusses six films in this context: The Untrodden Path, The Brigade Commander's Former Superior, Bellflower, A Nice Windy Day, Kuro Arirang and Black Republic.
Part II Culture and conflict
According to Edward Said,
‘culture is sort of a theatre where various political and ideological
causes engage one another. Far from being a placid realm of Apollonian
gentility, culture can even be a battleground on which causes expose
themselves to the light of day and contend with one another’ (Said, in
Edwards, 1999 : 249). This quotation from Said shows
While several critical works on Spanish cinema have centred on the cultural, social and industrial significance of stars, there has been relatively little critical scholarship on what stars are paid to do: act. Bringing together a range of scholars that attend carefully to the performances, acting styles, and historical influences of Spanish film, Performance and Spanish Film is the first book to place the process of Spanish acting centre stage. Comprising fifteen original essays, the book casts light on the manifold meanings, methods and influences of Spanish screen performance, from the silent era to the present day. It situates the development of Spanish screen acting in both its national and global contexts, tracing acting techniques that are largely indigenous to Spain, as well as unpicking the ways in which Spanish performance has frequently been shaped by international influences and forces. As the volume ultimately demonstrates, acting can serve as a powerful site of meaning through which broader questions around Spanish film practices, culture and society can be explored.
British art cinema: Creativity, experimentation and innovation brings together a selection of essays from both new and established scholars that engage with how far artistic creativity, entertainment and commerce have informed a conceptual British ‘arthouse’ cinema. The chapters show that rather than always sitting in the shadow of its European counterparts, for example, British cinema has often produced films and film-makers that explore intellectual ideas, and embrace experiment and innovation. The book examines the complex nature of state-funded and independent British filmmaking, the relationship between the modernist movement and British cinema, and the relationship between British cinema, Hollywood and US popular culture. The chapters cover the history of British cinema from the silent period to the 2010s. Film-makers explored in detail include Alfred Hitchcock, Michael Powell and Emeric Pressburger, Derek Jarman, Ken Russell, Horace Ové, Joseph Losey, John Krish, Humphrey Jennings, Nicolas Roeg, and lesser-known artists such as Enrico Cocozza and Sarah Turner. There are new essays on the British New Wave, the 1980s, poetic realism and social realism, the producer Don Boyd, the Black Audio Film Collective, films about Shakespeare, and the work of the Arts Council in the aftermath of World War Two.