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The Clash, the dawn of neoliberalism and the political promise of punk
Editor: Colin Coulter

There are few bands that have enjoyed as much adoration or endured as much criticism as The Clash. Emerging originally as a principal voice in the burgeoning mid-1970s London punk scene, The Clash would soon cast off the fetters that restricted many of their peers, their musical tastes becoming ever more eclectic and their political field of vision ever more global. In the process, the band would widen the cultural and political horizons of their audience and would for many come to exemplify the power of popular music to change minds. While The Clash would attract a great deal of critical acclaim, this would always be less than universal. In the eyes of their many detractors, the radical political stance of the band was little more than self-mythologising posture, neatly serving the culture industries in their perennial goal of ‘turning rebellion into money’. In this collection, scholars working out of very different contexts and academic traditions set out to examine this most complex and controversial of bands. Across a dozen original essays, the authors provide fresh insights into the music and politics of The Clash in ways that are by turns both critical and celebratory. While the book seeks to locate the band in their own time and place, it also underlines their enduring and indeed very contemporary significance. A common thread running though the essays here is that the songs The Clash wrote four decades ago to document a previous, pivotal moment of geopolitical transformation have a remarkable resonance in our own current moment of prolonged global turbulence. Written in a style that is both scholarly and accessible, Working for the clampdown offers compelling and original takes on one of the most influential and incendiary acts ever to grace a stage.

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Looking to pastures new

-to-eight episodes. This concluding chapter analyses how Broadchurch (ITV, 2013–2017) and Happy Valley (BBC, 2014–) typify the genre’s latest direction in narrative and style. It specifically considers how the use of HD aerial cameras in both series ideologically navigates the growing socio-economic inequalities of their specific localities in relation to gendered identities deriving from austerity politics

in You’re nicked

collective vision of a particular tradition, period, background or ‘school’. It’s logical and usual to consider even impersonal and anonymous artworks as an expression of a general consensus ( A Mirror for England , p. 4). 1 R AYMOND DURGNAT’S A Mirror for England: British Movies from Austerity to Affluence , which deals

in British cinema of the 1950s
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Public unhappiness and theatrical scapegoats

between the twin rhetorics of self-​improvement and  109 The killjoy 109 self-​excoriation to elaborate contradictory demands to cultivate a work ethic and responsible constraint while simultaneously manifesting a voracious appetite for consumption. Through a reading of this double-​ bind as a form of ‘bad faith’ self-​deception, I  turn to Gary Owen’s Iphigenia in Splott –​set in austerity-​hit Wales –​to re-​frame the killjoy as an unhappy scapegoat whose disorderly public affects advertise the personal sacrifices she is required to make on behalf of her community

in Queer exceptions
The Prisoner, authorship and allegory

irrational premodern residue of messianic religiosity and hysteria about female sexuality; and in Frankenstein (1931) fabulous electrical equipment hums and sparks and sputters in a run-down Gothic turret. Similarly, The Prisoner depicts a post-austerity Britain, modern and affluent, but weighed down by history and tradition. Number 6 drives a Lotus 7, but drives it past the Houses of Parliament, an institution which could be seen as modern and democratic were it not for its backward-looking architecture and the archaic privilege of the upper house. Number 6’s London

in Popular television drama
A celebration

This book offers a startling re-evaluation of what has until now been seen as the most critically lacklustre period of the British film history. It includes fresh assessment of maverick directors; Pat Jackson, Robert Hamer and Joseph Losey, and even of a maverick critic Raymond Durgnat. The book features personal insights from those inidividually implicated in 1950s cinema; Corin Redgrave on Michael Redgrave, Isabel Quigly on film reviewing, and Bryony Dixon of the BFI on archiving and preservation. A classic image from 1950s British cinema would be Jack Hawkins in The Cruel Sea, the epitome of quiet English integrity. Raymond Durgnat's A Mirror for England: British Movies from Austerity to Affluence, which deals extensively with British films of the 1950s, was written in the mid-1960s and was published in 1970. In a 1947 article called 'Angles of Approach' Lindsay Anderson delivered a fierce attack on contemporary British film culture, outlining a model for a devoted politics of creation, well in line with what we would later understand as auteurism and art cinema aesthetics . The war films of the 1950s together constitute the assented-to record of the emotions and moral judgments called upon to set in order those disorderly events. The book also talks about the Festival of Britain, White Corridors, and four Hamer's post-Ealing films: The Spider and the Fly, The Long Memory, Father Brown and The Scapegoat. A number of factors have contributed to the relative neglect of the 1950s as a decade in British cinema history.

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Good evening, all

camaraderie of his community whilst thriving under the resource implications of austerity. Alternatively, Happy Valley (BBC, 2014–) draws clear connections among austerity, tragedy, and trauma to engender an interdependent working community to overcome austerity. Ideological developments The second objective of this study is to examine how representations of social class and gender in domestic

in You’re nicked
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, producers are especially important in small, developing industries where the working conditions require greater resourcefulness and organizational prowess than may be needed in richer, more established environments. As the industrial landscape of Scottish cinema grows more unpredictable in this era of austerity and possible independence, the producer will only become more important to Scottish film-making as the need to broker multilateral, most likely trans­ nationally oriented, financial deals will become more and more pressing. Whatever the future may hold for Scottish

in Scottish cinema

restricted horizons. 14 For Melinda Mash, ‘[the dance hall] is … the site through which the characters enter into new patterns of consumption. Yet the desire to escape from a world bounded by “austerity” is tempered by another boundedness: the lack of means ever to fully escape.’ 15 Austerity is certainly in evidence as Eve bewails Phil’s profligacy in using up food which is on points (a system of supplementing rationed goods by

in The British working class in postwar film

, 1991) , p. 57. 12 Anthony Howard, ‘We are the masters now’, in Michael Sissons and Philip French (eds), The Age of Austerity 1945–1951 (Harmonds-worth: Penguin Books, 1964), p. 33. 13 Arthur Marwick, Britain in the Century of Total War: War, Peace and Social Change

in The British working class in postwar film