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offer equally forthright records of relocation and prevailing attitudes towards social housing. Goodger and John Gresty junior, therefore, were working in a clearly defined realm of amateur social realism when they documented urban demolition in Manchester and Salford. Goodger filmed the effects of local urban redevelopment, less than a year after Cathy Come Home was shown on BBC1. 53 Although that programme became part of
most other urban milieus because it is shaped by capital. It was rapid urban redevelopment in the Docklands under Margaret Thatcher’s neoliberal revolution in the 1980s that created a second financial centre for the capital. British neoliberalism wasn’t sustainable without globalisation’s diffusion of culture into this very specific East End locale. For example, The Long Good Friday (1980) provided a prophetic vision of the Docklands with Bob Hoskins’ and Helen Mirren’s gangster characters wishing, unsuccessfully, to turn
that productively excavates a repressed aspect of the Ottoman past against the constraints, as I illustrate, of dominant Kemalist modernity and Islamist homophobia, and in response to the destructive urban redevelopment spurred on by neoliberalism and globalisation. In addition, I henceforth argue that the recovery of historical homoeroticism does not constitute retrogressive complicity with outdated models of sexuality, but a micropolitical assemblage of Ottoman homoeroticism and contemporary queerness which qualifies earlier versions of same-sex desire while also
, commitment has characterised club activity. 123 The regional cine scene thrived during the 1960s. High membership enabled many groups to average several club productions per year, films often achieving commendation at regional and national level. Early material gained historical value in public film shows. As regional urban redevelopment and modernisation schemes transformed built form and social fabric, films
-winning films. Some themes and debates on suitable subject matter for filming recurred, but editorial comment, features, news and printed correspondence also reveal wider social and cultural changes. Wartime restrictions, changing colonial relations, postwar opportunities, freedoms and concomitant anxieties about concerns as diverse as conservation, Cold War politics, sex, psychosis, public safety, urban redevelopment and the effects
socio-economic hardships and prolonged uncertainties of multi-phased urban redevelopment, Brookes’s films highlight the idea that, for those that lived, worked and played there, these old neighbourhoods were much more than the mean streets perceived by contemporary professionals. Loss and regret underlie scenes that chart how local character, meaning and identity radically alter. Footage of his wife and oldest grandchild as they walk
the 1950s was one of decline and change, in which ‘modern mass production, increasing geographical mobility and urban redevelopment were breaking up traditional working class communities, while the “economic emancipation” of the working class was being bought at the expense of a cultural subjection to the hollow banalities of mass entertainment’. 95 For the theatre and film directors and writers who came to be