Visions Of England: Class And Culture In Contemporary Cinema by Paul DaveVisions Of England: Class And Culture In Contemporary Cinema by Paul Dave

Visions Of England: Class And Culture In Contemporary Cinema

byPaul Dave

Paperback | March 1, 2006

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Paul Dave rewrites the relationship of film and Englishnes, exploring the full range of film production that includes the gangster thriller Lock, Stock and Two Smoking Barrels; the period cinema of Elizabeth; cult classics like Performance and Trainspotting; the mainstream romantic comedy of Notting Hill and Bridget Jones; the social realism of Billy Elliot and The Full Monty; the multicultural comedy of Bend It Like Beckham; and experimental films such as London Orbital and Robinson in Space.

Paul Dave is Senior Lecturer in Film at the University of East London.
Title:Visions Of England: Class And Culture In Contemporary CinemaFormat:PaperbackDimensions:224 pages, 9 × 6 × 0.6 inPublished:March 1, 2006Publisher:BloomsburyLanguage:English

The following ISBNs are associated with this title:

ISBN - 10:1845202937

ISBN - 13:9781845202934

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Table of Contents

Preface * Introduction: British Cinema and Class: Pastoral Visions * The Upper Classes: The Heritage Film * The Middle Classes: Fairy Tales and Idylls * The Working Class: Elegies * The Underclass: Fantasy and Realism * The Lumpenproletariat; Countercultural Performances * The Problem of England: Aesthetics of the Everyday * Peculiar Capitalism: Occult Heritage * Epilogue.

Editorial Reviews

?Visions of England reinvigorates class analysis in film studies, mirroring Kracauer and Benjamin in its sensitivity to film aesthetics and film scenarios. Delving into mainstream and obscure films alike, it offers something entirely different to celebrity-driven film gabble, dully-empirical accounts of audiences or high-theory shenanigans with little reference to the filmic-ness of film.? ?Esther Leslie, author of Hollywood Flatlands: Animation, Critical Theory and the Avant Garde?Visions of England moves delicately but incisively through significant contemporary political and cultural concerns that have engaged critics of media, culture, and politics in the last decades. At the center of the book is an examination of how social class, a necessary element in any comprehension of the changing landscape of England as expressed in cinema, is coded in the films. The breadth of readings - major English historians, early and contemporary British literature, writings on cinema, and cultural theory - as well as the discussion of a wide range of popular and experimental films is astounding. A fascinating book and one of the best studies of national identity and cinema available.? ?Marcia Landy, author of British Genres and Fascism in Film