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Films And British National Identity

Author : Jeffrey Richards
ISBN : 0719047439
Genre : Performing Arts
File Size : 63. 2 MB
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Jeffrey Richards is a regular radio and television commentator on popular culture. Covers the period from Ealing Studios to Dad's Army. A great read.

Rule Britannia

Author : Homer B. Pettey
ISBN : 9781438471112
Genre : History
File Size : 64. 9 MB
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Assesses how cinematic biographies of key figures reflect and shape what it means to be British. Rule, Britannia! surveys the British biopic, a genre crucial to understanding how national cinema engages with the collective experience and values of its intended audience. Offering a provocative take on an aspect of filmmaking with profound cultural significance, the volume focuses on how screen biographies of prominent figures in British history and culture can be understood as involved, if unofficially, in the shaping and promotion of an ever-protean national identity. The contributors engage with the vexed concept of British nationality, especially as this sense of collective belonging is problematized by the ethnically oriented alternatives of English, Scottish, Welsh, and Irish nations. They explore the critical and historiographical issues raised by the biopic, demonstrating that celebration of conventional virtue is not the genre’s only natural subject. Filmic depictions of such personalities as Elizabeth I, Victoria, George VI, Elizabeth II, Margaret Thatcher, Iris Murdoch, and Jack the Ripper are covered. “This exceptional collection offers new ways of looking at these films as films, as well as a fresh approach to British history as a cultural whole.” — Wheeler Winston Dixon

Distorted Images

Author : Kenton Bamford
ISBN : STANFORD:36105021327817
Genre : Motion picture industry
File Size : 61. 85 MB
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How Identity Is Reflected In British Working Class Films

Author : Maxi Kirchner
ISBN : 9783638765435
Genre :
File Size : 77. 17 MB
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Seminar paper from the year 2003 in the subject English Language and Literature Studies - Culture and Applied Geography, grade: 1,3, Dresden Technical University (Anglistik), 9 entries in the bibliography, language: English, comment: This thesis compares several working class films such as "Brassed Off" and "Billy Elliot" with reference to the theoretical concept of national identity, ie. the British national identity., abstract: This thesis compares several working class films such as "Brassed Off" and "Billy Elliot" with reference to the theoretical concept of national identity, ie. the British national identity. The analysis of such a diverse cultural term like "identity" and its treatment in British working class related films will be the topic of this research paper. After having defined the term on its several levels, I want to show how identity is treated differently in, firstly, a popular film called "Brassed Off" and, secondly, an independent film produced by Amber Films called "Like Father." Both films are set in the 1990 s and deal with the problem of pit closure and unemployment of miners. Both films deal with the consequences of unemployment and poverty of the working class than with work per se. Concerning class consciousness, both films show people who wish to escape the constrictions of their class. Since identity is not only a question of class, gender roles are considered in both films as well. The motif of identity is shown very differently in these films. This thesis analyzes how these films represent the construction, the maintenance and the loss of identity."

British Cinema And The End Of Empire

Author : Priyadarshini Jaikumar
ISBN : OCLC:42814844
Genre : Great Britain
File Size : 30. 93 MB
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With an emphasis on colonial India, this study analyzes British industrial and cinematic texts to argue that specific notions of the "imperial" were embedded in the definition of an emerging "national" British cinema. 1927 signaled the beginning of protective quotas in Britain, to promote British films within a domestic market that was dominated by Hollywood. The State instituted a system of film licensing to differentiate a "British" film from a "Foreign" film, necessitating the announcement of official criteria for defining a national product. Interpretations of Parliamentary debates and Bills, pamphlets of industry lobbyists, and proceedings of film enquiry committees reveal strategic inclusions and exclusions of colonial and dominion films in relation to the category of "British" films. The Britain that was in competition with Hollywood was a shifting entity, casting about for markets within a resistant empire. This cultural predicament is clarified by a theorization of the contradictions between the constructs of "empire" and democratic "nationhood," for a State and an industry that had factions with an investment in both entities by the 1930s. Linking industrial discourses to specific narrative and cinematic strategies, predominant "imaginative modes" of imperial narration are systematized. These modes exemplify cinematic practices through which ideas legitimating empire came to be accommodated with emerging twentieth century moralities. These strategies are characterized as the realist (Sanders of the River, 1935), romantic (The Drum, 1938), and modernist (Black Narcissus, 1947) modes of imperial narration, collectively demonstrating a nation in transition.

Imagining The War

Author : Tracy McDiarmid
ISBN : OCLC:224836734
Genre : Motion pictures
File Size : 48. 76 MB
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[Truncated abstract] Many historical accounts acknowledge the ‘reverberations’ of the Second World War that are still with the British today, whether in terms of Britain’s relationships with Europe, the Commonwealth, or America; its myths of consensus politics and national unity; or its conceptions of national character. The term ‘reverberations’, however, implies a disruptive, unsettling influence whereas today’s popular accounts and public debates regarding national identity, more often than not concerned with ‘Englishness’ as a category distinctive from ‘Britishness’, instead view the Second World War as a time when the nation knew what it was and had a clear understanding of the national values it embodied a time of stability and consensus. This thesis demonstrates that, in the postwar period, ‘British’ was not a homogeneous political category, ‘Britishness’ was not a uniformly adopted identity, and representations of the nation in popular cinema were not uncontested. British national identity in the postwar 1940s and 1950s was founded upon re-presentations of the war, and yet it was an identity transacted by class, gender, race and region. Understandings of national identity ‘mirrored’ by British films were influenced by the social and political context of their creation and reception, and were also a reflection of the cinema industry and its relationship to the state. Both ‘national cinema’ and ‘national identity’ are demonstrated to be fluctuating concepts dominant myths of the war were undermined and reinforced in response to the demands of the postwar present.

British Cinema Past And Present

Author : Justine Ashby
ISBN : 9781135125080
Genre : Performing Arts
File Size : 89. 65 MB
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British Cinema: Past and Present responds to the commercial and critical success of British film in the 1990s. Providing a historical perspective to the contemporary resurgence of British cinema, this unique anthology brings together leading international scholars to investigate the rich diversity of British film production, from the early sound period of the 1930s to the present day. The contributors address: * British Cinema Studies and the concept of national cinema * the distribution and reception of British films in the US and Europe * key genres, movements and cycles of British cinema in the 1940s, 50s and 60s * questions of authorship and agency, with case studies of individual studios, stars, producers and directors * trends in British cinema, from propaganda films of the Second World War to the New Wave and the 'Swinging London' films of the Sixties * the representation of marginalised communities in films such as Trainspotting and The Full Monty * the evolution of social realism from Saturday Night, Sunday Morning to Nil By Mouth * changing approaches to Northern Ireland and the Troubles in films like The Long Good Friday and Alan Clarke's Elephant * contemporary 'art' and 'quality' cinema, from heritage drama to the work of Peter Greenaway, Derek Jarman, Terence Davies and Patrick Keiller.

Britishness Since 1870

Author : Paul Ward
ISBN : 9781134600427
Genre : History
File Size : 65. 89 MB
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What does it mean to be British? It is now recognized that being British is not innate, static or permanent, but that national identities within Britain are constantly constructed and reconstructed. Britishness since 1870 examines this definition and redefinition of the British national identity since the 1870s. Paul Ward argues that British national identity is a resilient force, and looks at how Britishness has adapted to changing circumstances. Taking a thematic approach, Britishness since 1870 examines the forces that have contributed to a sense of Britishness, and considers how Britishness has been mediated by other identities such as class, gender, region, ethnicity and the sense of belonging to England, Scotland, Wales and Ireland.

Hollywood And Europe

Author : British Film Institute. African & Caribbean Unit
ISBN : UOM:39076001910988
Genre : Performing Arts
File Size : 20. 95 MB
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British Maritime History National Identity And Film 1900 1960

Author : Victoria Diane Carolan
ISBN : OCLC:809550701
Genre :
File Size : 24. 5 MB
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This thesis examines the creation, transmission and preservation of the idea of Britain as a 'maritime nation' on film from 1900 to 1960. By placing an analysis of maritime films' frequency, content and reception into the broader maritime sphere and the British film industry, this thesis explores how maritime symbols functioned to project national identity. Films are used as the major source to provide an evidential frame through which to assess the depth and functioning of maritime culture in mass culture. The thesis traces the origins of key concepts associated with a maritime identity to establish the configuration of maritime history in popular culture by 1900. It then examines the importance of maritime film production during the period 1900-1939; the representation of shipbuilding from the 1930s; maritime scenarios in Second World War film; maritime comedies; and post-war maritime films. It concludes by suggesting the reasons for the decline in the frequency of maritime film after 1960. The thesis argues first, that the relationship established in the Victorian period between the nation and the maritime sphere endured with remarkable strength. Only after 1960 was the contemporary element of this connection broken by a combination of the decline of the subject matter and by political and social change. The second argument is that to understand these films it is essential to consider them as a complete body of evidence as well as individual films in discrete time periods. By setting these films back into the tradition from which they came is it possible to understand how symbols of national identity became so embedded that they became unquestioned: the most powerful level at which such symbols operate.

Theorising National Cinema

Author : Valentina Vitali
ISBN : 9781839020834
Genre : Performing Arts
File Size : 69. 99 MB
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Why do we think of clusters of films as 'national cinema'? Why has the relationship between the nation and film become so widely and uncritically accepted? 'Theorising National Cinema' is a major contribution to work on national cinema, by many of the leading scholars in the field. It addresses the knotty and complex relationship between cinema and national identity, showing that the nationality of a cinema production company, and the films that its made, have not always been seen as pertinent. The volume begins by reviewing and rethinking the concept of national cinema in an age of globalisation, and it goes on to chart the parallel developments of national film industries and the idea of a nation state in countries as diverse as Japan, South Korea, Russia, France and Italy. The issues of a 'national cinema' for nation states of contested status, with disputed borders or displaced peoples, is discussed in relation to film-making in Taiwan, Ireland and Palestine. The contributors also consider the future of national cinema in an age of trans-national cultural flows, exploring issues of national identity and cinema in Latin America, Asia, the Middle-East, India, Africa and Europe. 'Theorising National Cinema' also includes a valuable bibliography of works on national cinema.

Englishness In Ian Fleming ?s James Bond Movie From Russia With Love

Author : Hakima Imaankaf
ISBN : 9783656652878
Genre : Literary Criticism
File Size : 27. 87 MB
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Seminar paper from the year 2013 in the subject English - Literature, Works, grade: 1,0, University of Duisburg-Essen (Anglistik), course: "Englishnesses", language: English, abstract: Showing how Britishness/Englishness is constructed in James Bond movies will be the main aim of this research paper. Therefore, it is essential to clarify the difference between a British and an English identity if there is any. Taking a closer look at the Bond movie From Russia With Love might help to detect what kind of national identity is constructed as well as to answer the question whether James Bond is a British or an English icon.

British National Cinema

Author : Sarah Street
ISBN : 9780415384216
Genre : Performing Arts
File Size : 48. 91 MB
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With films as diverse as Bhaji on the Beach, The Dam Busters, Trainspotting, The Draughtsman's Contract, Prick Up Your Ears, Ratcatcher, This Is England and Atonement, British cinema has produced wide-ranging notions of British culture, identity and nationhood. British National Cinema is a comprehensive introduction to the British film industry within an economic, political and social context. British National Cinema analyzes the politics of film and establishes the difficult context within which British producers and directors have worked. Sarah Street questions why British film-making, production and distribution have always been subject to government apathy and financial stringency. In a comparison of Britain and Hollywood, the author asks to what extent was there a 'star system' in Britain and what was its real historical and social function. An examination of genres associated with British film, such as Ealing comedies, Hammer horror, 'heritage' films and hybrid forms, confirms the eclectic nature of British cinema. In a final evaluation of British film, she examines the existence of 'other cinemas': film-making which challenges the traditional concept of cinema and operates outside mainstream structures in order to deconstruct and replace classical styles and conventions. Illustrated with over thirty stills from classic British films, British National Cinema provides an accessible and comprehensive exploration of the fascinating development of British cinema.

Cinema And Nation

Author : Mette Hjort
ISBN : 9781134618835
Genre : Performing Arts
File Size : 36. 20 MB
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Ideas of national identity, nationalism and transnationalism are now a central feature of contemporary film studies, as well as primary concerns for film-makers themselves. Embracing a range of national cinemas including Scotland, Poland, France, Turkey, Indonesia, India, Germany and America, Cinema and Nation considers the ways in which film production and reception are shaped by ideas of national belonging and examines the implications of globalisation for the concept of national cinema. In the first three Parts, contributors explore sociological approaches to nationalism, challenge the established definitions of 'national cinema', and consider the ways in which states - from the old Soviet Union to contemporary Scotland - aim to create a national culture through cinema. The final two Parts address the diverse strategies involved in the production of national cinema and consider how images of the nation are used and understood by audiences both at home and abroad.

Next Train S Gone

Author : Amanda J Field
ISBN : 9781909183810
Genre : Performing Arts
File Size : 43. 41 MB
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In the 1930s, British film producers and critics championed the idea of ‘quality’ pictures - thoughtful, intelligent films that would project a particular and positive view of Britain. The result was to drive a wedge between ‘national’ cinema (which reflected middle-class values) and ‘popular’ cinema (which reflected the working-class values of the majority of cinema audiences). ‘Popular’ became a term of abuse, particularly directed at comedies, whose roots often lay in music-hall. A very different image of Britain emerges from these comedies, as this insightful analysis of two Will Hay films - Oh Mr Porter (1937) and Ask a Policeman (1939) reveals.

God On Our Side?

Author : Ed Stevens
ISBN : OCLC:505316550
Genre :
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Tea And Sympathy

Author : Sarah A. Tack
ISBN : OCLC:505334425
Genre :
File Size : 24. 95 MB
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Author : Richard Weight
ISBN : 9781447207559
Genre : History
File Size : 74. 64 MB
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Who are the British today? For nearly three hundred years British national identity was a unifying force in times of glory and despair. It has now virtually disappeared. In Patriots, Richard Weight explores the decline of Britishness and the rise of powerful new identities in England, Scotland, Wales and Ireland. Based on a wealth of original research, it is scholarly in depth and scope, yet never departs from a thoroughly readable and entertaining style. 'Here are the themes of Orwell's The Lion and the Unicorn stretched over the subsequent sixty years and widened to embrace the whole United Kingdom. Brimming with zest and feel this is politico-cultural history at its best.' Peter Hennessy'Wide-ranging, intelligent, sensible and important.' Max Hastings, Sunday Telegraph 'A marvellously rich, ambitious and at times iconoclastic study by a young historian of how, in the broadest sense, national identity in Britain has changed in the last 60 or so years' David Kynaston, Financial Times 'A major work: the fruit of long research, wide reading and hard thinking, engagingly written, bubbling with fresh ideas' Stephen Howe, Independent

The British Working Class In Postwar Film

Author : Philip Gillett
ISBN : 0719062586
Genre : Business & Economics
File Size : 58. 41 MB
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Using a sociological model, The British Working Class in Postwar Film looks at how working-class people are portrayed in British feature films from the decade after World War II. Original statistical data is used to assess the popularity of the films with audiences. With an interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Readers are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields.

Film Drama And The Break Up Of Britain

Author : Steven Blandford
ISBN : 9781841501505
Genre : Performing Arts
File Size : 71. 89 MB
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This book engages with ideas that are highly topical and relevant: nationalism, nationhood and national identity as well as the relationship of these to postcolonialism. However, it does so within the broad field of drama. Examining the debates around the relationship between culture and national identity, the book documents the contributions of actual dramatists and film-makers to the chronicling of an important historical moment. The book breaks down what have been traditional barriers between theatre, film and television studies, considering the very broad range of ways in which the creators of dramatic fictions are telling us stories about ourselves at a time when the idea of being 'British' is increasingly problematic. Much has been written on the 'break up' of Britain, but there has been very little to-date about the impact that this is having on drama in the thetre, on television and on film. A very wide range of material is discussed in the book, ranging from box office hits such as "The Full Monty" to community based theatre in Scotland and Wales.

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