Journal of British Cinema and Television最新文献_第5页

Andrew Spicer, Sean Connery: Acting, Stardom and National Identity 安德鲁·斯派塞、肖恩·康纳利:表演、明星和国家认同

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-04-01 DOI: 10.3366/jbctv.2023.0670

James Chapman

引用次数: 0

Ewa Mazierska (ed.), Blackpool in Film and Popular Culture Ewa Mazierska（编辑），《电影与大众文化中的黑池》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0661

Ruth Doughty

引用次数: 0

The Left Behind: Precarity, Place and Racial Identity in the Contemporary ‘Serious Drama’ 落后者:当代“严肃戏剧”中的不稳定性、地域与种族认同

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0654

Daniel Martin

{"title":"The Left Behind: Precarity, Place and Racial Identity in the Contemporary ‘Serious Drama’","authors":"Daniel Martin","doi":"10.3366/jbctv.2023.0654","DOIUrl":"https://doi.org/10.3366/jbctv.2023.0654","url":null,"abstract":"After the channel's initial rebranding as a streaming-only platform in 2016, BBC Three produced a number of critically successful single dramas which marry the broadcaster's public service remit with the channel's youth-centred identity and new mode of delivery. These programmes continued the tradition of the ‘serious drama’, adopting the single play format in order to represent contemporary social problems via the experiences of younger people. The 2019 drama The Left Behind is an example of this recent form of serious drama and is the subject of a case study in this article. Set in a former mining town in Wales, The Left Behind's subject matter addresses the intersection between the precarity found in Britain's post-industrial regions and the rise of hate crime and nationalist sentiment in recent years. This article asserts that, faced with the often essentialising frameworks through which this intersection and its terms have been produced, The Left Behind offers a complex imagining of how race, geography and precarity inform each other. In particular, the article pays close attention to the drama's textural construction of space and place. I consider how space and place are represented as the material sites in which the tensions of post-industrial classed and ethnicised identities are experienced, and I suggest that it is The Left Behind's particular engagement with space, made possible by its existence as an online serious drama, that allows it to convey these dynamic tensions.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44188359","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

London Spy as a Subversive Spy Thriller 《伦敦间谍》是一部颠覆性的间谍惊悚片

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0658

Natsuda Satayaban

{"title":"London Spy as a Subversive Spy Thriller","authors":"Natsuda Satayaban","doi":"10.3366/jbctv.2023.0658","DOIUrl":"https://doi.org/10.3366/jbctv.2023.0658","url":null,"abstract":"Although the thematisation of the events of 9/11 and 7/7 and the ensuing topics of mass monitoring and social control have garnered considerable popular and academic attention, few critical accounts concentrating on the BBC2 crime mini-series London Spy (2015) exist. The series might seem as if it is just another crime drama capitalising on real-life sensational subjects such as the whistleblowing phenomenon and the suspicious death of the MI6 agent Gareth Williams; however, taking into account the series' hybridised form of spy and detective narratives, thriller and drama, London Spy appears to be a critical reappraisal and progressive development of the more established spy and detective texts such as the eponymous James Bond and Sherlock Holmes series. The latter group of works tends to evoke the terrorist threats and various conspiracies in order to neutralise them and to reaffirm the normality of the status quo. In contrast, in London Spy, those issues are not resolved so neatly and the state remains an object of criticism. Furthermore, the series features many spies from minority groups as main characters, granting agency and voices to those marginalised within the spy and detective genres, which tend to be dominated by heterosexual male heroes. As a result, it propagates a kind of subversive spy drama that re-politicises both the individual issue of gendered representations and the collective issues of mass surveillance and the undemocratic workings of the state.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48903174","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Profound Legacy: Vincent Porter 深远的遗产:文森特·波特

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0659

A. Spicer

引用次数: 0

Catherine Elwes, Landscape and the Moving Image 凯瑟琳·埃尔维斯，《景观与动态影像》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0662

P. Newland

引用次数: 0

Jamie Medhurst, The Early Years of Television and the BBC 杰米·梅德赫斯特，《电视和BBC的早期》

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0660

K. Murphy

引用次数: 0

‘Something like the truth’: Confronting the Honesty of Brutalism and Post-War Planning in The Offence “类似于真相”:直面野兽主义的诚实和战后规划

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0656

John Smith

{"title":"‘Something like the truth’: Confronting the Honesty of Brutalism and Post-War Planning in The Offence","authors":"John Smith","doi":"10.3366/jbctv.2023.0656","DOIUrl":"https://doi.org/10.3366/jbctv.2023.0656","url":null,"abstract":"This article explores the 1973 thriller The Offence in relation to its representation and utilisation of post-war urban planning and modernist architecture, with particular reference to brutalism and new towns. It considers the film to be at a seminal intersection between British cinema and post-war modernism, building on and ultimately eclipsing Get Carter and A Clockwork Orange which have received much of the critical attention in this specialised discourse. While the film is ostensibly a character study of a troubled policeman, Detective Sergeant Johnson, I argue that The Offence’s engagement with post-war urban planning and modernist spatiality is its defining feature. The film’s extensive location shooting in Bracknell, utilising modernist and brutalist spaces, offers a direct intervention into architectural and planning discourses of the period. The Offence’s bleak narrative set within the context of a modernist new town reflects criticisms of such quintessentially post-war spaces as ‘subtopias’ to quote Ian Nairn’s polemical attacks in his 1955 book Outrage. The architectural centrepiece of The Offence is the entirely purpose-built set of the police station, where Johnson interrogates suspected child molester Baxter. As an exemplar of brutalist architecture the space conforms to Katherine Shonfield’s characterisation of brutalism as inherently honest, ‘dragging to the surface what we are in the habit of covering up’. The film’s extensive use of brutalist locations, then, creates a unique intersection and tension between the architectural style’s demand for a raw, honest edifice and the narrative’s central investigation into the impossibility of finding objective truth. The Offence is thus due a necessary reappraisal as a radical ethical and aesthetic engagement with post-war planning and architecture within British cinema.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48323011","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films 世界再次颠倒：英国革命的闹鬼与当代英国电影对未来的考古

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0655

M. Schmitt

{"title":"The World Turned Upside Down, Again: Hauntings of the English Revolution and Archaeologies of Futures Past in Contemporary British Films","authors":"M. Schmitt","doi":"10.3366/jbctv.2023.0655","DOIUrl":"https://doi.org/10.3366/jbctv.2023.0655","url":null,"abstract":"In the 1960s and 1970s, the period of the Civil War and the English Revolution featured prominently in a variety of films ranging from the mainstream historical drama Cromwell to the independent Winstanley and the folk horror film Witchfinder General. Film-makers’ interest in the period at that time coincided with the cultural, social and political turmoil of 1968 as well as with the increasingly popularised revision of the period in Marxist historiography, such as Christopher Hill’s seminal book The World Turned Upside Down. Recently, there has been a renewed interest of British film-makers in Hill’s focus on the subcultures of the English Revolution, such as the Diggers, as well as in the aesthetics of earlier films about the period. This article analyses two contemporary films about the period, Ben Wheatley’s A Field in England and Thomas Clay’s Fanny Lye Deliver’d, and through historicisation and contextualisation within film, genre and media history seeks to understand the significance of their return to the historical material of the seventeenth century as well as to the style of their filmic models from the 1960s and 1970s. The article argues that the two films perform an ‘archaeology of the future’ (Jameson) that excavates utopian ‘futures past’ (Koselleck) in British cultural history as well as in British film and media history. By analysing Wheatley and Clay’s films as hauntological and archaeological texts, the article explores the potential of the cinematic image for engaging with national and film history as well as with visions of the past and the future.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45458583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 1

Boredom: Mike Leigh’s Meantime and Working-Class Youth in Thatcher’s Britain 《无聊:迈克·李的时代与撒切尔时代英国的工人阶级青年

IF 0.9 1区艺术学

Journal of British Cinema and Television Pub Date : 2023-01-01 DOI: 10.3366/jbctv.2023.0657

B. Jeon

{"title":"Boredom: Mike Leigh’s Meantime and Working-Class Youth in Thatcher’s Britain","authors":"B. Jeon","doi":"10.3366/jbctv.2023.0657","DOIUrl":"https://doi.org/10.3366/jbctv.2023.0657","url":null,"abstract":"This article traces the socio-cultural effect of neoliberalism on working-class youths by analysing Mike Leigh’s cinematic portrayal of boredom in Thatcher’s Britain, Meantime. As a state of disenchantment that stems from a sense of inadequacy, boredom in his films afflicts unemployed young people living in London, whose everyday life is pervaded by the sense of being excluded by the dominant national narrative of free-market capitalism. In various locations, boredom emerges in the daily experience of the characters, who feel the disconnection between officially sanctioned national aspirations and their own private sense of failure. For Mark and Colin, the city is an empty place where the demolition of traditional working-class culture has left them no story to tell about themselves. Exploring how the affective value of the national fantasy influences the reproduction of a lifestyle that can be inherently damaging to those who invest in it, I argue that boredom in the film nonetheless possesses an unexpected utility that runs counter to Thatcher’s neoliberal vision of development and progress, and provides these young people with an opportunity to reimagine ways of keeping on living together in a time of crisis.","PeriodicalId":43079,"journal":{"name":"Journal of British Cinema and Television","volume":" ","pages":""},"PeriodicalIF":0.9,"publicationDate":"2023-01-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48896146","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":1,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0