英国工人阶段级银幕形象及其文化诠释 英文PDF电子书下载

CHAPTER Ⅰ．INTRODUCTION 1

The Significance of Class and Film Representation 1

British Social Realism Tradition 6

Research Methodology 11

Literature Review 12

Structure 20

CHAPTER Ⅱ．BRITISH CULTURAL STUDIES ON CLASS AND WORKING CLASS 22

Culture:From Elitism to"A Whole Way of Life"of People 24

Althusser on Ideology and Gramsci on Hegemony 29

Stuart Hall and the CCCS 34

The Marginalization of Class and the Moral Significance for the Study of Class 45

Identity and Representation 47

CHAPTER Ⅲ．CLASS AND WORKING CLASS IN BRITAIN:SOCIOLOGICAL AND HISTORICAL UNDERSTANDING 51

Defining and Classifying Class and Working Class 52

Looking at Class:Britain—A Class or Classless Society? 60

The Rise and Decline of British Working Class 78

The"Underclass"and Devaluation 98

CHAPTER Ⅳ．WORKING CLASS IDENTITY IN NEW WAVE FILMS 104

From the Grierson Documentary Movement to the New Wave 105

Room at the Top(Jack Clayton,1959) 116

Saturday Night and Sunday Morning(Karel Reisz,1960) 126

Working-class Identity in New Wave Films:Theme Analysis 135

CHAPTER Ⅴ．WORKING-CLASS IDENTITY IN FILMS OF LOACH,LEIGH AND FREARS 149

Thatcherism and the Working Class 150

Mike Leigh and High Hopes(1988) 153

Class and Race in Stephen Frears'My Beautiful Laundrette(1985) 170

Ken Loach and Sweet Sixteen(2002) 178

CHAPTER Ⅵ．WORKING-CLASS IDENTITY IN 1990s SOCIAL REALIST COMEDIES 195

Brassed Off(Mark Herman,1996) 197

The Full Monty(Peter Cattaneo,1997) 215

Continuity and Change in Working-class Identity:Theme Analysis 236

CHAPTER Ⅶ．IDEOLOGY,CULTURE,IDENTITY:ANALYSIS OF WORKING-CLASS REPRESENTATION 248

The New Wave Representation:The Ideology of Affluence and the New Left 249

Films of the 1980s,1990s and 2000s:Neo-liberalism and Working-class Identity 266

For Williams' "Equality of Being":The Need of Cultural Policy Support 283

CHAPTER Ⅷ．CONCLUSION 287

REFERENCES 293