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