Description
Book SynopsisThe volume offers highly detailed and insightful critical analysis of a range of individual films of the period. This analysis draws upon an innovative range of critical methodologies which place the film texts within a rich variety of historical contexts.
The book sets out to examine British films of the 1970s in order to get a clearer understanding of two things – the fragmentary state of the filmmaking culture of the period, and the fragmentary nature of the nation that these films represent. It argues that there is no singular narrative to be drawn about British filmmaking in the 1970s, other than the fact that these films offer evidence of a Britain (and ideas of Britishness) characterised by vicissitudes. While this was a period of struggle and instability, it was also a period of openings, of experiment, and of new ideas. Newland looks at many films, including Carry On Girls, O Lucky Man!, That'll be the Day, The Shout, and The Long Good Friday.
Trade ReviewNewland’s current work is a valuable contribution to this corpus, with one of its principal attractions being the detailed picture that emerges of a varied and eclectic film culture characterised by contradictory and permeable notions of Britishness. -- .
Table of ContentsIntroduction
Chapter 1 Equality or bust: sexual politics
Chapter 2 On the road: British journeys
Chapter 3 The songs remain the same: pop, rock and war children
Chapter 4 Immigrant songs: racial politics
Chapter 5 In memoriam: the past in the present/the present in the past
Chapter 6 Rural rides: the countryside and modernity
Chapter 7 Close to the edge: peripheral Britain
Chapter 8 Old cities, new towns: criminality and cruelty
Bibliography
Index
