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Product Description
Product Description
Why has mainstream British film been so unrepresentative of the changes in British society over the past twenty years? Classless looks at the erasure of key issues of class and class struggle in recent British film as well as the flattening out of the rich variety of English social types into the bland middle-mass of Love Actually. By analysing a number of key films and emergent genres the ideological character of the Major years on into the false dawn of Blairism and Cool Brittania will be elaborated, and it will be argued that even works that are ostensibly subversive, such as Danny Boyle's Trainspotting serve to promote the underlying myths of neo-liberalism. The films under discussion will range from Steven Frear's The Queen to Jonathon Glazer's Sexy Beast The book will also consider popular genres such as the recent Football Hooligan films along with more recondite works by a handful of auteurs.
About the Author
Carl Neville has been agonizing over the themes of culture, class and Englishness for the past thirty eight years. His main interest is the problematic allure of post-modernism, how it might be overcome and what forms a newly committed literature or cinema might take, both in terms of representation and production. He lives in London.
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1 of 1 people found the following review helpful
Format:Paperback
I am not often inspired to write reviews of books, however Classless by Carl Neville is both impressive and frustrating in equal measure and so deserves comment. Neville attempts to look at how class and British society has been protrayed over the last 10 years and, more particularly, in the post-Blair era. This book is one of the only works to do this and Neville touches on many films that are sadly missing from academic studies. His views on class and cinema are short but illuminating and they certainly give the reader a good foundation to start formulating their own position on recent British filmmaking.
However, the book lets itself down by constantly getting simplest of facts wrong. The film Rise of the Footsoldier is, throughout, referred to as Rise of the FootsoldierS, the director of Sexy Beast is referred to as Jonathan Glazier where, in actual fact it is Jonathan Glazer and so on. These are more than printing errors they are research errors and the validity of what the author is saying is seriously jeopardised by the fact that he can't spell the director's name correctly or cite the name of the film he is discussing.
However, the book lets itself down by constantly getting simplest of facts wrong. The film Rise of the Footsoldier is, throughout, referred to as Rise of the FootsoldierS, the director of Sexy Beast is referred to as Jonathan Glazier where, in actual fact it is Jonathan Glazer and so on. These are more than printing errors they are research errors and the validity of what the author is saying is seriously jeopardised by the fact that he can't spell the director's name correctly or cite the name of the film he is discussing.
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