DOCSLIB.ORG

Working-Class Culture and Work As Portrayed in the Texts and Films Of

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Working-Class Culture and Work As Portrayed in the Texts and Films Of Working-class Culture and Work as portrayed in the Texts and Films of Alan Sillitoe´s Saturday Night and Sunday Morning and The Loneliness of the Long Distance Runner Stephen Keady ADVERTIMENT. La consulta d’aquesta tesi queda condicionada a l’acceptació de les següents condicions d'ús: La difusió d’aquesta tesi per mitjà del servei TDX (www.tdx.cat) i a través del Dipòsit Digital de la UB (diposit.ub.edu) ha estat autoritzada pels titulars dels drets de propietat intel·lectual únicament per a usos privats emmarcats en activitats d’investigació i docència. No s’autoritza la seva reproducció amb finalitats de lucre ni la seva difusió i posada a disposició des d’un lloc aliè al servei TDX ni al Dipòsit Digital de la UB. No s’autoritza la presentació del seu contingut en una finestra o marc aliè a TDX o al Dipòsit Digital de la UB (framing). Aquesta reserva de drets afecta tant al resum de presentació de la tesi com als seus continguts. En la utilització o cita de parts de la tesi és obligat indicar el nom de la persona autora. ADVERTENCIA. La consulta de esta tesis queda condicionada a la aceptación de las siguientes condiciones de uso: La difusión de esta tesis por medio del servicio TDR (www.tdx.cat) y a través del Repositorio Digital de la UB (diposit.ub.edu) ha sido autorizada por los titulares de los derechos de propiedad intelectual únicamente para usos privados enmarcados en actividades de investigación y docencia. No se autoriza su reproducción con finalidades de lucro ni su difusión y puesta a disposición desde un sitio ajeno al servicio TDR o al Repositorio Digital de la UB. No se autoriza la presentación de su contenido en una ventana o marco ajeno a TDR o al Repositorio Digital de la UB (framing). Esta reserva de derechos afecta tanto al resumen de presentación de la tesis como a sus contenidos. En la utilización o cita de partes de la tesis es obligado indicar el nombre de la persona autora. WARNING. On having consulted this thesis you’re accepting the following use conditions: Spreading this thesis by the TDX (www.tdx.cat) service and by the UB Digital Repository (diposit.ub.edu) has been authorized by the titular of the intellectual property rights only for private uses placed in investigation and teaching activities. Reproduction with lucrative aims is not authorized nor its spreading and availability from a site foreign to the TDX service or to the UB Digital Repository. Introducing its content in a window or frame foreign to the TDX service or to the UB Digital Repository is not authorized (framing). Those rights affect to the presentation summary of the thesis as well as to its contents. In the using or citation of parts of the thesis it’s obliged to indicate the name of the author. UNIVERSITY OF BARCELONA DEPARTMENT DE FILOLOGIA ANGLESA I ALEMANYA PROGRAMME: LITERATURES AND CULTURES 2002 – 2004 WORKING-CLASS CULTURE AND WORK AS PORTRAYED IN THE TEXTS AND FILMS OF ALAN SILLITOE´S SATURDAY NIGHT AND SUNDAY MORNING AND THE LONELINESS OF THE LONG DISTANCE RUNNER. DOCTORAND: STEPHEN KEADY DIRECTOR: Dr. ANA MOYA GUTIERREZ In memory of my parents, Patrick and Kathleen, and for Pilar. CONTENTS INTRODUCTION page 1 PART ONE: THE BACKGROUND 1.1 The Industrial Revolution 12 1.2 Work and living conditions 17 1.3 Class and the evolution of the working class 24 1.4 Reactions to protest 37 1.5 Education and religion 41 1.6 The growth of culture 48 1.7 Culture versus anarchy and civilization 53 1.8 British cultural studies 69 1.9 Working-class literature and work 86 PART TWO: THE TEXTS 2.1 Wartime and post-war England 123 2.2 The Angry Young Men 142 2.3 Alan Sillitoe 156 2.4 Saturday Night and Sunday Morning 162 2.5 The Loneliness of the Long-Distance Runner 216 PART THREE: THE FILMS 3.1 Post-war and 50s British cinema 255 3.2 The Free Cinema 261 3.3 Film adaptation 270 3.4 Saturday Night and Sunday Morning, the film 287 3.5 The Loneliness of the Long-Distance Runner, the film 302 3.6 The Free Cinema and poetry 334 3.7 Working-class politics and culture 339 CONCLUSION 349 BIBLIOGRAPHY 356 FILMOGRAPHY 368 INTRODUCTION Alan Sillitoe rose to prominence in 1958, with the publication of his novel Saturday Night and Sunday Morning. The collection of short stories, The Loneliness of the Long-Distance Runner, published the following year, confirmed the opinion that an important new writer had arrived in England. The films of the novel and the title story of the collection, which were released in 1960 and 1962 respectively, and for which he wrote the screenplays, further strengthened his reputation. Since then he has produced a large and varied body of work, including over twenty novels, over fifty short stories, poetry, plays, travel writing and children´s books, and remains active at the age of 79. He is, to my mind, one of the most significant English writers of the last 50 years, and possibly the only one whose work spans the post-war and the present. My opinion, however, does not seem to be generally shared, at least in terms of the critical attention which Sillitoe has received. My primary research has been carried out in Catalonia, naturally, and in the whole of the Catalan university library system the only two critical works dedicated exclusively to Sillitoe date from the 1970s. Furthermore, of the 133 theses written over the last 20 years or so, whose details are available from the departments of English Philology of the University of Barcelona (U.B.) and the Autonomous University of Barcelona (U.A.B.), not one deals with Sillitoe, or indeed with the themes found in Sillitoe which I have chosen as the area of enquiry for this thesis.1 With wider research, I have found reference to only 3 books on Sillitoe published in English in the last 25 years, all of them written by British writers but published in the U.S.A. Peter Hitchcock´s Working-Class Fiction in 1 ccuc.cbuc.es www.bib.ub.edu www.uab.es/servlet Not surprisingly, the themes which most recur in these post-graduate works reflect the current interest in post-colonialist and feminist areas of research. 1 Theory and Practice: A Reading of Alan Sillitoe (1989) has some interesting points to make, and will be quoted from later. However, Hitchcock only treats in any depth Saturday Night and Sunday Morning, with some mentions of “The Loneliness of the Long Distance Runner”, an emphasis mirrored by John Sawkins in the more recent The Long Apprenticeship: Alienation in the Early Works of Alan Sillitoe (2001), a book whose title is self-explanatory as regards the works examined and the focus of the examination. Gillian Mary Hanson, in Understanding Alan Sillitoe (1999), does at least give a more comprehensive idea of the scope of Sillitoe´s work: in terms of its variety she mentions many of his stories, apart from novels and autobiography; in terms of the length of his career, she considers his work up to 1995; and as regards themes in his work she discusses existentialism, alienation and his depiction of women. Such a quantity of material necessarily makes the book descriptive rather than analytical, introductory rather than investigatory. Hanson´s bibliography is useful, however, and hers and those of the other books mentioned reveal a dearth of recent (from 1980) books and articles about Sillitoe. Stanley Atherton´s Alan Sillitoe: A Critical Assessment (1979) is necessarily limited by its age, as is R.D.Vaverka´s Commitment as Art: A Marxist Critique of A Selection of Sillitoe´s Political Fiction (1978), although both will be quoted from. Before these books, now almost thirty years old, one has to go back to the early 70s to find references to critical works on Sillitoe. My most general aim, therefore, is to attempt to redress with this thesis, in however small a way, what I consider to be the critical neglect of a writer whose work has been unjustly ignored or undervalued. Although he is mentioned in a number of recent books and articles, such mentions are usually limited to his first two works, and are generally in the context of the “Angry Young Men” phenomenon. I shall give examples of this, and also offer some 2 suggestions as to why attention still seems to be limited to his first books, in Part 2 of this thesis. I am, of course, conscious of the possible irony in the fact that I have chosen these two books myself as the basis for this work, whilst seemingly complaining about the narrowness of the attention devoted to Sillitoe. There are a number of reasons for my choice, perhaps the most obvious being the aforementioned deficiency of criticism of almost all of Sillitoe´s later production. His first two books are, of course, significant, but they by no means represent the only significant work in his long and productive career. Another of my aims, then, will be to show, by quoting from a number of his works, that although Saturday Night and Sunday Morning and The Loneliness of the Long-Distance Runner2 have become somehow isolated by time and success, they represent simply the first, rather than the only expression of ideas which were to remain evident in Sillitoe´s work over the next forty-plus years. The fact remains, however, that until Sillitoe no writer in English fiction had given or had been able to give a detailed and informed picture of the English working class living in a period of seemingly stable prosperity, and thus the two books retain the prominence reserved for the first in the field.
Load more

Recommended publications
  • Stuart Golland Papers (MS 459) - Book Collection
    Stuart Golland Papers (MS 459) - Book Collection Title Author/Publisher/Year Shelf Number Medea and other plays / Euripides ; translated and with an Euripides. (Harmondsworth : Penguin 1963.) Stuart Golland Collection/1 introduction by Philip Vellacott. The stirrings in Sheffield on Saturday night / Alan Cullen ; Cullen, Alan. (London : Eyre Methuen 1974.) Stuart Golland Collection/2 introductions by Alan Cullen and Colin George ; foreword by John Hodgson. The Shrewsbury three : strikes, pickets and 'conspiracy' / by Jim Arnison, Jim. (London : Lawrence and Wishart Stuart Golland Collection/3 Arnison ; foreword by Bert Ramelson. 1974.) Being an actor / Simon Callow. Callow, Simon, (Harmondsworth : Penguin Stuart Golland Collection/4 1995.) The Caucasian chalk circle / Bertolt Brecht ; translated by James and Brecht, Bertolt, (London : Methuen 1963, Stuart Golland Collection/5 Tania Stern, with W.H. Auden. c1960.) Saint Joan of the stockyards / Bertolt Brecht ; translated by Frank Brecht, Bertolt, (London : Eyre Methuen 1976.) Stuart Golland Collection/6 Jones. An actor prepares / Constantin Stanislavsky ; translated by Elizabeth Stanislavsky, Konstantin, (London : Geoffrey Stuart Golland Collection/7 Reynolds Hapgood. Bles 1937.) The miners' strike in South Yorkshire, 1926 / by J.A. Peck ; map by Peck, John Antony. (Sheffield : University of Stuart Golland Collection/8 H. Walkland ; illustrations by G.N.J. Wheeler. Sheffield Institute of Education 1970.) Touched / Stephen Lowe. Lowe, Stephen, (Todmorden : Woodhouse Stuart Golland Collection/9 Books 1979, c1977.) Le Tartuffe : comédie / Molière ; avec une notice biographique, une Molière, (Paris : Larousse 1971.) Stuart Golland Collection/10 notice historique er littéraire, un lexique, des notes explicatives, une documentation thématique, des jugements, un questionnaire et des sujets de devoirs par J.P.
    [Show full text]
  • The Influence of Kitchen Sink Drama in John Osborne's
    IOSR Journal Of Humanities And Social Science (IOSR-JHSS) Volume 23, Issue 9, Ver. 7 (September. 2018) 77-80 e-ISSN: 2279-0837, p-ISSN: 2279-0845. www.iosrjournals.org The Influence of Kitchen Sink Drama In John Osborne’s “ Look Back In Anger” Sadaf Zaman Lecturer University of Bisha Kingdom of Saudi Arabia Corresponding Author: Sadaf Zaman ----------------------------------------------------------------------------------------------------------------------------- ---------- Date of Submission:16-09-2018 Date of acceptance: 01-10-2018 ----------------------------------------------------------------------------------------------------------------------- ---------------- John Osborne was born in London, England in 1929 to Thomas Osborne, an advertisement writer, and Nellie Beatrice, a working class barmaid. His father died in 1941. Osborne used the proceeds from a life insurance settlement to send himself to Belmont College, a private boarding school. Osborne was expelled after only a few years for attacking the headmaster. He received a certificate of completion for his upper school work, but never attended a college or university. After returning home, Osborne worked several odd jobs before he found a niche in the theater. He began working with Anthony Creighton's provincial touring company where he was a stage hand, actor, and writer. Osborne co-wrote two plays -- The Devil Inside Him and Personal Enemy -- before writing and submittingLook Back in Anger for production. The play, written in a short period of only a few weeks, was summarily rejected by the agents and production companies to whom Osborne first submitted the play. It was eventually picked up by George Devine for production with his failing Royal Court Theater. Both Osborne and the Royal Court Theater were struggling to survive financially and both saw the production of Look Back in Anger as a risk.
    [Show full text]
  • Chapter 36 Harold Pinter: the Dramatist and His World
    Chapter 36 Harold Pinter: The Dramatist and His World Background Nobel winner, Harold Pinter (1930- 2008) was born in London, England in a Jewish family. Some of the most recognizable features in his plays are the use of understatement, small talk, reticence , and silence. These devices are employed to convey the substance of a character’s thoughts. At the outbreak of World War II, Pinter was evacuated from the city to Cornwall; to be wrenched from his parents was a traumatic event for Pinter. He lived with 26 other boys in a castle on the coast. At the age of 14, he returned to London. "The condition of being bombed has never left me," Pinter later said. At school one of Pinter's main intellectual interests was English literature, particularly poetry. He also read works of Franz Kafka and Ernest Hemingway, and started writing poetry for little magazines in his teens. The seeds of rebellion in Pinter could be spotted early on when he refused to do the National Service. As a young man, he studied acting at the Royal Academy of Dramatic Art and the Central School of Speech and Drama, but soon left to undertake an acting career under the stage name David Baron. He travelled around Ireland in a Shakespearean company and spent years working in provincial repertory before deciding to turn his attention to playwriting. Pinter was married from 1956 to the actress Vivien Merchant. For a time, they lived in Notting Hill Gate in a slum. Eventually Pinter managed to borrow some money and move away.
    [Show full text]
  • Stanley S. Atherton ALAN SILLITOE's BATTLEGROUND
    Stanley S. Atherton ALAN SILLITOE'S BATTLEGROUND I FoR ALAN S1LLIT0E's HEROES, to live at all is to fight, and this belligerence de- fines their existence in the English working-class world that they inhabit. Their struggles, while reflecting the difficulties of individual protagonists, are primarily class confliots echoing the author's disillusion with contemporary English society. The early Seaton-family novels, Saturday Niglit and Sunday Morning and Key to the Door, along with the shorter works The Loneliness of the Long-Distance Runner and The Decline and Fall of Frankie Buller, offer a series of loud and angry protests which define Sillitoe's working-class perspective, while the later novels, The Death of William Posters and A Tree on Fire, move beyond this co a more positive approach to the problems of existence raised in the earlier work. The battles of his heroes, whether they are visceral or cerebral, internal or external, idealistic or pragmatic, are all fought to achieve Sillitoe's utopian dream of a better world. The central campaigns in Sillitoe's war are aimed at toppling a social structure built on inequality and characterized by haves and have-nots. The early fiction makes it clear: the two groups are enemies. Smith, the Borstal boy in The Loneliness of the Long-Distance Runner, talks of "them" and "us" and reveals tha:t "they don't see eye to eye with us and we don't see eye to eye with them."1 His thoughts on the lonely practice-runs over the early-morning countryside lead him to conclude that "by sending me to Borstal they've shown me the knife, and from now on I know something I didn't know before: that it's war between me and them.
    [Show full text]
  • February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89M) the Version of This Goldenrod Handout Sent out in Our Monday Mailing, and the One Online, Has Hot Links
    February 4, 2020 (XL:2) Lloyd Bacon: 42ND STREET (1933, 89m) The version of this Goldenrod Handout sent out in our Monday mailing, and the one online, has hot links. Spelling and Style—use of italics, quotation marks or nothing at all for titles, e.g.—follows the form of the sources. DIRECTOR Lloyd Bacon WRITING Rian James and James Seymour wrote the screenplay with contributions from Whitney Bolton, based on a novel by Bradford Ropes. PRODUCER Darryl F. Zanuck CINEMATOGRAPHY Sol Polito EDITING Thomas Pratt and Frank Ware DANCE ENSEMBLE DESIGN Busby Berkeley The film was nominated for Best Picture and Best Sound at the 1934 Academy Awards. In 1998, the National Film Preservation Board entered the film into the National Film Registry. CAST Warner Baxter...Julian Marsh Bebe Daniels...Dorothy Brock George Brent...Pat Denning Knuckles (1927), She Couldn't Say No (1930), A Notorious Ruby Keeler...Peggy Sawyer Affair (1930), Moby Dick (1930), Gold Dust Gertie (1931), Guy Kibbee...Abner Dillon Manhattan Parade (1931), Fireman, Save My Child Una Merkel...Lorraine Fleming (1932), 42nd Street (1933), Mary Stevens, M.D. (1933), Ginger Rogers...Ann Lowell Footlight Parade (1933), Devil Dogs of the Air (1935), Ned Sparks...Thomas Barry Gold Diggers of 1937 (1936), San Quentin (1937), Dick Powell...Billy Lawler Espionage Agent (1939), Knute Rockne All American Allen Jenkins...Mac Elroy (1940), Action, the North Atlantic (1943), The Sullivans Edward J. Nugent...Terry (1944), You Were Meant for Me (1948), Give My Regards Robert McWade...Jones to Broadway (1948), It Happens Every Spring (1949), The George E.
    [Show full text]
  • From Free Cinema to British New Wave: a Story of Angry Young Men
    SUPLEMENTO Ideas, I, 1 (2020) 51 From Free Cinema to British New Wave: A Story of Angry Young Men Diego Brodersen* Introduction In February 1956, a group of young film-makers premiered a programme of three documentary films at the National Film Theatre (now the BFI Southbank). Lorenza Mazzetti, Lindsay Anderson, Karel Reisz and Tony Richardson thought at the time that “no film can be too personal”, and vehemently said so in their brief but potent manifesto about Free Cinema. Their documentaries were not only personal, but aimed to show the real working class people in Britain, blending the realistic with the poetic. Three of them would establish themselves as some of the most inventive and irreverent British filmmakers of the 60s, creating iconoclastic works –both in subject matter and in form– such as Saturday Day and Sunday Morning, The Loneliness of the Long Distance Runner and If… Those were the first significant steps of a New British Cinema. They were the Big Screen’s angry young men. What is British cinema? In my opinion, it means many different things. National cinemas are much more than only one idea. I would like to begin this presentation with this question because there have been different genres and types of films in British cinema since the beginning. So, for example, there was a kind of cinema that was very successful, not only in Britain but also in America: the films of the British Empire, the films about the Empire abroad, set in faraway places like India or Egypt. Such films celebrated the glory of the British Empire when the British Empire was almost ending.
    [Show full text]
  • University of Huddersfield Repository
    University of Huddersfield Repository Billam, Alistair It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Original Citation Billam, Alistair (2018) It Always Rains on Sunday: Early Social Realism in Post-War British Cinema. Masters thesis, University of Huddersfield. This version is available at http://eprints.hud.ac.uk/id/eprint/34583/ The University Repository is a digital collection of the research output of the University, available on Open Access. Copyright and Moral Rights for the items on this site are retained by the individual author and/or other copyright owners. Users may access full items free of charge; copies of full text items generally can be reproduced, displayed or performed and given to third parties in any format or medium for personal research or study, educational or not-for-profit purposes without prior permission or charge, provided: • The authors, title and full bibliographic details is credited in any copy; • A hyperlink and/or URL is included for the original metadata page; and • The content is not changed in any way. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. http://eprints.hud.ac.uk/ Submission in fulfilment of Masters by Research University of Huddersfield 2016 It Always Rains on Sunday: Early Social Realism in Post-War British Cinema Alistair Billam Contents Introduction ............................................................................................................................................ 3 Chapter 1: Ealing and post-war British cinema. ................................................................................... 12 Chapter 2: The community and social realism in It Always Rains on Sunday ...................................... 25 Chapter 3: Robert Hamer and It Always Rains on Sunday – the wider context.
    [Show full text]
  • Cultural Representations of the Moors Murderers and Yorkshire Ripper Cases
    CULTURAL REPRESENTATIONS OF THE MOORS MURDERERS AND YORKSHIRE RIPPER CASES by HENRIETTA PHILLIPA ANNE MALION PHILLIPS A thesis submitted to the University of Birmingham for the degree of DOCTOR OF PHILOSOPHY Department of Modern Languages School of Languages, Cultures, Art History, and Music College of Arts and Law The University of Birmingham October 2016 University of Birmingham Research Archive e-theses repository This unpublished thesis/dissertation is copyright of the author and/or third parties. The intellectual property rights of the author or third parties in respect of this work are as defined by The Copyright Designs and Patents Act 1988 or as modified by any successor legislation. Any use made of information contained in this thesis/dissertation must be in accordance with that legislation and must be properly acknowledged. Further distribution or reproduction in any format is prohibited without the permission of the copyright holder. Abstract This thesis examines written, audio-visual and musical representations of real-life British serial killers Myra Hindley and Ian Brady (the ‘Moors Murderers’) and Peter Sutcliffe (the ‘Yorkshire Ripper’), from the time of their crimes to the present day, and their proliferation beyond the cases’ immediate historical-legal context. Through the theoretical construct ‘Northientalism’ I interrogate such representations’ replication and engagement of stereotypes and anxieties accruing to the figure of the white working- class ‘Northern’ subject in these cases, within a broader context of pre-existing historical trajectories and generic conventions of Northern and true crime representation. Interrogating changing perceptions of the cultural functions and meanings of murderers in late-capitalist socio-cultural history, I argue that the underlying structure of true crime is the counterbalance between the exceptional and the everyday, in service of which its second crucial structuring technique – the depiction of physical detail – operates.
    [Show full text]
  • Race, Migration, and Chinese and Irish Domestic Servants in the United States, 1850-1920
    An Intimate World: Race, Migration, and Chinese and Irish Domestic Servants in the United States, 1850-1920 A DISSERTATION SUBMITTED TO THE FACULTY OF THE GRADUATE SCHOOL OF THE UNIVERSITY OF MINNESOTA BY Andrew Theodore Urban IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY Advised by Donna Gabaccia and Erika Lee June 2009 © Andrew Urban, 2009 Acknowledgements While I rarely discussed the specifics of my dissertation with my fellow graduate students and friends at the University of Minnesota – I talked about basically everything else with them. No question or topic was too large or small for conversations that often carried on into the wee hours of the morning. Caley Horan, Eric Richtmyer, Tim Smit, and Aaron Windel will undoubtedly be lifelong friends, mahjong and euchre partners, fantasy football opponents, kindred spirits at the CC Club and Mortimer’s, and so on. I am especially grateful for the hospitality that Eric and Tim (and Tank the cat) offered during the fall of 2008, as I moved back and forth between Syracuse and Minneapolis. Aaron and I had the fortune of living in New York City at the same time in our graduate careers, and I have fond memories of our walks around Stuyvesant Park in the East Village and Prospect Park in Brooklyn, and our time spent with the folks of Tuesday night. Although we did not solve all of the world’s problems, we certainly tried. Living in Brooklyn, I also had the opportunity to participate in the short-lived yet productive “Brooklyn Scholars of Domestic Service” (AKA the BSDS crew) reading group with Vanessa May and Lara Vapnek.
    [Show full text]
  • Scholarship Boys and Children's Books
    Scholarship Boys and Children’s Books: Working-Class Writing for Children in Britain in the 1960s and 1970s Haru Takiuchi Thesis submitted towards the degree of Doctor of Philosophy in the School of English Literature, Language and Linguistics, Newcastle University, March 2015 ii ABSTRACT This thesis explores how, during the 1960s and 1970s in Britain, writers from the working-class helped significantly reshape British children’s literature through their representations of working-class life and culture. The three writers at the centre of this study – Aidan Chambers, Alan Garner and Robert Westall – were all examples of what Richard Hoggart, in The Uses of Literacy (1957), termed ‘scholarship boys’. By this, Hoggart meant individuals from the working-class who were educated out of their class through grammar school education. The thesis shows that their position as scholarship boys both fed their writing and enabled them to work radically and effectively within the British publishing system as it then existed. Although these writers have attracted considerable critical attention, their novels have rarely been analysed in terms of class, despite the fact that class is often central to their plots and concerns. This thesis, therefore, provides new readings of four novels featuring scholarship boys: Aidan Chambers’ Breaktime and Dance on My Grave, Robert Westall’s Fathom Five, and Alan Garner’s Red Shift. The thesis is split into two parts, and these readings make up Part 1. Part 2 focuses on scholarship boy writers’ activities in changing publishing and reviewing practices associated with the British children’s literature industry. In doing so, it shows how these scholarship boy writers successfully supported a movement to resist the cultural mechanisms which suppressed working-class culture in British children’s literature.
    [Show full text]
  • Xerox University Microfilms 300 North Zeeb Road Ann Arbor, Michigan 48106 I
    INFORMATION TO USERS This material was produced from a microfilm copy of the original document. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the original submitted. The following explanation of techniques is provided to help you understand markings or patterns which may appear on this reproduction. 1. The sign or "target" for pages apparently lacking from the document photographed is "Missing Page(s)". If it was possible to obtain the missing page(s) or section, they are spliced info the film along with adjacent pages. This may have necessitated cutting thru an image and duplicating adjacent pages to insure you complete continuity. 2. When an image on the film is obliterated with a large round black mark, it is an indication that the photographer suspected that the copy may have moved during exposure and thus cause a blurred image. You will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., was part of the material being photographed the photographer followed a definite method in "sectioning" the material. It is customary to begin photoing at the upper left hand corner of a large sheet and to continue photoing from left to right in equal sections with a small overlap. If necessary, sectioning is continued again — beginning below the first row and continuing on untii complete. 4. The majority of users indicate that the textual content is of greatest value, however, a somewhat higher quality reproduction could be made from "photographs" if essential to the understanding of the dissertation.
    [Show full text]
  • From Real Time to Reel Time: the Films of John Schlesinger
    From Real Time to Reel Time: The Films of John Schlesinger A study of the change from objective realism to subjective reality in British cinema in the 1960s By Desmond Michael Fleming Submitted in total fulfilment of the requirements of the degree of Doctor of Philosophy November 2011 School of Culture and Communication Faculty of Arts The University of Melbourne Produced on Archival Quality Paper Declaration This is to certify that: (i) the thesis comprises only my original work towards the PhD, (ii) due acknowledgement has been made in the text to all other material used, (iii) the thesis is fewer than 100,000 words in length, exclusive of tables, maps, bibliographies and appendices. Abstract The 1960s was a period of change for the British cinema, as it was for so much else. The six feature films directed by John Schlesinger in that decade stand as an exemplar of what those changes were. They also demonstrate a fundamental change in the narrative form used by mainstream cinema. Through a close analysis of these films, A Kind of Loving, Billy Liar, Darling, Far From the Madding Crowd, Midnight Cowboy and Sunday Bloody Sunday, this thesis examines the changes as they took hold in mainstream cinema. In effect, the thesis establishes that the principal mode of narrative moved from one based on objective realism in the tradition of the documentary movement to one which took a subjective mode of narrative wherein the image on the screen, and the sounds attached, were not necessarily a record of the external world. The world of memory, the subjective world of the mind, became an integral part of the narrative.
    [Show full text]