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09/27/21 HA1114 Realism and the Cinema | readinglists@leicester HA1114 Realism and the Cinema View Online [1] R. Armstrong, ‘What is Realism?: Chapter’, in Understanding realism, vol. Understanding the moving image, London: BFI, 2005, pp. 1–10. [2] Hallam, Julia and Marshment, Margaret, Realism and popular cinema, vol. Inside popular film. Manchester: Manchester University Press, 2000. [3] S. Hayward, ‘Realism: Chapter’, in Cinema studies: the key concepts, 2nd ed., vol. Key concepts series, London: Routledge, 2000, pp. 334–334. [4] R. Lapsley and M. Westlake, ‘Realism: Chapter’, in Film theory: an introduction, vol. Images of culture, Manchester: Manchester University Press, 1988, pp. 156–180 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-727207-dt-content-rid-1815038_5/library/eRes erves/HA1114/HA1114_24151.pdf [5] A. Tudor, ‘The Many Mythologies of Realism’, Screen, vol. 13, no. 1, pp. 27–36, Mar. 1972, doi: 10.1093/screen/13.1.27. [6] 1/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester R. Williams, ‘Realism: Chapter’, in Keywords: a vocabulary of culture and society, Rev. and expanded ed., London: Fontana, 1988, pp. 216–221. [7] Williams, Christopher, Realism and the cinema: a reader, vol. BFI readers in film studies. London: Routledge and Kegan Paul [for] British Film Institute, 1980. [8] D. Vertov and Y. Tsivian, ‘Chelovek s kinoapparatom =: Man with a movie camera.’ BFI, [S.l.]. [9] R. Stam, ‘The Soviet Montage Theorists’, in Film theory: an introduction, Oxford: Blackwell, 2000, pp. 37–47 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-1025236-dt-content-rid-2569821_5/library/eRe serves/HA1114/HA1114_34953.pdf [10] Bordwell, David, The cinema of Eisenstein. Cambridge, Mass: Harvard University Press, 1993. [11] Taylor, Richard and Christie, Ian, The film factory: Russian and Soviet cinema in documents. London: Routledge, 1994. [12] Christie, Ian and Taylor, Richard, Inside the film factory: new approaches to Russian and Soviet cinema, vol. Soviet cinema. London: Routledge, 1994 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10100617 [13] 2/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Eisenstein, Sergei and Taylor, Richard, The Eisenstein reader. London: BFI Publishing, 1998. [14] Eisenstein, Sergei, Film essays, with a lecture. London: Dobson, 1968. [15] Eisenstein, Sergei and Leyda, Jay, The film sense, New ed. London: Faber, 1948. [16] Eisenstein, Sergei and Taylor, Richard, Selected works. London: BFI, 1988. [17] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO, the Russian cinema series. London: I. B. Tauris, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10194040 [18] Hicks, Jeremy, Dziga Vertov: defining documentary film, vol. KINO : the Russian cinema series. London: I.B. Tauris, 2007. [19] Ioffe, Denis G. and White, Frederick H., Russian avant-garde and radical modernism: an introductory reader, vol. Cultural syllabus. Boston: Academic Studies Press, 2012 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10629193 [20] Lehman, Peter, Defining cinema, vol. Rutgers depth of field series. New Brunswick, N.J.: Rutgers University Press, 1997. 3/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [21] Petrić, Vlada, Constructivism in film: ‘The man with the movie camera’ : a cinematic analysis, vol. Cambridge studies in film. Cambridge: Cambridge University Press, 1987. [22] Roberts, Graham, The man with the movie camera, vol. KINOfiles film companions. London: I.B. Tauris, 2000. [23] D. Vertov, ‘Kinoks: a Revolution: Chapter’, in Technology and culture, the film reader, vol. In focus: Routledge film readers, London: Routledge, 2005, pp. 99–104. [24] Vertov, Dziga and Michelson, Annette, Kino-eye: the writings of Dziga Vertov. Berkeley: University of California Press, 1984. [25] Sargeant, Amy, Storm over Asia, vol. KINOfiles film companions. London: I.B. Tauris, 2007. [26] Sargeant, Amy, Vsevolod Pudovkin: classic films of the Soviet avant-garde, vol. KINO, the Russian cinema series. London: I.B. Tauris, 2000 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10133128 [27] Andrew, Dudley, The major film theories: an introduction, vol. A Galaxy book. London: Oxford University Press, 1976. 4/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [28] Arnheim, Rudolf, Film essays and criticism, vol. Wisconsin studies in film. Madison, Wis: University of Wisconsin Press, 1997. [29] R. Arnheim, ‘Film and Reality: Chapter’, in Film as art, London: Faber, 1958, pp. 17–37 [Online]. Available: https://blackboard.le.ac.uk/bbcswebdav/pid-724231-dt-content-rid-1806405_5/library/eRes erves/HA1114/HA1114_24118.pdf [30] B. Henderson, ‘Two Types of Film Theory: Chapter’, in Movies and methods: an anthology, vol. 1, Berkeley, Calif: University of California Press, 1976, pp. 388–400. [31] A. Dovzhenko, ‘Aleksander Dovzhenko: War Trilogy.’ 1928. [32] Eisenstein, Sergei, ‘Bronenosets Potyomkin =: The Battleship Potemkin’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [33] Pudovkin, V. I., Doller, Mikhail, Baranovskaya, Vera, and Chistyakov, Aleksandr, ‘Konets Sankt-Peterburga =: The end of St. Petersburg.’ Eureka Video, [S.l.], 1927. [34] Kuleshov, L. V., Barnet, Boris, Podobed, Porfiri, and Pudovkin, V. I., ‘Neobychainye priklyucheniya mistera Vesta v strane bolshevikov =: The extraordinary adventures of Mr. West in the land of the Bolsheviks’, vol. The signature series. Kino on Video, New York, 1924. 5/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [35] Shub, Esfir, ‘Padenie dinastii Romanovykh =: The fall of the Romanov dynasty’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [36] Vertov, Dziga, ‘“Kino-Eye” and “Tri pesni o Lenine = ”Three songs about Lenin"’. Image Entertainment, Chatsworth, Calif, 1924. [37] Pudovkin, V. I., Gorky, Maksim, Baranovskaya, Vera, and Batalov, Nikolai, ‘Mat =: Mother.’ Tartan Video, [S.l.], 1926. [38] Eisenstein, Sergei, ‘Oktyabr =: October’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1927. [39] Turin, Viktor, Rotha, Paul, Elton, Arthur, Wright, Basil, and Watt, Harry, ‘The Soviet influence: from “Turksib” to “Night Mail”.’ BFI, [S.l.], 1930. [40] Pudovkin, V. I. et al., ‘Potomok Chingis-Khana =: The heir of Genghis Khan.’ Eureka Video, [S.l.], 1928. [41] Eisenstein, Sergei, ‘Stachka =: Strike’, vol. Russia in revolt : myths, mystery and manipulation. Eureka Video, [S.l.], 1925. [42] 6/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Maggiorani, Lamberto and De Sica, Vittorio, ‘Ladri di biciclette =: Bicycle thieves’, vol. Arrow films world. Arrow Films, S.l.], 1948. [43] C. Zavattini, ‘Some Ideas on the Cinema: Chapter’, in Vittorio De Sica: contemporary perspectives, vol. Toronto Italian studies, Toronto: University of Toronto Press, 2000, pp. 50–61. [44] Bazin, André and Cardullo, Bert, André Bazin and Italian neorealism. New York: Continuum, 2011 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com/detail.asp?id=330775 [45] Bondanella, Peter, The films of Roberto Rossellini, vol. Cambridge film classics. Cambridge: Cambridge University Press, 1993. [46] Cardullo, Bert, Vittorio De Sica: director, actor, screenwriter. Jefferson, N.C.: McFarland, 2002. [47] Celli, Carlo and Cottino-Jones, Marga, A new guide to Italian cinema, 1st ed., vol. Italian and Italian American studies. New York: Palgrave Macmillan, 2007 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://site.ebrary.com/lib/leicester/Doc?id=10167438 [48] M. Fabe, ‘Italian Neorealism: De Sica’s The Bicycle Thief: Chapter’, in Closely watched films: an introduction to the art of narrative film technique, Berkeley, Calif: University of California Press, 2004, pp. 99–119. 7/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester [49] Forgacs, David, Rome open city (Roma città aperta), vol. BFI film classics. London: British Film Institute, 2000. [50] Giovacchini, Saverio and Sklar, Robert, Global neorealism: the transnational history of a film style. Jackson: University Press of Mississippi, 2011 [Online]. Available: http://site.ebrary.com/lib/leicester/Doc?id=10508856 [51] Gordon, Robert Samuel Clive, Bicycle thieves, vol. BFI film classics. London: BFI, 2008. [52] Gottlieb, Sidney, Roberto Rossellini’s Rome open city, vol. Cambridge film handbooks. Cambridge: Cambridge University Press, 2004. [53] M. Harper, ‘Adaptation by Degree: A Study of Vittorio de Sica’s Bicycle Theives: Chapter of Impure Cinema’, in Impure Cinema: Intermedial and Intercultural Approaches to Film, London: I.B.Tauris & Co Ltd, 30AD, pp. 121–133 [Online]. Available: http://ezproxy.lib.le.ac.uk/login?url=http://lib.myilibrary.com?id=548399 [54] Hillier, Jim, Cahiers du cinéma: the 1950s : neo-realism, Hollywood, new wave, vol. Harvard film studies. Cambridge, Mass: Harvard University Press, 1985. [55] Landy, Marcia, Italian film, vol. National film traditions. Cambridge: Cambridge University Press, 2000. [56] 8/50 09/27/21 HA1114 Realism and the Cinema | readinglists@leicester Marcus, Millicent, Italian film in the light of neorealism. Princeton, N.J.: Princeton University Press, 1986. [57] G. Nowell-Smith, ‘Bicycle Thieves: Chapter’, in Film Analysis, New York: WW Norton
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  • This Is England: Growing up in Thatcher's Britain

    This Is England: Growing up in Thatcher's Britain

    This is England: Growing Up in Thatcher’s Britain David Buckingham This essay is part of a larger project, Growing Up Modern: Childhood, Youth and Popular Culture Since 1945. More information about the project, and illustrated versions of all the essays can be found at: https://davidbuckingham.net/growing-up-modern/. In a pivotal scene in Shane Meadows’ 2006 film This is England, the skinhead Combo, recently released from prison, summons the other members of his erstwhile gang. In a blistering speech, he attempts to recruit them to the cause of the extreme right- wing political party, the National Front. Discovering that the youngest member, Shaun, had a father who was killed in the Falklands War, he explodes: That’s what this nation has been built on, proud men. Proud fucking warriors! Two thousand years this little tiny fucking island has been raped and pillaged, by people… two fucking world wars! Men have laid down their lives for this. For this… and for what? So people can stick their fucking flag in the ground and say yeah! This is England. And this is England, and this is England. As he says these last words, Combo gestures first to the ground, then to his heart and finally to his head. England, he claims, is not just a physical place, a country: it also lives in our hearts, and in our minds. In a later scene, when Combo brings his ‘troops’ (as he calls them) to attend a National Front meeting, it is clear how this resurgent idea of England is being taken up in the interests of violent racism.