DOCSLIB.ORG

Working Class in British Films 1950S-2000S : Identity, Culture, and Ideology

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Working Class in British Films 1950S-2000S : Identity, Culture, and Ideology University of Louisville ThinkIR: The University of Louisville's Institutional Repository Electronic Theses and Dissertations 12-2011 Working class in British films 1950s-2000s : identity, culture, and ideology. Tongyun Shi 1961- University of Louisville Follow this and additional works at: https://ir.library.louisville.edu/etd Recommended Citation Shi, Tongyun 1961-, "Working class in British films 1950s-2000s : identity, culture, and ideology." (2011). Electronic Theses and Dissertations. Paper 1320. https://doi.org/10.18297/etd/1320 This Doctoral Dissertation is brought to you for free and open access by ThinkIR: The University of Louisville's Institutional Repository. It has been accepted for inclusion in Electronic Theses and Dissertations by an authorized administrator of ThinkIR: The University of Louisville's Institutional Repository. This title appears here courtesy of the author, who has retained all other copyrights. For more information, please contact [email protected]. WORKING CLASS IN BRITISH FILMS 1950s-2000s: IDENTITY, CULTURE, AND IDEOLOGY By Tongyun Shi B.A., Beijing Foreign Studies University, 1984 M.A., University of Warwick, 1991 A Dissertation Submitted to the Faculty of the College of Arts and Sciences of the University of Louisville in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy Department of Humanities University of Louisville Louisville, Kentucky December 2011 Copyright 2011 by Tongyun Shi All rights reserved WORKING CLASS IN BRITISH FILMS 1950s-2000s: IDENTITY, CULTURE, AND IDEOLOGY By Tongyun Shi B.A., Beijing Foreign Studies University, 1984 M.A., University of Warwick, 1991 A Dissertation Approved on October 14, 2011 By the following Dissertation Committee: Robert St. Clair, Dissertation Director Annette Allen Dennis Hall Steve Sohn ii DEDICATION This dissertation is dedicated to my father. 111 ACKNOWLEDGMENTS This dissertation could not have been finished without the help and support of many people who are gratefully acknowledged here. First and foremost, I'm honored to express my deepest gratitude to my director, Dr. Robert N. St. Clair, for his constructive guidance, suggestions and valuable comments throughout this work. His kindness and encouragement has made me feel warm all the way through. He was always quick in responding to my emails. And his thorough and meticulous editing of this dissertation was most appreciated. I am also extremely grateful to Dr. Annette Allen and Dr. Osborne P. Wiggins for their support and guidance over the past five years, and Dr. Allen's willingness to participate in my dissertation and her strenuous effort in helping to revise my writing. I would also like to thank the other committee members, Dr. Dennis Hall and Dr. Steve Sohn, for their comments and assistance. Thanks are also due to other teachers in this PhD in Humanity program, Prof. Elaine O. Wise, Dr. Pamela Beattie, Dr. Guohua Chen, Dr. Jian Zhang, Dr. Li Jin, Dr. Youzhong Sun, Dr. Yi'an Wu, and Dr. Zaixin Zhang, whose inspiring teaching broadened my horizon. I am also greatly indebted to Dr. Xiujie Sun, who helped to make this PhD program possible and offered a lot oftimely help to us. Additionally, J am very IV grateful for the friendship of all of the members of this PhD program. I warmly thank Zhenping Wang, Y~uan Ding, Qin Ma and Heng Wang for their valuable advice and friendly help. lowe my loving thanks to my dear husband, Bin Wang, for his love, support and understanding, and to my daughter, Yining Wang, for her support and blessing during all my hard years in doing the doctoral study and finishing this dissertation. And last but not least, I am thankful to my parents and all the family members for their thoughtfulness and encouragement. v ABSTRACT WORKING CLASS IN BRITISH FILMS 1950s-2000s: IDENTITY, CULTURE, AND IDEOLOGY Tongyun Shi October 14, 20 II Britain was the first country to industrialize with the Industrial Revolution and therefore had the world's first industrial working class. In the 20 th century, the traditional British working class went through many social and political changes, represented especially by the post-war "rise" and a lasting "decline" since the 1970s, a fate which is worth academic study. Class matters not only in sociological sense, but also in cultural sense. This dissertation, through close text analysis of seven British social realist films--two New Wave ones, Room at the Top (Jack Clayton, 1959) and Saturday Night and Sunday Morning (Karel Reisz, 1960); three bleak ones by independent directors, High Hopes (Mike Leigh, 1988), My Beautiful Laundrette (Stephen Frears, 1985), and Sweet Sixteen (Ken Loach, 2002); and two commercial comedies, Brassed Off (Mark Herman, 1996) and The Full Monty (Peter Cattaneo, 1997), explores major themes in the screen representation of British working class from the 1950s to the present and analyzes the changes from the theoretical framework of British Cultural Studies, probing into the relationship between identity, power, the impact of ideology and VI cultural resistance behind the working-class identities. It also adopts an interdisciplinary approach to the understanding and evaluation of the cultural identity of British working class, with sociological and historical understanding of the issue of class and working class provided. The dissertation concludes that the British working class screen identity has transformed from an image of masculine energy, pride and dignity of the 1950s and 1960s to "underclass" collective shame and loss of respect in the 1990s and 2000s. The shift reflects changes in fundamental attitudes in British post-war society from welfare egalitarianism to the neo-liberal enterprise culture. The cinematic representation has reflected and reinforced dominant ideological position, but at the same time conveyed more left-wing progressive views. The dissertation therefore calls for cultural policy support for socially purposive British national cinema to keep social realism as a democratization of representation of national cultural life as well as a sustained concern for working-class dignity. Key Words: working class; films; Britain; cultural studies; identity; ideology; vii TABLE OF CONTENTS PAGE ACKNOWLEDGMENTS ............................................................................................ iv ABSTRACT .................................................................................................................. vi CHAPTER I. INTRODUCTION ...................................................................................................... 1 The Research Significance and Issue of Study .................................................... 1 Thesis Statement .................................................................................................. 7 British Social Realism Tradition ......................................................................... 7 Research Methodology ...................................................................................... 13 Literature Review .............................................................................................. 15 Thesis Structure ................................................................................................. 24 II. BRITISH CULTURAL STUDIES ON CLASS AND WORKING CLASS ........... 26 Culture: From Elitism to "A Whole Way of Life" ofPeople ............................ 28 Althusser on Ideology and Gramsci on Hegemony ........................................... 34 Stuart Hall and the CCCS .................................................................................. 41 The Marginalization of Class and the Moral Significance for the Study of Class ........................................................................................ 53 Key Concepts .................................................................................................... 56 III. CLASS AND WORKING CLASS IN BRITAIN: ................................................. 63 SOCIOLOGICAL AND HISTORICAL UNDERSTANDING ............................. 63 Defining and Classifying Class and Working Class .......................................... 64 Looking at Class: Britain--A Class or Classless Society? ................................. 74 The Rise and Decline of British Working Class ................................................ 95 The rise and decline of working-class politics ............................................... 96 Transformation in working and living conditions ........................................ 107 The "Underclass" and Devaluation ................................................................. 118 IV. WORKING CLASS IDENTITY IN NEW WAVE FILMS .................................. 125 viii From the Grierson Documentary Movement to the New Wave ...................... 126 Room at the Top (Jack Clayton, 1959) ............................................................ 140 Saturday Night and Sunday Morning (Karel Reisz, 1960) .............................. 151 Working-class Identity in New Wave Films: Theme Analysis ........................ 162 V. WORKING-CLASS IDENTITY IN FILMS OF LOACH, LEIGH AND FREARS ........................................................................................ 178 Thatcherism and the Working Class ................................................................ 180 Mike Leigh and High Hopes (1988) ................................................................ 183 Leigh and his films ......................................................................................
Load more

Recommended publications
  • Stephen Frears Par Eithne O'neill
    STEPHEN FREARS PAR EITHNE O'NEILL Collection dirigée par Francis Bordat RIVAGES Du même auteur: Lubitsch ou la satire romanesque, en collaboration avec Jean-Loup Bourget, Stock, 1987; rééd. Flammarion, coll. «Champs Contre-Champs », 1990. Crédits photographiques : British Film Institute (pages 15, 17, 26, 28, 29, 35, 37, 39, 41, 43, 77, 79, 81, 84, 87, 90, 92, 103 haut, 105, 109, 135), archives Cahiers du cinéma (couverture, pages 47, 50, 101, 129), collection Michel Ciment (pages 12, 14, 16, 18, 20, 21, 23, 25, 31, 44, 45, 52, 55, 57, 58, 59, 60, 62, 64, 65, 66, 67, 69, 70, 71, 72, 97, 99, 102, 103 bas, 104, 106, 107, 108 bas, 111, 116, 126, 128, 131, 134, 136, 137, 164, 166, 167, 178, 182, 184, 187, 190, 191, 199, 204, 208, 209, 211), ITC Entertainment (pages 82, 83), Neville Smith (pages 108 haut, 143). © Éditions Payot & Rivages, 1994 106, bd Saint-Germain 75006 PARIS ISBN: 2 - 86930 - 844 - 2 ISSN: 0298 - 0088 A Joëlle Pour leur aide et leur collaboration, je tiens à remercier les personnes suivantes: Neville Smith, romancier, scénariste, acteur et musicien ; Hanif Kureishi, qui m'a autorisée à reproduire son «Intro- duction à My Beautiful Laundrette » ; Christian Bourgois, qui m'a autorisée à reproduire le texte de Hanif Kureishi dans sa traduction française; Patrick O'Byrne, sans qui ce livre n'aurait pas pu être écrit; Reinbert Tabbert; Michael Dwyer, critique de cinéma, The Irish Times ; Michel Ciment ; Hubert Niogret ; Jon Keeble (ITC), qui a organisé pour moi une projection de Bloody Kids ; Maria Stuff, independent film resear- cher, Londres ; Kathleen Norrie ; Maeve Murphy ; Kate Lenehan; Jacques Bover; et Neville Smith, qui a bien voulu me prêter les photos prises par lui.
    [Show full text]
  • Breaking Away- Journey to Platinum Final Report (2011)
    BREAKING AWAY: JOURNEY TO PLATINUM BLOOMINGTON PLATINUM BICYCLE TASK FORCE BLOOMINGTON, INDIANA FINAL REPORT: NOVEMBER 30, 2011 Page Intentionally Blank TABLE OF CONTENTS ACKNOWLEDGEMENTS .......................................................................... iii LITTLE 500: PROLOGUE........................................................................iv The Platinum Biking Task Force .......................................................................... v The Platinum Process.........................................................................................vi Report Organization..........................................................................................vii Bloomington’s Legacy ...................................................................................... viii QUALIFICATIONS: WHY PLATINUM? .................................................... 1−1 Why Platinum................................................................................................. 1-2 Quality of Life................................................................................................. 1-5 Health Promotion............................................................................................ 1-7 Environmental Harmony.................................................................................. 1-9 Economic Resiliency...................................................................................... 1-12 INDIVIDUAL TIME TRIALS: FIVE PRIORITIES.......................................... 2−1 The Five Es & Bloomington’s
    [Show full text]
  • Ken Loach : Constructing Individuals
    UNIVERSITE MICHEL DE MONTAIGNE – BORDEAUX III U.F.R D’ANGLAIS Ken Loach : Constructing Individuals Questions of existentialism, happiness, gender and individual / collective construction. TRAVAIL D’ETUDES ET DE RECHERCHES PRESENTE PAR ALEXANDRA BEAUFORT J UNIVERSITE MICHEL DE MONTAIGNE – BORDEAUX III U.F.R D’ANGLAIS Ken Loach : Constructing Individuals Questions of existentialism, happiness, gender and individual / collective construction. TRAVAIL D’ETUDES ET DE RECHERCHES PRESENTE PAR ALEXANDRA BEAUFORT Remerciements Je tiens à remercier: - Monsieur Joël Richard qui a accepté de diriger ce TER, pour sa confiance, son suivi et ses conseils; - Monsieur Jean François Baillon, pour son aide précieuse et sa disponibilité; - Monsieur Maurice Hugonin, pour son aide sur Aristote; - Messieurs Paul Burgess, Ken Allen, JF Buck, et les autres pour leur aide à la re- lecture; - Monsieur Fabrice Clerc, pour son soutien et son aide à la mise en page; - Tout le personnel de Parallax Pictures à Londres, pour leur gentillesse et leur compréhension; - Et enfin Ken Loach, pour son extrême gentillesse lors de l'interview, et surtout pour tous ses films, dont l'étude a toujours été passionnante et très enrichissante. TABLE OF CONTENTS INTRODUCTION 1 I/ THE EXISTENTIALIST TREND IN LOACH'S FILMS. 3 1/ Against systematisation. 4 2/ The engagement of the self. 7 3/ Question of religion. 11 4/ Marxism and Existentialism: question of politics. 15 II/ THE PURSUIT OF HAPPINESS 19 1/ Learning to live 20 2/ The Aristotelian conception of citizenship. 23 3/ The organic city. 26 4/ Happiness and Socialization 29 III/ GENDER ISSUES. 33 1/ Is there a gender issue in Loach's movies? 34 2/ Out of home: from Cathy to Sarah 41 3/ Falling Standards, Fallen Males.
    [Show full text]
  • Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames Permalink https://escholarship.org/uc/item/5pg3z8fg Author Chien, Irene Y. Publication Date 2015 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Film and Media and the Designated Emphasis in New Media in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Linda Williams, Chair Professor Kristen Whissel Professor Greg Niemeyer Professor Abigail De Kosnik Spring 2015 Abstract Programmed Moves: Race and Embodiment in Fighting and Dancing Videogames by Irene Yi-Jiun Chien Doctor of Philosophy in Film and Media Designated Emphasis in New Media University of California, Berkeley Professor Linda Williams, Chair Programmed Moves examines the intertwined history and transnational circulation of two major videogame genres, martial arts fighting games and rhythm dancing games. Fighting and dancing games both emerge from Asia, and they both foreground the body. They strip down bodily movement into elemental actions like stepping, kicking, leaping, and tapping, and make these the form and content of the game. I argue that fighting and dancing games point to a key dynamic in videogame play: the programming of the body into the algorithmic logic of the game, a logic that increasingly organizes the informatic structure of everyday work and leisure in a globally interconnected information economy.
    [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]
  • Barry Hines Has Observed: ‘My Political Viewpoint Is the Mainspring of My Work
    Barry Hines has observed: ‘My political viewpoint is the mainspring of my work. It fuels my energy’ (2009: v). Such a comment will not surprise readers of Hines’ novel A Kestrel for a Knave and viewers of its film version Kes (1969). This was the first of many films written by Hines and directed by Ken Loach which include The Price of Coal (BBC, 1977), The Gamekeeper (ATV, 1980) and the feature film Looks and Smiles (1981). Among Hines' other works areThreads (BBC, 1984), his television film about a nuclear strike against Britain, as well as the BBC Plays for TodayBilly's Last Stand (1971), about the coal industry, and Speech Day (1973), about school-leavers. Given this preoccupation with politics as they affect everyday life, and the fact that all of Hines' work is set in his native South Yorkshire among its working-class communities, it seems surprising that none of these plays is about the miners' strike of 1984–5. The Price of Coal, a pair of Plays for Today, is set in 1977; with hindsight it is fittingly prophetic that in the first play, Meet the People, the daubing of Arthur Scargill's name on a wall threatens to disrupt preparations for an impending royal visit to Milton Colliery. The lock-outs and state-sponsored violence against people clamouring for food after the nuclear attack in Threads also appear prescient since the script was completed before the miners' strike began. However, exploration of the unproduced plays collected in Hines' archive reveals that the 1984–5 strike remained a political and dramatic preoccupation of the playwright for over twenty years.
    [Show full text]
  • Tape ID Title Language Type System
    Tape ID Title Language Type System 1361 10 English 4 PAL 1089D 10 Things I Hate About You (DVD) English 10 DVD 7326D 100 Women (DVD) English 9 DVD KD019 101 Dalmatians (Walt Disney) English 3 PAL 0361sn 101 Dalmatians - Live Action (NTSC) English 6 NTSC 0362sn 101 Dalmatians II (NTSC) English 6 NTSC KD040 101 Dalmations (Live) English 3 PAL KD041 102 Dalmatians English 3 PAL 0665 12 Angry Men English 4 PAL 0044D 12 Angry Men (DVD) English 10 DVD 6826 12 Monkeys (NTSC) English 3 NTSC i031 120 Days Of Sodom - Salo (Not Subtitled) Italian 4 PAL 6016 13 Conversations About One Thing (NTSC) English 1 NTSC 0189DN 13 Going On 30 (DVD 1) English 9 DVD 7080D 13 Going On 30 (DVD) English 9 DVD 0179DN 13 Moons (DVD 1) English 9 DVD 3050D 13th Warrior (DVD) English 10 DVD 6291 13th Warrior (NTSC) English 3 nTSC 5172D 1492 - Conquest Of Paradise (DVD) English 10 DVD 3165D 15 Minutes (DVD) English 10 DVD 6568 15 Minutes (NTSC) English 3 NTSC 7122D 16 Years Of Alcohol (DVD) English 9 DVD 1078 18 Again English 4 Pal 5163a 1900 - Part I English 4 pAL 5163b 1900 - Part II English 4 pAL 1244 1941 English 4 PAL 0072DN 1Love (DVD 1) English 9 DVD 0141DN 2 Days (DVD 1) English 9 DVD 0172sn 2 Days In The Valley (NTSC) English 6 NTSC 3256D 2 Fast 2 Furious (DVD) English 10 DVD 5276D 2 Gs And A Key (DVD) English 4 DVD f085 2 Ou 3 Choses Que Je Sais D Elle (Subtitled) French 4 PAL X059D 20 30 40 (DVD) English 9 DVD 1304 200 Cigarettes English 4 Pal 6474 200 Cigarettes (NTSC) English 3 NTSC 3172D 2001 - A Space Odyssey (DVD) English 10 DVD 3032D 2010 - The Year
    [Show full text]
  • Guide to the Papers of the Capri Community Film Society
    Capri Community Film Society Papers Guide to the Papers of the Capri Community Film Society Auburn University at Montgomery Archives and Special Collections © AUM Library Written By: Rickey Best & Jason Kneip Last Updated: 2/19/2008 TABLE OF CONTENTS Content Page # Collection Summary 2 Administrative Information 2 Restrictions 2-3 Index Terms 3 Agency History 3-4 1 of 64 Capri Community Film Society Papers Scope and Content 5 Arrangement 5-10 Inventory 10- Collection Summary Creator: Capri Community Film Society Title: Capri Community Film Society Papers Dates: 1983-present Quantity: 6 boxes; 6.0 cu. Ft. Identification: 92/2 Contact Information: AUM Library Archives & Special Collections P.O. Box 244023 Montgomery, AL 36124-4023 Ph: (334) 244-3213 Email: [email protected] Administrative Information Preferred Citation: Capri Community Film Society Papers, Auburn University Montgomery Library, Archives & Special Collections. Acquisition Information: The collection began with an initial transfer on September 19, 1991. A second donation occurred in February, 1995. Since then, regular donations of papers occur on a yearly basis. Processed By: Jermaine Carstarphen, Student Assistant & Rickey Best, Archivist/Special Collections Librarian (1993); Jason Kneip, Archives/Special Collections Librarian. Samantha McNeilly, Archives/Special Collections Assistant. 2 of 64 Capri Community Film Society Papers Restrictions Restrictions on access: Access to membership files is closed for 25 years from date of donation. Restrictions on usage: Researchers are responsible for addressing copyright issues on materials not in the public domain. Index Terms The material is indexed under the following headings in the Auburn University at Montgomery’s Library catalogs – online and offline.
    [Show full text]
  • Oxford Lecture 1 - Final Master
    OXFORD LECTURE 1 - FINAL MASTER HOW TO GROW A CREATIVE BUSINESS BY ACCIDENT The legendarily bullish film director Alan Parker once adapted Shaw's famous dictum about the academic profession - "those who can, do. Those who can't teach." So far so familiar. And to many in this room, no doubt, so annoying. But he went on: "those who can't teach, teach gym. And those who can't teach gym, teach at film school." I appreciate that Oxford is not a film school, though it has a more distinguished record than any film school for supplying the talent that has fuelled the British film and TV industries for almost a century - on and off camera. Writers like Richard Curtis, who brought us 4 Weddings and a Funeral, Love Actually, The Vicar of Dibley and Blackadder; or The Full Monty and Slumdog Millionaire scribe Simon Beaufoy; directors of the diversity of Looking for Eric's Ken Loach and 24 Hour Party People's Michael Winterbottom; writer/directors like Monty Python's Terry Jones and the Thick of It's Armando Iannucci; actors and performers ranging from Hugh Grant to Rowan Atkinson; and broadcasting luminaries like the BBC's Director General Mark Thompson and News International's very own Rupert Murdoch. So, Oxford has been a pretty efficient film and TV school, without even trying. And perhaps that is Parker's point. Can what passes for creativity in film and TV ever really be taught? But here in my capacity as News International Visiting Professor of Broadcast Media (or if you prefer an acronym, NIVPOB - the final M is silent) I may be even further down Parker's food chain.
    [Show full text]
  • King's Research Portal
    King’s Research Portal DOI: 10.1080/20551940.2019.1649230 Document Version Peer reviewed version Link to publication record in King's Research Portal Citation for published version (APA): Wiebe, H. (2021). Morale as Sonic Force: Listen to Britain and Total War. Sound Studies: An Interdisciplinary Journal, 7(1), 24-41. https://doi.org/10.1080/20551940.2019.1649230 Citing this paper Please note that where the full-text provided on King's Research Portal is the Author Accepted Manuscript or Post-Print version this may differ from the final Published version. If citing, it is advised that you check and use the publisher's definitive version for pagination, volume/issue, and date of publication details. And where the final published version is provided on the Research Portal, if citing you are again advised to check the publisher's website for any subsequent corrections. General rights Copyright and moral rights for the publications made accessible in the Research Portal are retained by the authors and/or other copyright owners and it is a condition of accessing publications that users recognize and abide by the legal requirements associated with these rights. •Users may download and print one copy of any publication from the Research Portal for the purpose of private study or research. •You may not further distribute the material or use it for any profit-making activity or commercial gain •You may freely distribute the URL identifying the publication in the Research Portal Take down policy If you believe that this document breaches copyright please contact [email protected] providing details, and we will remove access to the work immediately and investigate your claim.
    [Show full text]
  • Téléchargez Le Catalogue En
    1 Éditorial C’est la vingtième édition des États généraux du film documentaire. En 1988, naît la Bande à Lumière: des réalisateurs et des producteurs se regroupent pour faire reconnaître le documentaire au sein du mécanisme de soutien à la production mis en place par le CNC. C’est un enjeu financier pour la fabrica- tion des films, surtout après l’ouverture de la télévision aux producteurs indépendants, mais c’est aussi un enjeu de fond: le documentaire, c’est du cinéma! Dans son élan, la Bande fonde trois manifestations pour répondre à ces deux enjeux. Le Sunny Side of the Doc, versant économie de la produc- tion, La Biennale de Lyon qui se déplacera à Marseille et deviendra le FID, et les États généraux du documentaire, versant rencontres et réflexion sur les formes de création dans le documentaire, dans ce charmant village d’Ardèche par lequel on dénomme le plus souvent ce rendez-vous de la fin août: Lussas. Pour autant, le « paysage audiovisuel » n’a rien de bucolique et il pourrait un jour ressembler à une friche industrielle, du moins sur un versant de la colline, l’autre continuant d’exhiber une opulence indécente et dominante. En revanche du côté du service public, c’est « vaches maigres », là où déjà les sentiers de l’industriel à l’artisan se faisaient rares. Les tensions et les ruptures s’accroissent. Alors l’existence des bandes, plus ou moins structu- rées, reprend de son importance et on peut voir comment le Club des 13, le ROD et FédéRézo, par exemple, tentent de faire bouger les lignes.
    [Show full text]
  • Set in Scotland a Film Fan's Odyssey
    Set in Scotland A Film Fan’s Odyssey visitscotland.com Cover Image: Daniel Craig as James Bond 007 in Skyfall, filmed in Glen Coe. Picture: United Archives/TopFoto This page: Eilean Donan Castle Contents 01 * >> Foreword 02-03 A Aberdeen & Aberdeenshire 04-07 B Argyll & The Isles 08-11 C Ayrshire & Arran 12-15 D Dumfries & Galloway 16-19 E Dundee & Angus 20-23 F Edinburgh & The Lothians 24-27 G Glasgow & The Clyde Valley 28-31 H The Highlands & Skye 32-35 I The Kingdom of Fife 36-39 J Orkney 40-43 K The Outer Hebrides 44-47 L Perthshire 48-51 M Scottish Borders 52-55 N Shetland 56-59 O Stirling, Loch Lomond, The Trossachs & Forth Valley 60-63 Hooray for Bollywood 64-65 Licensed to Thrill 66-67 Locations Guide 68-69 Set in Scotland Christopher Lambert in Highlander. Picture: Studiocanal 03 Foreword 03 >> In a 2015 online poll by USA Today, Scotland was voted the world’s Best Cinematic Destination. And it’s easy to see why. Films from all around the world have been shot in Scotland. Its rich array of film locations include ancient mountain ranges, mysterious stone circles, lush green glens, deep lochs, castles, stately homes, and vibrant cities complete with festivals, bustling streets and colourful night life. Little wonder the country has attracted filmmakers and cinemagoers since the movies began. This guide provides an introduction to just some of the many Scottish locations seen on the silver screen. The Inaccessible Pinnacle. Numerous Holy Grail to Stardust, The Dark Knight Scottish stars have twinkled in Hollywood’s Rises, Prometheus, Cloud Atlas, World firmament, from Sean Connery to War Z and Brave, various hidden gems Tilda Swinton and Ewan McGregor.
    [Show full text]