CHAPTER I. INTRODUCTION 1 The Significance of Class and Film Representation 1 British Social Realism Tradition 6 Research Methodology 11 Literature Review 12 Structure 20 CHAPTER II. BRITISH CULTURAL STUDIES ON CLASS AND WORKING CLASS 22 Culture: From Elitism to "A Whole Way of Life" of People 24 Althusser on Ideology and Gramsci on Hegemony 29 Stuart Hall and the CCCS 34 The Marginalization of Class and the Moral Significance for the Study of Class 45 Identity and Representation 47 CHAPTER III. CLASS AND WORKING CLASS IN BRITAIN: SOCIOLOGICALAND HISTORICAL UNDERSTANDING 51 Defining and Classifying Class and Working Class 52 Looking at Class: Britain--A Class or Classless Society? 60 The Rise and Decline of British Working Class 78 The "Underclass" and Devaluation 98 CHAPTER IV. WORKING CLASS IDENTITY IN NEW WAVE FILMS 104 From the Grierson Documentary Movement to the New Wave 105 Room at the Top (Jack Clayton, 1959) 116 Saturday Night and Sunday Morning (Karel Reisz, 1960) 126 Working-class Identity in New Wave Films: Theme Analysis 135 CHAPTER V. WORKING-CLASS IDENTITY IN FILMS OF LOACH, LEIGH AND FREARS 149 Thatcherism and the Working Class 150 Mike Leigh and High Hopes (1988) 153 Class and Race in Stephen Frears' My Beautiful Laundrette (1985) 170 Ken Loach and Sweet Sixteen (2002) 178 CHAPTER VI, WORKING-CLASS IDENTITY IN 1990s SOCIAL REALIST COMEDIES 195 Brassed Off(Mark Herman, 1996) 197 The Full Monty (Peter Cattaneo, 1997) 215 Continuity and Change in Working-class Identity: Theme Analysis 236 CHAPTER VII. IDEOLOGY, CULTURE, IDENTITY: ANALYSIS OF WORKING-CLASS REPRESENTATION 248 The New Wave Representation: The Ideology of Affluence and the New Left 249 Films of the 1980s, 1990s and 2000s: Neo-liberalism and Working-class Identity 266 For Williams' "Equality of Being": The Need of Cultural Policy Support 283 CHAPTER VIII. CONCLUSION 287 REFERENCES 293
