Running off the Anger. British New Wave includes several areas of research that suggest interpreting the cinema of the British New Wave in relation to social realism, the construction of the main characters, popular culture and the way New Wave played with film-making. Thanks to an in-depth analysis of key films of this trend, it is possible not only to understand the workings of social realism and examine character creation and their rebellion, but also to explore the intentionality of the utilising New Wave techniques that were known from nouvelle vague. The last chapter of this book is devoted to the most recent references to British New Wave Cinema.
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- Berlin, Bern, Bruxelles, New York, Oxford, Warszawa, Wien, 2019. 246 S., 87 s/w Abb., 5 Tab.
- Title Page
- Copyright Page
- Dedication Page
- About the author
- About the book
- Citability of the eBook
- Chapter 1 British New Wave: Origins and Evolution of the Movement
- 1. Angry Young Men
- 2. British New Wave in Academic Studies and in the Press
- 3. Working-class Actors
- 4. Does the British New Wave Have a Beginning and an End?
- Chapter 2 Social Realism
- 1. Society, Politics and Realism
- 2. Documentaries
- 2.1. Inspirations
- 2.2. John Grierson
- 2.3. Humphrey Jennings
- 2.4. Free Cinema
- 3. Social Thought
- 4. Social Realism
- 4.1. Attempts to Define
- 4.2. Social Problem Films
- 5. Feminism
- 5.1. Female Protagonists of the New Wave
- 5.2. A Taste of Honey
- 6. Location
- 6.1. Outside the Studio
- 6.2. Town
- 6.3. Out of Town
- Chapter 3 Pop Culture
- 1. Towards Classless Society
- 2. Consumerism
- 2.1. Fashion, Culture and Shopping
- 2.2. Billy Liar10
- 3. Mass Media
- 3.1. Television
- 3.2. The Entertainer
- 4. Pop Art29
- 5. Jazz
- 5.1. All That Jazz
- 5.2. Look Back in Anger
- 5.3. The Loneliness of the Long Distance Runner
- Chapter 4 British New Wave Hero
- 1. The Hero and The Effect of Reality
- 2. Protagonist’s Rebellion
- 2.1. Jimmy Porter (Look Back in Anger)
- 3. Family Life
- 3.1. Frank Machin (This Sporting Life)
- 4. Visions of Success
- 4.1. Joe Lampton (Room at the Top)
- 5. In the World of Illusion
- 5.1. Billy Liar49
- 5.2. Morgan (Morgan: A Case Suitable for Treatment)
- 5.3. Nancy, Colin and Tolen (The Knack…and How to Get It)
- 6. Rebellion or Compromise?
- 6.1. Arthur Seaton (Saturday Night and Sunday Morning)
- Chapter 5 New Wave Playing with Film-making
- 1. New Wave, Meaning What?
- 2. Acting23
- 2.1. Actors of the British New Wave
- 2.2. Method Acting
- 3. Humour
- 4. Playing with Storyline
- 5. Playing with Time and Space
- 6. In Search of Lost Time
- 6.1. The Loneliness of the Long Distance Runner
- 6.2. This Sporting Life
- Chapter 6 Distant Voices of the British New Wave
- 1. New Wave and What Next?
- 2. New Wave and Its Resurgence
- 3. If….12
- 4. Distant Voices, Still Lives
- 5. Secrets and Lies
- 6. My Name Is Joe
- 7. Billy Elliot
- 8. Fish Tank
Chapter 3 Pop Culture
I must say, it’s pretty dreary
living in the American age…
Jimmy Porter in Look Back in Anger
The previous chapter was devoted to the category of social realism which, as I had established earlier, was treated by the British artists in a rather original way. However, the main principle of social realism, i.e. providing the audience with an insight into the everyday life of post-war Britain, will be reflected in this chapter. The realism here is definitely reflected in the images of a society being lured more and more towards consumerism and, at the same time, losing its clear-cut class divisions. This chapter will shed light on another aspect of pop culture related to the characters’ drive towards liberty. It transpires that apart from the threat of unification and mindless consumption, pop culture can also serve as a way out (even if momentary or superficial) of the mundane and into the world of colourful fashion, pop-art projects or the liberating spirit of jazz music.
1. Towards Classless Society
Following the war, popular culture became generally accessible as a result of factors such as the mass media. The working classes were tempted by material goods, a mere arm’s length away. John Hill notes that culture begins as a classless phenomenon, through which society becomes homogenised1, and it offers the working classes the illusion of prosperity that had previously been the preserve of the rich. For young people the...
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