✍ Scribed by Sarah Attfield
No coin nor oath required. For personal study only.
This book provides an analysis of the global working class on film and considers the ways in which working-class experience is represented in film around the world. The book argues that representation is important because it shapes the way people understand working-class experience and can either reinforce or challenge stereotypical depictions. Film can shape and shift discussions of class, and this book provides an interdisciplinary study of the ways in which working-class experience is portrayed through this medium. It analyses the impact of contemporary films such as Sorry To Bother You, This is England and Le Harve that focus on working class life. Attfield demonstrates that the global working class are characterised by diversity of race, ethnicity, gender, religion and sexuality but that there are commonalities of experience despite geographical distance and cultural difference. The book is structured around themes such as work, culture, diasporas, gender and sexuality, and race.
Acknowledgements
Contents
Chapter 1: Introduction
Defining Class
The Global Working Class
Representation
History of Class on Screen
America
Australia
Soviet Cinema
Europe
Latin America/The Caribbean
South Asia
Africa
Methodology (Choice of Films and Approach)
Chapter Outline
References
Chapter 2: Work and Unemployment
Changing Nature of Work, from ‘Jobs for Life’ to Zero Hours Contracts (Sorry We Missed You)
Industrial Disputes (Cart, Sorry to Bother You)
Migrant/Itinerant Workers (Last Train Home, White Night, Nana, Man Push Cart)
Redundancy, Unemployment and the Effects of Neo-liberalism (Two Days One Night, Wendy and Lucy, The Navigators)
Informal Economy (Biutiful, Maria Full of Grace)
Rural Workers (The Orator, Ohong Village)
References
Chapter 3: Working-Class Culture
Music and Subcultures (Boy, This is England, Northern Soul)
Sport (The Workers Cup, Shaolin Soccer, Rudo y Cursi, Gaza Surf Club)
Life on the Streets and Disaffected Youth (City of God, Bekas, 7 Boxes, Noi the Albino, Unknown Pleasures)
References
Chapter 4: Immigration and Diaspora
Crime and Violent Masculinity (My Brother the Devil, Bullet Boy, Gangs of Tooting Broadway, Blue Story, The Combination, Cedar Boys)
South Asia Diaspora and Positive Representations (Bend it Like Beckham, Anita and Me, Brick Lane, Blinded by the Light)
Asylum Seekers/Refugees (Le Harve, Welcome, Mother Fish, Journals of Musan, Baran, Frozen River)
Other Immigrants, Eastern Europeans, Chinese in the West, North Africans in France, the Turkish Diaspora in Germany, Koreans in Japan (Eastern Promises, God’s Own Country, Ghosts, The Home Song Stories, Head-On, Go!)
A Detour into Palestinian Cinema (Paradise Now, Omar, Five Broken Cameras)
References
Chapter 5: Gender and Sexualities
Working-Class Feminism
Pedro Almodóvar’s Celebrations of Spanish Working-Class Women (What Have I Done to Deserve This? All About My Mother, Volver)
Transgressive Women (Marlina the Murderer in Four Acts, I Am Not a Witch, La Yuma, 100 Yen Love)
Young Resilient Women (Fish Tank, Winter’s Bone, Rhymes for Young Ghouls)
Family and Mothering (The Island That All Flow By, Head First, the Arbor)
Queer Film and the Working Class
Gay Gaze
Black Queer Experience (Pariah, Moonlight)
Trans Identities (Tangerine)
Acceptance and Refusal (Two Spirits, Pelo Malo)
Denial (Brokeback Mountain)
Romance and Connections (Weekend, Blue Is the Warmest Colour)
Solidarity (Pride)
References
Chapter 6: Race and Class in Australian Indigenous Film
Colonial Trauma (Samson and Delilah, Sweet Country)
The Importance of Country (Satellite Boy)
Using Genre (The Sapphires, Top End Wedding, Stone Bros, Mystery Road)
Realism and Implied Politics (Beneath Clouds, Toomelah)
Adaptation (Bran Nue Dae, Jasper Jones)
References
Chapter 7: Afterword
Reference
Filmography
Index
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