By Steve Blandford
When the sunlight set at the British Empire, the consequent fragmentation of British identification emerged so much tellingly in creative works: cinematic works resembling Howards End depicted a richly old land steeped in culture and tragedy, whereas the extra glossy Lock, inventory and Smoking Barrels published a brutal but sharply funny portrayal of up to date English lifestyles. That courting among nationalism, nationwide id, and postcolonialism is still critical to many British dramatists’ works, and in Film, Drama and the get a divorce of Britain, Steve Blandford explores how the “break up” of england has motivated modern British drama.
Breaking down the scholarly limitations among theater and movie reviews, Blandford examines British administrators’ interpretations in their nation’s postcolonial age, tracing a few of the ways in which auteurs have created dramatic narratives that discover the assumption of being “British” and all its inherent complexity. From community-based theaters in Scotland and Wales to the blockbuster The complete Monty, Blandford probes the cultural influence of Britain’s fight to shape a brand new identification, making his e-book a necessary learn for all these attracted to postcolonial reviews and the heritage of British film.
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Extra resources for Film, Drama and the Break Up of Britain
The most telling exception to this was Sexy Beast, which used the narrative trope of the old retired gunslinger being asked to do one more job to comically explore the passing of such a world rather than try to breathe new life into it. Xan Brooks compared it to late Westerns: Sexy Beast is the modern British gangster movie what Lonely Are the Brave (1962) was to the American Western. It is a film about the end of things, inhabited by villains past their sellby date and touched throughout by the shadow of mortality.
Although, as Roy Stafford (2004) has discussed at length, Michael Winterbottom’s work has frequently engaged in striking and original ways with the contemporary issues surrounding asylum seekers and refugees, the films have tended not use them to explore England itself. Instead the concentration is on the asylum seekers themselves and, in In This World (2002) and Welcome to Sarajevo (1997), the places from where refugees are fleeing war and oppression. In both Stephen Frears’ Dirty Pretty Things (2002) and Jez Butterworth’s Birthday Girl (2002), contemporary England forms the backdrop to very different stories about people seeking to live in Britain in ways that bring them into conflict with the immigration authorities and in both cases the nature of English society becomes an important element of what the films have to say.
It is not, of course, the intention to suggest that a tendency to include such experiences within a cinematic view of Britain began in the late 1990s. The 1980s in particular was arguably the moment when cinema most explicitly opened up questions of racial and national identity and in the two key films arsing from the collaboration between Hanif Kureshi and Stephen Frears, My Beautiful Launderette (1985) and Sammy and Rosie Get Laid (1987), this intersected with sexual identity in order to, in John Hill’s words, ‘exhibit a concern to problematise the very notion of social identity in the contemporary-postmodern-world’ (Hill 1999: 215).
Film, Drama and the Break Up of Britain by Steve Blandford