英国工人阶级银幕形象及其文化诠释

CHAPTER I. INTRODUCTION

The Significance of Class and Film Representation

British Social Realism Tradition

Research Methodology

Literature Review

Structure

CHAPTER II. BRITISH CULTURAL STUDIES ON CLASS

AND WORKING CLASS

Culture: From Elitism to "A Whole Way of Life" of People

Althusser on Ideology and Gramsci on Hegemony

Stuart Hall and the CCCS

The Marginalization of Class and the Moral Significance for the

Study of Class

identity and Representation

CHAPTER III. CLASS AND WORKING CLASS IN BRITAIN:

SOCIOLOGICAL AND HISTORICAL UNDERSTANDING..

Defining and Classifying Class and Working Class

Looking at Class: Britain--A Class or Classless Society?

The Rise and Decline of British Working Class

The "Underclass" and Devaluation

CHAPTER IV. WORKING CLASS IDENTITY IN NEW

WAVE FILMS

From the Grierson Documentary Movement to the New Wave

Room at the Top (Jack Clayton, 1959)

Saturday Night and Sunday Morning (Karel Reisz, 1960)

Working-class Identity in New Wave Films: Theme Analysis

CHAPTER V. WORKING-CLASS IDENTITY IN FILMS OF

LOACH, LEIGH AND FREARS

Thatcherism and the Working Class

Mike Leigh and High Hopes (1988)

Class and Race in Stephen Frears' My Beautiful Laundrette (1985).

Ken Loach and Sweet Sixteen (2002)

CHAPTER VI. WORKING-CLASS IDENTITY IN 1990s

SOCIAL REALIST COMEDIES

Brassed Off(Mark Herman, 1996)

The Full Monty (Peter Cattaneo, 1997)

Continuity and Change in Working-class Identity: Theme

Analysis

CHAPTER VII. IDEOLOGY, CULTURE, IDENTITY:

ANALYSIS OF WORKING-CLASS REPRESENTATION

The New Wave Representation: The Ideology of Affluence and

the New Left

Films of the 1980s, 1990s and 2000s: Neo-liberalism and

Working-class Identity

For Williams' "Equality of Being": The Need of Cultural Policy

Support

CHAPTER VIII. CONCLUSION

REFERENCES

《英国工人阶级银幕形象及其文化诠释(英文版)》通过文本诠释和意识形态解析相结合，研究20世纪50年代至今的英国社会现实主义电影对工人阶级身份特性的展示，以此来审视英国工人阶级命运的变化。它探讨不同年代工人阶级题材电影的主要主题，比较和对比银幕展示的工人阶级身份特性的延续和变化，并从英国文化研究视角对变迁加以分析，探究工人阶级形象背后隐含的思想意识形态和文化抵抗。著作指出，工人阶级身份在银幕上的展示呈现出鲜明的时代特色，其形象在不同时代的变化也反映出了主流意识形态的变化。从“骄傲”到“羞耻”，这种形象的变化反映出英国战后社会基本思潮从福利平等主义到新自由主义文化的根本性转变。