Using a sociological model, The British Working Class in Postwar Film looks at how working-class people are portrayed in British feature films from the decade after World War II. Original statistical data is used to assess the popularity of the films with audiences. With an interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Readers are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields.

An incidental pleasure of watching a film is what it tells us about the society in which it is made. Using a sociological model, The British working class in postwar film looks at how working-class people were portrayed in British feature films in the decade after the Second World War. Though some of the films examined are well known, others have been forgotten and deserve reassessment. Original statistical data is used to assess the popularity of the films with audiences. With its interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Students of media and cultural studies are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields. This work should appeal to all readers interested in social history and in how cinema and society works.

This magnificently illustrated people’s history celebrates the extraordinary feats of cultivation by the working class in Britain, even if the land they toiled, planted, and loved was not their own. Spanning more than four centuries, from the earliest records of the laboring classes in the country to today, Margaret Willes's research unearths lush gardens nurtured outside rough workers’ cottages and horticultural miracles performed in blackened yards, and reveals the ingenious, sometimes devious, methods employed by determined, obsessive, and eccentric workers to make their drab surroundings bloom. She also explores the stories of the great philanthropic industrialists who provided gardens for their workforces, the fashionable rich stealing the gardening ideas of the poor, alehouse syndicates and fierce rivalries between vegetable growers, flower-fanciers cultivating exotic blooms on their city windowsills, and the rich lore handed down from gardener to gardener through generations. This is a sumptuous record of the myriad ways in which the popular cultivation of plants, vegetables, and flowers has played—and continues to play—an integral role in everyday British life.

This book maps how working class life was transformed in England in the middle years of the twentieth century. National trends in employment, welfare and living standards are illuminated via a focus on Brighton, providing valuable new perspectives of class and community formation. Based on fresh archival research, life histories and contemporary social surveys, the book historicises important cultural and community studies which moulded popular perceptions of class and social change in the post-war period. It shows how council housing, slum clearance and demographic trends impacted on working-class families and communities. While suburbanisation transformed home life, leisure and patterns of association, there were important continuities in terms of material poverty, social networks and cultural practices. This book will be essential reading for academics and students researching modern and contemporary social and cultural history, sociology, cultural studies and human geography.

The typical contemporary Labour MP is almost certain to be a university-educated Europhile who is more comfortable in the leafy enclaves of north London than the party’s historic heartlands. As a result, Labour has become radically out of step with the culture and values of working-class Britain. Drawing on his background as a firefighter and trade unionist from Dagenham, Paul Embery argues that this disconnect has been inevitable since the Left political establishment swallowed a poisonous brew of economic and social liberalism. They have come to despise traditional working-class values of patriotism, family and faith and instead embraced globalisation, rapid demographic change and a toxic, divisive brand of identity politics. Embery contends that the Left can only revive if it speaks once again to the priorities of working-class people by combining socialist economics with the cultural politics of belonging, place and community. No one who wants to really understand why our politics has become so dysfunctional and what the Left can do to fix it can afford to miss this authentic, insightful and passionate book.

This book explores the new politics of class in 21st century Britain. It shows how the changing shape of the class structure since 1945 has led political parties to change, which has both reduced class voting and increased class non-voting. This argument is developed in three stages. The first is to show that there has been enormous social continuity in class divisions. The authors demonstrate this using extensive evidence on class and educational inequality, perceptions of inequality, identity and awareness, and political attitudes over more than fifty years. The second stage is to show that there has been enormous political change in response to changing class sizes. Party policies, politicians' rhetoric, and the social composition of political elites have radically altered. Parties offer similar policies, appeal less to specific classes, and are populated by people from more similar backgrounds. Simultaneously the mass media have stopped talking about the politics of class. The third stage is to show that these political changes have had three major consequences. First, as Labour and the Conservatives became more similar, class differences in party preferences disappeared. Second, new parties, most notably UKIP, have taken working class voters from the mainstream parties. Third, and most importantly, the lack of choice offered by the mainstream parties has led to a huge increase in class-based abstention from voting. Working class people have become much less likely to vote. In that sense, Britain appears to have followed the US down a path of working class political exclusion, ultimately undermining the representativeness of our democracy. They conclude with a discussion of the Brexit referendum and the role that working class alienation played in its historic outcome.

A stimulating overview of the intellectual arguments and critical debates involved in the study of British and Irish cinemas British and Irish film studies have expanded in scope and depth in recent years, prompting a growing number of critical debates on how these cinemas are analysed, contextualized, and understood. A Companion to British and Irish Cinema addresses arguments surrounding film historiography, methods of textual analysis, critical judgments, and the social and economic contexts that are central to the study of these cinemas. Twenty-nine essays from many of the most prominent writers in the field examine how British and Irish cinema have been discussed, the concepts and methods used to interpret and understand British and Irish films, and the defining issues and debates at the heart of British and Irish cinema studies. Offering a broad scope of commentary, the Companion explores historical, cultural and aesthetic questions that encompass over a century of British and Irish film studies—from the early years of the silent era to the present-day. Divided into five sections, the Companion discusses the social and cultural forces shaping British and Irish cinema during different periods, the contexts in which films are produced, distributed and exhibited, the genres and styles that have been adopted by British and Irish films, issues of representation and identity, and debates on concepts of national cinema at a time when ideas of what constitutes both ‘British’ and ‘Irish’ cinema are under question. A Companion to British and Irish Cinema is a valuable and timely resource for undergraduate and postgraduate students of film, media, and cultural studies, and for those seeking contemporary commentary on the cinemas of Britain and Ireland.