Shane Meadows: Critical Essays

From his breakthrough short films in the early 1990s and feature debut TwentyFourSeven (1997) through to the BAFTA-winning This Is England (2007) and hit television spin-off, director Shane Meadows has emerged as one of the most distinctive and influential voices in contemporary British cinema. Danny Perkins, CEO of StudioCanal UK, credits Meadows as the key figure in British film’s contemporary renaissance, with This Is England 'doing more than any other [film] to change British audiences' attitudes' to home-grown cinema. This book will explore the full range of Meadows’ work, from its origins in local D.I.Y. media through to international festival acclaim. Over the course of its 15 chapters, it will present a comprehensive analysis of Meadows’ oeuvre to date, situating it in the context of British cinema history as well as wider cultural changes from the nineties to now.

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Contents

Frontmatter
pp i-ii
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Contents
pp iii-iv
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Acknowledgements
pp v-v
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Notes on the Contributors
pp vi-viii
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1 - Introduction: Shane's World
pp 1-20
- By Sarah Godfrey, University of East Anglia, Melanie Williams, University of East Anglia
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2 - Structure and Agency: Shane Meadows and the New Regional Production Sectors
pp 21-34
- By Jack Newsinger, University of Leicester
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3 - Twenty-first-Century Social Realism: Shane Meadows and New British Realism
pp 35-49
- By David Forrest, University of Sheffield
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4 - ‘Al fresco? That's up yer anus, innit?’ Shane Meadows and the Politics of Abjection
pp 50-67
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5 - No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England
pp 68-82
- By Jill Steans, University of Birmingham
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6 - ‘Now I'm the monster’: Remembering, Repeating and Working Through in Dead Man's Shoes and TwentyFourSeven
pp 83-94
- By Paul Elliott
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7 - ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man's Shoes
pp 95-110
- By Clair Schwarz, University of the West of England
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8 - A Message to You, Maggie: 1980s Skinhead Subculture and Music in This is England
pp 111-126
- By Tim Snelson, University of East Anglia, Emma Sutton, Brunel University
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9 - Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town
pp 127-141
- By Sarah N. Petrovic, Oklahoma Wesleyan University
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10 - ‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee
pp 142-154
- By Brett Mills, University of East Anglia
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11 - ‘Them over there’: Motherhood and Marginality in Shane Meadows' Films
pp 155-170
- By Louise Fitzgerald, University pf Brighton, Sarah Godfrey, University of East Anglia
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12 - ‘What do you think makes a bad dad?’ Shane Meadows and Fatherhood
pp 171-185
- By Martin Fradley, University of Aberdeen, Seán Kingston, University College Dublin
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13 - Is This England '86 and '88? Memory, Haunting and Return through Television Seriality
pp 186-202
- By David Rolinson, University of Stirling, Faye Woods, University of Reading
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14 - After Laughter Comes Tears: Passion and Redemption in This is England '88
pp 203-209
- By Robert Murphy, De Montfort University
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Index
pp 210-216
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Shane Meadows

Critical Essays

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Contents

Frontmatter
pp i-ii

Contents
pp iii-iv

Acknowledgements
pp v-v

Notes on the Contributors
pp vi-viii

1 - Introduction: Shane's World
pp 1-20

2 - Structure and Agency: Shane Meadows and the New Regional Production Sectors
pp 21-34

3 - Twenty-first-Century Social Realism: Shane Meadows and New British Realism
pp 35-49

4 - ‘Al fresco? That's up yer anus, innit?’ Shane Meadows and the Politics of Abjection
pp 50-67

5 - No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England
pp 68-82

6 - ‘Now I'm the monster’: Remembering, Repeating and Working Through in Dead Man's Shoes and TwentyFourSeven
pp 83-94

7 - ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man's Shoes
pp 95-110

8 - A Message to You, Maggie: 1980s Skinhead Subculture and Music in This is England
pp 111-126

9 - Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town
pp 127-141

10 - ‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee
pp 142-154

11 - ‘Them over there’: Motherhood and Marginality in Shane Meadows' Films
pp 155-170

12 - ‘What do you think makes a bad dad?’ Shane Meadows and Fatherhood
pp 171-185

13 - Is This England '86 and '88? Memory, Haunting and Return through Television Seriality
pp 186-202

14 - After Laughter Comes Tears: Passion and Redemption in This is England '88
pp 203-209

Index
pp 210-216

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Shane Meadows

Critical Essays

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