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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