Download e-book for iPad: British Popular Films, 1929-1939: The Cinema of Reassurance by Stephen C. Shafer

By Stephen C. Shafer

ISBN-10: 0203358805

ISBN-13: 9780203358801

ISBN-10: 0203375564

ISBN-13: 9780203375563

ISBN-10: 0415002826

ISBN-13: 9780415002820

Shafer's examine demanding situations the traditional historic assumption that British characteristic movies in the course of the Thirties have been usually orientated to the middle-class. in its place, he makes the severe contrast among motion pictures meant for West finish and overseas movement and people meant essentially for family, working-class audiences. faraway from being alientated through a 'middle-class institution', operating women and men flocked to work out photos that includes such music-hall luminaries as Gracie Fields and George Formby.

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Extra info for British Popular Films, 1929-1939: The Cinema of Reassurance (Studies in Film, Television and the Media)

Example text

All this gives us no excuse to forget that our “poor working girl” actually earns a colossal salary and has a private bathing-pool and a…mansion. ”18 Even the leading British film expert on the portrayal of the Cockney, Gordon Harker, at least once was subject to a filmgoer’s wrath; one angry London movie fan wrote from Bermondsey: Who is this bloke Gordon Harker? We read of his fine Cockney characterizations. I think they are very poor. Why people in London visit kinemas and roar with laughter at Harker rendering a burlesque of a Cockney, I cannot understand.

6 The overall validity of Roberts’ indictment is difficult to assess, but the evidence for this view was limited at best, and the evidence against it was, in some ways, more persuasive. The question of what is a genuine portrayal and what is artificial is highly debatable and is largely a matter of perception. However, some of the qualities in features to which Roberts objected can be surveyed. 5 include features considered to be comedies with working-class characters providing at least some of the humor, movies categorized as dramas or other non-comedies in which working-class characters provide comic relief for the plot, and productions in which the working-class figures are seen as essentially incompetent or bumbling.

The evidence is similar for those films in which working-class characters were actually the protagonists or central figures in the plot. 2, the percentages, which could hardly be described as negligible, in most years, hover rather consistently between 35 and 45 percent. In addition and far more frequently, a recognizable working-class character could be found in the cast at least in a minor or supporting role. 0 somehow involved in more than half of the films produced by British studios, and in all but one of the remaining years, at least nine of every twenty features had working-class characters in at least some minor part.

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British Popular Films, 1929-1939: The Cinema of Reassurance (Studies in Film, Television and the Media) by Stephen C. Shafer

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