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Erasing “Knowable Communities”: From Saturday Night and Sunday Morning to Brassed Off

dc.contributor.authorPiskorz, Artur
dc.date.accessioned2023-12-29T17:36:34Z
dc.date.available2023-12-29T17:36:34Z
dc.date.issued2023-12-20
dc.identifier.issn2083-2931
dc.identifier.urihttp://hdl.handle.net/11089/48983
dc.description.abstractThe paper discusses cinematic representations of working class communities in British cinema from the pre-war documentary movement to (post-)Thatcher feature films chronicling the decline of traditional industries. A particular focus is given to contrasting Karel Reisz’s Saturday Night and Sunday Morning and Mark Herman’s Brassed Off. The former title serves as a model example of British New Wave cinema, marking the “discovery” of the working class with its “knowable communities” that revealed them to the general public. The latter film provides an apt illustration of the impact and consequences of Thatcherism on the very same communities. The paper elaborates on selected narrative and visual motifs, investigating the ways in which British filmmakers have striven to depict social changes in British society over the consecutive decades.en
dc.language.isoen
dc.publisherWydawnictwo Uniwersytetu Łódzkiegopl
dc.relation.ispartofseriesText Matters: A Journal of Literature, Theory and Culture;13en
dc.rights.urihttps://creativecommons.org/licenses/by-nc-nd/4.0
dc.subjectrealismen
dc.subjectBritish cinemaen
dc.subjectknowable communityen
dc.subjectdocumentary movementen
dc.subjectThatcherismen
dc.subjectSaturday Night and Sunday Morningen
dc.subjectBrassed Offen
dc.titleErasing “Knowable Communities”: From Saturday Night and Sunday Morning to Brassed Offen
dc.typeArticle
dc.page.number396-413
dc.contributor.authorAffiliationPedagogical University of Cracowen
dc.identifier.eissn2084-574X
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dc.contributor.authorEmailartur.piskorz@up.krakow.pl
dc.identifier.doi10.18778/2083-2931.13.21


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