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

Kapitel in diesem Buch

1. Frontmatter i
2. Contents iii
3. Acknowledgements v
4. Notes on the Contributors vi
5. 1 Introduction: Shane’s World 1
6. 2 Structure and Agency: Shane Meadows and the New Regional Production Sectors 21
7. 3 Twenty-first-Century Social Realism: Shane Meadows and New British Realism 35
8. 4 ‘Al fresco? That’s up yer anus, innit?’ Shane Meadows and the Politics of Abjection 50
9. 5 No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England 68
10. 6 ‘Now I’m the monster’: Remembering, Repeating and Working Through in Dead Man’s Shoes and TwentyFourSeven 83
11. 7 ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man’s Shoes 95
12. 8 A Message to You, Maggie: 1980s Skinhead Subculture and Music in This is England 111
13. 9 Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town 127
14. 10 ‘Shane, don’t film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee 142
15. 11 ‘Them over there’: Motherhood and Marginality in Shane Meadows’ Films 155
16. 12 ‘What do you think makes a bad dad?’ Shane Meadows and Fatherhood 171
17. 13 Is This England ’86 and ’88? Memory, Haunting and Return through Television Seriality 186
18. 14 After Laughter Comes Tears: Passion and Redemption in This is England ’88 203
19. Index 210