Book contents
- Frontmatter
- Contents
- Acknowledgements
- Notes on the Contributors
- 1 Introduction: Shane's World
- 2 Structure and Agency: Shane Meadows and the New Regional Production Sectors
- 3 Twenty-first-Century Social Realism: Shane Meadows and New British Realism
- 4 ‘Al fresco? That's up yer anus, innit?’ Shane Meadows and the Politics of Abjection
- 5 No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England
- 6 ‘Now I'm the monster’: Remembering, Repeating and Working Through in Dead Man's Shoes and TwentyFourSeven
- 7 ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man's Shoes
- 8 A Message to You, Maggie: 1980s Skinhead Subculture and Music in This is England
- 9 Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town
- 10 ‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee
- 11 ‘Them over there’: Motherhood and Marginality in Shane Meadows' Films
- 12 ‘What do you think makes a bad dad?’ Shane Meadows and Fatherhood
- 13 Is This England '86 and '88? Memory, Haunting and Return through Television Seriality
- 14 After Laughter Comes Tears: Passion and Redemption in This is England '88
- Index
Index
Published online by Cambridge University Press: 05 October 2013
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Book contents
- Frontmatter
- Contents
- Acknowledgements
- Notes on the Contributors
- 1 Introduction: Shane's World
- 2 Structure and Agency: Shane Meadows and the New Regional Production Sectors
- 3 Twenty-first-Century Social Realism: Shane Meadows and New British Realism
- 4 ‘Al fresco? That's up yer anus, innit?’ Shane Meadows and the Politics of Abjection
- 5 No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England
- 6 ‘Now I'm the monster’: Remembering, Repeating and Working Through in Dead Man's Shoes and TwentyFourSeven
- 7 ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man's Shoes
- 8 A Message to You, Maggie: 1980s Skinhead Subculture and Music in This is England
- 9 Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town
- 10 ‘Shane, don't film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee
- 11 ‘Them over there’: Motherhood and Marginality in Shane Meadows' Films
- 12 ‘What do you think makes a bad dad?’ Shane Meadows and Fatherhood
- 13 Is This England '86 and '88? Memory, Haunting and Return through Television Seriality
- 14 After Laughter Comes Tears: Passion and Redemption in This is England '88
- Index
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- Shane MeadowsCritical Essays, pp. 210 - 216Publisher: Edinburgh University PressPrint publication year: 2013