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
2 - Structure and Agency: Shane Meadows and the New Regional Production Sectors
Published online by Cambridge University Press: 05 October 2013
- 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
Summary
The way that things have spurted and grown in the industry in the last sort of two or three years, I'm definitely a beneficiary of all of that. Ten years previous the world probably wouldn't have accepted me in the same way, or I probably wouldn't have had as many opportunities, so I have probably landed at just the right time. Ten years ago I think I'd have been making television pieces.
Shane Meadows in Applebaum 2008What is it that changed in the British film industry in the mid-1990s that allowed a working-class young man with a regional accent to develop a career making films almost exclusively set and shot in the Midlands? Part of the answer to this question must, of course, include Shane Meadows' personal agency: his determination, his creativity, his proficiency as a director, and so on. However, while these qualities should not be underestimated, they are only half the answer. While Meadows and his collaborators have utilised very effectively the opportunities and resources available to them, this chapter focuses on what created those opportunities and what this means for British cinema. As such, it takes an approach to Meadows' filmmaking that is different to many of the other contributions to this volume by seeking to understand it within an institutional–industrial context.
- Type
- Chapter
- Information
- Shane MeadowsCritical Essays, pp. 21 - 34Publisher: Edinburgh University PressPrint publication year: 2013