CHAPTER I. INTRODUCTION The Significance of Class and Film Representation British Social Realism Tradition Research Methodology Literature Review Structure CHAPTER II. BRITISH CULTURAL STUDIES ON CLASS AND WORKING CLASS Culture: From Elitism to A Whole Way of Life of People Althusser on Ideology and Gramsci on Hegemony Stuart Hall and the CCCS The Marginalization of Class and the Moral Significance for the Study of Class identity and Representation CHAPTER III. CLASS AND WORKING CLASS IN BRITAIN: SOCIOLOGICAL AND HISTORICAL UNDERSTANDING.. Defining and Classifying Class and Working Class Looking at Class: Britain--A Class or Classless Society? The Rise and Decline of British Working Class The Underclass and Devaluation CHAPTER IV. WORKING CLASS IDENTITY IN NEW WAVE FILMS From the Grierson Documentary Movement to the New Wave Room at the Top (Jack Clayton, 1959) Saturday Night and Sunday Morning (Karel Reisz, 1960) Working-class Identity in New Wave Films: Theme Analysis CHAPTER V. WORKING-CLASS IDENTITY IN FILMS OF LOACH, LEIGH AND FREARS Thatcherism and the Working Class Mike Leigh and High Hopes (1988) Class and Race in Stephen Frears' My Beautiful Laundrette (1985). Ken Loach and Sweet Sixteen (2002) CHAPTER VI. WORKING-CLASS IDENTITY IN 1990s SOCIAL REALIST COMEDIES Brassed Off(Mark Herman, 1996) The Full Monty (Peter Cattaneo, 1997) Continuity and Change in Working-class Identity: Theme Analysis CHAPTER VII. IDEOLOGY, CULTURE, IDENTITY: ANALYSIS OF WORKING-CLASS REPRESENTATION The New Wave Representation: The Ideology of Affluence and the New Left Films of the 1980s, 1990s and 2000s: Neo-liberalism and Working-class Identity For Williams' Equality of Being: The Need of Cultural Policy Support CHAPTER VIII. CONCLUSION REFERENCES
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