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英國(guó)工人階級(jí)銀幕形象及其文化詮釋?zhuān)ㄓ⑽陌妫?/h1>

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作 者: 石同云 著
出版社: 南開(kāi)大學(xué)出版社
叢編項(xiàng):
標(biāo) 簽: 暫缺

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ISBN: 9787310047727 出版時(shí)間: 2015-04-01 包裝: 平裝
開(kāi)本: 32開(kāi) 頁(yè)數(shù): 304 字?jǐn)?shù):  

內(nèi)容簡(jiǎn)介

《英國(guó)工人階級(jí)銀幕形象及其文化詮釋(英文版)》通過(guò)文本詮釋和意識(shí)形態(tài)解析相結(jié)合,研究20世紀(jì)50年代至今的英國(guó)社會(huì)現(xiàn)實(shí)主義電影對(duì)工人階級(jí)身份特性的展示,以此來(lái)審視英國(guó)工人階級(jí)命運(yùn)的變化。它探討不同年代工人階級(jí)題材電影的主要主題,比較和對(duì)比銀幕展示的工人階級(jí)身份特性的延續(xù)和變化,并從英國(guó)文化研究視角對(duì)變遷加以分析,探究工人階級(jí)形象背后隱含的思想意識(shí)形態(tài)和文化抵抗。著作指出,工人階級(jí)身份在銀幕上的展示呈現(xiàn)出鮮明的時(shí)代特色,其形象在不同時(shí)代的變化也反映出了主流意識(shí)形態(tài)的變化。從“驕傲”到“羞恥”,這種形象的變化反映出英國(guó)戰(zhàn)后社會(huì)基本思潮從福利平等主義到新自由主義文化的根本性轉(zhuǎn)變。

作者簡(jiǎn)介

石同云(1961一),北京外國(guó)語(yǔ)大學(xué)英語(yǔ)學(xué)院教授,英國(guó)研究中心副主任,中國(guó)社會(huì)科學(xué)院歐洲研究學(xué)會(huì)英國(guó)研究分會(huì)理事。1984年獲得北京外國(guó)語(yǔ)大學(xué)英語(yǔ)語(yǔ)言文學(xué)學(xué)士學(xué)位,1991年獲得英國(guó)華威大學(xué)當(dāng)代英國(guó)研究碩士學(xué)位,2011年獲得美國(guó)路易維爾大學(xué)人文學(xué)博士學(xué)位。1995年獲“北京市優(yōu)秀教師”稱(chēng)號(hào)。主要研究領(lǐng)域?yàn)橛?guó)電影和英。國(guó)文化。

圖書(shū)目錄

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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