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Shane Meadows

Critical Essays

Edited by Martin Fradley, Sarah Godfrey, Melanie Williams

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Explores the full range of Meadows’ work, from local D.I.Y. media to international festival acclaim

From his breakthrough short films in the early 1990s and feature debut TwentyFourSeven (1997) through to the BAFTA-winning This Is England (2007) and hit television spin-off, director Shane Meadows has emerged as one of the most distinctive and influential voices in contemporary British cinema.

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Contents

Acknowledgements
Notes on contributors
Contents
1) Introduction: Shane’s World,
Martin Fradley, Sarah Godfrey and Melanie Williams
2) Structure and Agency: Shane Meadows and the New Regional Production Sectors, Jack Newsinger
3) Twenty-first-Century Social Realism: Shane Meadows and New British Realism, Dave Forrest
4) ‘Al Fresco? That’s up yer anus, innit?’: Shane Meadows and the Politics of Abjection, Martin Fradley
5) No More Heroes: The Politics of Marginality and Disenchantment in TwentyFourSeven and This is England, Jill Steans
6) ‘Now I’m The Monster’: Remembering, Repeating and Working Through in Dead Man’s Shoes and TwentyFourSeven, Paul Elliott
7) ‘An object of indecipherable bastardry – a true monster’: Homosociality, Homoeroticism and Generic Hybridity in Dead Man’s Shoes, Clair Schwarz
8) A Message to You, Maggie: 1980s Skinhead Subculture and Music in This Is England , Tim Snelson and Emma Sutton
9) Changing Spaces of ‘Englishness’: Psychogeography and Spatial Practices in This is England and Somers Town,
Sarah N. Petrovic
10) ‘Shane, don’t film this bit’: Comedy and Performance in Le Donk and Scor-zay-zee, Brett Mills
11) ‘Them over there’: Motherhood and Marginality in Shane Meadows’ Films, Louise FitzGerald and Sarah Godfrey
12) ‘What do you think makes a bad dad?’: Shane Meadows and Fatherhood, Martin Fradley and Sean Kingston
13) Is This England ’86 and ’88? Memory, Haunting and Return through Television Seriality , David Rolinson and Faye Woods
14) After Laughter Comes Tears: Passion and Redemption in This is England ’88, Robert Murphy

About the Author

Martin Fradley is a former lecturer at the University of Aberdeen and Manchester University. He has published work in collections including Falling in Love Again: Romantic Comedy in Contemporary Cinema, American Horror Film: the Genre at the turn of the Millennium and Handbook of Gender, Sex and Media. He is a regular contributor to Film Quarterly.

Sarah Godfrey is Lecturer in Film and Television Studies at the University of East Anglia. Her publications include work on gender, race and class in British and American film and television.

Melanie Williams is Lecturer in Film Studies at the University of East Anglia. She has published work on British cinema in many journals and edited collections and is the author of Prisoners of Gender: Women in the Films of J. Lee Thompson and the co-editor of British Women’s Cinema, Ealing Revisited and Mamma Mia! The Movie: Exploring a Cultural Phenomenon.

Reviews

This is a diverse and fascinating exploration of a complex director, one of the most important working in contemporary British cinema. It sets out some of the compelling reasons why Meadows' work rewards close critical and theoretical attention.

- Paul Dave, University of East London

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