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Table of Contents
Social Class and Television Drama in Contemporary Britain; Foreword; Acknowledgements; Contents; List of Figures; 1 Introduction; References; Part I Authorship and Class; 2 This Is England: Authorship, Emotion and Class Telly; Vicky McClure: A Biographical Sketch; This Is England '86; This Is England '88; This Is England '90; Conclusion: Class Dismissed?; Notes; References; 3 Jimmy McGovern's The Street and the Politics of Everyday Life; Space, Place and Everyday Life on The Street; Iconographies of Class and Region; Conclusion; References
4 High-flyers, Hooligans and Helpmates: Images of Social Class in the Television Dramas of Stephen PoliakoffThe Soul of Man under Capitalism: Middle-Class Moralism and the Poliakoffian Protagonist; Poliakoff and the Proles: from Demonisation to Idealisation; Conclusion; References; Part II Institutions and Structures of Class; 5 Through Class Darkly: Class in the British TV Noir; Prime Suspect; Whitechapel; Southcliffe; Notes; References; 6 Military Class: Hearts and Minds on the Domestic Screen; Our Girl; National Class?; Class Aesthetics or the Aesthetics of Class?
Conclusion: the Ethics of Hearts and MindsNotes; References; 7 'Honest Endeavour Together!': Social Mobility, Entrepreneurialism and Class in Mr Selfridge; Context; Work as Pleasure; Self-made men; Ladies of Leisure: Rose Selfridge and Lady Mae Loxley; Conclusions; References; 8 Social Class and Television Audiences in the 1990s; References; 9 Searching for Hugh Gaitskell in a Neoliberal Landscape
Masculinities and Class Mobility in Goodnight Sweetheart; Neoliberal Social Mobility, Time Travel and other Paradoxes; Neoliberal Nostalgia; Neoliberal Masculinities; Note; References
Part III Place and Class10 From Newcastle to Nashville: the Northern Soul of Jimmy Nail; Auf Wiedersehen Pet: 'As Welcome as a Fart in an Astronaut's Suit'; Spender: 'His Palate is Surprisingly Delicate'; Crocodile Shoes: 'Go Back to Shipyard-Land'; Notes; References; 11 'A Woman Like That Is Not A Woman, Quite. I Have Been Her Kind': Maxine Peake and the Gothic Excess of Northern Femininity; Embodiment and Performance; Her Kind; Northern Gothic; Conclusion; Notes; Bibliography; 12 Class, Place and History in the Imaginative Landscapes of Peaky Blinders; Introduction
Re-Presenting Class and Region: Steven Knight's Authorial MissionAttraction and Repulsion: the Mise en Scène of the 'City of a Thousand Trades'; Identity, Emotion and the Burden of Class; Conclusions; References; 13 Happy Valley: Compassion, Evil and Exploitation in an Ordinary 'Trouble Town'; Notes; References; Part IV Taste and Class; 14 Twenty-First Century British Sitcom and 'the Hidden Injuries of Class'; Introduction: Sitcom, the 'Ideal Television Genre'; Class Changes and 'Hidden Injuries'; How the Working-Class Sitcom Survived; The Pain of the Autodidact
4 High-flyers, Hooligans and Helpmates: Images of Social Class in the Television Dramas of Stephen PoliakoffThe Soul of Man under Capitalism: Middle-Class Moralism and the Poliakoffian Protagonist; Poliakoff and the Proles: from Demonisation to Idealisation; Conclusion; References; Part II Institutions and Structures of Class; 5 Through Class Darkly: Class in the British TV Noir; Prime Suspect; Whitechapel; Southcliffe; Notes; References; 6 Military Class: Hearts and Minds on the Domestic Screen; Our Girl; National Class?; Class Aesthetics or the Aesthetics of Class?
Conclusion: the Ethics of Hearts and MindsNotes; References; 7 'Honest Endeavour Together!': Social Mobility, Entrepreneurialism and Class in Mr Selfridge; Context; Work as Pleasure; Self-made men; Ladies of Leisure: Rose Selfridge and Lady Mae Loxley; Conclusions; References; 8 Social Class and Television Audiences in the 1990s; References; 9 Searching for Hugh Gaitskell in a Neoliberal Landscape
Masculinities and Class Mobility in Goodnight Sweetheart; Neoliberal Social Mobility, Time Travel and other Paradoxes; Neoliberal Nostalgia; Neoliberal Masculinities; Note; References
Part III Place and Class10 From Newcastle to Nashville: the Northern Soul of Jimmy Nail; Auf Wiedersehen Pet: 'As Welcome as a Fart in an Astronaut's Suit'; Spender: 'His Palate is Surprisingly Delicate'; Crocodile Shoes: 'Go Back to Shipyard-Land'; Notes; References; 11 'A Woman Like That Is Not A Woman, Quite. I Have Been Her Kind': Maxine Peake and the Gothic Excess of Northern Femininity; Embodiment and Performance; Her Kind; Northern Gothic; Conclusion; Notes; Bibliography; 12 Class, Place and History in the Imaginative Landscapes of Peaky Blinders; Introduction
Re-Presenting Class and Region: Steven Knight's Authorial MissionAttraction and Repulsion: the Mise en Scène of the 'City of a Thousand Trades'; Identity, Emotion and the Burden of Class; Conclusions; References; 13 Happy Valley: Compassion, Evil and Exploitation in an Ordinary 'Trouble Town'; Notes; References; Part IV Taste and Class; 14 Twenty-First Century British Sitcom and 'the Hidden Injuries of Class'; Introduction: Sitcom, the 'Ideal Television Genre'; Class Changes and 'Hidden Injuries'; How the Working-Class Sitcom Survived; The Pain of the Autodidact