British cinema
Category=ATFA
Culture
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eq_nobargain
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Estates
forthcoming
Representations of class
Socially produced spaces
Working Class
Product details
- ISBN 9781399533638
- Dimensions: 156 x 234mm
- Publication Date: 30 Nov 2026
- Publisher: Edinburgh University Press
- Publication City/Country: GB
- Product Form: Hardback
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In recent years British cinema has utilised the iconic image of the council estate as an emblematic shorthand for defining the supposedly dysfunctional character of the working-class people who reside there. As a spatial determinant, it has come to signify a whole group of people in the popular imaginary as anti-social, violent and workshy. Drawing on the latest research into class and British cinema, the chapters in this edited collection explore classed identities in relation to the spaces which they occupy, both onscreen and off.
The chapters in this collection shift the spatial location of the working class away from the council estates in which they are visually and symbolically contained to explore alternative spaces where their complexities, struggles and resistance to the systemic cultural and political discourses that define them can be foregrounded.
Deirdre O’Neill is a Senior Lecturer in Film Theory and Practice at the University of Hertfordshire. She is the author of Film as a Radical Pedagogical Tool and the co-ordinator of the Inside Film Project. She is the founding and principle editor of the Journal of Class and Culture and has co-directed (with Mike Wayne) three films, Listen to Venezuela (2008), Condition of the Working Class (2012) and The Acting Class (2017), which was the winner of the National Feature Documentary Award at the 2017 Labour Film Festival. Katerina Flint-Nicol is a Senior Lecturer in Film at Falmouth University. She is a founding member of the British Popular Cultures Research Network and has published on the gothic in musical performance and television adaptation. Her PhD, Men, Manors and Monsters: The British Hoodie Horror and the Cinema of Alterity addressed the horrorisation of the working-class in British cinema in the early 2000s.
