Titlebook: Social Class and Television Drama in Contemporary Britain; David Forrest,Beth Johnson Book 2017 The Editor(s) (if applicable) and The Auth

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Searching for Hugh Gaitskell in a Neoliberal Landscape – Masculinities and Class Mobility in ,ch with commentary on masculinities, nostalgia, consumerism and authenticity, I will argue that it offers a poignant glimpse of gender roles, citizen identities and social class trapped in a limen – a trope that the series plays from with its time-travel device. The men in the series, far from ‘buyi

Harness

From Newcastle to Nashville: the Northern Soul of Jimmy Nailuses in particular upon the television shows . and . which Nail produced at the height of his television fame in the early 1990s. It suggests how their nuanced articulations of regional identity and realism can be read through an . recognition of Nail’s own ambivalence towards his former home and hi

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‘A Woman Like That Is Not A Woman, Quite. I Have Been Her Kind’: Maxine Peake and the Gothic Excess en Marshall in 2009’s TV film adaptations of David Peace’s . novels, this chapter examines ‘Northern’ working-class femininity in the context of an imagined North that is positioned as uniformly working-class and in a quasi-post-colonial set of power relations with a normatively central South, and t

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Class, Place and History in the Imaginative Landscapes of , in the inter-war period. This milieu is one that is largely absent from dramatic representation and rarely licensed for imaginative exploration in quality British television. This representation is founded in the ambition and mission of the series’ creator and author Stephen Knight, whose reflexive

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,: Compassion, Evil and Exploitation in an Ordinary ‘Trouble Town’call upon sympathies, attitudes and values comparable to those which underpin class affiliations. The possibilities of this are demonstrated through close analysis of the series . (BBC 2014–) with a particular focus on the moral positioning of its central character, Catherine Cawood, and her role in

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Animating Class in Contemporary British Televisiont ways, there remains a bias within contemporary scholarship towards live action representation over the animated form. This chapter seeks to address this imbalance by considering: the way our understanding of class has changed in recent years; how the animated ident intersects with notions of class

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formation available in this field is so substantial that several subvolumes are needed to cover it all. Subvolumes III/19a through III/19f treat the intrinsic magnetic properties, i.e. those magnetic properties which depend only on the chemical composition and the crystal structure. So far, subvolum

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ys and metallic compounds. The amount of information available in this field is so substantial that several subvolumes are needed to cover it all. Subvolumes III/19a through III/19f treat the intrinsic magnetic properties, i.e. those magnetic properties which depend only on the chemical composition