LEADER 04173nam 22005295 450 001 9910255249503321 005 20200703193042.0 010 $a1-137-55887-3 024 7 $a10.1057/978-1-137-55887-9 035 $a(CKB)3710000000869113 035 $a(DE-He213)978-1-137-55887-9 035 $a(MiAaPQ)EBC4720246 035 $a(EXLCZ)993710000000869113 100 $a20160920d2016 u| 0 101 0 $aeng 135 $aurnn|008mamaa 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 14$aThe British School Film $eFrom Tom Brown to Harry Potter /$fby Stephen Glynn 205 $a1st ed. 2016. 210 1$aLondon :$cPalgrave Macmillan UK :$cImprint: Palgrave Macmillan,$d2016. 215 $a1 online resource (XI, 269 p. 20 illus.) 311 $a1-137-55886-5 320 $aIncludes bibliographical references at the end of each chapters and index. 327 $aSection 1 - Introduction -- Chapter 1: The School Film: A British Genre? -- Section 2 ? The Early Years Programme (1900-45) -- Chapter 2 ? The Early Public School Film -- Induction: -- Hitchcock and Co. ? Down with School!: -- Hilton and Co. ? Hurray for School!: -- The Boys? Public School Carnivalesque -- Section 3 ? The Middle Years Programme (1945-70) -- Chapter 3 ? The Post-War Public School -- The Right Stuff: -- The Wrong Woman: -- The Hay School: -- The Girls? Public School Carnivalesque: -- (Poetic) Realism and Tinsel -- Chapter 4 ? The Post-War State School Film -- The Right Stuff: -- The Wrong Woman: -- Tinsel and Realism: -- Approved School -- Section 4 - The Final Years Programme (1970- ) -- Chapter 5 ? The Contemporary School Film -- Fright School: -- Co-ed Carnivalesque (mostly): -- Queer School: -- Approved and Special School: -- Magic School -- 5. CONCLUSION -- Chapter 6 - The School Film: A British Genre. 330 $aThrough close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema?s continued explorations of school life highlights its importance in the nation?s everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class. Stephen Glynn has taught in British secondary schools for over thirty years and is currently an Associate Research Fellow at De Montfort University. He has published widely on British cinema, including Palgrave?s The British Pop Music Film: The Beatles and Beyond (2013). 606 $aMotion pictures?Great Britain 606 $aEthnology?Europe 606 $aChild psychology 606 $aSchool psychology 606 $aBritish Cinema and TV$3https://scigraph.springernature.com/ontologies/product-market-codes/413040 606 $aBritish Culture$3https://scigraph.springernature.com/ontologies/product-market-codes/411050 606 $aChild and School Psychology$3https://scigraph.springernature.com/ontologies/product-market-codes/Y12040 615 0$aMotion pictures?Great Britain. 615 0$aEthnology?Europe. 615 0$aChild psychology. 615 0$aSchool psychology. 615 14$aBritish Cinema and TV. 615 24$aBritish Culture. 615 24$aChild and School Psychology. 676 $a791.430941 700 $aGlynn$b Stephen$4aut$4http://id.loc.gov/vocabulary/relators/aut$0852640 906 $aBOOK 912 $a9910255249503321 996 $aThe British School Film$92533323 997 $aUNINA