The document discusses how representations of Britishness have changed over time in films from different decades. It provides examples from the 1935 film The 39 Steps and the 2009 film Fish Tank to show how portrayals of women have become more powerful and independent in contemporary cinema compared to earlier decades. For men, it analyzes the 1998 film My Name is Joe and the 2010 film Tamara Drewe, finding that modern films often depict men in a "masculinity in crisis" as unemployment and non-traditional gender roles increase. Overall, the document examines how films from different eras have reinforced or challenged stereotypes related to gender and social class in Britain.

1. How do representations of
Britishness compare to previous
time periods?
HMK: 500 words on this question

2. How do representations of
Britishness compare to previous
time periods?
Point: British women are portrayed as more powerful in
contemporary cinema than previous decades.
Evidence: In Fish Tank (2009) directed by Andrea Arnold, Mia
(Katie Jarvis) is a strong independent woman signified by the
close up of her headbutting her best friend which connotes
she’s taking control of her situation.
Explain: This links to David Gauntlett’s theory of decline in
tradition. Mia is standing up for herself which in films in the
past for example The 39 Steps (1935) directed by Alfred
Hitchcock the female character on the train was shown being
dominated by the lead character who forcefully kissed her
and she let him. This represents her character as a traditional
30s woman.

3. Charlie’s example
• The portrayal of British men has changed within films.
• In My Name is Joe (1998) directed by Ken Loach, Joe is
unemployed signing on. There is a low angle shot
showing Joe painting connoting he looks for odd jobs
to earn an untaxable income.
• This supports David Gauntlett’s theory of masculinity in
crisis because men are supposed to be the
breadwinner. An opposing example to this is Ben
Sergeant (played by Dominic Cooper) in Tamara Drewe
(2010) is a commercially successful popstar. This is
represented by the young girl stealing his t shirt which
connotes he is a desirable icon unlike Joe.

4. Compare Alfie (1966) Gilbert and 39
steps (1935) Hitchcock• Rep of Britishness through gender/class
• Are stereotypes reinforced or challenged?
• 30s – ‘Many full-length films were produced during the decade of the 1930s. The
1930s were a decade of political turmoil and economic problems; the great
depression had affected the entire world, and Europe was dealing with both the
fallout of World War I and the economic hardships of the time, both of which
resulted in the rise of fascist (intolerant/domineering/authoritarian) political
movements. The uncertainty of the era resulted in widespread popularity of
fantastical, escapist fare.’
• ‘mainstream critics said that the films, whether big or low budget, failed to reflect
social reality, depict ordinary British life or venture beyond the confines of a
studio.’
• 60s – ‘By the middle of the decade, the focus was back on London, newly
confident as the home of a thriving music and fashion scene that was envied
worldwide. The 'swinging London' phenomenon spawned a coterie (exclusive
group) of films’
• Alfie – Paramount – budget $800,000 – took $18 million
• 39 Steps – Gaumont British (independent) / no box office figures

5. 39 steps
• China tea set – wealth
• Suits, diegetic dialogue, unity, groomed, overcoat
• Police are good/trusted
• Train – exciting/wealth/adventures/escapism
• Challenged – on side of villain
• Woman allowed him to kiss/handed him over to police
– traditional values
• Male lead

6. Alfie
• Cockney accent – well dressed, nice car – reinforcing
London in the 60s
• Breaking the fourth wall – piece to camera – breaking
traditional filmmaking rules
• Checkered suit – against tradition/cleavage – sexual
liberation/reinforcing
• Institution of marriage challenged – positive affair
• Diegetic dialogue: ‘it’ll go home happy’ Objectifying
women – challenging 60s stereotypes
• Married woman trapped, boring, sad – plain looking, no
makeup
• Dog – balance negative associations

7. Key texts to compare – female leads
• Fish Tank (2009) Andrea Arnold
• production company: BBC films, UK film
council, Limelight Communication, distributed by IFC
• Tamara Drewe (2010) Stephen Frears
• Production company: BBC films, UK film council, Ruby
films, distributed by Momentum, Sony US
• Bridget Jones Edge of Reason (2004) Beeban Kidron
• Production: Working Title distributed by Universal
• Educating Rita(1983) Lewis Gilbert
• Acorn pictures distributed by Columbia

8. Comparisons of British female leads
• Educating Rita
• Bright colours, not a
serious character
• Confident and bold/naiive
– negative connotation of
manners/behaviour
• Liverpool (northerner) –
positive (fun, upbeat)
• Ambitious (literacy
degree)
• 80s Thatcher, powerful
women
• Bridget Jones
• Negative representation
Nervous, wants a man (not
complete), low self esteem,
clumsy, scruffy, not taking care of
herself
Emphasis marriage and a family
unit
Positive – well spoken, good job
Male – higher class – first class on
plane – man saves her
Pride and Prejudice

9. SOCIAL IMPACT
• What IMPACT do films have on you?
• On your identity?
• On society?

10. Positive social impact Negative social impact
Independent woman/more of a voice –
Gauntlett’s Girl Power
Masc in Crisis – not bringing home the
bacon/ Decline in Tradition – men’s roles
changing/role reversal with women
Bridget Jones Effect – changing emotions
– identity from U&G – relating to
character
Imitable behaviour – copycat of
Clockwork Orange Violence
Economic growth, tourism, generating
sales of DVDs, cultural contribution.
Funding and space limits growth of UK
film industry
Desensitisation – ratings adjusted to
accommodate current trends in
language etc – Hypodermic needle
model

11. Positive social impact Negative social impact
Independent woman/more of a voice –
Gauntlett’s Girl Power
Masc in Crisis – not bringing home the
bacon/ Decline in Tradition – men’s roles
changing/role reversal with women
Bridget Jones Effect – changing emotions
– identity from U&G – relating to
character
Imitable behaviour – copycat of
Clockwork Orange Violence
Economic growth, tourism, generating
sales of DVDs, cultural contribution.
Funding and space limits growth of UK
film industry
Desensitisation – ratings adjusted to
accommodate current trends in
language etc – Hypodermic needle
model

12. SOCIAL IMPACT
• What IMPACT do films have on you?
• Change opinions/beliefs/relate/empathise with the
characters – shape who you want to be/think
differently/ enjoyment/entertainment/utopian feel
• On your identity?
• Aspirational needs/behaviour changes/career path….
• On society? change views
• Educates/inform – world events/culture/issues/politics
• Passive audience – Stuart Hall’s preferred
response/Hypodermic needle model
• Uses and Gratifications Theory

13. SOCIAL IMPACT
• What IMPACT do films have on you?
• Escapism, entertainment, knowledge, social interaction…uses and
gratifications
• On your identity? (active/passive)/hypodermic needle/U&G
• Reinforcing/challenging stereotypes – consider your
appearance/behaviour/beliefs/opinions
• On society? (major or independent/niche vs mainstream audiences)
• Prejudice, think differently, live differently – The Bridget Jones
effect/generation…ideology/hegemony(dominant ideologies –
breakdown of family/single girls settling down)

14. Which film will have the most social
impact?
• Fish Tank (2009) Andrea Arnold
• production company: BBC films, UK film
council, Limelight Communication, distributed by IFC
• Tamara Drewe (2010) Stephen Frears
• Production company: BBC films, UK film council, Ruby
films, distributed by Momentum, Sony US
• Bridget Jones Edge of Reason (2004) Beeban Kidron
• Production: Working Title distributed by Universal
• Educating Rita(1983) Lewis Gilbert
• Acorn pictures distributed by Columbia

15. Social impact
• Fish Tank
• Single Mum struggling – social worker –
asynchronous sound – ‘hard being on your
own’
• Mia’s limited opportunities/neglected alcohol
abuse
• Masc in crisis/decline in tradition – Conor has
a more feminine role – nurturing her
• Objectification of him undressing/voyeuristic

16. Social impact
• Tamara Drewe
• More in control of relationship – he’s chasing her
– masc in crisis
• Teens – fantasising, troublesome, reinforces
typical teen stereotypes (passive audience)
• Beth as a motherly figure –
insignificant, belittles, ignores – he’s the
important figure – sexist traditional roles –
subverts masc in crisis
• Andy vs Ben – roles changing over time –
juxtaposition/binary opposites – stark contrast of
modern vs traditional man

17. Which film has the most social impact?
• Educating Rita (1983)
• Bridget Jones Edge of Reason (2004)
• Fish Tank (2009)
• Tamara Drewe (2010)

18. The Bridget Jones Effect
• Read the articles
• In what ways can a film affect society?

19. TASK 30 mins: apply today’s targets
What are the social implications of
different representations of
Britishness?
500 words on this question.

20. Most social impact
Educating Rita Bridget Jones Fish Tank Tamara Drewe
Aspire – lower class
(liverpool) –
ambitious –
aspirations/motivati
ons education
Worldwide – major
companies – more
impact
Relatable character
empathise
Educating middle
classes on lower
class
Aspirational, well
spoken, large
houses
One off False
representation
niche Image obsessed,
unhappy