Ziel dieser Arbeit ist es, die Darstellung der britischen Arbeiterklasse in den beiden Filmen 'Brassed Off' (Mark Herman, 1996) und 'The Full Monty' (Peter Cattaneo, 1997) zu analysieren. Insbesondere soll dabei auf die sozio-ökonomische Situation der Charaktere, deren soziale Beziehungen untereinander, den 'Working Class Pride and Traditionalism', die männliche Identifikation der Figuren und ihre regionale Verwurzelung eingegangen werden. Die zentralen Fragen, die sich dahingehend stellen, sind: Wie werden diese Aspekte in den Filmen dargestellt? Und inwiefern werden sie stereotypisiert dargestellt?
Diese Arbeit beruht auf der Annahme, dass die meisten Stereotype auf das traditionelle Bild der 'working class' des beginnenden 20. Jahrhunderts zurückgreifen. Aus diesem Grund wird diese Ära und ihr Einfluss auf das Leben der Arbeiter näher betrachtet, um dann Rückschlüsse auf die Repräsentation der Arbeiterklasse in 'Brassed Off' und 'The Full Monty' ziehen zu können.
This essay, which is going to analyse the representation of class in 'Brassed Off' and 'The Full Monty', will particularly focus on the typicality of the representations. It will analyse the characters' socio-economic situation, their social bonds, the 'working class pride and traditionalism', the workers' male identity and their regional identity. The central question will be, in which ways the films can be seen as "typical" working class motion pictures. In this respect, the stereotyping of the social classes in these two films will particularly be focused on.
This essay is based on the assumption that most stereotypes refer back to the traditional image of the working class as it existed at the beginning of the 20th century. In this context, it shall be analysed if the makers of 'Brassed Off' and 'The Full Monty' also used such stereotypes to produce an image of "the good old working class". In order to gain an understanding of these working class stereotypes, the first chapter of this paper will deal with the "old" working class as it existed at the turn of the 20th century and its main characteristics.
Table of Contents
INTRODUCTION
PART I. THE BRITISH WORKING CLASS IN THE COURSE OF THE 20TH CENTURY
1. The "Old" Working Class
2. The "New" Working Class
3. Summary
PART II. THE REPRESENTATION OF THE WORKING CLASS IN THE FILMS BRASSED OFF AND THE FULL MONTY
1. The Characters' Socio-Economic Situation
2. The Social Bonds
3. Working class Pride and Traditionalism
4. The Workers' Male Identity
5. Regional Identity
CONCLUSION
BIBLIOGRAPHY
Research Objectives and Core Themes
This paper examines how the British working class is represented in the films Brassed Off and The Full Monty. The primary research goal is to investigate whether these films perpetuate traditional stereotypes of the working class or if they offer innovative, contemporary perspectives in light of industrial decline and shifting social structures.
- The impact of mass unemployment on social and psychic well-being.
- The intersection of masculinity, identity, and the loss of traditional male roles.
- The evolution of social bonds within working-class communities.
- The role of industrial landscapes and "sense of place" in filmic representation.
- Comparison between traditional class stereotypes and modern, realistic portrayals.
Excerpt from the Book
The Characters' Socio-Economic Situation
Both films, Brassed Off and The Full Monty, have one thing in common: the topic of unemployment. Regarding this, the films' concern with the growing problem of mass unemployment since the 1980s becomes obvious. And even the joblessness of men who had worked in a branch of the heavy industry is depicted in the films: Brassed Off, on the one hand, is about miners who just stepped into the process of losing their job, and The Full Monty, on the other hand, about steel workers who have already lost their jobs since their factory was closed.
However, as Monk (2000: 278) puts it, the problem of the films is not unemployment per se, but its psychic and emotional effects on the characters. This feature is, above all, represented in Brassed Off, as the film shows the workers' way to unemployment and its consequences. At the beginning of the film all men are still employed in the local coal pit. They are happy to work and seem to be optimistic about their future. However, as the following scenes show, this secure future is threatened by an announced closure of the pit. The workers' optimism changes into scepticism and anxiety about the forthcoming developments.
Summary of Chapters
INTRODUCTION: Outlines the historical context of British working-class film and defines the methodological approach to analyzing representation through the films Brassed Off and The Full Monty.
PART I. THE BRITISH WORKING CLASS IN THE COURSE OF THE 20TH CENTURY: Traces the transition of the working class from the traditional industrial identity to the socio-economic transformations caused by Thatcherism and de-industrialization.
PART II. THE REPRESENTATION OF THE WORKING CLASS IN THE FILMS BRASSED OFF AND THE FULL MONTY: Analyzes specific cinematic representations, including socio-economic status, interpersonal bonds, gender identity, and the significance of regional settings.
CONCLUSION: Synthesizes the findings, arguing that while the films retain some stereotypical imagery, they successfully highlight the innovative and painful realities of modern working-class life under economic pressure.
BIBLIOGRAPHY: Provides a comprehensive list of the academic sources and theoretical works cited throughout the analysis.
Keywords
British Cinema, Working Class, Brassed Off, The Full Monty, Unemployment, Thatcherism, Masculinity, Gender Roles, Social Identity, De-industrialisation, Stereotypes, Regional Identity, Film Analysis, Social Bonds, Industrial Decline.
Frequently Asked Questions
What is the primary focus of this research?
The paper explores how the British working class is represented in Brassed Off and The Full Monty, specifically focusing on whether these films reinforce or challenge traditional class stereotypes.
Which films are analyzed in this study?
The study centers on two notable 1990s British films: Brassed Off (1996) by Mark Herman and The Full Monty (1997) by Peter Cattaneo.
What is the main objective of the thesis?
The goal is to determine how these films interpret "real world" issues—such as mass unemployment—and to understand their typically "working class" narratives in a changing political and social landscape.
Which methodology is used to conduct the analysis?
The author uses a qualitative film analysis approach, integrating concepts of representation, typicality, and identity theory to evaluate how class is visually and narratively constructed.
What topics are covered in the main body of the work?
The analysis covers the characters' socio-economic situations, the strength of male and father-son bonds, the role of pride and traditionalism, shifts in male identity, and the significance of regional settings.
What are the key descriptors for the research?
Key terms include British Cinema, working class, unemployment, de-industrialization, masculinity, and social representation.
How does the transition of the "old" to "new" working class affect the characters?
The loss of traditional industrial jobs (mining and steel) leads to a loss of the workers' social basis, forcing them to redefine their masculinity and identity outside the traditional workplace.
What role does the "sense of place" play in these films?
Regional settings, such as Yorkshire, and the use of vernacular dialogue function as essential markers of authenticity that distinguish the working-class characters from the middle-class characters.
- Citation du texte
- Alena Friedrich (Auteur), 2003, The Representation of the Working Class in the Films Brassed Off and The Full Monty, Munich, GRIN Verlag, https://www.grin.com/document/14482
