The term “heritage film” is not easily recognised, even among fans of historical films and costume dramas. That is because it does not describe a genre of films as such, but rather a critical concept that is associated with “a powerful undercurrent of nostalgia for the past conveyed by historical dramas, romantic costume films and literary adaptions”. Costume dramas were neither new nor confined to the UK, as films such as “Gone with the Wind” (1939, US) and “My Fair Lady” (1964, US) prove, however it was the British film studies that defined the term “heritage film” in the early 1980s in light of the National Heritage Act. The original cycle refers to films, almost all of them adapted from literature, from the 1980s and 1990s that depict pre-Wold-War-II England in a nostalgic fashion. The basic ideas and concepts of the plot and the setting tend to be very similar. Nostalgia, the image of the upper-middle class and rural white Englishness are used to define a supposed English national identity. Because of these features, the heritage films were quickly related to Thatcherism and the very conservative Thatcherite values. In this essay, I am going to look at three films that are considered “heritage”, two of them coming from the first stages of the heritage film in the 1980s and the third one coming from the late 1990s when the heritage film had already undergone a major shift due to changes in politics and it being criticised. In comparing the three films firstly to the Thatcherite values and secondly to each other, I will look at the conservative undertones and the shift they underwent.
Inhaltsverzeichnis (Table of Contents)
- The Conservative Side of the Heritage Film
- The Early Heritage Films and their Relation to Thatcherism
- Chariots of Fire (1981)
- A Room with a View (1985)
- Shakespeare in Love (1998)
- Criticism of the Heritage Film
Zielsetzung und Themenschwerpunkte (Objectives and Key Themes)
This essay aims to analyze the conservative undertones present in a selection of British heritage films, specifically "Chariots of Fire" (1981), "A Room with a View" (1985), and "Shakespeare in Love" (1998). By comparing these films to the prevailing Thatcherite values of their respective eras, the essay explores the evolution of the heritage film genre and its relationship with political shifts in Britain.
- The conservative values reflected in British heritage films
- The relationship between heritage films and Thatcherism
- The changing nature of the heritage film genre over time
- The role of costume and setting in constructing national identity
- The critical reception of heritage films and their perceived limitations
Zusammenfassung der Kapitel (Chapter Summaries)
The essay begins by introducing the concept of "heritage film" and its association with nostalgic portrayals of pre-World War II England. It then delves into the historical context of the genre's emergence in the 1980s, linking it to the rise of Thatcherism and its conservative values.
"Chariots of Fire" is analyzed as the quintessential Thatcherite heritage film, highlighting its emphasis on costumes, setting, and white male protagonists as markers of "Britishness." The film's portrayal of religion is discussed, noting the presence of both Christianity and Judaism in contrast to the Conservative government's preference for a Christian society.
"A Room with a View" is examined in the context of the evolving political landscape, suggesting a decline in patriotism and a more critical view of British conservatism. The film contrasts the restrictive English upper-middle class with the freer Italian culture.
"Shakespeare in Love" is presented as a later example of the heritage film, showcasing both typical elements of the genre and a more open attitude towards non-conservative views. The film's portrayal of a female character who defies traditional gender roles and the shift in political power to the Labour Party are discussed.
Schlüsselwörter (Keywords)
The main keywords and focus topics of this essay include: heritage film, Thatcherism, conservatism, British cinema, costume drama, national identity, nostalgia, class, gender, politics, and critical reception.
- Quote paper
- Marie Will (Author), 2019, The Conservative Side of the Heritage Film. "Chariots of Fire" (1981), "A Room with a View" (1985), and "Shakespeare in Love" (1998), Munich, GRIN Verlag, https://www.grin.com/document/1369020
