By Stephen Glynn
Through shut textual and contextual research of British movies spanning a century, this publication explores how students, academics and secondary schooling ordinarily were represented at the British reveal. the writer addresses a few issues together with the character of public (fee-paying) and nation education; the values of exact, single-sex and co-education; the function of female and male lecturers; and the character of adolescence and youth itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema’s persisted explorations of faculty lifestyles highlights its value within the nation’s daily event and imaginary panorama. past this, the varsity movie, various in scope from good value exploitation to Hollywood-financed blockbusters, serves either as a prism by which you'll hint significant shifts within the British movie and as a barometer of the social and cultural matters of the cinema-going public. this is applicable particularly for gender, race and, in all senses, class.
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Additional resources for The British School Film: From Tom Brown to Harry Potter
There is fortitude: while shells fall Chips calmly instructs a pupil to continue reciting his Latin. There is fairness: when announcing Brookfield’s war losses, Chips names, alongside Colley, the ‘enemy’ Staefel, felled with his Saxon regiment. And there is firmness: when a pupil labels the masters ‘a lot of weak-kneed women’ for not being in the army (cf. ’ His lesson learnt, the contrite youth promises to ‘stick in and do [his] share’. MGM’s press release stressed THE EARLY PUBLIC SCHOOL FILM (1900–1945) 39 how ‘all that England is, and stands for, was brought with gracious dignity to the screen in this film version of James Hilton’s novel’ (Goodbye, Mr.
As headmaster, Smart is initially a prickly, small-scale authoritarian, unpleasantly spluttering as he bluffs his way out of situations escaping his minimal control. By the end, though, he has won audience sympathy, principally because he can never fully mask his essentially childish nature: rather than exert discipline, he prefers to play games with his pupils, be it rugby or surreptitious rounds of banker with the sixth-form. While Boys Will Be Boys breaks with the established public school code in not inculcating gentlemanly godliness and selfless service to the nation, it also breaks with carnival in revealing the ultimate deception that is adulthood and its concomitant social order.
4 THE BOYS’ PUBLIC SCHOOL CARNIVALESQUE George Orwell considers the school story particularly British because the nation’s education ‘is mainly a matter of status’. He elucidates: ‘The most definite dividing line between the petite-bourgeoisie and the working class is that the former pay for their education, and within the bourgeoisie there is another unbridgeable gulf between the “public” school and the “private” school’ (1970 : 518). The latter, aka ‘very cheap public schools’, afforded the veneer of middle-class respectability but offered a product of doubtful academic pedigree and if the popular reception of Downhill and Young Woodley demonstrated the enduring untouchability of top public schools, the cultural depiction of cheaper educational establishments bypassed pastiche straight to parody, becoming a staple of popular comedy.
The British School Film: From Tom Brown to Harry Potter by Stephen Glynn