An incidental pleasure of watching a film is what it tells us about the society in which it is made. Using a sociological model, The British working class in postwar film looks at how working-class people were portrayed in British feature films in the decade after the Second World War. Though some of the films examined are well known, others have been forgotten and deserve reassessment. Original statistical data is used to assess the popularity of the films with audiences. With its interdisciplinary approach and the avoidance of jargon, this book seeks to broaden the approach to film studies. Students of media and cultural studies are introduced to the skills of other disciplines, while sociologists and historians are encouraged to consider the value of film evidence in their own fields. This work should appeal to all readers interested in social history and in how cinema and society works. -- .

Why are some films regarded as classics, worthy of entry into the canon of film history? Which sorts of films make the cut and why?" Movie Greats "questions how cinema is ranked and, in doing so, uncovers a history of critical conflict, with different aesthetic positions battling for dominance. The films examined range across the history of cinema: "The Battleship Potemkin," "The 39 Steps," "Modern Times," "Citizen Kane," "It's a Wonderful Life," "Black Narcissus," " The Night of the Hunter," "Lawrence of Arabia," "8 1/2," "2001: A Space Odyssey," "The Godfather," "Raging Bull," "The Pi"ano and "Kill Bill: Vol. 1." Each chapter opens with a brief summary of the film's plot and goes on to discuss the historical context, the key individuals who made the film, and initial and subsequent popular and critical responses. Students studying the history of film, canon formation or film aesthetics will find this book relevant, provocative and absorbing.