Stephen Frears

British Directors: Stephen Frears (1941-)

VISIT THE BRITISH DIRECTORS HUB PAGE 

Introduction

Stephen Frears has had a fine film making career making many notable British films some of which have had a controversial edge live My Beautiful Laundrette and Sammie and Rosie Get Laid. With these films and with Dirty Pretty Things Frears has shown he can make films with his finger on the pulse of social change.  His most successful recent film was The Queen which won many accolades. A fuller evaluation will appear in due course however there are a good range of web links established to aid research. 

Filmography

2006: The Queen

2005: Mrs Henderson Presents

2002: Dirty Pretty Things

2000: High Fidelity; Liam

1998: The Hi-Lo Country

1996 The Van

1995: Mary Reilly

1993: The Snapper

1992: Accidental Hero

1990: The Grifters

1989: Dangerous Liaisons

1987: Prick Up Your Ears

1987: Sammy and Rosie Get Laid

1985: My Beautiful Laundrette

1984: The Hit

1979: Bloody Kids

1971: Gumshoe

Film availability 

Webliography 

Screenonline Biography.(Excellent range of other links to specific films here) 

Guardian Interview Stephen Frears

BBC Interview on Dirty Pretty Things

Daily Telegraph. Film Makers on film: Stephen Frears

BBC Film Network  page on The Queen. Clip and trailer available here. 

BFI Governors page on Frears 

Guardian on Frears as Chairperson of the Cannes Jury 2007 

David Thompson in the Independent 2nd Jan 2008 on Stephen Frears

Britfim Frears heads Cannes Jury

Guardian interview of Frears 2004 (who reveals that he watches Big Brother) 

Skillset Frears takes part in mentoring scheme

RETURN TO BRITISH DIRECTORS HUB PAGE 

: 02 Jan 2008 14:14 |  Tags: A Level Media Studies British Cinema British Cinema From 1990 Contemporary British Cinema Contemporary British Directors Film Education Kinoeye Stephen Frears |  Comments (0) |  Close comments |  Report a problem

Dirty Pretty Things. Dir Stephen Frears

Dirty Pretty Things: 2003. Dir. Stephen Frears

(For Kinoeye entry on Stephen Frears link here)

(See also Kinoeye Reference on Globalisation) 

NB:

Warning: Teacher and Lecturer Warning. It is possible for students to subscribe to a response to a question on this film !

Introduction

This entry is currently going to be limited to being a webliography. It is part of an ongoing analysis of contemporary British cinema and its responses to the processes of globalisation and diaspora which are a major feature of contemporary networked society. As such it is cross linked to this entry: Contemporary British Cinema: Representing the World Locally

Awards and Accolades

The Political Film Society has nominated Dirty Pretty Things as best film exposé and best film on human rights of 2003. MH

BIFA awards won by Dirty Pretty Things

2003

• Best Screenplay (Steve Knight)
• Best Director of a British Independent Film (Stephen Frears)
• Best British Independent Film
• Best Performance by an Actor in a British Independent Film (Chiwetel Ejiofor)

BIFA nominations received by Dirty Pretty Things

2003

• Best Screenplay (Steve Knight)
• Best Director of a British Independent Film (Stephen Frears)
• Best British Independent Film
• Most Promising Newcomer (Chiwetel Ejiofor)
• Best Performance by an Actor in a British Independent Film (Chiwetel Ejiofor)
• Best Performance by a Supporting Actor or Actress in a British Independent Film (Sophie Okonedo)
• Best Performance by a Supporting Actor or Actress in a British Independent Film (Benedict Wong)

Webliography 

BBC Film Review Dirty Pretty Things

BBC Interview with Stephen Frears

Daily Telegraph review of Dirty Pretty Things

Daily Telegraph interview with Stephen Frears

Indiewire review and interview of Dirty Pretty Things and Frears

Wikipedia on Dirty Pretty Things

Guardian Review Dirty Pretty Things

Guardian Review with Chiwetel Ejiofor

Literary London review of Dirty Pretty Things

British Council Brit Films Catalogue entry Dirty Pretty Things

Political Film Society Review of Dirty Pretty Things

British Medical Journal Review of Dirty Pretty Things

Camera Obscura article on Dirty Pretty Things. This requires subsription access 

Screenonline biography of Stephen Frears 

Film Availability :            

Dirty Pretty Things is available from MovieMail here.

RETURN TO BRITISH DIRECTORS HUB PAGE 

: 26 Dec 2007 11:32 |  Tags: A Level Media Studies British Cinema Cinema Of Diaspora Contemporary British Cinema Contemporary British Directors Dirty Pretty Things Film Criticism Film Review Kinoeye Stephen Frears |  Comments (0) |  Close comments |  Report a problem

Contemporary British Cinema: Representing The World Locally

Contemporary British Cinema: Representing the World Locally

Preface:

If you have arrived here from the Chronology of European Cinema page the reason is that the film you are interested can be understood as part of the theme above.  You will find  a link below which will take you to a specialist page. See also Globalisation and Cinema Hub Page

Introduction: The Misrepresentations of Global Cinema

As an important media form Cinema as a whole functions through systems of representing the world . How it represents the world and what it represents are extremly important in terms of influencing opinion. The whole global economy is currently in a phase which Manuel Castells has described as a 'Networked society' others call it 'information society' and the 'information economy'. Whilst some consider that the Capitalist system underpinnng this phase is 'Late' Capitalism this comment is more speculative and / or polemical than proven. What is the case is that liberal, largely uncontrolled and deregulated, free market capitalism as an economic system has never been so powerful as it is in its current phase. The collapse of the Soviet Union and the Soviet bloc of Eastern and Central Europe from 1989 onwards has been a central part of this process. The economic regime institued by the Thatcher / Reagan coupling was called "Shock Therapy" in which vast numbers of citizens in the former Soviet Union and the Eastern bloc lost their savings and their jobs. The old style communict China becoming increasingly isolated it has been  changing its  internal model  of the economy and the  political management of this to accomodate capitalism. As a result it now plays a hugely important role in world markets as it has taken over the mantle of 'workshop of the world', a mantle that was a British one for much of the 19th century. 

The human cost of this process has been and is horrendous but much of this process has been largely unrepresented in the popular media. where it has been represented the outcomes of these vast global changes has been represented as a threat from the desperate victims  who have been placed in camps in France whilst trying to gain access to the UK by both legal and illegal means.

The reality which many especially those in the middle and controlling elites choose to ignore is that large cities operate largely on the basis of this informal economy of undocumented labour who through this process lose many of thier human rights. It is a process which has been going on longer in the United States and the theorist Mike Davis in his book City of Quartz out in the early 1990s reported on whole shanty cities full of undocumented workers from Latin America as satellite cities of Los Angeles. Naturally Hollywood cinema has not seen fit to represent these social and cultural issues at a serious level.

Contemporary British Cinema: Representions of the Oppressed 

British cinema, even in Britain itself, is on the margins of the dominant systems of representation (see The Irresistable Rise of the Multiplex) in recent years it has developed a proud tradition of representing the underdog and ensuring that at least a few people gain a different understanding to the process of real life away from the pathetic populist celebrity glamour that dominates so many media forms. 

As can be seen from the list of films below the themes of diaspora and migration and a range of different perspectives upon these processes give us a chance to gain a better understanding of the world.  Of the various subthemes which this important response led by British cinema has neglected perhaps the organised criminality associated with sexual exploitation and the sex trade is the most important. It is dealt with partially in Last Resort and Dirty Pretty Things but the film which most powerfully represent this deeply nasty trade is Lilya 4-ever. Finally the British government is in the process of creating legislation to clamp down on this social evil:

Do we think it's right in the 21st Century that women should be in a sex trade or do we think it's exploitation and should be banned (Harriet Harman in BBC report)

This is of course controversial but should not be cosidered as creating a prurient regime rather as removing a mechanism of exploitation in society. Despite the outrage - mainly from men - in the BBC comments box, sexual commodification deeply degrades and denases humanity. Most of those who are victims of it are forced in by economic circumstance, other pressures or through a childhood of sexual abuse. As such the sex trade reinforces and reflects the unequal relationships of economic and gender power within society.

British Cinema and Diaspora

The list of recent British films which have diaspora and migration as a strong underlying theme include:

• The Last Resort: 2000. Pawel Pawlikowski
  
• Dirty Pretty Things: 2003. Stephen Frears
  
• In this World:2002. Michael Winterbottom
• Ghosts: 2007. Nick Broomfield
  
• It's a Free World: 2007.  Ken Loach
  

Diaspora Cinema 

Conference on the Industrial Context of Diaspora and Migrant Cinema

Film Availability :     

: 25 Dec 2007 14:51 |  Tags: A Level Media Studies British Cinema Contemporary British Cinema Contemporary British Directors Ken Loach Kinoeye Michael Winterbottom Nick Broomfield Pawel Pawlikowski Stephen Frears |  Comments (0) |  Close comments |  Report a problem

Chronology of Important European Films

A Chronology of Important European Films  1918 - 2003

Introduction 

This page is work in progress. Many links have been made to in site or external reviews or places where the film can be purchased; films post 2003 are now being  added. Gradually in site 'hubs' are being developed for specific national directors so that clicking on an entry will allow the visitor to access the hub where links to more specialist information on the directors will become available. This is currently a long process and will take many months. The development plan for this aspect of the site work is to open up director based pages which will provide links to the currently best available relevant web sites based upon a Google search  of normally up to page 20.

Objective 

The primary purpose of this entry is to allow visitors to start to make comparisons across national boundaries by gaining a more synoptic view of cinematic developments in parallel countries. This accords with the main cinematic purpose of the blog which is to contribute towards an understanding of European film history in the five major industrial countries of Europe since the end of the First World War.

Many directors worked in a number of countries and, as in any other cultural industry, there are plenty of crossovers becuase cultural workers such as directors and cinematographers are often chosen for specific skills or want to work in a different country to gain a more cosmopolitan experience. Visconti, for example started working with Renoir in France before the Second World War, Emeric Pressburger worked in Berlin before choosing to escape Nazism and coming to Britain. Cavalcanti worked in France and then Britain was brought up in Switzerland and was of Brazilian origin. Truffaut worked with Rossellini briefly. This is of course the tip of the iceberg and signifies the importance of cross-cultural influences within the growth of European cinema. A tradition that carries on to this day.   

Uses For This Page 

This page should help a wide range of people who have an individual, academic or film programming interest in European cinema. First of all, my apologies to visitors who are disappointed because their country is not included in the list. I have chosen to focus on the five major industrial countries of Europe as my main area of research and development. All five are currently members of G8 the World's largest GDPs. Compared to the United States all these countries struggle to get a thriving independent film which has a large audience in its own country. This basic fact about issues of the cultural representation of a range of cultures is an important aspect of what can be termed cultural citizenship.

The definition of cultural citizenship is one which argues that people from different places are able to represent themselves to the rest of world. Out of the Western European countries studied here only France has managed to maintain a very powerful indigenous film culture largely because of its film policies which necessarily extend into the sphere of exhibition and distribution.

To develop more work on more European countries is beyond the scope of an individual blogger. This huge absence points the way to thinking about how to develop a much more powerful pan-European film culture which takes on board the need to develop audiences as well as exhibition, distribution and production systems. For those interested in current institutional initiatives please link here to the European Film Institutions page

Hopefully this blog and page will contribute to this greater idea. For any interested visitors the page should contribute to gaining an overview of European cinema as it has developed since World War I. This date has been chosen as it was a turning point in World history marking the transition of global power from European Empires to the United States although of course it took many decades to complete the transfer.  

The page should help those running film clubs and societies who are trying to work out their programming, it should also help students and those independently interested in European cinema to quickly develop ideas and themes which can then be followed up. 

Underwritten Films and Directors 

One reason for doing this undertaking was to discover which films / directors were underwritten on the web. Whilst most searches will turn up highly specialist articles in small academic journals which require users to be members of a subscribing university there are sometimes very few well informed and well written in depth articles about certain films and / or directors. As I gradually make my trawl  I will note here where there seem to be weak spots in web coverage. This might stimulate interest in the films and ensure that they still remain available.

Taviani Brothers: For most of the films I have been searching so far there is relatively little quality in depth material to recommend. They have made a lot of powerful films in Italy and deserve more serious web recognition. 

Francesco Rosi: This is another director who remains underwritten on the web. Again he has made a lot of important films about Italy frequently with a strong humanitarian / political edge. 

Luchino Visconti: Regarding his 1976 film L'Innocente there is little of any use on a Google search at present. The link I have goes to a Google sample of Henry Bacon's book - this is highly recommnded by the way. The English entries via Google on Senso are generally weak despite the importance of the film as recognised by Nowell-Smith and Dyer.

Rene Clair: Le Silence est d’or there is very little available in English on a Google search.

Guiseppe de Santis: One important point to note is the fact that Bitter Rice has not been available in the UK for a considerable period of time. This is surprising to say the least because not only is it seen as an important film in the canon of Italian neorealism but it was also one of the most commercially successful of the neorealist canon. 

The Chronology

: 19 Oct 2007 22:00 |  Tags: Angry Anthony Asquith Anton Corbijn Antonioni Askoldov Bertrand Tavernier British Cinema Chronology Of European Cinema Claude Lanzmann Clouzot Edgar Reitz European Cinema European Cinema History European Cultural Studies European Directors European Film Studies Fassbinder Fellini French Cinema Fritz Lang G W Pabst Godard Gurinder Chadha History Of European Cinema Italian Cinema Jean Rouch John Schlesinger Josef Von Baky Ken Loach Kieslowski Kinoeye Leni Riefenstahl Lindsay Anderson Louis Malle Michael Haneke Michael Winterbottom Mike Leigh Pasolini Paul Greengrass Renoir Rivette Robert Hamer Rohmer Rossellini Russian Cinema Silence Soviet Cinema Stephen Frears Tarkovsky Taviani Brothers The Timeline European Cinema Tony Richardson Truffaut Vertov Visconti Volker Schlondorff Von Trotta |  Comments (0) |  Close comments |  Report a problem

Directors for Contemporary British Cinema

British Directors in Contemporary British Cinema

Return to Contemporary British Cinema Hub

All active links lead to in house pages on the specific director. Some are still under construction and may not be currently accessible. Please try again soon.

Each page will have a specific webliography and will also have both internal and external links to a range of their films. Obviously this is a major development undertaking and there are currently 30 directors listed below with some more who need to be added. 

Apologies for any shortcomings. British contemporary cinema is going to be a key development area in the coming weeks as many visitors are likely to be having an exam on it in the summer. It is recommended that you vist the relevant pages reasonably frequently as there will be quite a lot of change. Pages will be opened as soon as possible and the priority will be to provide a range of the best possible current web links which are considered as good quality.  

I hope you will find the system useful.  

Introduction

This posting is aimed at the interested general viewer in keeping up to date with British Films and film makers. It also functions as a core resource for the current OCR A2 Unit on Contemporary British Cinema.

Please note the term British Cinema is not the same as British Films. Cinema refers to the industrial systems of production, distribution, and exhibition as a whole. It can also refer to the criticics and reviewers who are employed at any given moment. Directors and the films they make here are only a small part of the industry as a whole.

The list below is primarily taken from the BFI Screenonline Directors on British and Irish Cinema.  There are a couple of inclusions of directors who don't really make films in the UK or about the UK. Sir Ridley Scott being one of these and Sir Alan Parker being another. They tend to prove the rule that Hollywood is the global centre of filmmaking which is both American and yet has an extra dimension to it which proves highly attractive to the most successful filmmakers in the world in terms of gaining audiences at least. There are some surprising omissions from the Screenonline listings such as Paul Greengrass. Here I have linked to Wikipedia in the first instance.

List of Contemporary British Directors

Arnold Andrea (1961 -).

Attenborough, Richard (Lord) (1923 - ) 

Bird, Antonia (1959 - ) 

Boyle, Danny (1956-) 

Branagh Kenneth (1960 -) 

Broomfield, Nick (1948 -) 

Chadha, Gurinder (1960 - )

Corbijn Anton

Dibb Saul (?) 

Daldry, Stephen (1961 - )

Davies, Terence (1945 - )

Figgis Mike (1948 -)

Forsyth, Bill (1946 -) 

Frears, Stephen (1941 -) 

Gavron, Sarah (    ) 

Gilliam, Terry (1940 - ) 

Greenaway, Peter (1942 -)

Greengrass, Paul (1955 - )

Hodges, Mike (1932 - )

Herman, Mark (1954-)

Joffe Roland (1945 - ) 

Jordan, Neill (1950 -) 

Julien, Isaac (1960 - )

Kapur, Shekah (  )

Leigh, Mike (1943 - )

Loach, Ken (1936 - ) 

Madden, John (1949- )

Meadows, Shane (1973 -) 

Minghella, Anthony (1954-2008)

Parker, Alan (Sir) (1944-) 

Pawlikowski Pawel (?)

Poliakoff Stephen (1952-)

Potter, Sally (1949 -) 

Ramsay Lynne (1969 -)

Ritchie Guy (1968 - )

Scott, Ridley (Sir) (1939 -) 

Williams Paul Andrew (?) 

Winterbottom, Michael (1961 - ) 

Wright Edgar (1974 -   ) 

Wright Joe (1972- )

TO VIEW OTHER CINEMA DEVELOPMENTS IN BRITAIN AND EUROPE PLEASE GO TO THE CHRONOLGY OF EUROPEAN CINEMA HUB PAGE

Return to Contemporary British Cinema Hub

: 16 Jun 2007 07:43 |  Tags: Andrea Arnold British Cinema From 1990 British Film Directors Contemporary British Cinema Contemporary British Directors Hub Danny Boyle Gurinder Chadha Guy Ritchie Hub Page Ken Loach Kinoeye Lynne Ramsay Michael Winterbottom Mike Figgis Mike Leigh Nick Broomfield Ocr Media Studies Ors Paul Greengrass Peter Greenaway Sally Potter Sarah Gavron Shane Meadows Stephen Frears |  Comments (0) |  Close comments |  Report a problem

Book Review 1: My Beautiful Laundrette

Book Review: Christine Geraghty. 2005 My Beautiful Laundrette. London: I.B. Tauris £9.99

Preface: This article is now part of an interlinked theme called Representing Changing Britain: Ethnicity and Hybridity. If you have visited this page via another route you may wish to follow this perspective on contemporary British Cinema.

Introduction
.
The specialist publisher I. B. Tauris has teamed up with Turner Classic Movies film channel to develop The Turner Classic Movies British Film Guides . The series was launched in 2003 and the fact that I have seen so few of them about on the shelves of bookshops varying from University of Warwick bookshop to Birmingham and Coventry branches of Waterstone’s is disturbing. When this happens it is little wonder that British cinema is held unjustly in low esteem. Critical coverage of our best films is a fundamental part of cultural citizenship. It is thus worth reviewing and hopefully revitalising sales of these books. This review and those which follow on this blog are not conducted on the grounds that they are new, but on the grounds of the ‘long tail’ argument which has been advanced and analysed elsewhere on this blog. If something is worth reading then it is, worth reading.

On the basis of Geraghty’s book on My Beautiful Laundrette and a swift glimpse at some of the other ones I have received for review this series of monographs on individual British films is doing what it says it intends to on the inside cover which is to : ...comprehensively refute the ill-informed judgement of French director Francois Truffaut that is cinema.

Priced to go, at a very reasonable £9-99 these books are ideal for those who wish to engage with a film more deeply either from direct personal interest or as a student completing a film or media studies course.

The books are well researched, well written and don’t go off into the depths of ‘theoretical practice’ at the expense of the film. They are a good match for the French cine guides also produced by I. B. Tauris which I’m more familiar with.

The titles in both series are written by well known academics and critics and effectively act to bridge that gap in film studies literature which veers between total populism on the one hand and obscure academicism on the other. In short, they provide an intelligent read for the train being a handy size to carry around.

My Beautiful Laundrette

My Beautiful Laundrette was made in 1985 by Stephen Frears and scripted by Hanif Kureshi. It was certainly one of the most interesting British films of the 1980s and certainly deserves a full monograph devoted to it. Along with films such as Mike Leigh’s Meantime it spoke to a disaffected youth culture who had a rebellious consciousness which had been honed by the growth of political and cultural such as ‘Rock Against Racism’ the ‘Anti Nazi league’, anti-fascist marches in Lewisham, ‘Gay Pride’ and mass radical cultural events sponsored by the Greater London Council (GLC). Despite the triumphs of the Thatcher government there had been strong resistance to it from London under the leadership of ‘Red Ken’ Livingstone and other cities such as Sheffield at the time had been supporting radical cultural politics.

The audience for a film like My Beautiful Laundrette was an audience without a film until that point. The fact that Hanif Kureshi appears on the London cultural scene at this time is less than coincidence. The reason why the film was so successful in Britian, apart from the cinematic elements which Geraghty explores very thoroughly, was this rich cultural environment. Had it been just a ‘boring but worthy’ film then it would have been consigned to the dustbin of history.

I have a criticism of Geraghty for sidestepping the cultural context from which the film grew. In her introduction she argues for a corrective position set against a critical backdrop which has emphasised the social and political importance of the film. Geraghty instead argues that much of the film’s success was based upon its aesthetics and its cinematic art. Here there is a tendency to slip into the polarisation of text / context as different methods whilst I prefer to use SPECT (social / political / economic / cultural / textual) as a combination. My Beautiful Laundrette fits into all of these categories rather well, which is unusual.

Throughout the book there is a lack of recognition of the hybrid nature of many young people at the time, certainly in the more progressive cities of Britain in any case. It was they who provided the audiences because it was a part of their lived cultural experience. Geraghty makes the point that having a cinema release was a status thing from within the British cultural establishment gaining access to a critical weight which would have been absent had Channel 4 chosen to go down the route of premiering the film on TV. In fact the film gained around 8 million viewers on two screenings on TV. Geraghty seems to be putting this down to its mode of release rather than the fact that there was a ready made target audience. The film would probably have gained similar numbers of viewers in the UK if had just come out on TV because of the cultural milieu from which it grew. On the other hand Geraghty is certainly right when it comes to overseas reception and distribution.

At the time the film was surrounded by controversy in the UK because many in the readymade audience were concerned with having ‘positive’ role models. Kureshi’s original play was having none of this and both play and film stood up for making the characters have human foibles rather than cardboard cut-out ‘good’ Asians. Many a late night smoke ridden argument was held about whether the film was politically progressive or regressive.

Room for some qualitative audience research

Whilst Geraghty homes in on the academic critical debate around black British cinema from academic luminaries such as Stuart Hall, Paul Gilroy and Kobena Mercer this is a film where some qualitative audience research wouldn’t have come amiss. Some memories and experiences of people at the time might have been welcomed both from readers who were around at the time and from current students. This would have been especially valuable given as Geraghty notes from her own students that they think it is an old film. Perhaps there’s a research project there for somebody.

Narrative, Mise en scene and Performance

Geraghty does some excellent analysis of the narrative particularly in relation to the narrative theories of Todorov which makes the book valuable student reading to accompany the film. As a contiguous narrative there are many strands the relationship between Nasser – Omar’s Uncle – and his mistress are but one.

She makes some very pertinent comments about the performances noting that whilst the film seemed to be a launch platform for Daniel Day-Lewis it didn’t lead to similar success for Gordon Warnecke who plays Omar relating this to part of a wider problem for British Asian actors.

Geraghty also analyses the mise en scene very well commenting on the way that this is clearly a proper film rather than an extended TV play through a range of cinematic devices. When it comes to mise en scene apparently many considered the ‘Powders’ laundrette to be a comment on a cinema. I must say I read it as a bit of a homage to Schlesinger’s Billy Liar when a spanking new supermarket is opened by Julie Christie. By comparison this is a parody upon Thatcher’s entrepreneurial UK.

Keeping good films alive

Geraghty also makes some useful comments about how a film can live on through being adopted by courses such as the Welsh Joint Exam committee’s excellent Film Studies ‘A’ Level. Discovering it as an affordable DVD last year I showed it as a movie on my British cinema course for evening students many of whom were contemporaries. For them and for me it still retains it freshness and liveliness as a film.

Geraghty notes how the film made other films about hybridity possible such as Bahji on the Beach, East is East and Bend it Like Beckham. This alone makes it a very important British film. Geraghty notes the rather dismissive tones of Claire Monk who criticised films like these for becoming a ‘staple of British films’. The fact of the matter is that as Britain seems to be becoming more culturally divided rather than less with the growing demand for single faith schools a lamentable signifier of this tendency the need for popular representations of cultural hybridity is important. As part of the ethnic polarisations in British society today is centred upon the growing class divide criss-crossed by this ethnicity there is a greater need to encourage hybridity as the essence of Britishness.

Will it go on my bliographies?

Absolutely despite my comments about context the book’s discussion about the film’s aesthetic strengths are considerable and it will help many a student learn more about film criticism when read alongside the film itself. Geraghty’s book is also to be welcomed for being a book which will keep the film’s message of hope alive.

For more on the book and link to a free extract click here

: 12 Jan 2007 21:50 |  Tags: A Level Media Studies British Cinema British Film Studies Christine Geraghty European Cinema Film Book Reviews Film Studies Book Kinoeye My Beautiful Laundrette Open Studies Stephen Frears |  Comments (0) |  Close comments |  Report a problem