The film scholar and the cultural historian share an interest in how British cinema has responded wider debates around sexulity, class, gender and ethnicity, with contemporary representationmerely the latest mainifestation of a lng-running dialougue between a cinema, its people and the world at large.
Scrutiny and significance have tended to be given a projection of voice, wheher in British cinematic traditions, or in British society more generally. This isn't suggesting that all films give a platform to 'minorty'.
Within the cinema of Britain, it is male orientated with an outnumber of women directors. These films far outnumber those told from a female prespective, making the identification of certain cycles more difficult. There has been celebration in the role of historical drama, such as Elizabeth and Charlotte Gray. The contribution to female artists and writers has alsobeen celebrated in biopics like Hillary and Jackie, Iris and Miss Potter. Mad Cows contemplated to the abortion and infertility of the female body (1999). The rising number of female directors and writers contributing to British film culture, and the varied scope of their work, has been one of the most welcome developments of the era.
Male genres with recurring scenarios of the male-centred film have occasionally responded to having 'female' equivalents. The narrative of collective male endeavour is echoed by stories of self-empowerment in School for Seduction, Calender Girls and Rabbit Fever, whilst Women Talking Dirty (1999), Beautiful Creatures (2000) and High Heels and Low Lives (2001) offer golddily feminist spin on the 'buddy' movie, the gangster film and the caper movie. The father and son bond is decreased within the female orientated genre, usually the problematic relationships in these films are also a way to explore tensions and jelousies relating to age, gnder ethnic and intellectual difference.
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