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• W290492088 abstract "Current definitions of films focus on narratives of privilege that present a very narrow image of British cultural heritage, one anchored by literary, aristocratic visions. The abandonment of term to an upper-class point of view overlooks too many cycles of British films while giving a privileged position to a restricted worldview. One of these overlooked cycles is contemporary British crime film which reworks conventions of 1940s British spiv cycle. The spiv cycle featured a noirish world of flash-dressing, petty black market racketeers, thrived in specific historic context of postwar underworld economy. Some contemporary British crime films enact this cinematic of class and crime, providing rich territory for a historical analysis of forms of white British masculinity. Such analysis opens up notion of and in turn may illuminate relationships among gender, class and nation. Thomas Elsaesser has argued that what nations sell as national cinema in international film market is their history. This is certainly true of film segment of British film industry, as these films display both class and literary traditions. What British films sell is specifically a history of class that, while concentrated in aristocratic, fuels plot lines with a small inoculation of class conflict. The recognized films emphasize aristocratic worldview, and minimally sympathize with outsiders. Limiting term to films that substitute class narratives of aristocrats for broader-based narratives of all classes promotes a very conservative image of past's importance and of our usage of past. Reclaiming term for a wider selection of narratives dethrones aristocratic worldview from its privileged place as history and of Britain. The recent film Face (Antonia Bird, 1997) reworks conventions of spiv film, and can be understood as an heritage film which emphasizes a working-class narrative, albeit one that is white and masculine. Like spiv film, it constructs a particular politicized world, one that embodies characteristics of social and economic legacies of Thatcherism. Crime and Heritage Peter Wollen argues for spiv films as films and I agree. The film category can be defined through an urban strain, in which spiv films, based on clearly-defined working class milieus, reside. Contemporary British crime dramas partake of this different strain of heritage, an urban one with cinematic roots in spiv cycle, which first appeared in closing years of World War II. The spiv was not an ordinary criminal, but one whose crimes were linked to conditions of living, specifically state regulation of economy and rationing that produced black market. The spiv became the man who could get you...stockings, tires, cigarettes etc. Spivs were also noted for their dress, which some critics says represents a flashy flaunting of authority and petty regulations. (1) Other sources suggest that spiv mode of dress was taken from Hollywood gangster films. Despite their flash suits and ties, spivs were an indigenous type originating from wartime black market econom y, which continued to grow with post-war rationing. The films of this cycle also represent an intersection of crime and class, presenting concrete portraits of life and work within community combined with transports of demonic evil. The spiv film flourished between 1945 and 1950, years of first postwar Labor government, when working class gain real power for first time. Spiv films constitute one of first British film cycles clearly based in a working-class milieu. (2) As a member of community, spiv occupied an ambivalent place in World War II and post-war Britain: ...there were mixed attitudes toward spiv in community; people knew a man who. …" @default.
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• W290492088 date "2001-09-22" @default.
• W290492088 modified "2023-09-24" @default.
• W290492088 title "The New Face of British Heritage" @default.
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