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Palgrave Macmillan

The British School Film

From Tom Brown to Harry Potter

  • Book
  • © 2016

Overview

Authors:
  1. Stephen Glynn

    1. Oakham, United Kingdom

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  • Analyses cinematic representations of British secondary education from silent cinema to the present day
  • Uses British schools as an accessible institutional structure through which to explore wider issues such as class, gender and race
  • Features close textual analysis, production and reception histories

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Table of contents (6 chapters)

  1. Front Matter

    Pages i-xi
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  2. Introduction

    1. Front Matter

      Pages 1-1
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    2. The School Film: A British Genre?

      • Stephen Glynn
      Pages 3-18

  3. The Early Years Programme (1900–45)

    1. Front Matter

      Pages 19-19
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    2. The Early Public School Film (1900–1945)

      • Stephen Glynn
      Pages 21-55

  4. The Middle Years Programme (1945–70)

    1. Front Matter

      Pages 57-57
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    2. The Post-War Public School Film (1945–70)

      • Stephen Glynn
      Pages 59-121

    3. The Post-War State School Film (1945–70)

      • Stephen Glynn
      Pages 123-167

  5. The Final Years Programme (1970–)

    1. Front Matter

      Pages 169-169
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    2. The Contemporary School Film (1970–)

      • Stephen Glynn
      Pages 171-238

  6. Conclusion

    1. Front Matter

      Pages 239-239
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    2. The School Film: A British Genre

      • Stephen Glynn
      Pages 241-246

  7. Back Matter

    Pages 247-269
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Keywords

About this book

Through close textual and contextual analysis of British films spanning a century, this book explores how pupils, teachers and secondary education in general have been represented on the British screen. The author addresses a number of topics including the nature of public (fee-paying) and state schooling; the values of special, single-sex and co-education; the role of male and female teachers; and the nature of childhood and adolescence itself. From the silents of Hitchcock to the sorcery of Harry Potter, British cinema’s continued explorations of school life highlights its importance in the nation’s everyday experience and imaginary landscape. Beyond this, the school film, varying in scope from low-budget exploitation to Hollywood-financed blockbusters, serves both as a prism through which one can trace major shifts in the British film industry and as a barometer of the social and cultural concerns of the cinema-going public. This applies especially for gender, race and, in all senses, class.

Authors and Affiliations

  • Oakham, United Kingdom

    Stephen Glynn

About the author

Stephen Glynn has taught in British secondary schools for over thirty years and is currently an Associate Research Fellow at De Montfort University. He has published widely on British cinema, including Palgrave’s The British Pop Music Film: The Beatles and Beyond (2013)

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