Monday, 21 September 2009

Identify how 'Sense and sensibility' and 'Four weddings and a funeral' represent aspects of British society past and present.

Being two very popular British films both 'Sense and sensibility' and 'Four weddings...' represent a certain type of British society, middle to upper class. As they are set in different time periods the aspects of the society shown in the films differ.

'Sense and sensibility' is set in the 1800s and similar to 'Four weddings...' the characters all have, marriage, wealthy houses and family in common. Marriage is a strong debate in both films. In 'Sense and sensibilty' is seen as more of a must and a very important decision. Instead of falling in love and then marrying as shown in 'Four weddings...' marriage was something you chose and then learnt to love later. This shows the difference in gender represented in the two films and how the roles of women have changed in Britain from 1800s to the present time. The women shown in 'Sense and sensibility' are less active in the life outside their wealthy home, whereas 'Four weddings...' shows the modern day woman, being involved and equal in society.

The women represented in both films are very contrasted. In 'Four weddings' Carrie is a grown woman about 30 who lives alone, has her career and later talks about all the men she has slept with, which turns out to be a lot. This is unusual in Britians society today as women now have a lot of freedom in terms of marriage, jobs and sex life. The women represented in 'Sense and sensibility' have a completely different life. They have a role to stay at home, look presentable and care for their husbands. The idea of having their own career, own house and casual sex life is unheard of. This shows the drastic change between the women in that time period in Britian and the women in modern day Britian with the same social class of middle to upper.

The wedding ceremonys in the era of 'Sense and sensibility' were a little more intense than the ones shown in 'Four weddings...' They are very light-hearted and comical, and have a dry sense of humour that is associated with British people.

The representation of love in both films are quite different. In the time period and social class of 'Sense and sensiblilty' a man and woman would fall in love and get married without knowing that much about their spouse which is a contrast to modern day Britian where a couple in love want to be engaged for a few years and live together before deciding to commit fully. The representation of love in 'Four weddings' is shown in many ways, for example, a gay couple who live together and have been described by their friends as being the only couple who are 'truly married' meaning that they trust and love each other so much that they don't need the reasurance of marriage to spend the rest of their lives together; the reasurance that maybe some of the other couples needed in marriage.

There are some issues in the present film 'Four weddings' that are perfectly acceptable in Britains society today that would not be tolerated in Britain in the 1800s such as 'Sense and sensibilty.' For example, gay couples are well known in Britain's present society whereas in the past a gay couple would be extremely frowned upon and rejected. If there were a gay couple in the era of 'Sense and sensibility' it would have to be kept a firm secret just between the couple. In contrast, 'Four weddings' has a gay couple that were openly free to express theirselves as a couple and live together. Another issue that differ in the two films is having a child out of wedlock. This is demonstrated in 'Four weddings' where Charles and Carrie are in love have and have a child, yet see no need to get married. Again, this would not be acceptable in Britain at the time of 'Sense and sensibility.' If a woman was pregnant they would be urged or even forced to marry the father of the child. Having a child out of wedlock is something that often happens in today's Britain and is becoming more common then getting married. Having a child together is an unbreakable bond that can be seen as stronger then marriage, so couples in the modern society see less need as many marriages now end in divorce.

In representing sexuality in the two films 'Four weddings' is a lot less subtle about the topic of sex than 'Sense and sensibility' is. 'Sense and sensibility' has the women covered up in long dresses showing no suggestable flesh which creates an old fashioned view of how a woman should behaive. Sex in 'Four weddings' is more suggested and happens regulary and casualy between two characters throughout the film. Showing sex scenes in a romantic comedy happens often and in a light hearted way that wouldn't be seen in 'Sense and sensibility' and if a sex scene occurs is would be shown in a very romantic, intense way.


Both the films had an aim to represent Britain. In achieving so the films have a well known British cast, for example Hugh Grant(who is present in both films) Kate Winslet and Emma Thompson(also present in both films.) Richard Curtis created 'Four weddings' as a optimistic, humoured, middle class Britain, a Britain which was rarely represented in media but often shown for many years in the directing of 'Curtisland'. 'Sense and sensibility' shows a romantic, civilised, picturesque Britain that people read about in many of Jane Austen's classic novels. Both represent aspects of Britain, past and present, and by comparing these two classic British films you can begin to notice how Britains society has changed and continues to change.


Saturday, 19 September 2009

Slumdog Millionaire and Somerstown, British films?

Slumdog Millionaire (2008):

  • Directors, Danny Boyle(English) and Loveleen Tandan(Indian)
  • Language, English and Hindi
  • Film locations, India

Somerstown (2008):

  • Shane Meadows(English)
  • Language, English, Polish and French
  • Film locations, London and France

Slumdog Millionaire is debatable about being a classic British film, whereas Somerstown is more obvious that it is recognised as a British film. Both films have English connections. Somerstown has stronger connection as it has been based and filmed on a town in London, with an English director and the majority of and English cast. Slumdog has an English director, but also an Indian one. It was filmed in India with a majority of an Indian cast. The main actor is English but with Indian heritage. These factors make the film debatable about whether or not it is infact an English film.

Tuesday, 15 September 2009

Representing contemporary Britain

This article talks about how the British cinema has represented debates such as, sexuality, gender, class and ethnicity. In representing sexuality films such as, 'Calender girls' and 'The full monty' (both 2003 films) have been used as examples. The articles describes how both of these films are erotically charged but yet remain sexless. British cinema often tends to have a sexual desire to it but usually its represented in an overly casual way or a 'joylessly earnest' way. Regarding representing homosexuality in British films remains quite broad. It isn't seen too often and if it is, its in a subtle way.
The section about 'class': "According to the results of a poll carried out by the Guardian newspaper, ten years of Labour rule has failed to create a classless society." A lot of British films for example the full monty and Trainspotting clearly shows different classes. At that time Labour was introducing a classless society.
British films have been accused of failure to represent ethnic minorities. Richard Curtis has been said to be misrepresentative and there is an overall 'whiteness' to British films. Notting Hill was accused of "trying hard to whiten the most famously black areain London."
Success of Bend it like Beckham, with its British asian leading lady comparing with the achievements of a white English footballer, suggested England as a more multi-cultural country.
This article is a good, detailed break down of how British cinema represents sexuality, class, gender and ethinicty and how they were represented during the Blair era.

Wednesday, 9 September 2009

Richard Curtis article.

'A shiny, happy place, relaxed about the filthy rich, insatiable in its optimism, in love with happy endings, and very New Labour Welcome to Curtisland...'
This article debates whether Richard Curtis' career as a film director is starting to 'sink' along with England's New Labour. Tim Adams (the writer of this article) looks back on Curtis' most popular films and describes how they reflected England and its political influence at that time. A lot of Curtis's characters in the film are connected with the vibe from the parliment and the priminster at the time the film was written.
For me, this article works well in describing Curtis' films and how the ideas and the characters spring from English ways and Parliment. It makes me look at his films in more detail and realise how well Curtis has built the characters to represent English people. For example in 'Love Actually' when Karen finds out her husband has brought an expensive necklace for another woman on christmas she quickly has a cry upstairs and then composes herself, ready to re-join her family downstairs. This represents the attitude of a lot of English people who simple feel that they have no time to break down and have to carry on with their busy schedule and family.