BEGIN:VCALENDAR VERSION:2.0 PRODID:-//Sabre//Sabre VObject 4.5.8//EN CALSCALE:GREGORIAN BEGIN:VTIMEZONE TZID:Europe/Zurich X-LIC-LOCATION:Europe/Zurich TZURL:http://tzurl.org/zoneinfo/Europe/Zurich BEGIN:DAYLIGHT TZOFFSETFROM:+0100 TZOFFSETTO:+0200 TZNAME:CEST DTSTART:19810329T020000 RRULE:FREQ=YEARLY;BYMONTH=3;BYDAY=-1SU END:DAYLIGHT BEGIN:STANDARD TZOFFSETFROM:+0200 TZOFFSETTO:+0100 TZNAME:CET DTSTART:19961027T030000 RRULE:FREQ=YEARLY;BYMONTH=10;BYDAY=-1SU END:STANDARD END:VTIMEZONE BEGIN:VEVENT UID:news690@english.philhist.unibas.ch DTSTAMP;TZID=Europe/Zurich:20260409T215305 DTSTART;TZID=Europe/Zurich:20260428T101500 SUMMARY:Poetry\, Politics and Place: Representing Class in British Cinema DESCRIPTION:This session will explore Clio Barnard’s The Arbor (2010) a nd The Selfish Giant (2013) through the lens of the British social realis t tradition. Both films engage self-consciously with the history of workin g-class representation in British cinema\, while also - along with works b y the likes of Andrea Arnold and Shane Meadows - marking new terrain for r ealist cinema in the 21st century. We will draw on Ken Loach’s Kes (1969 ) as both a foundational text for realist cinema\, and as a rich intertext for Barnard\, as she seeks to reimagine its class politics and poetic reg ister for an age of social atomisation and precarity. We will explore the working-class child as a recurring figure in realist cinema\, and will exa mine the importance of landscape and the non-human as mechanisms for meani ng-making within the mode\; these elements are central to an impulse withi n British realist cinema that marries political commitment with lyricism\, stretching from Kes to the Selfish Giant and beyond. \\r\\nThe first hal f of the session will work as an illustrated talk\, while the second half will see us explore in collaboration the three films\, reflecting on their place within traditions of working-class culture in Britain and revealing and analysing the relationships between form and meaning in the films.   \\r\\nBiography\\r\\nDavid Forrest is Professor in Film and Television S tudies at the University of Sheffield\, where he is also Deputy Vice-Presi dent for Education (Student Experience). His research explores questions o f realism\, class\, region\, and sport in British film\, television\, and literature. His most recent book is a volume of the BFI Film Classics seri es on Kes (2024)\, and he is the author of New Realisms: Contemporary Bri tish Cinema (2020)\, Social Realism: Art\, Nationhood and Politics (2013)\ ; co-author of Film Audiences: Personal journeys with film (2023)\, and B arry Hines: Kes\, Threads and Beyond (2018)\; and co-editor of Social Clas s and Television Drama in Contemporary Britain (2016)\, and Filmurbia: Sc reening the Suburbs (2017). He sits on the editorial board for Studies in European Cinema and The Journal of British Cinema and Television\, and w ith Melanie Willams he co-edits the ‘British Cinema Series’ for Blooms bury/BFI. X-ALT-DESC:

This session will explore Clio Barnard’s The Arbor \ ;(2010) \;and The Selfish Giant \;(2013) through the lens of the British social realist tradition. Both films engage self- consciously with the history of working-class representation in British ci nema\, while also - along with works by the likes of Andrea Arnold and Sha ne Meadows - marking new terrain for realist cinema in the 21st century. W e will draw on Ken Loach’s Kes (1969) as both a foundational text for realist cinema\, and as a rich intertext for Barnard\, as she seeks t o reimagine its class politics and poetic register for an age of social at omisation and precarity. We will explore the working-class child as a recu rring figure in realist cinema\, and will examine the importance of landsc ape and the non-human as mechanisms for meaning-making within the mode\; t hese elements are central to an impulse within British realist cinema that marries political commitment with lyricism\, stretching from Kes t o the Selfish Giant and beyond. \;

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The first half of th e session will work as an illustrated talk\, while the second half will se e us explore in collaboration the three films\, reflecting on their place within traditions of working-class culture in Britain and revealing and an alysing the relationships between form and meaning in the films. \;
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Biography

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David Forrest is Pro fessor in Film and Television Studies at the University of Sheffield\, whe re he is also Deputy Vice-President for Education (Student Experience). Hi s research explores questions of realism\, class\, region\, and sport in B ritish film\, television\, and literature. His most recent book is a volum e of the BFI Film Classics series on Kes \;(2024)\, and he is t he author of New Realisms: Contemporary British Cinema (2020)\, Social Realism: Art\, Nationhood and Politics (2013)\; co-author of Film Audiences: Personal journeys with film \;(2023)\, and Bar ry Hines: Kes\, Threads and Beyond (2018)\; and co-editor of Social Class and Television Drama in Contemporary Britain \;(2016)\, and Filmurbia: Screening the Suburbs \;(2017). He sits on the edit orial board for Studies in European Cinema \;and The Journal of British Cinema and Television\, and with Melanie Willams he co-edi ts the ‘British Cinema Series’ for Bloomsbury/BFI.

DTEND;TZID=Europe/Zurich:20260428T120000 END:VEVENT END:VCALENDAR