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Cultural Memory and British Cinema-going of the 1960s

文化记忆与 20 世纪 60 年代的英国电影观影

基本信息

批准号：
AH/K000446/1
负责人：
Melvyn Stokes
金额：
$ 41.39万
依托单位：
University College London
依托单位国家：
英国
项目类别：
Research Grant
财政年份：
2013
资助国家：
英国
起止时间：
2013 至无数据
项目状态：
已结题

来源：
https://gtr.ukri.org/projects?ref=AH%2FK000446%2F1
关键词：
Cultural Memory British Cinema going

项目摘要

I will investigate and interrogate the cultural memories of a diverse group of British sixties cinemagoers in order not only to shed light on the social and cultural history of cinema but also to contribute to a wider reappraisal of British society and culture of the time. Interpreting the 1960s, historians have traditionally seen them as a pivotal era, associated with a cultural revolution in which family, sexual, gendered, racial and class relationships all changed as old conventions were discarded (Jonathon Green, 1998; Arthur Marwick, 1998). Yet the assumption on the part of both politicians and historians that the sixties were an era of radical change has been challenged by Dominic Sandbrook (2005), who argues that there were strong elements of continuity with post-1945 Britain and that the changes that did occur were slow, painful and often controversial. Instead of embracing radicalism and experimentation, much of British society remained conventional and conservative. I will aim to shed light on this debate by analysing the memories of cinemagoers. Not only was cinema in many respects representational, portraying the class, gendered, sexual and cultural changes of the time, it was also believed by many writers on film to have emblematic qualities, embodying a wide range of society's hopes, myths, fears and fantasies. Moreover, it was still a mass entertainment, bringing together people from varied social and cultural backgrounds. The analysis of memories of cinemagoing offers the possibility of contributing new perspectives on 1960s social and cultural history by engaging with memory and lived experience. The project's methodology will be based on the collection of individual memories of 1960s cinemagoing through questionnaires, individual interviews and focus group discussions. In the beginning, subjects will be self-selected: they will volunteer to complete a detailed questionnaire on the project website in the main because they have seen advertisements or letters announcing the project in a range of newspapers and periodicals (some may alternatively hear of the website because of the publicity surrounding its launch). Once the questionnaires have been completed and analysed, the project team will decide which respondents will also be invited to personal interviews or to become members of focus groups. Those decisions will be informed by the need to have a sample that is balanced in gender terms and as wide as possible in terms of age, social class, and ethnicity. In terms of scholarly output, the project will result in three conference papers, two scholarly articles, and a book.In addition to the academic rationale for the project, a major priority will be the engagement of a wider public. This will be achieved for the most part through a programme of screening major 1960s films (e.g. Saturday Night and Sunday Morning, Victim, A Kind of Loving, Darling, Alfie) at 11 venues across the UK. 9 of these screenings will be followed by a discussion on the film and the 1960s themselves moderated by the Principal Investigator and Research Assistant. Two screenings in the final year of the project will be at larger venues and followed by a debate on the memory and legacy of the 1960s involving historians and film scholars. Moreover, given the enthusiasm of many people for the cinema, it is probable that the book based on the project will have a broader circulation than most scholarly books. For the same reason (considerable public interest in cinema and cinemagoing), it is possible that the project will give rise to radio and television documentaries.

我将调查和询问英国六十年代电影爱好者的文化记忆，不仅是为了阐明电影的社会和文化历史，也有助于对当时英国社会和文化的更广泛的重新评估。历史学家在解释20世纪60年代时，传统上将其视为一个关键时期，与一场文化革命相关联，在这场革命中，家庭、性、性别、种族和阶级关系都发生了变化，旧的习俗被抛弃（Jonathy绿色，1998年;亚瑟马威克，1998年）。然而，政治家和历史学家认为60年代是一个激进变革的时代的假设受到了多米尼克·桑德布鲁克（Dominic Sandbrook，2005）的挑战，他认为1945年后的英国有很强的连续性，确实发生的变化是缓慢的，痛苦的，而且经常有争议的。英国社会的大部分人并没有接受激进主义和实验，而是保持着传统和保守。我将通过分析电影观众的记忆来阐明这场辩论。电影不仅在许多方面具有代表性，描绘了当时的阶级、性别、性和文化变化，而且许多电影作家认为电影具有象征性的特质，体现了广泛的社会希望、神话、恐惧和幻想。此外，它仍然是一种大众娱乐，将来自不同社会和文化背景的人们聚集在一起。对电影的记忆的分析提供了通过参与记忆和生活经验来贡献20世纪60年代社会和文化历史的新视角的可能性。该项目的方法将基于通过问卷调查、个人访谈和焦点小组讨论收集的1960年代观影的个人记忆。开始时，受试者将自行选择：他们将自愿在项目网站上填写一份详细的调查问卷，主要是因为他们在一系列报纸和期刊上看到了宣布该项目的广告或信件（有些人可能听说过该网站，因为围绕其启动的宣传）。在完成和分析问卷后，项目小组将决定邀请哪些答卷人参加个人访谈或成为重点小组成员。这些决定将考虑到需要有一个在性别方面平衡的样本，并在年龄、社会阶层和种族方面尽可能广泛。在学术产出方面，该项目将产生三篇会议论文，两篇学术文章和一本书。除了该项目的学术依据外，一个主要的优先事项将是更广泛的公众参与。这将在很大程度上通过在联合王国11个地点放映20世纪60年代主要电影（如《星期六晚上和星期天早上》、《受害者》、《一种爱》、《亲爱的》、《阿尔菲》）的方案来实现。其中9场放映之后，将由首席研究员和研究助理主持关于电影和1960年代本身的讨论。该项目最后一年的两次放映将在更大的场地举行，随后将举行一场关于20世纪60年代记忆和遗产的辩论，其中包括历史学家和电影学者。此外，鉴于许多人对电影的热情，基于该项目的书很可能比大多数学术书籍更广泛地发行。出于同样的原因（公众对电影和看电影很感兴趣），该项目可能会产生广播和电视纪录片。