Middle-class subjectivity and moral value in popular British screen fantasy.

通过书面提交和视频，该研究项目将分析和比较《哈利·波特》电影中的 21 世纪英国奇幻电影小说和最近的《黑暗物质》电视剧，探讨阶级编码如何在新自由主义下再现道德价值意识形态。在结构性阶级不平等通常被否认的政治文化中，“自然化”自由市场中的个人身份、个人责任、抱负和创业精神占主导地位。斯凯格斯、劳勒、泰勒和利特勒等社会学家正在就当代英国的阶级再生产和价值归属发表深刻的著作。然而，当谈到媒体文本时，他们狭隘地关注对电视真人秀和社会现实主义电影中工人阶级代表性的分析，将阶级斗争的研究边缘化到现实主义领域，并忽视了广受欢迎的奇幻文本及其再现的中产阶级主观性。这种疏忽，再加上英国电影的现实主义和历史经典的电影研究文化，使得非现实主义和日益混合的流派需要认真的批评关注。通过填补这一领域的空白，该项目将对英国流行电影和电视文化，特别是奇幻的“想象力”，如何促进中产阶级主体性的构建产生新的理解，将其作为公认善良的“自由-保守”等级制度中道德价值的主要体现。 《哈利·波特》系列在国际上的受欢迎程度突显了英国叙事中对阶级编码语言的依赖所产生的深远影响。该项目将利用电影和电视研究，使用布迪尤西安的“首都”和巴特的“代码”对场景进行叙事分析。将案例研究置于更广泛的话语背景中需要采用跨学科的方法。最后，我将制作一篇视频文章，以有趣的方式参与文化互文，并在我的分析中引入更个人化的声音。

Through a written submission and video this research project will analyse and compare British fantasy screen fiction of the 21st century in the Harry Potter films and the recent His Dark Materials television series, interrogating how class coding reproduces ideologies of moral worth under neoliberalism. In a political culture where structural class inequalities are typically disavowed, a rhetoric of individualised identity, personal responsibility, aspiration and entrepreneurship in the 'naturalised' free market predominates. Sociologists like Skeggs, Lawler, Tyler and Littler are generating incisive work on class reproduction and value attribution in contemporary Britain. However, when it comes to media texts, their narrow focus on the analysis of working-class representation in reality television and social realist film marginalises studies of class struggle to the realm of realism and overlooks hugely popular fantasy texts and the middle-class subjectivities they reproduce. This oversight, in combination with a film studies culture that privileges British cinema's realist and historical canon, leaves non-realist and increasingly hybridised genres in need of serious critical attention. By engaging with this gap in the field, this project will generate new understanding of the way British popular film and television culture, in particular the 'imaginative power' of fantasy, contributes to the construction of middle-class subjectivities as the principal embodiment of moral value within a 'liberal-conservative' hierarchy of recognised goodness. The international popularity of the Harry Potter franchise highlights the profound impact of a reliance on a coded language of class within British narratives. This project will use film and television studies for a narrative analysis ofmise-en-scène using Bourdieusien 'capitals' and Barthesian 'codes'. An interdisciplinary approach is necessary to situate case studies in wider discursive contexts. Finally, I will produce a video essay to engage playfully with cultural intertexts and introduce a more personal voice to my analysis.