Barriers to Diversity in Film – A Research Review – Aug 07

people who live abroad like to hang on to their roots and cultural
identities in a country where they are under-represented or
stereotyped in film (Aftab 2002).
5.5.5 Class
The analysis discussed below is of class portrayal, but the studies
referred to depict class intersecting with gendered, racial, age (see
below) and other identities.
The focus on heritage in film, very popular in the 1980s, virtually
excluded portrayal of working class life as central, and excluded other
under-represented groups. Minority groups in this country think this
category of film, often based on literary adaptations, represents a
nostalgic view and does not reflect British society as it was. (Murphy
2000).
The 1980s were dominated by portrayals of educated, middle-class,
southern gentlemen. It is argued these were transferred to more
contemporary settings in the 1990s in Four Weddings and a Funeral
and Notting Hill. The other 1990s representations of masculinity and
class were encapsulated in films which explored ‘alternative’ types
defined as ‘criminals’, ‘rebels’ or ‘damaged’ men with films such as
Riff Raff (1991), Raining Stones (1993), The Full Monty (1997),
Trainspotting (1996) and Lock, Stock and Two Smoking Barrels (1998).
These 1990s films were concerned about the crisis in working class
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