This Is England Belonging Essay

This Is England Belonging Essay-18
He is reeling from the death of his father in the Falklands War, and falls under the sway of two very different groups of skinheads.The first, headed by the effusive Woody, are a fun-loving, peaceful collective who just want to hang out and have a good time.I engage in a critical exploration of the text, which reveals complex layers of meaning that invite a discursive analysis of the way that British identity is presented in crisis.

He is reeling from the death of his father in the Falklands War, and falls under the sway of two very different groups of skinheads.The first, headed by the effusive Woody, are a fun-loving, peaceful collective who just want to hang out and have a good time.I engage in a critical exploration of the text, which reveals complex layers of meaning that invite a discursive analysis of the way that British identity is presented in crisis.

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At one point he looks on as Combo threatens a group of terrified children with a knife.

The sheer tragedy of his corruption is echoed in Ludovico Einaudi’s heartbreaking score.

A run-in with skinheads sweeps Shaun into a life of Ben Sherman's, Doc Martin's, marijuana and root-rock-reggae.

Yet his newfound "family" is challenged when Combo, an ex-convict, returns to the racially-neutral gang to recruit the skinheads for a white supremacy group, the National Front.

The reaction against this threat incites violence, yet the violence that occurs in the name of retaining a nostalgic past identity (historically defined by heteromasculinity and whiteness) only furthers the dissolution of what is desired to be reclaimed.

This is articulated through the fictional narrative that occurs within the conditions of actual historical events, most notably the Premiership of Margaret Thatcher and the 1980s global shift toward neoconservativism.“During an intimate conversation with Shaun, [Combo] hints at being abandoned by his own father.“Throughout the film Meadows deals deftly with the cultural confusions of the skinhead movement, whose members’ bedrooms attest to the influence of foreigners.He is a brutal, tormented soul who finds purpose in the racist cause of the National Front, with his own background that’s mired in pain and misery.“Typically, Meadows probes deeper than simple black-white characterisations,” noted Christopher Thompson, in an article for TIME.And explores why someone like Shaun – isolated, bullied and seeking protection from a harsh and bleak world – would find solace in completely the wrong kind of father figure.Shaun, grinning with childish mischief, begins to engage in more and more disturbing gang behaviour.I present evidence of two distinctly British film genres referenced throughout the film that traditionally depict oppositional notions of historical British identity, that of the working class "kitchen sink" films and the heritage films that center on the aristocratic and privileged legacy of Britain as a world empire.Furthermore, these binary styles are situated within a cinematic space of critical dystopia that locates England as a dislocation and incites a consideration of how the politics and policies of the 1980s directly influenced the contemporary state of British national identity fragmentation.This invites further scholarship on the implications of contemporary identity fragmentation as the "imagined communities" of nations becomes increasingly indefinable.As commentaries on the hollow, bitter reality of racism go, Shane Meadows’ blistering 2007 film This Is England remains hard to beat.

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