Underpinning the popularity of both the professional and amateur game lies children’s, aka junior, football. Along with capturing the proclivity of the nation’s youth for idolising football heroes and/or for kicking a ball themselves, as an educational structure or an escape from adult supervision, film treatments such as Bend It Like Beckham (2002) show that the game here too can function as a wider indicator of political and gender resistance.


  1. Ashby, J. (2005, Winter). Postfeminism in the British Frame. Cinema Journal, 44(2), 127–132.CrossRefGoogle Scholar
  2. Ashby, J. (2010). It’s Been Emotional: Reassessing the Contemporary British Woman’s Film. In M. Bell & M. Williams (Eds.), British Women’s Cinema. London: Routledge.Google Scholar
  3. Brunsdon, C. (2000). Not Having It All: Women and Film in the 1990s. In R. Murphy (Ed.), British Cinema of the 1990s. London: BFI.Google Scholar
  4. Dave, P. (2006). Visions of England: Class and Culture in Contemporary Cinema. Oxford: Berg.Google Scholar
  5. Dyer, R. (1985). Entertainment and Utopia. In B. Nichols (Ed.), Movies and Methods (Vol. 2). Berkeley: University of California Press.Google Scholar
  6. Giardina, M. D. (2005). Sporting Pedagogies: Performing Culture and Identity in the Global Arena. Frankfurt: Peter Lang.Google Scholar
  7. Goldblatt, D. (2006). The Ball Is Round: A Global History of Football. London: Viking.Google Scholar
  8. Grainey, T. F. (2012). Beyond Bend It Like Beckham: The Global Phenomenon of Women’s Football. Lincoln: University of Nebraska Press.Google Scholar
  9. Guttmann, A. (1991). Women’s Sports: A History. New York: Columbia University Press.Google Scholar
  10. Hill, J. (2006). Cinema and Northern Ireland: Film, Culture and Politics. London: BFI.Google Scholar
  11. Hooper, K. (2001). John Forte. In Y. Allon, D. Cullen, & H. Patterson (Eds.), Contemporary British and Irish Film Directors: A Wallflower Critical Guide. London: Wallflower.Google Scholar
  12. Mather, N. (2006). Tears of Laughter: Comedy-Drama in 1990s British Cinema. Manchester: Manchester University Press.Google Scholar
  13. McArthur, C. (1982). Scotland and Cinema: The Iniquity of the Fathers. In C. McArthur (Ed.), Scotch Reels: Scotland in Cinema and Television. London: BFI.Google Scholar
  14. Petrie, D. (2004). Contemporary Scottish Fictions: Film, Television and the Novel. Edinburgh: Edinburgh University Press.Google Scholar
  15. Rowe, D. (2004). Sport, Culture and the Media (2nd ed.). Maidenhead: Open University Press.Google Scholar
  16. Shail, R. (2016). The Children’s Film Foundation: History and Legacy. London: Palgrave BFI.CrossRefGoogle Scholar
  17. Smith, G. (2004, September 22). The Secret Life of Mia Hamm. Sports Illustrated.Google Scholar
  18. Staples, T. (1997). All Pals Together: The Story of Children’s Cinema. Edinburgh: Edinburgh University Press.Google Scholar
  19. Walvin, J. (1994). The People’s Game: The History of Football Revisited. Edinburgh: Mainstream Publishing.Google Scholar
  20. Whannel, G. (2008). Winning and Losing Respect: Narratives of Identity in Sports Films. In E. Poulton & M. Roderick (Eds.), Sport in Films. London: Routledge.Google Scholar
  21. Williams, J. (2007). A Beautiful Game: International Perspectives of Women’s Football. Oxford: Berg.Google Scholar

Copyright information

© The Author(s) 2018

Authors and Affiliations

  1. 1.De Montfort UniversityLeicesterUK

Personalised recommendations