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Poverty literature does not function on its own but is entangled with representations in a wide range of old and new media and genres. This leads to a dense network of representation which increases the visibility of poverty across the various cultural fields and markets. The chapter surveys fields of contemporary cultural production that have a special affinity with the book market: photography, cinema, television and theatre. Case studies include reality television, films (Ratcatcher and Fish Tank), theatre (Simon Stephens’s Port and the Voices from the Edge project) as well as Chris Killip’s photo book Seacoal.
Keywordsfilm photography reality television theatre
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- 14.For other examples see films by Stephen Frears (such as Dirty Pretty Things, 2002 and, with a historical theme, Liam, 2000) as well as Danny Boyle’s Trainspotting (1996)Google Scholar
- Gary Oldman’s Nil by Mouth (1997)Google Scholar
- and Shane Meadows’s This Is England (2006).Google Scholar
- 19.See Owen Jones’s critical discussion of chavism and the new contempt for the underclass. Martin Amis’s novel Lionel Asbo: State of England (2012) taps into a debate on chavs broached by representations on television. Series such as BBC 3’s I’m with Stupid (2006), in which a wheelchair-user befriends a homeless man, deploy a more “enlightened” form of humour than Little Britain. Google Scholar
- 24.Annecy Hayes’s Close to Home: The Cuts 2012 was produced by the same company and offered “[c]ompelling and unflinching personal testimonies from some of the people hardest hit by the cuts” (ice&fire 2013b).Google Scholar