Téléchargement PDF The Great British Dream Factory : The Strange History of Our National Imagination, by Dominic Sandbrook

Téléchargement PDF The Great British Dream Factory : The Strange History of Our National Imagination, by Dominic Sandbrook

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The Great British Dream Factory : The Strange History of Our National Imagination, by Dominic Sandbrook

Téléchargement PDF The Great British Dream Factory : The Strange History of Our National Imagination, by Dominic Sandbrook

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Détails sur le produit

Broché: 688 pages

Editeur : Penguin Books Ltd (1 septembre 2016)

Langue : Anglais

ISBN-10: 9780141979304

ISBN-13: 978-0141979304

ASIN: 0141979305

Dimensions du produit:

13 x 3,1 x 19,7 cm

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Dominic Sandbrook has certainly proved his credentials as a sound compiler of contemporary history. This book is an enjoyable departure from his narratives of recent British history. The book started out as a 'book of the TV series' to accompany yet another BBC documentary from Mr Sandbrook, however he has really gone the extra mile in producing a 688 page thumper of a volume.Sandbrook either saw this book as a more informal volume (hopefully) or his Daily Mail column writing is making him a bit overconfident in presenting his own opinions. The personal voice is certainly strong, however it makes for a good read in what is a bit of a less serious history. Those who criticise the book should read the preface where Sandbrook promises that conehead cultural historians will "search in vain for the opaque theoretical discussions, invented abstract nouns and interminable references to obscure Continental theorists". The book also has no intention of being encyclopedic. The focus is set very much on the popular and middle of the road. This is an interesting decision as a pure celebration of cultural output and the "national imagination" isn't automatically going to focus on 'low brow' output. Sandbrook in his preface narrows his interest to 'popular culture' although isn't interested in endlessly complex definitions of this term. He quotes United States Supreme Court justice Potter Stewart's definition of pornography: "you know it when you see it". In Sandbrook's case you'll find the Beatles, Agatha Christie and Doctor Who but no Harrison Birtwistle (a modernist classical composer that I admit I had to look up).The focus on the popular would be justified by the hint in the title that part of his argument is that the 'cultural industry' has indeed been seen as a replacement for the mass production of British industry up until the mid-twentieth century. Sandbrook makes surprisingly little of the argument that Britain's "punching above its weight" culturally has been a compensation for the loss of empire and industrial supremacy.He is more interested in the considerable amount of continuity between the Victorian era and today.This well written book is an enjoyable meander through very popular culture. The structure is pretty loose - or a jigsaw puzzle in the author’s words. Part One generally explores the transition from making things to telling stories. Part Two contends that popular culture generally supports the established order, examples ranging from sections on 1960s stars like the Rolling Stones buying country homes (I was never quite sure how this section really fit in although it was interesting) to Harry Potter as a derivation from the traditional nineteenth century school story. Part Three continues in a similar theme in a sense, exploring cultural artefacts ranging from Doctor Who to Lord of the Flies, and how they derive from Dickens and Welles. The fourth part looks at the cult of the individual which Sandbrook traces back to Self Help by Samuel Smiles.The book is deliberately provocative in places. Sandbrook rehabilitates Catherine Cookson for example, commending her raw and real portrayal of the struggles of working class life despite her lack of popularity with intellectual critics, who were outraged at her portrayal. The section which seems to have garnered the most furious responses online however is that dealing with John Lennon. Sandbrook pulls no punches: “Whatever you think of Lennon’s talent, his sheer narcissism is hard to overstate”. His coverage has attracted cries of being “hateful trash”. Yet while I would say that as elsewhere Sandbrook is writing with verve and attitude to entertain to some extent, everything he says is verifiable. He does point out that “far more than any other rock star of his generation, and more even than his fellow Beatles, John Lennon is a figure of colossal symbolic importance”. Also despite Lennon’s motivations often being driven by a desire to be rich and notorious, he does acknowledge that there is a reason for his success - his undeniable talent. I strongly disagree with his assessment of Imagine - it might be hypocritical but as Sandbrook states elsewhere, the public have voted repeatedly in the charts and polls. Its a great song!That said Sandbrook deserves plenty of credit for this book. Much more than a book of the TV series, this is a well researched and informative wander through the pleasures of British popular culture.

Very much enjoyed his previous books but this is an undisciplined, boring, rambling 600 pages plus, without a central theme. It indulges the authors personal interests which in no way reflect the book's title. All a bit self-indulgent, and indeed smug. What the point of the book is escapes me. The only consistent feature is the dedicated and self-righteous side-swipes at John Lennon. Need a psychiatrist to figure that one out. It also clear that while the author has many talents, he did not live through the 60s during his formative years. Not his fault, but as one who did, he has still to put into writing the essence of that exciting decade. Recommend you skip this volume, and watch paint dry instead.

There are many things one can criticize about the Beatles, but it’s become an obsession with this author, almost pathological. When he manages to take timeout from this, there are some interesting things. Nothing very new.

Historian Dominic Sandbrook argues in his new book, The Great British Dream Factory, that once the British Empire began to crumble, Britain found another way to spread its word. This time it was a less forceful method -- popular culture.Starting with Charles Dickens, Britain became a major exporter of literature, music, art, and a little later, movies. And all along, it has been uniquely British culture -- despite the fears of Americanization of British culture, there is no doubt that popular culture such as Dickens' novels, Dr. Who, The Beatles, James Bond, and many more, are British through and through.Sandbrook strays from being strictly a historian in this book more than in his previous works. He indulges in criticism and he makes no secret of his favorites. He makes a vigorous case for the literary worth of Agatha Christie, although he recognizes that his fondness for Dr. Who is probably due to his childhood memories. He defends Andrew Lloyd Webber from his many detractors and seems less than impressed with Patrick McGoohan and The Prisoner. He positively loathes John Lennon.This is a book for a British audience and assumes you are well versed in British popular culture. There is a four part BBC series that he hosts covering much of the same ground -- he says that he wrote the book after the TV series and pretty much started again from scratch. The TV series and book complement each other -- there's much more detail in the book and a lot of material that doesn't appear at all in the series, but not all of the material in the series is on the book. The book is one that you have to read with a computer or tablet at hand to look up musical videos and film clips.It's a highly entertaining and opinionated look at a century and a half of British arts.

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