In praise of an ‘invisible genre’? An ambivalent look at the fictional sports feature film

Abstract

The main intention of this essay is to examine the fictional sports feature film and to outline contentious points of debate in an area that might be referred to as an ‘invisible genre’. Furthermore, via my focus upon selected areas concerning the sports film, questions are raised relating to the complex matter of film genre. I begin firstly by locating historically the sports film in the USA and UK. A brief ‘track record’ of European and global national cinemas is also sketched. Secondly, I move towards a definition of the sports film, a task that still remains elusive. Thirdly, I examine a perceived reluctance for the sports film to be recognized as a ‘genre’ in its own right. I do this to fuel a discussion about whether the lack of any clear identification of the sports film, as a genre, has in some way actually clouded critical and academic appreciation and audience reception. To achieve these objectives I examine in detail two sports films, namely Coach Carter and Purely Belter. Both films effectively emphasize social and individual issues such as class, gender and nationalism as they are mediated through sport.1 In the analysis I highlight a significant ‘difference’ in approach to sports films in the USA and UK, especially in terms of the use of technology, demands put upon the actors and production values. Hence, the attention paid to the UK film, Purely Belter, appears limited when compared to that of US-made Coach Carter.