Abstract
The introduction offers a brief history of the game that Britain considers its own and a definition of the distinctively British ‘football film genre’. It argues that the football film is a viable source for social history, with the game’s on- and off-field re-presentations an ideological metonym for the concerns of wider British society. It sketches out the preoccupations of the genre as, for the majority of its existence, an indicator of hegemonic mistrust for ‘the people’s game’, centred on depictions rife with crime and corruption. Latterly, football has received more disparate depictions ranging from a means of individual advancement and social cohesion to a distanced, globalised commodity.
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