According to Mr Matt Glasby’s new book Britpop Cinema: From Trainspotting To This Is England, while Blur were battling it out with Oasis in the charts and Mr Tony Blair was centre stage in politics, something significant was happening in British cinema.
Mr Glasby contends that a series of films in the 1990s and 2000s were created “that were loosely connected by a sense of style and a sense of shared vision”. Out went the floppy-haired, posh romanticism of Mr Hugh Grant and in came characters that embodied gritty Britpop. “It was a byword for a period of cultural cross-pollination, the like of which the UK had not experienced since the 1960s. It was New-Labour-optimism-meets-New-Lad irony,” says Mr Glasby.
“It pushed boundaries, paid Hollywood little heed and, all too briefly, placed a booming UK film industry at the centre of its own movie universe. We got Shallow Grave; Trainspotting; Lock, Stock And Two Smoking Barrels; Human Traffic; Billy Elliot and Shaun Of The Dead.”