[Commlist] CFP: Edited Book Collection: State of the Nation Film and TV in Britain: Representations of the Social, Political, and Cultural Landscape.

*/State of the Nation Film and TV in Britain: Representations of the 
Social, Political, and Cultural Landscape./*
How might we illustrate, explore, and begin to define the ‘state of the 
nation’ film and television text? This edited collection, in 
collaboration with Intellect, invites consideration of these questions. 
We are particularly keen for considerations of contemporary nominees 
such as /Adolescence/ (2025) and /Mr Bates vs The Post Office/ (2024).
The contours of the genre and tropes are fluid, and often the term is 
retrospectively ascribed. Typically, there is a distinction between a 
National Cinema which might foster an imagined community and identity, 
and concern instead with reflection, commentary, and critique of the 
state of the nation, a mirror (often cracked) held up to the nation. At 
best the ‘state of the nation’ text captures the zeitgeist, shines a 
light on issues and inequities, serves public commentary, garners 
popular support and critical acclaim. Here film and TV can serve the 
function of unflinchingly presenting a nation to itself. As a 
compression and convergence of key issues of the times, played out 
through representative composite characters, the ‘state of the nation’ 
text helps us interrogate past, present, and future.
The concern with film and TV as fourth estate critique is underscored. 
How does the ‘state of the nation text’ provide this? What are the core 
attributes of the ‘state of the nation’ text? To what extent must it 
offer explicit critique? How far could a definition stretch to include 
the subtextual, the metaphorical and allegorical? How might it help 
construct or challenge the nation as a category? Is there space for a 
conservative or reactionary ‘state of the nation’ text?
There has been a shift away from the realist conventions that typified 
the text and an embrace of the more personal aspects of art cinema, with 
degrees of stylisation, and perhaps even the avant-garde (/Bait, /2019). 
The genre is also interwoven with coming-of-age narratives (/Fish Tank/, 
2009), and other genres such as the political thriller, crime, comedy 
and satire. There are anticipations of the state of the nation embracing 
science fiction tropes (/Years and Years/, 2019) and historical 
considerations (the /Small Axe/ anthology, 2020) which speculate on the 
future, or interrogate the past, for the sake of the present. How 
mutable is the ‘state of the nation’ text? Can we still speak of the 
state of the nation in such global times? What of regionality and the 
local? What of the state of the world text recognising no borders?
Chapters are invited that analyse classical and contemporary exemplars 
of the ‘state of the nation’ text; consider production and reception; 
question and explore the boundaries of the genre; trace continuities and 
changes; help define by comparison and contrast with, for instance, 
National Cinema(s), transnational cinema, heritage, and Social Realism; 
and themes that otherwise scrutinise and draw attention to this 
form. Topics might include, but not be limited to:

  * The ‘state of the nation’ film and tv text: definitions, as a genre;
  * The use of the term in critical, mediated, and popular discourses
    around film and television;
  * Rereading the canon;
  * Theatre and literary antecedents;
  * Function / successes / failures / readings and receptions;
  * Aesthetics and waves;
  * As an exploration of gender / race / class;
  * Acting and the face of the nation;
  * Location: the place of the nation;
  * The sound(track) of the nation;
  * Auteurs of the ‘state of the nation’;
  * European, international, and global variations.

Abstracts of 500 words, accompanied by biographies of 250 words by 
Friday 29th August 2025. Please send to Jon Baldwin, 
(j.baldwin /at/ londonmet.ac.uk) <mailto:(j.baldwin /at/ londonmet.ac.uk)> and Dr 
Jeremy Collins (j.collins /at/ londonmet.ac.uk) <mailto:(j.collins /at/ londonmet.ac.uk)>.

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