From Trainspotting to Trainspotting

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    In the Chapter?, we defined what ‘Britpop’ phenomenon was to think about its birth from internal and external factors. The economic policy of the Prime Minister Margaret Thatcher and the rise of ‘rave culture’ were internal factors. It was external factor that the American culture represented by grunge music and Hollywood movies were gauged more important than the original British culture. Those two factors gave rise to a problem of ‘pride’ as British nation, and considering those points, I came to the conclusion that ‘Britpop’ was nationalism itself. Bennett points out:

    […] Britpop’s backward gaze betrayed a characteristic and nationalistic conservatism, a wish to return to or to recreate past eras, and an inability or lack of will to innovate. (Bennett 21)

    Bennett represents the mood of Britpop age first-rate. We do not necessarily declare whether Britpop age lacked its innovation, but this time had a kind of strong aspect as self-complete nature or British worship. Thinking about those points, it seems to say that ‘Britpop’ was nationalism itself.
       However, is it true that ‘Britpop’ phenomenon simply had consisted of only nationalistic structure? This question is starting point in this chapter. The very important key to reading the question is the film Trainspotting which was produced for Britpop age to take the novel Trainspotting in its body. The film was released in 1996 when Britpop age was in its glory, and typified the times. Clearing up transformation from the novel Trainspotting to the film Trainspotting, I will investigate what was a kind of atmosphere or influence which ‘Britpop’ had. To tell the conclusion, nationalism was just one element. ‘Britpop’ had the exquisite balance of ideality and reality. What does that mean? Purpose in this chapter is to demonstrate this point.

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    From Trainspotting to Trainspotting
    In the ChapterⅡ, we defined what ‘Britpop’ phenomenon was to think about its birth from internal and external factors. The economic policy of the Prime Minister Margaret Thatcher and the rise of ‘rave culture’ were internal factors. It was external factor that the American culture represented by grunge music and Hollywood movies were gauged more important than the original British culture. Those two factors gave rise to a problem of 'pride' as British nation, ..

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