Zsolt Győri, Assistant Professor at the University of Debrecen and the Editor of this issue, researches British and Hungarian cinema, documentary film, the intersections of cinema studies, spatial studies and cultural studies, and the synergies between cinema and popular music. He edited a collection of essays on British film history (2010), and co-edited four volumes dedicated to the relationship of body, identity, ethnicity, gender, space, and power in Hungarian cinema (DUP: 2013, 2015, 2018). His monograph, in Hungarian, offers a critical introduction to Deleuzian film philosophy and analyses selected films (Films, Auteurs, Critical-Clinical Readings, 2014). He is the co-editor of Travelling around Cultures: Collected Essays on Literature and Art (Cambridge Scholars, 2016), Popular Music and the Moving Image in Eastern Europe (Bloomsbury, 2018), Eastern European Popular Music in a Transnational Context (Palgrave, 2019), and is an editor of the Hungarian Journal of English and American Studies.
British cinema has portrayed seaside resorts throughout its history with much dedication. Films featured both residents and visitors, the providers and the consumers of the seaside experience decade after decade by focusing on the synergies between space and identity. This article explores Brighton Rock (John Boulting, 1948), The Entertainer (Tony Richardson, 1960), The Birthday Party (William Friedkin, 1968), Quadrophenia (Franc Roddam, 1979), Bhaji on the Beach (Gurinder Chadha, 1993), and Last Resort (Pawel Pawlikowski, 2000) as representative examples of how the motifs of escape and entrapment—as manifested in the pursuit of various imaginations, ideals, rites of passage and identity quests—changed through the decades that also saw a gradual decline in the popularity of seaside resorts. The fading reputation and eroding image of resorts is analyzed parallel with the identity crises of characters entrapped in subcultural, diasporic, and migrant environments. (ZsGy)