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BOOKS...

Football Hooliganism
By Steve Frosdick and Peter Marsh

This book provides a highly readable introduction to the phenomenon of football hooliganism, ideal for students taking courses around this subject as well as those having a professional interest in the subject , such as the police and those responsible for stadium safety and management. For anybody else wanting to learn more about one of society's most intractable problems, this book is the place to start.

Unlike other books on this subject it is not wedded to a single theoretical perspective but is concerned rather to provide a critical overview of football hooliganism, discussing the various approaches to the subject. Three fallacies provide themes which run through the book: the notion that football hooliganism is new; that it is a uniquely football problem; and that it is predominantly an English phenomenon.

The book examines the history of football-related violence, the problems in defining the nature of football hooliganism, the data available on the extent of football hooliganism, provides a detailed review of the various theories about who hooligans are and why they behave as they do, and an analysis of policing and social policy in relation to tackling football hooliganism.

http://www.federationpress.com.au/bookstore/book.asp?isbn=1843921294

BBC Review

The Football Factory (2004)

Reviewed by Neil Smith

Contains very strong language, violence and drugs use

Once the scourge of the terraces, football hooliganism is making a comeback - at the cinema. In 2005 we'll see Elijah Wood as a West Ham yob in The Yank, but first we have The Football Factory, a grim and earthy look at soccer's underbelly based on John King's cult 1996 novel. Danny Dyer plays a young hoodlum who has dedicated his life to "thieving, f***ing and fighting". And that just about sums up Nick Love's forceful but ultimately self-defeating wallow in the worst excesses of male working-class culture.

Set in an urban wasteland of grotty pubs, rundown housing estates and building sites, Love's shoestring-budgeted movie is as far removed from the glamour of Premiership football as it is possible to imagine. Indeed, besides a few TV snippets and an FA Cup draw, the "beautiful game" is nowhere to be seen in his episodic and profanity-strewn drama.

"OBSCENE VIOLENCE, GRUESOME SENTIMENTALITY"

Narrated Trainspotting-style by Dyer's cocky twentysomething Tommy Johnson, The Football Factory instead focuses on the fierce tribal loyalties which set Frank Harper's west London crew on a collision course with a rival mob from Millwall. For Tommy, life is a non-stop orgy of lager, drugs and brutality, with no room for work, family or relationships. Until, that is, a series of harrowing nightmares make him wonder if he's got what it takes to be part of "The Firm".

Love expertly captures the self-doubt and insecurity that lies beneath his characters' swaggering bravado, while the fight scenes have a visceral intensity that reeks of authenticity. The writer-director should also be commended for assembling such a persuasive ensemble of mean-looking, shaven-headed gorillas. Alas, no amount of style or veracity can excuse the obscene glamorising of senseless violence, while the avuncular presence of Tommy's grandfather (Dudley Sutton) introduces a gruesome streak of sentimentality that's just as unpalatable.

The Football Factory is released in UK cinemas on Friday 14th May 2004.

Some info...

Format: 35mm

Year of Production: 2004

Running Time: 90 mins

Director: Nick Love

Producer: Allan Niblo, James Richardson

Executive Producer: Rupert Preston

Editor: Stuart Gazzard

Screenwriter: Nick Love

Director of Photography: Damian Bromley

Music: Lol Hammond

Production Company: Vertigo Films


Cast...

Danny Dyer (Tommy Johnson)
Frank Harper (Billy Bright)
Tamer Hassan (Fred)
Roland Manookian (Zeberdee)
Neil Maskell (Rod)
Dudley Sutton (Bill Farelle)
Jamie Foreman (Cabbie)
Tony Denham (Harris)
Calum McNab (Raff)
John Junkin (Albert Moss)
Sophie Linfield (Tamara)
Kara Tointon (Shie)
Michele Hallak (Shian)
Daniel Naylor (Terry)
Alison Egan (Babara)

SYNPOSIS

Based on the acclaimed novel by John King, The Football Factory is about a forgotten culture of males fed up with being told they're no good and using violence as a drug they describe as being more potent than sex and drugs put together.

Adapted and directed by Nick Love, The Football Factory is seen through the eyes of four men, all of who have a different story to tell about their experience with tribal culture on the terraces of the beautiful game.

Tommy Johnson (Danny Dyer); a bright thirty year old with a steady job and close family leads us through the story and is the link to the other three characters.

Billy Bright (Frank Harper); a right wing fascist who forms part of the older generation of the Chelsea Headhunters but is full of bitterness in what he sees as a country that has failed him.

Zeberdee (Roland Manookian) a mouthy hooligan whose life has already run into the cul de sac of crime and drugs.

And Bill Farrell; a seventy year old war veteran who tries to enjoy every day to the limit.
The Football Factory is frighteningly real yet full of painful humour as the four character's extreme thoughts and actions unfold before us.

"WhAt eLSe YoU GoNNa dO On A sATurDAy?"

“FOOTBALL HOOLIGANS, ORGANISED CRIME SYNDICATES OR SIMPLE MINDED THUGS?”

THE REPRESENTATION OF FOOTBALL HOOLIGANS IN THE MEDIA, PARTICULARY FOCUSSING ON THE FOOTBALL FACTORY.

My independent study focuses on the representation of football hooligans in the media, with my primary text being Nick Love’s “The Football Factory” (2004). I have used a variety of different researching methods. The one that was found most effective was watching other films, documentaries and television programmes that focussed on my desired topic, whereby I could make comparative notes on how these texts differed from Love’s “The Football Factory”. The texts that were most useful were Lexi Alexander’s “Green Street” (2005), Danny Dyer’s “The Real Football Factories” (2005), and Donal MacIntyre’s “MacIntyre Undercover – Football Violence” (1999). Other texts that will be relevant to my study are those of the ‘gangster’ genre, including Guy Ritchie’s “Lock, Stock & Two Smoking Barrels” (1998) and “Snatch” (2000), Brian DePalma’s “Scarface” (1983) and Martin Scorsese’s “Goodfellas” (1990). This is due to the drug references, political power and control that they have over society, which in turn can then be related to “The Football Factory” where it can be determined whether they are single minded, ignorant thugs that get satisfaction out of extreme violence, or intellects that are of high authority in the criminal underworld. Particular scenes and quotes from the dialogue will be chosen to undergo close analysis. Reviews of the film will be useful, and further research has to be done into the books that I will be choosing.

Media Language:
Camera shots/movements relate to the superiority of the protagonist and allow the audience to identify with characters. Mise-en-scène, setting, iconography, dialect and behaviour are very important for the gritty realism to be obtained so that the film seems more accurate in its portrayal.

Institution:
Produced Vertigo Films. Directed by Nick Love. Premiered on television channel Film 4 as part of “The British Connection” season. Film 4 normally show arthouse productions and low budgeted films. Based on the novel of John King.

Genre:
Crime/Drama/Arthouse. Low quality of film reflects genre and obtains a gritty realism. Other generic conventions used are scenes of extreme violence, strong language and drug reference. Iconographic clothing associated with hooligans has been paid close attention to. Language, dialect and derogatory colloquial terms have also been closely researched to fit the setting of the film.

Representaion:
Young to middle aged men getting enjoyment from beating up other people. Shows their lives; involvement in drugs, alcohol and violence. Some have respectable jobs yet continue to involve themselves in this second life. It also shows how the youths are sucked into the world of hooliganism, looking up to the elders and see them as respectable role models.

Audience:
Targeted at males ranging from teenagers to men in their late their thirties, offering them a real life portrayal of football hooliganism, fulfilling their sadistic pleasures.

Ideologies and Values:
Reputation is the most important thing
Patriarchy
Keep your friends close and your enemies closer
Always be by your friend’s side and hold you ground

Narrative:
The main protagonist Tommy Johnson (Danny Dyer) is part of the Chelsea Football Club Firm, where on match days, fight other rival firms. We follow him through his life. Typical conventions of violence, drugs and alcohol have been assigned to the characters.

Social Context:
How men’s passion for sport has lead to rise of sickening destructive behaviour.

Historical Context:
The long history of hatred and wars between rival football clubs, and how now it has escalated.

Economic Context:
Low budget as most British films are.

Political Context:
Most narrative act as metaphors. This is true when it comes to modern texts as they often reflect the mood of the time. This is known as Zeitgeist.

Theories/Theorists:

Psychoanalysis and film - the mental states of the characters; why they do what they do?

Postmodernism

Levi Strauss - binary oppositions (rival firms)

Todorov - disequilibrium between characters resolved at the end

Other Texts:
Green Street
The Real Football Factories
Macintyre Undercover
Snatch
Lock, Stock & Two Smoking Barrels
Scarface
Goodfellas