Social Realism in British Film
What is Social Realism?
Social Realism is a term used that refers to the work of media artists, such as painters, photographers and filmmakers, which draw attention to the everyday conditions of working class citizens and the poor. However these media artists usually are critical of the systems within these social structures and their art usually portrays these opinions. The term ‘Social Realism’ came from the major art movement in the 1930’s during the Great Depression in America. However within film, the main examples of social realism given are all of British origin. Early films within this genre would typically look at the day-to-day issues of the working class. This would include unemployment and social status issues. Nowadays, the main focus of social realistic films is on youth culture, with an increase on topics of race, gender, sexuality and violence.
Social Realism is a term used that refers to the work of media artists, such as painters, photographers and filmmakers, which draw attention to the everyday conditions of working class citizens and the poor. However these media artists usually are critical of the systems within these social structures and their art usually portrays these opinions. The term ‘Social Realism’ came from the major art movement in the 1930’s during the Great Depression in America. However within film, the main examples of social realism given are all of British origin. Early films within this genre would typically look at the day-to-day issues of the working class. This would include unemployment and social status issues. Nowadays, the main focus of social realistic films is on youth culture, with an increase on topics of race, gender, sexuality and violence.
Socialist Realism vs. Social Realism
Social realism and Socialist realism are usually confused with one another but have completely different traits and meanings beneath the art created around each form. Socialist realism is the official art form of the USSR and was institutionalised by Joseph Stalin in 1934 and thereafter, communist allies worldwide adapted this form of art. In contrast to this Social realism depicts a democratic tradition of the socially motivated media artists. These artists were usually influenced into this form of art due to their preoccupation within the lower or working classes of society. This was a result of the mass democratic movements within the 18th and 19th centuries. This makes social realism an international phenomenon as mass audiences worldwide can relate to the art created; the artists are always able to utilise a form of realism whether it be in a descriptive or critical sense.
Social realism and Socialist realism are usually confused with one another but have completely different traits and meanings beneath the art created around each form. Socialist realism is the official art form of the USSR and was institutionalised by Joseph Stalin in 1934 and thereafter, communist allies worldwide adapted this form of art. In contrast to this Social realism depicts a democratic tradition of the socially motivated media artists. These artists were usually influenced into this form of art due to their preoccupation within the lower or working classes of society. This was a result of the mass democratic movements within the 18th and 19th centuries. This makes social realism an international phenomenon as mass audiences worldwide can relate to the art created; the artists are always able to utilise a form of realism whether it be in a descriptive or critical sense.
When did Social Realistic films first appear?
One of the very first films that were within the social realism bracket would be ‘A Reservist Before the War, and After the War’ (1902). This film was a revolution to the cinema that was present and commented on the issue of unemployment that faced a Boer serviceman. It was produced by the Williamson Kinematograph Company, which produced many short films on the social realistic topic and genre.
Although this may be one of the first social realistic films to be created, social realism didn’t take of within the UK till the 1960’s.
Social Realism and the Hindi Film Industry
Social Realism was adapted within the Hindi Films in the 1940’s and 1950’s. Some of the main titles that appeared with this theme of social realism are ‘Neecha Nagar’ by Chetan Anand (1946) and Bimal Roy’s ‘Do Bigha Zamin’ (Two Acres of Land) (1953). Although both these films are within the social realistic genre they differ in a great deal to the British films, as the issues raised are very significant to India. ‘Neecha Nagar’ is a film that took a very expressionist view at the gulf between the rich and the poor. This may be seen to be a common theme within the two industries films (Hindi and British), but the divide between classes is seen in different ways as the countries being represented differ in setting and law, influencing the way each set of films are produced.
In ‘Do Bigha Zamin’ this split and difference between the two industries is seen clearly again. The film revolves around a farmer who lives with his wife and son who are faced with a drought. When rain finally falls, it is seen that the farmer owes two ‘bighas’ (a unit of land) and is left with insufficient food. Also due to this poverty there is an illegal sale of land where the bighas that the farmer owes sit. Within this film we see the social realistic themes of poverty and drought that are very unique to India and Asia meaning it would hardly be seen within the social realistic films of the UK.
Overall the two industries and the way they present social realism differ in great deal due to the countries and situations the two industries are within.
Social Realism and British Film
Social Realism in British film peaked during the 1960’s in what was known as the British New Wave. The start of the ‘New Wave’ dealt with mainly with the issue of unemployment after the era of Margret Thatcher (such as The Full Monty and Billy Elliot). This said there were many films that were produced just after World War I where it was widely felt that the key to national cinema laid in ‘realism and restraint’. These films were based upon the ever-changing wartime society. Films like ‘Target for Tonight’ (1941), ‘In Which We Serve’ (1942), ‘Millions Like Us’ (1943) and ‘This Happy Breed’ (1944) smoothed away the tension between the class barrier by depicting factory, suburban and war life to the public.
One of the strongest images of post-war British cinema is that of a factory worker downing a pint at the end of another week in ‘Saturday Night and Sunday Morning’ (1960). This film presented the new relaxed thought towards social problems after the war and is one of the images to bring about the ‘British New Wave’ of social realistic films. Within this period, due to the new relaxation of censorship, characters were able to have sex lives, money worries and social problems letting the industry depict the reality of the 60’s era.
Who are the Key Directors and Organisations
The leading directors of ‘New Wave’ cinema were Mike Leigh, Ken Loach and Tony Richardson.
Within Mike Leigh’s films ‘Life is Sweet’ (1990), ‘Naked’ (1993) and ‘Secrets and Lies’ (1996), he examined the ever greater cracks in domestic and social life brought by Thatcherite policies in an increasing multi-cultural Britain. When filming Leigh would start out without a script, letting actors improvise and become more n touch with the characters they were playing to clearly portray the realism within his films.
Loach’s work reflects the shift from the collective views of the war age to the independent mood of the post-war years. Loach’s films went from improvised long take naturalism of ‘Poor Cow’ and ‘Kes’ (both 1969) to the exploration of emotional and dramatic individuals within ‘Raining Stones’ (1993) and ‘Ladybird Ladybird’ (1994).
Tony Richardson had directed the plays of John Osborne and together they set up one of the major production companies behind British New Wave cinema, Woodfall films. They were one of the first to take the cameras out of the studio confines and engage in large amounts of location shooting; again another first for the industry but was welcome under the word eyes of the new filmmakers within the social realism genre. This is all seen within his films ‘A Taste of Hunny’ (1961) and ‘The Loneliness of the Long Distance Runner’ (1961).
The social realism fostered by New Wave Cinema made a lasting impression on British filmmakers and cinema for years after the New Wave ended. It can still be seen within films such as the international hit by Pater Cattaneo, ‘The Full Monty’ (1997) as well as Lynne Ramsay’s success ‘Ratcatcher’ (1999).
In short, the New Wave and the social realism it adopted extended way beyond its own period and flourishes in British Cinema today.
Modern Social Realism
Films such as ‘Trainspotting’ (1996), ‘The Full Monty’ (1997), Billy Elliot (2000), This is England’ (2006), ‘London to Brighton’ (2006) and ‘Fish Tank” (2009) all still include the theme of social realism however due to the time they are created the socialist issues that are raised and the way in which they are raised differ slightly. The film “The Full Monty’ shows a happier, more comical side to the issues involved with social realism. Similarly, Billy Elliot and Trainspotting express the feeling of hope toward the ends of each film, which is seen to be rare in the early social realism style. More modern social realism films go against the convention of only using diegetic sounds by including atmospheric and ambient non-diegetic sounds to enhance a scene or to help with marketing.
Conventions of Social Realistic Films
There are few main conventions of social realistic films due to the director having there own style and rationale for the films they produce. Some of the main features are:
· Long Camera Shots: The actors often have to improvise to give a more realistic feel to the films and give them a sense of authenticity.
· No Major Editing: The directors usually chose to do this to divert the audience from the fact they are watching a film and to show once more the realism of the film.
· Hand Held Cameras: This is used to almost give a documentary type feel to the film but also to portray the feelings characters have within the films clearly to the audience.
· Only Diegetic Sound: Once more this helps to give the realistic effect to the film.
Target Audiences
Traditionally, social realism films were aimed at the middle or working class audience who were able to visit art house cinemas. Nowadays, as the films are usually produced mainstream, they attract larger and younger audiences. As the films are streamed at major cinemas such as ‘Odeon’ as well as art houses they attract a larger group of people. These are usually teenagers and young adults due to the plotlines used and the types of social problems involved within the films (Kidulthood and This is England).
