Genre and the Social Realist Film

The British Social Realist genre, also known as the Kitchen Sink Drama, has been realised not only in film but also in television, theatre and literature. The Carry On films of the 1960s and 70s gave us the comedy of saucy end of the pier postcard view of Britain and Richard Curtis and Hugh Grant represented Britain as a middle class existence of endless parties, floppy hair and bumbling romantics; both are well loved, neither feel particularly like Britain.

Social Realist Films are an escape from the stereotyped caricature of Britain. They are distinctive both in their visual style and thematically. As a genre the films have evolved alongside a Britain which has changed and grown. They have the ability to make us cry, dispair and laugh - sometimes at a single character, sometimes in a single scene. Social Realist films have seen some of the most celebrated producers, directors and actors in Britain began their careers within the genre. It is for all these reasons that makes the exploration and analysis of Social Realism so interesting.

 

Research Investigation

As aforementioned, the Social Realist film is a genre which has a distinct look as well as unifying themes - this provides the opportunity to analyse films according to two different strands of Genre theory. Warren Buckland refers to these as a Descriptive approach and a Functional approach, Steve Neale describes them as Aesthetic criteria and Social/Cultural features. They both amount to the same thing and suggest that there is plenty of research into the nature of genre that can be considered and applied.

As Social Realist Films are often positively regarded by critics and academics, you may find that there are media studies and film studies text books or journals which include articals specifically about the genre. More likely you will find articles about specific films which you will need to adapt to your own needs.

The evolution of the Social Realist film also suggests that the concept of hybrid genre be looked at, but of course that will depend on which film text(s) you use as your case study...

...and this is where the real decision making lies.

Arguably Ken Loach is the key director to consider, his TV play Cathy Come Home is considered by many to be the text which kick started the genre and his feature film Kes is remembered of entirely conventional - indeed its style has been emulated by many British Filmmakers since. Just as praised, respected and treasured is diretor Mike Leigh - whose slightly more whimsical movies still have the wicked sting that we expect from the genre. And there are countless others, you may wish to choose from the following list...

• Danny Botle - Trainspotting
• Ken Loach - Kes or Looking for Eric
• Shane Meadows - 24/7 or A Room for Romeo Brass
• Noel Clarke - Adulthood
• Gary Oldman - Nil By mouth
• Mike Leigh - Life is Sweet or Secrets and Lies

Please note that you cannot choose to study Shane Meadows' This is England.

Which ever texts you choose, you will need to know them inside out - excellent knowledge in all areas of your chosen texts will be fundamental to succeeding in this essay.

Please label your research for this essay with your name and: Genre Social Realism

Media Product

You have two choices or you may wish to do a combination of the two. Either:

1. Write, direct and edit a trailer or opening sequence for a Social Realist Film (this can be done individually or in a group)
2. Create a DVD cover for a new Social Realist film and a review of it for a film magazine.

Option 1.

This will need to be planned meticulously - one thing about Social Realist films that you will have found in your research is that they often look unplanned and are sometimes improvised. Your aim is to create something that includes the conventions that you have explored in your essay. This doesn't just include a visual style but also the themes and functions of the genre.

Therefore you will have to write a script and storyboard your film - you must have actors that you can trust and who understand the vision of what you want your film to look like and the message you want it to carry. Even if improvisation is a convention of the genre, you won't be able to guarantee that your actors will get the ideas accross that you want to make explicit.

This has the potential to be a thought provoking and experimental piece of film making that will earn excellent marks - so long as it is done well.

If you don't plan it may look like an incoherent shambles.

Option 2

You will need to decide on the narrative, themes, actors, director, visual style and setting of a Social Realist film that will never get made!

Once you have decided on all of these factors and you know your (non)film inside out, you will create the DVD cover for it - the fron should be images and copy relevant to the movie and the back cover should have screen shots and a blurb about the plot.

You must also create a two page magazine review or interview with the director of this fake film which must explore the ideas that you have found in your essay which relate to Social Realist films but also looks and reads exactly like a film magazine such as Empire.

This is a slightly complex project which requires you to know exactly what the film's style and messages would be so that you can prove to the examiner that you have learned from your essay. But also show that you have the technical and creative skills to reproduce the style and content of a film magazine.