D
BFI ScreenOnline
Social Realism
D1 "The most 'typically British' of all film genres" (USED)
D2 "Better than any other genre, social realism has shown us to ourselves, pushing the boundaries in the effort to put the experiences of real Britons on the screen, and shaping our ideas of what British cinema can be." (USED)
D3 "Target for Tonight (1941), In Which We Serve (1942), Millions Like Us (1943) and This Happy Breed (1944) smoothed away the tensions of a class-bound society in the depiction of factory life, the suburban street, the forces' mess. Historian
D4 "Looking back, Loach's work seems to reflect the shift from the collectivist mood of the war years to the individualism of the postwar decades in its very form. Loach's films went from the improvised long-take naturalism of Poor Cow and Kes (both 1969) to the 'social melodrama' of Raining Stones (1993) and Ladybird Ladybird (1994), wider social issues now explored via emotional and dramatic individual stories."
D5 "Mike Leigh's Life is Sweet (1990),Naked (1993) and Secrets and Lies (1996). In these films, Leigh examined the fractures in domestic and social life wrought by divisive Thatcherite policies in an increasingly fragmented and multicultural Britain. If the New Wave short-sightedly blamed women for the blighting of British manhood, women in Loach and Leigh are often complex and powerful individuals.
D6 "If the New Wave short-sightedly blamed women for the blighting of British manhood, women in Loach and Leigh are often complex and powerful individuals" (USED)
D7 Britain's contribution to cinema in the 1930s lay in a state-sponsored documentary tradition that would feed into the 1940s mainstream."
D1 "The most 'typically British' of all film genres" (USED)
D2 "Better than any other genre, social realism has shown us to ourselves, pushing the boundaries in the effort to put the experiences of real Britons on the screen, and shaping our ideas of what British cinema can be." (USED)
D3 "Target for Tonight (1941), In Which We Serve (1942), Millions Like Us (1943) and This Happy Breed (1944) smoothed away the tensions of a class-bound society in the depiction of factory life, the suburban street, the forces' mess. Historian
D4 "Looking back, Loach's work seems to reflect the shift from the collectivist mood of the war years to the individualism of the postwar decades in its very form. Loach's films went from the improvised long-take naturalism of Poor Cow and Kes (both 1969) to the 'social melodrama' of Raining Stones (1993) and Ladybird Ladybird (1994), wider social issues now explored via emotional and dramatic individual stories."
D5 "Mike Leigh's Life is Sweet (1990),Naked (1993) and Secrets and Lies (1996). In these films, Leigh examined the fractures in domestic and social life wrought by divisive Thatcherite policies in an increasingly fragmented and multicultural Britain. If the New Wave short-sightedly blamed women for the blighting of British manhood, women in Loach and Leigh are often complex and powerful individuals.
D6 "If the New Wave short-sightedly blamed women for the blighting of British manhood, women in Loach and Leigh are often complex and powerful individuals" (USED)
D7 Britain's contribution to cinema in the 1930s lay in a state-sponsored documentary tradition that would feed into the 1940s mainstream."
Mike Leigh (1943-)
D8 "Although Leigh has been accused of patronising his characters and encouraging the audience to look down and snigger at their antics, most of them, despite their eccentricities, are ordinary individuals courageously struggling with limited resources to confront life's problems."
D8 "Although Leigh has been accused of patronising his characters and encouraging the audience to look down and snigger at their antics, most of them, despite their eccentricities, are ordinary individuals courageously struggling with limited resources to confront life's problems."
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