Ben Bishop

Practise is defined as the way in which a film is produced and completed. In British social realism this generally means independent production.

They will seek to be free or different from the mainstream and will demonstrate a commitment to specific set of ideas about the world.

“the way you make a film is an important way of validating the ideas in it”

It refers to the aspects of outside of the text which never the less influence the form, structure content and style.

Film makers react to the way the world is constructed by the majority of mainstream films and practises.

They often comment on correct, or break away from previous conventions and practises regarded as realist.

British socialism was informed of it being outside of mainstream styles. Revolutionary political spirit.

Realism that teaches its audience a lesson.

A film makes politics influence their preferred mode of cinematic expression which may limit the audience.

Grierson’s films have a unique conception of social purpose meaning they stood out from mainstream works

Their commitment is reflective in their practise from the use of non-actors and location shooting due to lack of funds.

It is more of a sociological rather than domestic commitment.

Rejection of the studio was closely linked to rejection of a particular view of the world. Both cinema and theatre were attacked as being ‘snobbish and anti-intelligent’

Tony Richardson, karel Reisz, Lindsay Anderson and Lorenza Muzzetti. Free cinema created visually exciting short films. The name was to show their principles of making independent films.

Extending the range of cinematic representation to include working class beyond London. Many unknown actors were used such as Rachel Roberts and Tom Courtney.

They made their claims explicit through social realism functions.

Characters and were places were interconnected.

In more modern times, collaborative works have been near impossible to do.

Content is made up of two conjoined and constituent aspects. First the issues and themes. Second the types of representations.

Content in the terms of themes is usually linked to the film makers intentions.

Offering an insight into socio-historical contexts which is of importance.

Content in terms of themes and issues is usually allied to a film-makers intent. In British social realism this is intent is often reformist, educative or socially purposeful in some way, and the choice of issues and the prevalence of themes is bound up to with a mission on message.

An understanding and appreciation of the way certain themes and issues come to the fore at different moments can reveal a great deal about social realism.

Comparisons and contrasts of the treatment of specific themes and issues over different periods can prove fruitful when seeking to answers questions.

Looking at how issues are dealt with at certain times can offer us a ‘slice of life’ entrance into how life was in the past. These socio-historical events are of key importance.

The term is commonly used when we are shown into the past where we cam see how life was or really is. A way of understanding how we (in the past) or in the present deal with issues.

Along with the events being important it is also important to remember that all texts constructed in a realist mode are always just constructs. Therefore, when we are analysing these texts we can understand the point of view from which these have been contructed.

They are significant because it is useful to distinguish between issues and themes

Issues relate to the different social problems portrayed by films, which were topical around the time of a films given production.

Issues are the staple of soap operas, from Eastenders to Brookside. Social issues are very visible in these shows along with other fears and concerns.