stuff

1. Ben Bishop

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

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

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

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

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

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

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

9.  Realism that teaches its audience a lesson.

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

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

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

13.  It is more of a sociological rather than
domestic commitment.

14.  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’

15.  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.

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

17.  They made their claims explicit through
social realism functions.

18.  Characters and were places were
interconnected.

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

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

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

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

24.  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.

25. 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.

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

27.  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.

28.  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.

29.  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.

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

31.  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.