The genre of british social realism
•Download as PPT, PDF•
1 like•419 views
Michael Balcon was a British film producer who was influential in the development of British cinema in the 1930s-1960s. He helped establish studios like Ealing Studios and focused on realistic films that explored social issues and depicted ordinary lives. During World War 2, his films promoted national unity and challenged class divisions. In the 1950s, a new wave of British films depicted working-class lives and issues like poverty, unemployment and changing social values in a way that had not been seen before. By the 1980s and 1990s, British films continued to grapple with issues of class, marginalization, and national identity under changing economic and political circumstances.
Report
Share
Report
Share
![[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object],[object Object]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7)
Recommended
SR
Social realism has been Britain's most distinctive film genre, showing real British experiences on screen and shaping ideas of British cinema. Early British films picked up on social realism found in Dickens and Hardy, capturing everyday interactions. In the 1940s, combining documentary techniques with studio resources, British films appealed to mass audiences during WWII by portraying camaraderie and smoothing class tensions. The British New Wave of the 1960s brought wide shots and plain language to stories of ordinary Britons negotiating postwar society, addressing issues like prostitution, abortion and alienation. Filmmakers like Ken Loach and Mike Leigh later assessed the impact of Thatcherism and consumerism on family life and the erosion of the welfare state.
British Realism - Post War Britain
The genre of British social realism developed after World War I and focused on location shooting, non-professional actors, and exploring wider social issues through individual stories. During World War II, films reflected how society was changing with women working in factories and greater state intervention in people's lives. In the postwar period, tensions emerged between traditional communities and new private enterprise. The British New Wave of the 1960s brought wide shots and plain speaking to stories of ordinary Britons negotiating social changes in the postwar era. Films by directors like Mike Leigh and Ken Loach assessed the impact of consumerism on family life and the erosion of the welfare state.
British Social Realism
British Social Realism films focus on realistic portrayals of working class life and social issues. Some common conventions of the genre include using unknown or non-professional actors, portraying social classes and locations accurately, and addressing themes like poverty, drugs, sex and crime. The target audience for social realism films varies depending on the specific film, but often appeals both to younger viewers due to portrayals of teenagers, as well as older audiences who remember the time periods depicted. Some classic examples that exemplify the genre include Kes, Billy Elliot, and This is England.
Genre of British Social Realism
The document discusses the history and evolution of British social realist cinema from the early 1900s to the 1990s. It covers key movements like documentary-style location shooting in the early 1900s, Michael Balcon's contributions in the 1920s-1950s that helped establish a national cinema focused on stoicism and verisimilitude, the kitchen sink dramas of the 1950s-1960s influenced by Italian neo-realism and French New Wave, and the works of filmmakers like Ken Loach and Mike Leigh that explored social issues through individual stories and examined the impacts of deindustrialization and Thatcherism. By the 1990s, British films combined realist streets and cityscapes with triumph
Genre in British Social Realism
British social realism developed over the 20th century to depict the lives and experiences of ordinary British people. Key moments included early films showing everyday life in the early 1900s and documentaries from the 1930s-40s that influenced later mainstream films. The 1950s Free Cinema movement and 1960s British New Wave brought social issues like class, gender, and economic challenges to the forefront through films focused on working class characters. Directors like Mike Leigh and Ken Loach examined the impact of policies like Thatcherism and consumerism on communities and family life. While formulas emerged, many films provided complex portraits of British society.
This is england lesson 4d
This document provides background information on British film director Shane Meadows. It discusses Meadows' working-class upbringing and how it has influenced his films. It summarizes several of his films including 24.7, A Room for Romeo Brass, and Dead Man's Shoes. It focuses most on Meadows' film This is England, set in 1980s Britain, exploring youth subcultures like skinheads and the political context of Margaret Thatcher's government.
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
SR
1. Social realism has been Britain's most distinctive film genre, showing ordinary British life and experiences on screen and shaping ideas of what British cinema can be.
2. Early British films in the 1900s picked up on themes of everyday social interactions found in authors like Dickens and Hardy to portray everyday life in a realistic style.
3. In the 1940s, British films combined the realism of documentaries with bigger studio productions, creating mass appeal films that reinforced social unity during World War II and the postwar years.
4. The British New Wave of the 1950s-1960s brought a more independent style focused on realist portrayals of working class lives and issues in Britain at the time.
Recommended
SR
Social realism has been Britain's most distinctive film genre, showing real British experiences on screen and shaping ideas of British cinema. Early British films picked up on social realism found in Dickens and Hardy, capturing everyday interactions. In the 1940s, combining documentary techniques with studio resources, British films appealed to mass audiences during WWII by portraying camaraderie and smoothing class tensions. The British New Wave of the 1960s brought wide shots and plain language to stories of ordinary Britons negotiating postwar society, addressing issues like prostitution, abortion and alienation. Filmmakers like Ken Loach and Mike Leigh later assessed the impact of Thatcherism and consumerism on family life and the erosion of the welfare state.
British Realism - Post War Britain
The genre of British social realism developed after World War I and focused on location shooting, non-professional actors, and exploring wider social issues through individual stories. During World War II, films reflected how society was changing with women working in factories and greater state intervention in people's lives. In the postwar period, tensions emerged between traditional communities and new private enterprise. The British New Wave of the 1960s brought wide shots and plain speaking to stories of ordinary Britons negotiating social changes in the postwar era. Films by directors like Mike Leigh and Ken Loach assessed the impact of consumerism on family life and the erosion of the welfare state.
British Social Realism
British Social Realism films focus on realistic portrayals of working class life and social issues. Some common conventions of the genre include using unknown or non-professional actors, portraying social classes and locations accurately, and addressing themes like poverty, drugs, sex and crime. The target audience for social realism films varies depending on the specific film, but often appeals both to younger viewers due to portrayals of teenagers, as well as older audiences who remember the time periods depicted. Some classic examples that exemplify the genre include Kes, Billy Elliot, and This is England.
Genre of British Social Realism
The document discusses the history and evolution of British social realist cinema from the early 1900s to the 1990s. It covers key movements like documentary-style location shooting in the early 1900s, Michael Balcon's contributions in the 1920s-1950s that helped establish a national cinema focused on stoicism and verisimilitude, the kitchen sink dramas of the 1950s-1960s influenced by Italian neo-realism and French New Wave, and the works of filmmakers like Ken Loach and Mike Leigh that explored social issues through individual stories and examined the impacts of deindustrialization and Thatcherism. By the 1990s, British films combined realist streets and cityscapes with triumph
Genre in British Social Realism
British social realism developed over the 20th century to depict the lives and experiences of ordinary British people. Key moments included early films showing everyday life in the early 1900s and documentaries from the 1930s-40s that influenced later mainstream films. The 1950s Free Cinema movement and 1960s British New Wave brought social issues like class, gender, and economic challenges to the forefront through films focused on working class characters. Directors like Mike Leigh and Ken Loach examined the impact of policies like Thatcherism and consumerism on communities and family life. While formulas emerged, many films provided complex portraits of British society.
This is england lesson 4d
This document provides background information on British film director Shane Meadows. It discusses Meadows' working-class upbringing and how it has influenced his films. It summarizes several of his films including 24.7, A Room for Romeo Brass, and Dead Man's Shoes. It focuses most on Meadows' film This is England, set in 1980s Britain, exploring youth subcultures like skinheads and the political context of Margaret Thatcher's government.
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
SR
1. Social realism has been Britain's most distinctive film genre, showing ordinary British life and experiences on screen and shaping ideas of what British cinema can be.
2. Early British films in the 1900s picked up on themes of everyday social interactions found in authors like Dickens and Hardy to portray everyday life in a realistic style.
3. In the 1940s, British films combined the realism of documentaries with bigger studio productions, creating mass appeal films that reinforced social unity during World War II and the postwar years.
4. The British New Wave of the 1950s-1960s brought a more independent style focused on realist portrayals of working class lives and issues in Britain at the time.
Social realism as a genre 2 SECTION B
The document provides information about the genre of social realism in film. It defines social realism as a realistic portrayal of British society that depicts social and economic hardship through unvarnished pictures of real people's lives and struggles. It lists some key conventions of social realism films including realistic settings and events, believable filming techniques, gritty urban locations, and focusing on working class activities and heroes. Examples of notable social realism films from Britain are provided such as Billy Elliot and Kes.
Representations in tv drama
This document provides a summary of representations of social issues in British TV drama over time, including:
1) Social class was traditionally depicted through drawing room comedies but plays by the Angry Young Men in the 1950s brought working class experiences to the forefront.
2) Regional identity became prominent in the 1960s with shows like Coronation Street depicting working class life in the North. Regional dialects and cultures have since shaped many TV shows.
3) Representations of race historically involved offensive stereotypes but shows from the 1980s like Desmond's were produced by Black British people and depicted Black British identity without focusing on otherness.
2) The Hollywood Art 1930 1939 Part One
This document provides an overview of the film industry in Hollywood during the 1930s. It discusses how the 1930s marked the peak of the classic Hollywood studio system, with studios producing around 52 films per year. While the films were criticized at the time for being propaganda or too flashy, they provided much-needed escapism for audiences during the Great Depression. The 1930s saw technical advancements like sound and color, as well as the rise of many iconic stars and films that have endured in our popular culture, like The Wizard of Oz and Gone with the Wind. The studios excelled at cultivating a diverse range of talent, from child stars to veteran actors, to meet audience demand.
British New Wave (TV Y1)
The British New Wave film movement of the late 1950s and 1960s aimed to realistically portray working class life in Britain. Key figures like Lindsay Anderson and Karel Reisz helped establish the movement through documentary films. British New Wave films featured gritty, social realist depictions of working class struggles in northern England using non-professional actors and location shooting. The films addressed issues like unemployment, domestic problems, and the challenges of social and economic changes in Britain after World War II. The movement had a lasting influence on British and American cinema although it has also been criticized for its sometimes negative portrayals of women and lack of diversity.
ahepburn MDES PRES3 Genre Its only a Comic
This document discusses different genres and aesthetics used in comics and graphic novels about war. It provides examples of comics that depict World War 1 in a style of visual realism, as well as an Irish comic about the 1916 uprising that uses stylized cartoons and vivid color. Additionally, it describes the graphic novel "Waltzing with Bashir" about the Lebanon War, noting its cinematic style. The document examines how comics can realistically or stylized portray war and historical events through visuals, color, and style.
history of horror 30's & 40's
The 1930s and 1940s saw the rise of classic horror films in cinema. With the introduction of sound, films like 1931's Dracula and Frankenstein brought supernatural creatures and special effects to audiences, popularizing the genre. Dracula helped increase publicity for horror films through reports of fainting audiences. Frankenstein and its 1935 sequel Bride of Frankenstein were also financial and critical successes, though World War 2 caused a lull in European horror production during the 1940s. Iconic films from this era like King Kong established the foundations of the horror genre.
Final Reflections: Visual Communications
This document discusses the power of visual communications like photographs and artwork to convey important historical moments and messages. It provides several examples of iconic visuals that have captured pivotal events in history, from the Wright Brothers' first flight to photos from wars and protests. The document emphasizes that visuals can shape public opinion and activism, but also notes the importance of questioning their context and purpose since photographs don't always depict reality. It encourages continued questioning and communication to promote justice, peace, and protecting the planet.
The roots of working class representation in british
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that working class culture and lives were typically portrayed through certain established tropes and stereotypes involving northern English settings, industrial imagery, and accents. Several key films from the 1950s/60s like Room at the Top, Saturday Night and Sunday Morning helped bring working class stories and voices to the screen. Television shows like Coronation Street and The Likely Lads also drew upon these filmic tropes to depict working class life. Representation is shaped by earlier cultural works, and tropes become ingrained over time.
Charlie part 2
Chaplin was a pioneering filmmaker who used comedy and his films to make political statements. In his 1940 film The Great Dictator, he mocked Adolf Hitler and Benito Mussolini. During WWII, Chaplin was accused of being too neutral and not supporting the war effort enough. Later films also contained political messages criticizing capitalism and persecution. Chaplin had a long career in film and received many honors, including an honorary Academy Award for his contributions to film as an art form.
Film vs. Reality: Depression Era
A presentation contrasting the way Hollywood portrayed the Great Depression and what was going on in America in the years leading up to World War Two.
Interpreting a Political cartoon IGCSE History
The cartoon from 1925 depicts two boys fighting that represent Bulgaria and Greece. A large dove, representing the League of Nations, uses its moral authority to stop their quarrel. The poem suggests the League was able to end the war between ridiculous, small nations. As a British political cartoon from the time, it aims to ridicule Greece and Bulgaria and portray the League's success as belittling.
26) The Hollywood Art State Of The Art
Gregory Peck was a legendary Hollywood actor known for his integrity and intelligence on screen. Over his 40+ year career, he portrayed heroes and complex characters in films like Roman Holiday, To Kill a Mockingbird, and Gentleman's Agreement. Peck was admired by audiences who found him to be just as upstanding in real life. Today, few actors achieve such long, distinguished careers in film. The modern movie industry prioritizes short-term profits over artistic vision and cultural impact.
What is Social Realism?
Social realism is a film genre that aims to depict realistic portrayals of life, especially for underrepresented groups. It focuses on contemporary social issues through stories set in the current time. Directors of social realism films, like Ken Loach and Shane Meadows, want to shed light on social injustices such as economic hardship and discrimination. Their films are meant to represent attitudes and struggles of ordinary people, especially the working class, during a particular period in history.
The History of TV Drama
Drama is a film genre that relies on realistic characters and their progression through problems that people commonly face, such as addictions, moral dilemmas, and conflicts with society and themselves. In the 1950s, melodrama was the most popular type of drama, and actors like Marlon Brando brought more natural acting to the genre. During the 1960s and 1970s, many influential dramatic directors made their first films, such as The Godfather, Taxi Driver, and Mean Streets, while successful sports and war films also emerged. In the 1980s and 1990s, dramas took on more emotional themes as seen in films like The Color Purple and Boyz N the Hood, and comedy-dramas
Evaluation question 2
Our film is set in Victorian Britain and features few characters. It represents the social group of the well-off during that era through a rich widower who owns a mansion and another man who wears fine clothing. The main character in our film is similar to Daniel Radcliffe's character in "The Woman in Black" as he is also a wealthy Victorian widower.
Codes and Conventions of British Social Realism
British Social Realism films employ several codes and conventions including location shooting instead of studios, wide shots, non-professional actors, semi-improvised scripts, balancing humor and seriousness, exploring wider social issues through individual stories, and portraying the erosion of regional identities. These techniques aim to portray realistic stories that examine social problems through the lens of personal struggles and triumphs over adversity.
Alfie
1) Alfie (1966) starred Michael Caine as the title character, a working-class womanizer in 1960s London.
2) Caine's portrayal of Alfie came to represent the emerging working-class hero of British films in the 1960s, which gave voice to everyday working people.
3) Through his direct address to the camera and charming roguish persona, Caine drew audience sympathy for Alfie despite his amoral treatment of women, reflecting tensions in 1960s notions of masculinity and social change.
Belton (16) film school generation
This document discusses the rise of film schools and their influence on Hollywood in the late 20th century. It describes how French film critics-turned-directors launched the New Wave movement in the 1950s-60s without formal training. American film schools then grew in the 1960s-70s, training a new generation of directors like Spielberg, Lucas, and Coppola. Hollywood recognized this generation's appeal to younger audiences and began hiring them to direct big-budget genre films that were profitable. These directors paid homage to earlier films through references and allusions in their works.
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
SR
Social realism has been Britain's most distinctive film genre, showing ordinary British people and pushing boundaries. Early British films picked up on realism found in Dickens and Hardy. In the 1940s, films combined documentary realism with studio resources to appeal to mass audiences. The British New Wave of the 1960s brought realism to stories of working class lives, addressing issues like class, gender roles and social change. Contemporary British filmmakers like Ken Loach and Mike Leigh have examined the impact of issues like Thatcherism and consumerism on families and communities through emotionally dramatic stories.
The history of social realism films
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
The history of social realism films
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
More Related Content
What's hot
Social realism as a genre 2 SECTION B
The document provides information about the genre of social realism in film. It defines social realism as a realistic portrayal of British society that depicts social and economic hardship through unvarnished pictures of real people's lives and struggles. It lists some key conventions of social realism films including realistic settings and events, believable filming techniques, gritty urban locations, and focusing on working class activities and heroes. Examples of notable social realism films from Britain are provided such as Billy Elliot and Kes.
Representations in tv drama
This document provides a summary of representations of social issues in British TV drama over time, including:
1) Social class was traditionally depicted through drawing room comedies but plays by the Angry Young Men in the 1950s brought working class experiences to the forefront.
2) Regional identity became prominent in the 1960s with shows like Coronation Street depicting working class life in the North. Regional dialects and cultures have since shaped many TV shows.
3) Representations of race historically involved offensive stereotypes but shows from the 1980s like Desmond's were produced by Black British people and depicted Black British identity without focusing on otherness.
2) The Hollywood Art 1930 1939 Part One
This document provides an overview of the film industry in Hollywood during the 1930s. It discusses how the 1930s marked the peak of the classic Hollywood studio system, with studios producing around 52 films per year. While the films were criticized at the time for being propaganda or too flashy, they provided much-needed escapism for audiences during the Great Depression. The 1930s saw technical advancements like sound and color, as well as the rise of many iconic stars and films that have endured in our popular culture, like The Wizard of Oz and Gone with the Wind. The studios excelled at cultivating a diverse range of talent, from child stars to veteran actors, to meet audience demand.
British New Wave (TV Y1)
The British New Wave film movement of the late 1950s and 1960s aimed to realistically portray working class life in Britain. Key figures like Lindsay Anderson and Karel Reisz helped establish the movement through documentary films. British New Wave films featured gritty, social realist depictions of working class struggles in northern England using non-professional actors and location shooting. The films addressed issues like unemployment, domestic problems, and the challenges of social and economic changes in Britain after World War II. The movement had a lasting influence on British and American cinema although it has also been criticized for its sometimes negative portrayals of women and lack of diversity.
ahepburn MDES PRES3 Genre Its only a Comic
This document discusses different genres and aesthetics used in comics and graphic novels about war. It provides examples of comics that depict World War 1 in a style of visual realism, as well as an Irish comic about the 1916 uprising that uses stylized cartoons and vivid color. Additionally, it describes the graphic novel "Waltzing with Bashir" about the Lebanon War, noting its cinematic style. The document examines how comics can realistically or stylized portray war and historical events through visuals, color, and style.
history of horror 30's & 40's
The 1930s and 1940s saw the rise of classic horror films in cinema. With the introduction of sound, films like 1931's Dracula and Frankenstein brought supernatural creatures and special effects to audiences, popularizing the genre. Dracula helped increase publicity for horror films through reports of fainting audiences. Frankenstein and its 1935 sequel Bride of Frankenstein were also financial and critical successes, though World War 2 caused a lull in European horror production during the 1940s. Iconic films from this era like King Kong established the foundations of the horror genre.
Final Reflections: Visual Communications
This document discusses the power of visual communications like photographs and artwork to convey important historical moments and messages. It provides several examples of iconic visuals that have captured pivotal events in history, from the Wright Brothers' first flight to photos from wars and protests. The document emphasizes that visuals can shape public opinion and activism, but also notes the importance of questioning their context and purpose since photographs don't always depict reality. It encourages continued questioning and communication to promote justice, peace, and protecting the planet.
The roots of working class representation in british
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that working class culture and lives were typically portrayed through certain established tropes and stereotypes involving northern English settings, industrial imagery, and accents. Several key films from the 1950s/60s like Room at the Top, Saturday Night and Sunday Morning helped bring working class stories and voices to the screen. Television shows like Coronation Street and The Likely Lads also drew upon these filmic tropes to depict working class life. Representation is shaped by earlier cultural works, and tropes become ingrained over time.
Charlie part 2
Chaplin was a pioneering filmmaker who used comedy and his films to make political statements. In his 1940 film The Great Dictator, he mocked Adolf Hitler and Benito Mussolini. During WWII, Chaplin was accused of being too neutral and not supporting the war effort enough. Later films also contained political messages criticizing capitalism and persecution. Chaplin had a long career in film and received many honors, including an honorary Academy Award for his contributions to film as an art form.
Film vs. Reality: Depression Era
A presentation contrasting the way Hollywood portrayed the Great Depression and what was going on in America in the years leading up to World War Two.
Interpreting a Political cartoon IGCSE History
The cartoon from 1925 depicts two boys fighting that represent Bulgaria and Greece. A large dove, representing the League of Nations, uses its moral authority to stop their quarrel. The poem suggests the League was able to end the war between ridiculous, small nations. As a British political cartoon from the time, it aims to ridicule Greece and Bulgaria and portray the League's success as belittling.
26) The Hollywood Art State Of The Art
Gregory Peck was a legendary Hollywood actor known for his integrity and intelligence on screen. Over his 40+ year career, he portrayed heroes and complex characters in films like Roman Holiday, To Kill a Mockingbird, and Gentleman's Agreement. Peck was admired by audiences who found him to be just as upstanding in real life. Today, few actors achieve such long, distinguished careers in film. The modern movie industry prioritizes short-term profits over artistic vision and cultural impact.
What is Social Realism?
Social realism is a film genre that aims to depict realistic portrayals of life, especially for underrepresented groups. It focuses on contemporary social issues through stories set in the current time. Directors of social realism films, like Ken Loach and Shane Meadows, want to shed light on social injustices such as economic hardship and discrimination. Their films are meant to represent attitudes and struggles of ordinary people, especially the working class, during a particular period in history.
The History of TV Drama
Drama is a film genre that relies on realistic characters and their progression through problems that people commonly face, such as addictions, moral dilemmas, and conflicts with society and themselves. In the 1950s, melodrama was the most popular type of drama, and actors like Marlon Brando brought more natural acting to the genre. During the 1960s and 1970s, many influential dramatic directors made their first films, such as The Godfather, Taxi Driver, and Mean Streets, while successful sports and war films also emerged. In the 1980s and 1990s, dramas took on more emotional themes as seen in films like The Color Purple and Boyz N the Hood, and comedy-dramas
Evaluation question 2
Our film is set in Victorian Britain and features few characters. It represents the social group of the well-off during that era through a rich widower who owns a mansion and another man who wears fine clothing. The main character in our film is similar to Daniel Radcliffe's character in "The Woman in Black" as he is also a wealthy Victorian widower.
Codes and Conventions of British Social Realism
British Social Realism films employ several codes and conventions including location shooting instead of studios, wide shots, non-professional actors, semi-improvised scripts, balancing humor and seriousness, exploring wider social issues through individual stories, and portraying the erosion of regional identities. These techniques aim to portray realistic stories that examine social problems through the lens of personal struggles and triumphs over adversity.
Alfie
1) Alfie (1966) starred Michael Caine as the title character, a working-class womanizer in 1960s London.
2) Caine's portrayal of Alfie came to represent the emerging working-class hero of British films in the 1960s, which gave voice to everyday working people.
3) Through his direct address to the camera and charming roguish persona, Caine drew audience sympathy for Alfie despite his amoral treatment of women, reflecting tensions in 1960s notions of masculinity and social change.
Belton (16) film school generation
This document discusses the rise of film schools and their influence on Hollywood in the late 20th century. It describes how French film critics-turned-directors launched the New Wave movement in the 1950s-60s without formal training. American film schools then grew in the 1960s-70s, training a new generation of directors like Spielberg, Lucas, and Coppola. Hollywood recognized this generation's appeal to younger audiences and began hiring them to direct big-budget genre films that were profitable. These directors paid homage to earlier films through references and allusions in their works.
What's hot (18)
The roots of working class representation in british
The roots of working class representation in british
Similar to The genre of british social realism
The genre of british social realism
The document discusses the genre of British social realism in film. Some key conventions include location shooting instead of studios, use of non-professional actors, and exploring wider social issues through individual stories. Directors like Mike Leigh and Ken Loach are noted for their portrayal of working class lives and examination of the erosion of regional and class identities in Britain over the 20th century. Their films provide complex representations of men and women navigating social and economic changes.
SR
Social realism has been Britain's most distinctive film genre, showing ordinary British people and pushing boundaries. Early British films picked up on realism found in Dickens and Hardy. In the 1940s, films combined documentary realism with studio resources to appeal to mass audiences. The British New Wave of the 1960s brought realism to stories of working class lives, addressing issues like class, gender roles and social change. Contemporary British filmmakers like Ken Loach and Mike Leigh have examined the impact of issues like Thatcherism and consumerism on families and communities through emotionally dramatic stories.
The history of social realism films
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
The history of social realism films
The document discusses the history of social realism films in Britain from the 1930s to the present. It notes that British documentaries of the 1930s and 1940s influenced later films by combining objective perspectives with studio resources to appeal to mass audiences. Films of the 1950s and 1960s depicted ordinary British people and addressed social issues through works influenced by Italian neo-realism and the French New Wave. More recent British films have examined the decline of industry and traditional regional/class identities against a backdrop of increasing consumerism.
The roots of working class representation in british
This document discusses the representation of the working class in British popular film and television from the 1960s onward. It notes that films from this era, like Room at the Top and Saturday Night and Sunday Morning, drew on existing tropes and stereotypes of northern working class life involving cobbled streets, terraced houses near factories. While the working class was previously marginalized, these "angry young man" films provided more realistic depictions that challenged norms. However, female and working class characters were often depicted negatively or stereotypically. Television shows like Coronation Street also drew from these film conventions but provided a more sympathetic portrayal of working class life.
Pressure
Racial tensions erupted across British cities in the 1970s and 1980s, exacerbating tensions between first and second generation immigrants. Pressure and Burning an Illusion were made in this context to re-evaluate what it meant to be black in Britain from a militant perspective, as previous films took a more liberal, mainstream view of racial issues. Both films focus on the political awakening of young black British men and women experiencing issues like police harassment and limited opportunities, commenting on the changing social and cultural climate for black youth in 1970s Britain.
04 g322 section b a history of british cinema since 1984 - 2014
04 g322 section b a history of british cinema since 1984 - 2014Alleyn's School Film Studies Department
The passage summarizes changes in the British film industry since 1984. It discusses the revival of the cultural and economic fortunes of British cinema in the 1980s and 1990s, including the rise of multiplex theaters. Key production companies during this period included Channel 4, Handmade Films, and Palace Pictures. Genres like art cinema, costume dramas, and social realism flourished. By the mid-1990s, films like Four Weddings and a Funeral and Sense and Sensibility showed the two main directions of British cinema - heritage films and more contemporary adaptations.Political films of US and Japan
The document discusses the history of political and socially conscious filmmaking in the United States from the 1920s through the 1990s. It covers early films made for African American audiences by Oscar Micheaux in the 1920s-1940s. It then discusses the rise of leftist documentary film collectives in the 1930s that addressed issues of poverty and racism. During World War II, propaganda films were produced to explain America's involvement in the war. The 1960s saw the emergence of counterculture and New Left films critical of the Vietnam War. Political films continued in the 1970s reflecting the tumultuous times. The document concludes with brief mentions of Gulf War films in the 1990s and changes in the film industry during that decade
Pressure notes by Joel Karamath
The document provides context about the 1976 British film Pressure directed by Horace Ove. It summarizes that the film was released during a time of social unrest and rising racial tensions in Britain. Pressure depicts the social awakening and political radicalization of young black British men in the 1970s, a time when issues like police harassment, racism, poor housing, and employment discrimination were common. The film uses elements of culture like food, language, music and fashion to represent the formation of a black cultural identity in Britain during this era and the conflict between first and second-generation immigrants.
The history of drama
The document discusses the history and evolution of the drama film genre from the silent film era to the 2000s. It notes that early dramas from 1914 were based on historical events to educate audiences. In the 1950s, dramas shifted to focus more on relationships and character development. The 1960s saw political war dramas, while the 1970s brought more modern films like The Godfather. Dramas of the 1980s were known for being emotional, and the 1990s explored crime and racial issues. By the 2000s, the drama genre had become more diverse with many sub-genres.
Pressure notes and screening questions
1) Racial tensions erupted across British cities in the 1970s and 1980s, as seen in events like the Brixton Riots.
2) Pressure was made to represent the experiences of black British youth coming of age during this time of social and political change.
3) Pressure represents examples of racism like police harassment and discrimination in the job market experienced by black British people.
Small Scale Research: How race is constructed in Britsh Social problem films
This document outlines a small-scale research project analyzing how 'race' is constructed in British social problem films from the late 1940s and 1950s. It focuses on four films: Sapphire (1959), Flame in the Streets (1961), A Taste of Honey (1961), and Pool of London (1951). Initial findings suggest the films represented race through dialogue, mise-en-scene, and sound, while also reflecting the social context of immigration and debates around British national identity at the time. The investigation will analyze representations of black and white races, sexuality, imperialism, and stereotypes to understand how race was constructed in these films.
History of the Horror Genre
German expressionist films of the early 1900s, such as The Cabinet of Dr. Caligari, featured expressionistic sets and stories of madness and insanity that influenced the horror genre. Expressionism declined in the 1920s but reemerged in Hollywood, influencing genres like horror and film noir. Classic horror literature from the 18th-19th centuries also influenced early horror films. Horror films in subsequent decades represented the social fears of their time through monster and human villains. Psychological horror became popular in the 1990s.
History of horror films
The document provides an overview of the horror genre throughout the decades from the 1920s to the 2000s. It discusses the evolution of horror films during each decade, from the silent films of the 1920s to the impact of sound and technology on special effects through the decades. It also touches on how the sociopolitical climate and events influenced the themes and styles of horror movies during each era. Some of the biggest and most influential horror films are highlighted for each decade.
History of the Genre
In the early 1950s, dramas began transitioning from melodramatic styles to more realistic techniques influenced by actors like Marlon Brando. By the late 1970s, realism had come to dominate the genre. Throughout the following decades, dramatic films increasingly focused on social and political issues, exploring topics like the civil rights movement, war, and discrimination. They also embraced new styles such as biopics, thrillers, and crime films to engage audiences with emotionally compelling stories of human struggle and triumph.
History of the genre
In the early 1950s, films began to move away from melodramatic styles and incorporate more naturalistic acting techniques pioneered by performers like Marlon Brando. By the late 1970s, realism had come to dominate film. Throughout the mid-20th century, dramatic films used characters and their relationships to explore social issues and teach audiences. They also examined genres like sports and courtroom procedurals. In later decades, dramas tackled topics like the civil rights movement, science fiction, prison life, the Holocaust, and existential themes. Biopics and war films also became popular dramatic genres in the 2000s.
The history of the crime genre
Crime films emerged in the 1940s as a new genre called film noir, characterized by dark, downbeat themes. These films depicted corrupt characters like cops, gangsters and criminals operating outside the law. In the 1930s, crime films became popular during the prohibition era, depicting the exploits of bootleggers and urban gangsters. Warner Bros established stars like Edward G. Robinson through gritty films about ruthless criminals like Little Caesar in 1930. In the 1970s, Francis Ford Coppola further developed the genre with epics like The Godfather films, chronicling the rise of a powerful Sicilian crime family in New York through violence and corruption.
Representation of teenagers
The document discusses the development of the concept of the "teenager" in the 1950s and 1960s. It provides historical context on the roles and expectations of youth prior to World War II. It then explains how greater economic prosperity in the postwar period allowed for longer periods of leisure and education for youth. This led to tensions between generations as teenagers gained independence. The media often portrayed teenagers negatively and fueled moral panics around new youth cultures. Iconic films from this era like Rebel Without a Cause helped shape perceptions of rebellious teenagers.
Representation of teenagers
The document discusses the development of the concept of the "teenager" in the 1950s and 1960s. It provides historical context on the roles and expectations of youth prior to World War II. It then explains how greater economic prosperity in the postwar period allowed for longer periods of leisure and education for youth. This led to tensions between generations as teenagers gained independence. The media often portrayed teenagers negatively, exacerbating moral panics around new youth cultures and behaviors. Films from this era, like Rebel Without a Cause, dealt with themes of teenage rebellion and nonconformity.
How real-world contextual events affected the evolution of the action genre F...
This document discusses how the action genre has evolved in response to real-world cultural and historical events. It provides examples of how action films from different eras addressed contemporary anxieties and themes through their plots, villains, and stylistic techniques. Specifically, it describes how early action films adhered to censorship codes until the 1960s, and how the Bond franchise incorporated contemporary geopolitical tensions. It also explains how factors like the women's movement, deindustrialization, and 9/11 influenced the genre.
Similar to The genre of british social realism (20)
The roots of working class representation in british
The roots of working class representation in british
04 g322 section b a history of british cinema since 1984 - 2014
04 g322 section b a history of british cinema since 1984 - 2014
Small Scale Research: How race is constructed in Britsh Social problem films
Small Scale Research: How race is constructed in Britsh Social problem films
How real-world contextual events affected the evolution of the action genre F...
How real-world contextual events affected the evolution of the action genre F...
More from Lindsay Payne
Film poster conventions
A movie poster typically contains an image and text that advertise a film. Modern posters often feature photographs of main actors. The text usually includes the title in large letters and names of main actors. It may also include the director, characters, release date, and a tagline. Posters are displayed in movie theaters, on streets, in shops, and online or in publications to promote films.
Question 2
We have used consistent elements across our film's trailer, poster, and magazine to create a recognizable brand and draw audiences. This includes using the same reviews, profile shot of the protagonist wearing a hat, title font, and mention of the actors and film festivals where it will be shown. The goal is to immediately create an emotional connection and sense of identification with the film and its characters.
Distributor
The document discusses inspiration drawn from the films Submarine, This Is England, and Brighton Rock for a film project. Key points of inspiration include a likable yet quirky main character, feelings of isolation resolved through a romantic interest, and using voiceover in trailers to create a personal connection. The document also states that Studio Canal will be engaged to distribute the production in the UK, as they have experience distributing socially realistic British films.
Possible film titles
1) Crescendo - This could represent the main character's increasing ability at the piano.
2) Harmony - This could symbolize the main character struggling to find harmony with his peers and family, but finding it through music and his love interest.
3) Out of Key/Out of Tune - The main character is out of tune with himself until discovering his passion for music, and out of tune with others who don't understand him, finding understanding with someone who helps him achieve his dreams.
David Gauntlett Lego
The document summarizes the creative process of a group project using LEGO as a representation. It depicts the initial blank thoughts and ideas developing ("germinating") into different paths the project could take. It shows overcoming obstacles along the chosen path through the "bridge" of the coursework. The finished product is represented as the built up ideas mixing together. It also depicts issues like others copying ideas and problems interrupting the creative flow.
Eastenderssubmarineonlyfoolsandhorses 110920065958-phpapp02
The episode portrays a working class British family struggling financially and living in poor conditions. The three main characters, who are all unemployed men, attempt to earn money through theft and fraud schemes. Their shabby apartment is filled with stolen goods and plans to sell items illegally. While exaggerated for comedic effect as a sitcom, the characters reinforce stereotypes of the working class through their accents, insults, living conditions, and illegal income sources.
Ideas for plot
The document outlines a story about a student who loves playing the piano but faces disapproval from his teacher and bullying from classmates. He hands out posters for a performance but no one shows up. Later, he auditions for a play but is rejected for lacking qualifications. Feeling disheartened, he considers giving up on music. However, he then receives an email about an interview at a prestigious music college in London. The summary ends with shots of the student arriving in London with the girl, as they stand outside the Royal School of Music holding hands.
Newspaper story headlines.
The document proposes several potential storylines for a film trailer, including a bullied girl who turns to drugs and alcohol but later finds friendship, a single father struggling to raise his children after his wife leaves, an anorexic girl's struggle and therapy sessions, a teen with acrophobia who drinks due to bullying, and a woman's fight to get medical treatment from the NHS despite others around her using illegal drugs.
The genre of british social realism
Michael Balcon was a British film producer who was influential in the development of British cinema in the 1930s-1960s. He helped establish studios like Ealing Studios and focused on realistic films that explored social issues and depicted ordinary lives. During World War 2, his films promoted national unity and challenged class divisions. In the 1950s, a new wave of British films depicted working-class lives and issues like poverty, unemployment and changing social values in a way that had not been seen before. By the 1980s and 1990s, British films continued to grapple with social issues but also incorporated elements of triumph over adversity stories to appeal to broader audiences.
The genre of british social realism
The document discusses strategies for film distribution, including:
1) Determining the target audience and release date for a film.
2) Creating marketing materials like trailers, posters, and ads to generate buzz and interest in the film's genre and story.
3) Emphasizing the trailer as the key tool to sell a film by showing audiences what it is about.
Submarine Film
The document summarizes the representation of the white working class in the film "Submarine". It describes the husband and wife as being stuck in dead end jobs and unfulfilling roles. The man looks run down while the woman worries about her appearance, showing their unhappiness. This kicks off the plot where the woman begins an affair. The film also shows young people engaging in smoking, bullying and arson, which the main character tries to justify. It portrays the realities of gang bullying and alienation faced by many working class characters.
Production exhib and distr process
Film production involves five main stages: development, pre-production, production, post-production, and distribution. In the development stage, a script is written and story elements are planned. Pre-production involves preparations like hiring crew, selecting locations, and building sets. During production, the raw film elements are recorded. In post-production, the film is edited, sound and visual effects are added. Finally, in distribution, the film is screened for buyers and distributed to audiences through theaters or home media.
BFI
The British Film Institute (BFI) is the lead body for film in the UK, connecting audiences to films, preserving the film collection, and championing filmmakers. It is primarily funded publicly and through commercial activities like ticket sales. It operates venues like BFI Southbank and publishes magazines. Distribution involves releasing films in cinemas and sustaining films in the marketplace. Historically, major film studios in the US were vertically integrated across production, distribution, and exhibition but were later forced to separate ownership of theaters.
What have you learnt about technologies from the process of constructing this...
I have learned several skills related to film production technology through constructing this product, including:
1) The effective use of diegetic sound, camera shots like establishing shots and their purpose, and the 180 degree rule for filming.
2) How to effectively edit a full production together using video editing software, which required learning the software, creating tests, and carefully examining each clip.
3) Different types of lighting and their effects, like low key and high key lighting.
What have you learnt about technologies from the process of constructing this...
The document discusses the skills and technologies learned through creating a film production. It covers learning camera techniques like shot types and the 180 degree rule. Editing skills were developed using Corel Videostudio Pro X3, including matching shots and ensuring a smooth production. Lighting techniques such as low key and high key lighting were also explored. Battery life and storage space on cameras and memory cards presented challenges that were overcome for the final film. Blogger was used to document the work, and Audacity was used to record and edit voiceovers while removing background noise.
Yasmin
The document analyzes the opening two minutes of the British realism film "Yasmin" to understand key concepts. The summary is as follows:
The opening scenes establish the film is set in a run-down, low-class neighborhood in England. Racist graffiti and the religious clothing of characters hint at themes of class, religion, and racism. The establishing shots provide context of the social class and religious community to foreshadow what the film may explore.
Bulletboy
The document analyzes the opening two minutes of the British realism film "Bullet Boy" to understand its key features. It notes that the film was financed by the UK Film Council and dialogue does not begin until 1:06. The main character, a young male prisoner, is shown in a bright white cell in contrast to the previous dark scene, connoting innocence. A long shot depicts the separation between the prisoner and police through a desk. His strong London accent is a convention of British social realism films. Cross-cutting is used between the prisoner and a male in a car to connect them and build tension.
Kidulthood
The opening two minutes of the film "Kidulthood" establishes key elements of British realism through its portrayal of disrespectful female leads in run-down school uniforms, setting the scene in a rundown London school with ethnically diverse and unknown actors, and using mid-shots and quick cuts between characters to create a tense atmosphere.
Barthes and fishtank slide
This presentation analyzes how Barthes' code is used in the film Fish Tank. It provides three examples from a scene in the film that illustrate different types of Barthes' codes, including two examples of enigma codes where the audience is left with unanswered questions about what is happening, and one example of an action code where the audience expects a logical reaction to the protagonist's action of throwing a stone at a window.
More from Lindsay Payne (20)
Eastenderssubmarineonlyfoolsandhorses 110920065958-phpapp02
Eastenderssubmarineonlyfoolsandhorses 110920065958-phpapp02
What have you learnt about technologies from the process of constructing this...
What have you learnt about technologies from the process of constructing this...
What have you learnt about technologies from the process of constructing this...
What have you learnt about technologies from the process of constructing this...
Recently uploaded
Your Skill Boost Masterclass: Strategies for Effective Upskilling
Your Skill Boost Masterclass: Strategies for Effective UpskillingExcellence Foundation for South Sudan
Strategies for Effective Upskilling is a presentation by Chinwendu Peace in a Your Skill Boost Masterclass organisation by the Excellence Foundation for South Sudan on 08th and 09th June 2024 from 1 PM to 3 PM on each day.Assessment and Planning in Educational technology.pptx
In an education system, it is understood that assessment is only for the students, but on the other hand, the Assessment of teachers is also an important aspect of the education system that ensures teachers are providing high-quality instruction to students. The assessment process can be used to provide feedback and support for professional development, to inform decisions about teacher retention or promotion, or to evaluate teacher effectiveness for accountability purposes.
Advanced Java[Extra Concepts, Not Difficult].docx
This is part 2 of my Java Learning Journey. This contains Hashing, ArrayList, LinkedList, Date and Time Classes, Calendar Class and more.
Hindi varnamala | hindi alphabet PPT.pdf
हिंदी वर्णमाला पीपीटी, hindi alphabet PPT presentation, hindi varnamala PPT, Hindi Varnamala pdf, हिंदी स्वर, हिंदी व्यंजन, sikhiye hindi varnmala, dr. mulla adam ali, hindi language and literature, hindi alphabet with drawing, hindi alphabet pdf, hindi varnamala for childrens, hindi language, hindi varnamala practice for kids, https://www.drmullaadamali.com
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
Chapter 4 - Islamic Financial Institutions in Malaysia.pptxMohd Adib Abd Muin, Senior Lecturer at Universiti Utara Malaysia
This slide is special for master students (MIBS & MIFB) in UUM. Also useful for readers who are interested in the topic of contemporary Islamic banking.
Types of Herbal Cosmetics its standardization.
Physiology and chemistry of skin and pigmentation, hairs, scalp, lips and nail, Cleansing cream, Lotions, Face powders, Face packs, Lipsticks, Bath products, soaps and baby product,
Preparation and standardization of the following : Tonic, Bleaches, Dentifrices and Mouth washes & Tooth Pastes, Cosmetics for Nails.
CACJapan - GROUP Presentation 1- Wk 4.pdf
Macroeconomics- Movie Location
This will be used as part of your Personal Professional Portfolio once graded.
Objective:
Prepare a presentation or a paper using research, basic comparative analysis, data organization and application of economic information. You will make an informed assessment of an economic climate outside of the United States to accomplish an entertainment industry objective.
How to Build a Module in Odoo 17 Using the Scaffold Method
Odoo provides an option for creating a module by using a single line command. By using this command the user can make a whole structure of a module. It is very easy for a beginner to make a module. There is no need to make each file manually. This slide will show how to create a module using the scaffold method.
Digital Artifact 1 - 10VCD Environments Unit
Digital Artifact 1 - 10VCD Environments Unit - NGV Pavilion Concept Design
Natural birth techniques - Mrs.Akanksha Trivedi Rama University
Natural birth techniques - Mrs.Akanksha Trivedi Rama UniversityAkanksha trivedi rama nursing college kanpur.
Natural birth techniques are various type such as/ water birth , alexender method, hypnosis, bradley method, lamaze method etcA Strategic Approach: GenAI in Education
Artificial Intelligence (AI) technologies such as Generative AI, Image Generators and Large Language Models have had a dramatic impact on teaching, learning and assessment over the past 18 months. The most immediate threat AI posed was to Academic Integrity with Higher Education Institutes (HEIs) focusing their efforts on combating the use of GenAI in assessment. Guidelines were developed for staff and students, policies put in place too. Innovative educators have forged paths in the use of Generative AI for teaching, learning and assessments leading to pockets of transformation springing up across HEIs, often with little or no top-down guidance, support or direction.
This Gasta posits a strategic approach to integrating AI into HEIs to prepare staff, students and the curriculum for an evolving world and workplace. We will highlight the advantages of working with these technologies beyond the realm of teaching, learning and assessment by considering prompt engineering skills, industry impact, curriculum changes, and the need for staff upskilling. In contrast, not engaging strategically with Generative AI poses risks, including falling behind peers, missed opportunities and failing to ensure our graduates remain employable. The rapid evolution of AI technologies necessitates a proactive and strategic approach if we are to remain relevant.
Main Java[All of the Base Concepts}.docx
This is part 1 of my Java Learning Journey. This Contains Custom methods, classes, constructors, packages, multithreading , try- catch block, finally block and more.
PCOS corelations and management through Ayurveda.
This presentation includes basic of PCOS their pathology and treatment and also Ayurveda correlation of PCOS and Ayurvedic line of treatment mentioned in classics.
Top five deadliest dog breeds in America
Thinking of getting a dog? Be aware that breeds like Pit Bulls, Rottweilers, and German Shepherds can be loyal and dangerous. Proper training and socialization are crucial to preventing aggressive behaviors. Ensure safety by understanding their needs and always supervising interactions. Stay safe, and enjoy your furry friends!
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...National Information Standards Organization (NISO)
This presentation was provided by Steph Pollock of The American Psychological Association’s Journals Program, and Damita Snow, of The American Society of Civil Engineers (ASCE), for the initial session of NISO's 2024 Training Series "DEIA in the Scholarly Landscape." Session One: 'Setting Expectations: a DEIA Primer,' was held June 6, 2024.Recently uploaded (20)
Your Skill Boost Masterclass: Strategies for Effective Upskilling
Your Skill Boost Masterclass: Strategies for Effective Upskilling
Assessment and Planning in Educational technology.pptx
Assessment and Planning in Educational technology.pptx
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
Chapter 4 - Islamic Financial Institutions in Malaysia.pptx
How to Build a Module in Odoo 17 Using the Scaffold Method
How to Build a Module in Odoo 17 Using the Scaffold Method
Natural birth techniques - Mrs.Akanksha Trivedi Rama University
Natural birth techniques - Mrs.Akanksha Trivedi Rama University
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
Pollock and Snow "DEIA in the Scholarly Landscape, Session One: Setting Expec...
The genre of british social realism
- 3. 1921 Victory Motion Pictures - co-founded with a Victor Saville. 1924 Gainsborough Pictures - co-founded with Graham Cutts. In charge of production. 1936 MGM-British - director of production. 1937 Ealing Studios - director and chief of production. 1959 Bryanston Films - founder. 1964 British Lion - chairman. Some of the films he produced for Gainsborough Pictures are: The Pleasure Garden (1925), The Mountain Eagle , The Lodger (1926), Woman to Woman (1929), Rome Express (1932), The Good Companions, I was a Spy (1933), Man of Aran, Evergreen, Little Friend (1934), First a Girl, The Thirty-Nine Steps (1935), Tudor Rose. Britain's contribution to cinema in the 1930s lay in a state-sponsored documentary tradition that would feed into the 1940s mainstream. Producer Michael Balcon revived the social/aesthetic distinction when he referred to the British industry's longstanding rivalry with Hollywood in terms of 'realism and tinsel'. Balcon, in his position as head of Ealing Studios, would become a key figure in the emergence of a national cinema characterised by stoicism and verisimilitude . Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience.