The British New Wave - Coursework Example

The British New wave Introduction In the 1950s, British film industries had a compelling form that was evident not onlyby the then prevailing economy but also aesthetic trends1. These two factors played a major role towards the development of British film industry. This is because through these factors, location shooting came to existence. Studies show so far conducted contend the movement was represent part of a cultural revolution especially to the British cinema evident in the way there were usage of unknown actors in the films. Since most of the actors were unknown, this was beneficial especially in relation to realism. This is because by using unknown characters, audiences believed that was how the characters really looked like as well as living the life seen on in numerous films2. In the 1970s, Britain had a number of ways in which they were making use of locations. Today, Britain is a society defined by its class, which was not the case during the 1950s. This is because, in the past, apart from other sources that inspired them, the new wave films offered them a voice, for the first time making them economical3. Besides economic factors that shaped the British New wave, this study seeks to focus on aesthetic factors and the role they played in shaping the nation’ cinematic industry. History of the British New Wave The 1950s was quite a turning point for many British nationals, especially those categorized as working class. This is because it was during this period that the New wave films granted them a voice, not only were they now in a position to air their grievances but also had a common identity4. In the previous decades, middle class individuals were normally depicted as not only film comic characters but also ancillary groups as well as nondescripts5. After establishment of the new wave, their lives reached a turning point whereby no longer were they treated as outcasts, instead considered relevant. Based on studies, these films touched on daily lives of the ordinary people and it was due to this aspect most people referred to them as “kitchen sink dramas6”. People’s response to these dramas was enormous hence resulting to film directors such as Ken Loach as well as Mike Leigh who emerged with more films focusing on the under privileged British citizens. Apart from My Beautiful Laundrette, other famous works produced by these directors included Naked in addition to Rif Raff. Alongside the British new wave also came an economic boom, whereby not only did it result in state of development but also the growth of social democracy7. These developments resulted to rise of educated persons who were eager to not only see the stuffiness of systems based upon status but also its fustiness. Although the British New wave only lasted for a short period, it is evident that it resulted to a massive output. According to Aldgate, not only were the films influential to many but also powerfully evocative8. Although little was known on most of the actors as well as directors in these films, in most cases these films were seen as a stepping-stone or a ladder that the industry can use to reach at the top and be at Par with Hollywood films, which were the most popular during then. According to Harper, the directors’ ambition was to extend the cinematic representation range to include those comprising the working class in London as well as other cities like industrial towns especially from Northern England9. Although New wave films were the reason behind the nation’s economic boom, the industry had a number of issues especially in relation to critical response. Studies so far conducted cite, the industry had poor planning techniques when it came to unveiling of new films to the public. For instance, the unveiling plan of Room at the top was poor throughout the entire it film’s unveiling. This is because Britain then was having a seismic shift hence giving little attention to the film. Although Clayton’s film received some form of attention, there was less sympathy from some commentators due to critical climate changes10. Economic Factors of the British New wave In relation to the economy affluence, the British New wave played a significant role especially the manner in which it represented the working class. This is because the industry repeatedly hired characters with the hope of escaping as well as climbing the ladder such as Arthur and Gerald. According to studies, the films were not that coherent for the viewpoints were very different from the main characters11. The British New wave never lasted for long due to stiff competition from Hollywood besides financial constraints, which these industries experinced. Studies show that the downfall was because of companies such as RANK and ABC. The fall also emerged due to people’s unwillingness to invest their money in the industry12. Once the British film industry crumbled, film directors relocated to other nations where film production was big business. Apart from Hollywood, other directors sought for employment in media houses embraced BBC. My Beautiful Laundrette is a film produced during the era of Margret Thatcher that reflected mostly on the relationships between whites and Asian communities. The film is about a young man, Omar whose origin was Pakistani currently residing in the city of London. Omar in this film stays with his father, Hussein, who is quite unhappy with the British society based on how it treatments foreign residents such as him. His devastation prompts him to indulge in alcohol to the extent that he can no longer take care of himself; hence, his son Omar ends up embracing the role of being his carer13. Apart from relaying the issue of alcoholism and poverty, the film’s plot also depicts about other vital issues in the nation such as racism, homosexuality and political policy that was rife during the Thatcher’s era in 1980s14. Throughout the entire film, it is quite evident that the state’s economy was extremely low unlike how it is today. The rate of unemployment in the nation was quite high and it is because of this that when it came to matters of job opportunities, British nationals came first before the rest. This is evident in the film when Omar’s father attempts to seek employment for his son. Apart from high unemployment rates, the film also portrays other aspects such as pitiable business prospects; hence painting an image of dissatisfaction and bitterness that characterizes the society of the day15. Consequently, this economic state contributes to the development of the film’s varied scenes mostly focusing on society’s economy, which is realism. Aesthetic Factors of the British New Wave According to Lacey, aesthetic aspects are normally vital when it comes to creation of any given film. One film that fully addresses the aspect of aestheticism is My Beautiful Laundrette. The film depicts a nation that is decaying due to high rates of racism. Apart from racism, the nation also witnessed high rates of homosexuality among its citizens16. For instance, in the film, there are homosexual relationships between a former national front member and a Pakistani. It is this homosexual love story that provides the clash existing between the Asian and British communities. In My Beautiful Laudrette, Frear depicts a society marred with not only racism but also a struggle of class. This is evident in that the language used in the film is quite strong and X rated, which is due to the constant as well as excessive usage of terms like “your people” and “my people”. One incident in the film is when the car wash business owner tells his employee, “You will be with your own people.17” Similarly, during a conversation between a father and his son, the father says, “Think of yourself as a little Britisher.” In the film, the main character, Omar, he has no job not until his father organizes one for him in the uncle’s garage. This scene highlighted the high rate of unemployment during the Thatcher era whereby in the annals of history commonly cited as Thatcherism. In the film, the gap between the rich and underprivileged is quite evident. For instance, there is huge difference between Hussein’s house and that of Nasser. Hussein’s house, which is unkempt, represents the poor and the conditions they normally have to keep up with whereas Nasser’s house, which is a grand bungalow well maintained represents the rich and the luxurious lives they live18. According to Seino, the British documentary movement was the main root of social realist aesthetics, for instance, the 1950s free cinema movement. The free cinema movement was quite influential especially in the history of the British film industry. The movement not only did it aid in the 1950s British documentary re-invigoration but also acted as a precursor role to the British New wave from the 1950s-1960s19. The free cinema movement was a title given to six programmes, which were in form of documentaries, mostly aired in London theatres from 1956 to 1959 whereby young filmmakers, did assembling or integration of the programmes. Although the main objective behind creation of free cinema movement was for pragmatic reasons, it was more than that. This is because apart from bringing a new attitude in the field of film production it also rejected the orthodoxy as well as conservatism of not only the British cinema but also its dominant documentaries20. According to Armstrong, New wave films were symptomatic, especially in the emergence of art cinemas, which apart from challenging the mainstream aesthetics they also challenged people’s attitudes21. Since identification was by directors instead of the industry, in most cases, the films addressed issues related to masculinity; this is because such issues were the most common in European nation. Male working class persons were the most targeted in these films, for instance in the film High Hopes directed by Mike Leigh, the main theme was about the erosion of not only the middle class but also regional identities. Apart from Leigh, another film director whose work normally addressed the society included Ken Loach commonly known for directing films such as Ladybird ladybird as well as Raining Stones produced in 1994 and 1993 respectively22. According to studies, in relation to commitments towards aesthetics of realisms, no other nation has done it better that the UK. Ever since the 1930s British documentary movement to the 1960s British New wave, the nation’s screen has advanced enormously. Apart from being seen as the nation’s source of artistic distinction, the industry has also shown industrial resilience as well as political bite in a market dominated for a long time by film industries in Hollywood23. The free cinema movement had one common denominator, which is their origin was outside the filmmaking industry. This is because apart from their production being of a semi-amateur condition, their skills as well as enthusiasm were similar24. According to the UK regime, in order to underpin the film sector, the industry ought to nature not only skill but also talent for it acts as the backbone of filmmaking success25. The movement normally received its funding from the BFI, an organization established to ensure that film industries received some forms of financial aid. The industry further received a boost from the Ford Motor Company after it sponsored We Are the Lambeth Boys and Every Day Except Christmas that were directed by Reisz and Anderson respectively26. Social Realism It was due to social realism that directors such as Ken Loach and Mike Leigh emerged to the then full to the lime light. This was due to their effort in introducing the film industry in the UK during an era marred with poverty. Through social realism, film directors were in a position to addresses real issues affecting the society. Stories normally came from problems experienced by people residing in middle class backgrounds such as abortion, poverty as well as homosexuality in addition to their oppression by the affluent27. Studies show that social realism was at its peak during the 1960s, the era of the British new wave. New wave directors like Tony Richardson as well as Lindsay Anderson and Karel Reisz had produced many documentaries before finally venturing in the filmmaking business. Just like the French new wave auteurs, most British directors were literate hence giving them an upper hand when it came to promoting their main agenda to the nation28. Although the new wave era was quite successful, a number of factors resulted to its final demise. One factor was withdrawal of the American funding programme as well as television dramas meteoric rise. Despite the British film industry, having an illustrious past, social realism played a major role in prolonging its cinematic. Just like other movements such as French and Italian waves, the British Version also had its own unique way when it came to exhibiting neo-realism freshness. What made the British new wave unique compared to others is the manner in which it arose from ranks of the kitchen sink dramas to higher levels in field of British filmmaking, hence not only giving a deeper realistic socialism status than its competitors but also having the best trained characters than the rest29. Apart from inspiring creative filmmakers such as Mike Leigh and Ken Loach, it also prompted a revival during the mid-1980s that saw the emergence of foreign directors such as Stephen Frears, known for his film, My Beautiful Laundrette. Apart from Room at the Top, other films that emerged during the British new wave included Up The Junction, Billy Liar as well as This Sporting Life and Look back in Anger30. As the new movement set in, so did new actors such as Albert Finney, Tom Courtenay as well as Rita Tushingham. Apart from the actors embodying social realism in the manner in which they used their accents as well as colloquialisms, they also played a major role in addressing problems faced by ordinary working class citizens31. It was also during the same era of British new wave that Free Cinemas came to existence. According to Tony Richardson, these films were not only independent of commercial but also free to make as well as to champion.32 According to Strozykowski, apart from the films not having inhibitions, they were also aesthetically social realistic due to the manner in which they placed ordinary people on cinema’s big screens. This resulted to the introduction of the term “kitchen sink drama” in a move to openly address the masses hum drum lives as well as the term “angry young man”, which addressed the rebellious nature of protagonists present during the movement33. Kitchen Sink Drama These were the most common types of drama that dominated the British film industries during the British new wave. According to studies, these sort of films specifically majored on the aspect social realism. This was in a move to determine not only the lives of working class individuals but also dispossessed classes. Based on studies so far conducted, the movement dates from late 1950s and to date it is still evident because of the then contributions in form of oeuvre by directors such as Ken Loach. The kitchen sink dramas are still historical due to the manner in which they used to tackle thorny themes, hence making them a trademark. Apart from addressing aspects of homosexuality, which was quite rife in the UK, the films also addressed other vital issues such as divorces, poverty, homelessness as well as single motherhood34. Dramatists normally focused on lives of the working class, whereby it depicted the daily struggles that ordinary UK citizens normally underwent. This was normally a move to enable them not only evade degradation of powerlessness but also loss of communities. Apart from the working class, the kitchen sink dramas also revolved around people working in industrial areas such as Liverpool and Manchester. The main theme of the kitchen sink dramas was the various types of problems that these people used to experience daily. The style used in production was that of social realism, which often depicted domestic situations for instance, apart from talking of Britons who resided in rented accommodations that were cramped, it also depicted their social lives of spending most of their time in grimy pubs drinking ale. The movement evolved not only because of the increased number of literate working class writers but also actors as well as artists emerging from the British postwar reforms as well as the education system, hence creating opportunities to people who were previously not included35. Studies show that these sorts of films contained some aspects of political agenda, which in most case was either a socialist or leftist motivated by political anger. One film that fully addressed the issues of kitchen realism was Ken Loach’s Ladybird ladybird. In the film, Loach attempts to address the issue of social services, which was quite common during the 1990s. The film is about a woman, Maggie, and the problem she undergoes due to the nation’s social services36. Maggie has four children from four different suitors. The fact that she has four kids all of who have a different father is enough proof to show that she has had dreadful relationships in her past. In the film, Maggie leaves the house at night only to come back and find the entire house up in flame, this attracts the attention of federal authorities who do not hesitate to move in. Thatcherism Studies show that heritage films dominated during the 1980s, these films received immense applause from the Britons due to the manner in which they invoked the sense of nostalgia in addition to providing a feeling of the pre-war era normally echoed within Thatcherism. The films seemed quite appealing especially to the middle class in the manner in which they created the nostalgic experiences. According to studies, the films mostly explored groups not only marginalized but also excluded by their societies. Film directors as well as writers and performers were not okay with changes brought about by Thatcherism and its materialistic culture. This prompted film producers to launch Channel 4, whose dedication was solely for films whose aim was to address minority audiences37. In his film My Beautiful Laundrette, Frears depicts aspects of Thatcherism. The film being multi-protagonist, it focuses on characters taking the central part rather than the 1960s male working class protagonist social realist films. It is due to this mufti-protagonist nature of the film that enables it do justice to not only the social constituencies but also socio-cultural conflicts. At the start of the film, the house owner evicts Jonny and Genghis, hence depicting the misfortunes that poor Britons normally went through at the hands of the rich individuals. The main character, Omar depicts the real effects of Thatcherism when he faces a lot of marginalization because of not only his ethnicity but also his sexuality38. In the film My Beautiful Laundrette, it is evident that Omar treats Jonny more like an employee than his lover, which is due to the manner in which he makes him do most of the domestic chores such as cleaning the house39. This scene is clear indication on the level in which wealth and materialism has changed the character hence offering a form of critic towards Thatcherism. Although Thatcherism encouraged nuclear family, the film is in total disagreement due to the homosexual relationship between Omar and Jonny depicted in the film. According to Pringle, the film challenged the heritage cinemas that mostly represented Thatcherite values of not only nostalgia but also nationalism that eventually resulted to social art cinemas in Britain40. The film mostly aimed at representing individuals previously sidelined as well as underrepresented for instance the Asians as well as homosexuals. Apart from representing the sidelined, the film also challenges traditional stereotypes because of rejected fixed social identities and instead opted for identities that no one would normally accept. Thatcherism is evident in the film, for instance, the manner in which Omar becomes materialistic to the extent that he lets selfishness overcome him, hence depicting how materialism can be fatal to a society. Another stereotype presented by the film is that of homosexuality. Although homosexuality was illegal, the film presents it as normal hence, not only challenging traditional stereotypes but also proving social identities require fixing since they are not41. Conclusion When it comes to social realist aesthetics, the British documentary movement was the main contributor evident from its role in the 1950s comprising free cinema movement. The movement, apart from aiding in the 1950s British documentary re-invigoration, it also played the role of precursor during the 1950s-1960s British New wave. Establishment of the new wave acted as a turning point to the lives of many British nationals. This is because apart from not being treated as outcasts, they became relevant persons in the society. It is due to the British New wave that to date, the UK filmmaking industry has a global recognition, which apart from resulting to the promotion of trade, it has also facilitated growth of tourism in the region hence growth of the economy. The UK film industry also promotes the nation’s culture, this is apart from films being for entertainment, and they represent a nation’s identity. Apart from prejudice and racism, other factors addressed in film production include unemployment, friendships in addition to triumph over adversity. It is therefore evident that the industry contributes more capital towards the nation’s economy compared to top companies such as software production as well as electronics. Despite films made during the British New wave experiencing numerous challenges, they played the role of a ladder. This is because it through them that lessons were learnt, hence resulting to present film industry becoming a success. References “Ladybird Ladybird”, [Online Video], 2013, https://www.youtube.com/watch?v=lKeLwnzzJ8U, (Accessed 7 July 2014). “My Beautiful Laundrette”,[Online Video], n.d., http://putlocker.is/watch-my-beautiful- laundrette-online-free-putlocker.html (Accessed 7 July 2014). Armstrong, R. “Social Realism.” Screen Online. 2012, http://www.screenonline.org.uk/film/id/1037898/ (Accessed 5 July 2014) Dupin, C. “Free Cinema.” Screen Online, 2012, < http://www.screenonline.org.uk/film/id/444789/ > (Accessed 5 July 2014) English, J. “British Cinema.” University of Pennsylvania, 2009, http://www.english.upenn.edu/~jenglish/Courses/Fall09/295.html (Accessed 5 July 2014) Fraser, S. “Classic: My Beautiful Laundrette.” White Coffee Magazine, 2013, http://www.whitecoffeemagazine.com/2013/classic-my-beautiful-laundrette/ (Accessed 7 July 2014). GOV.UK. A Future for British Film.,2012 , < https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=17&cad=rja&ua ct=8&ved=0CEcQFjAGOAo&url=https%3A%2F%2Fwww.gov.uk%2Fgovernment%2F uploads%2Fsystem%2Fuploads%2Fattachment_data%2Ffile%2F78460%2FDCMS_film _policy_review_report- 2012_update.pdf&ei=Lda3U4e_C4Sc0QWkgoFo&usg=AFQjCNET7jrDWoP4Bm69rzA q_k5HzDEtUw&sig2=RMgr9OL8oF7bZWgK5nxKPw&bvm=bv.70138588,d.d2k> (Accessed 5 July 2014) Harper, S. British Film Culture of the 1970s: The Boundaries of Pleasure, Edinburgh: Edinburgh University Press, 2011. Lacey, S. British Realist Theatre: The New wave in its Context 1956-1965, London: Routledge, 2002 Mazdon, L. & Wheatley, C. Je T’Aime…Moi Non Plus: Franco-British Cinematic Relations, New York: Berghahn Books, 2010. Pringle, P. “How and What Extent can My Beautiful Laundrette be seen a critic of Thatcherism?” Academia, http://www.academia.edu/7479584/How_and_to_what_extent_can_My_Beautiful_Laund rette_be_seen_as_a_critique_of_Thatcherism (Accessed 7 July 2014). Seino, T. “Realism and the Representation of the Working Class in Contemporary British Cinema.” De Mont Fort University, 2010, p. 7< https://www.google.com/url?sa=t&rct=j&q=&esrc=s&source=web&cd=5&cad=rja&uact =8&ved=0CEEQFjAE&url=https%3A%2F%2Fwww.dora.dmu.ac.uk%2Fbitstream%2Fh andle%2F2086%2F4720%2FSOCIAL%2520REALISM%2520AND%2520REPRESEN TATION%2520OF%2520THE%2520WORKING%2520CLASS%2520IN%2520CONT EMPORARY%2520BRITISH%2520CINEMA.pdf%3Fsequence%3D1&ei=yX62U_5Kq J7RBeWlgKAB&usg=AFQjCNERT1-JOOS35oRkTw- BUQT4J_yO4A&sig2=PkbPbU4q0MIa24z-IXQy-g&bvm=bv.70138588,d.d2k > (Accessed 7 July 2014). Read More