Film as an art form continues to influence the way we view the world, perpetually reimagining the boundaries of what is considered current aesthetic trends. At the forefront of these boundaries is a prevailing interest in the aesthetics of the mundane, the quotidian and the realism of the everyday. Arising from this experimental environment in the 1950s and 1960s emerged the British New Wave and the development of British social realism; the British film industry has become synonymous with representation of everyday life. In this essay it is my intention to explore these themes in relation to the award-winning film directors Clio Barnard and Lynne Ramsay, examining how they depict British everyday life and how this aesthetic has evolved to become the standard for filmmakers. It analyses how films produced by both directors in the 2000s have contributed to modern day representation of British life. I will be considering the influence of past directors working within British social realism, those considered pioneers of documentation of everyday British life. Research will investigate the various representations of both middle and working class perspectives within British film, commenting on how directors work to represent the mundane from different perspectives and consider how background, economic factors and technical aspects have influenced their approach to film making. I will be asking who has contributed to shaping the modern everyday aesthetic in film . Looking at ‘The Abor’(2010) and ‘The Selfish Giant’ (2013) by Clio Barnard as well as ‘Movern Callar’ (2002) and ‘Ratcatcher’ (1999) by Lynne Ramsay to establish their significance within British social realism.
Firstly, I will briefly examine the history of British film to give an insight into the influences and cultural climate that will have influenced the two directors, Barnard and Ramsay. Analysing the documentary movement of the 1930s and modern-day realist cinema, I will follow the representation of the everyday and its progression into current culture, including research data on a wide range of contemporary social realist directors such as Mike Leigh, Alan Clark and Ken Loach and how they have contributed to the current fascination with the mundane as well as looking at the developments that brought them to the forefront such as Free Cinema and British New Wave. The key focus of my analysis will be on the aesthetic specificities of my chosen directors within a particular period of British film and documentary making. I will provide reasons for my choice and comparison of these two directors in particular, noting the similarities and apparent differences occurring in their work. I will then discuss how directors have used everyday life and its prevalence as a reoccurring subject and aesthetic within British film. This process allows for a chronological analysis and will provide a temporal record of data that can be referred back to in my conclusion. I will analyse film content of both chosen directors and use their work as case studies to investigate the influence and impact of social realism within the industry and on the social climate they are depicting. I shall be examining technical aspects and artistic choices whilst referring back to why documentation of the mundane continues to engender such significant contemporary attention. I will then move on to consider their individual influence in a wider context, looking at their similarities and what, if any working methods link them together; such as their enthusiasm for tackling tough subjects, determination to represent their subjects in the most authentic way possible ,their casting methods and visual-arts history. I shall also be asking how being a female director working with social realism has had an impact. This essay discusses the genre of a select number of films that can be considered as social realism due to their honest representation of the working class. These films also attempt to integrate an element of visual poetry within the documentary style, in particular Clio Barnard who pushes the boundaries of authenticity in films by using legitimate dialogue from real life subject matters. I shall be researching and referencing academic sources and interviews to support my conclusions, along with personal analysis to develop a cohesive timeline for the recent resurgence in independent cinema, aiming to conclude the significance of social realism as a film genre and how its development has influenced representation of class within cinema and modern art.