Editing Cinema of the United Kingdom (section)

===Social realism===
[[File:Bundesarchiv Bild 183-C0710-0009-013, Karlsbad, Filmfestival, Beyer, Reiss, Brousil.jpg|upright|thumb|[[Karel Reisz]] (centre) who was active in the [[Free Cinema]] and the 'British New Wave']]
The [[British New Wave]] film makers attempted to produce [[social realism|social realist]] films (see also '[[kitchen sink realism]]') attempted in commercial feature films released between around 1959 and 1963 to convey narratives about a wider spectrum of people in Britain than the country's earlier films had done. These individuals, principally [[Karel Reisz]], [[Lindsay Anderson]] and [[Tony Richardson]], were also involved in the short lived Oxford film journal ''[[Sequence (journal)|Sequence]]'' and the "[[Free Cinema]]" documentary film movement. The 1956 statement of Free Cinema, the name was coined by Anderson, asserted: "No film can be too personal. The image speaks. Sounds amplifies and comments. Size is irrelevant. Perfection is not an aim. An attitude means a style. A style means an attitude." Anderson, in particular, was dismissive of the commercial film industry. Their documentary films included Anderson's ''[[Every Day Except Christmas]]'', among several sponsored by [[Ford of Britain]], and Richardson's ''[[Momma Don't Allow]]''. Another member of this group, [[John Schlesinger]], made documentaries for the BBC's ''[[Monitor (UK TV series)|Monitor]]'' arts series.

Together with future James Bond co-producer [[Harry Saltzman]], dramatist [[John Osborne]] and Tony Richardson established the company Woodfall Films to produce their early feature films. These included adaptations of Richardson's stage productions of Osborne's ''[[Look Back in Anger (1959 film)|Look Back in Anger]]'' (1959), with [[Richard Burton]], and ''[[The Entertainer (1960 film)|The Entertainer]]'' (1960) with [[Laurence Olivier]], both from Osborne's own screenplays. Such films as Reisz's ''[[Saturday Night and Sunday Morning (film)|Saturday Night and Sunday Morning]]'' (also 1960), Richardson's ''[[A Taste of Honey (film)|A Taste of Honey]]'' (1961), Schlesinger's ''[[A Kind of Loving (film)|A Kind of Loving]]'' (1962) and ''[[Billy Liar (film)|Billy Liar]]'' (1963), and Anderson's ''[[This Sporting Life]]'' (1963) are often associated with a new openness about working-class life or previously taboo issues.

The team of [[Basil Dearden]] and [[Michael Relph]], from an earlier generation, "probe[d] into the social issues that now confronted social stability and the establishment of the promised peacetime consensus".<ref name="O'Sullivan">Tim O'Sullivan, [http://www.screenonline.org.uk/people/id/456049/index.html "Dearden, Basil (1911-1971)"] {{Webarchive|url=https://web.archive.org/web/20191019142109/http://www.screenonline.org.uk/people/id/456049/index.html |date=19 October 2019 }}, BFI screenonline, citing the ''Reference Guide to British and Irish Film Directors''.</ref> ''[[Pool of London (film)|Pool of London]]'' (1950).<ref>Carl Daniels, [http://www.screenonline.org.uk/film/id/475521/index.html "Pool of London (1950)"] {{Webarchive|url=https://web.archive.org/web/20191022074507/http://www.screenonline.org.uk/film/id/475521/index.html |date=22 October 2019 }}, BFI screenonline.</ref> and ''[[Sapphire (film)|Sapphire]]'' (1959) were early attempts to create narratives about racial tensions and an emerging multi-cultural Britain.<ref>Ann Ogidi, [http://www.screenonline.org.uk/film/id/440288/ "Sapphire (1959)"] {{Webarchive|url=https://web.archive.org/web/20120923053751/http://www.screenonline.org.uk/film/id/440288/ |date=23 September 2012 }}, BFI screenonline.</ref> Dearden and Relph's ''[[Victim (1961 film)|Victim]]'' (1961), was about the blackmail of homosexuals. Influenced by the [[Wolfenden report]] of four years earlier, which advocated the decriminalising of homosexual sexual activity, this was "the first British film to deal explicitly with homosexuality".<ref>Mark Duguid, [http://www.screenonline.org.uk/film/id/444107/index.html "Victim (1961)"] {{Webarchive|url=https://web.archive.org/web/20121006183745/http://www.screenonline.org.uk/film/id/444107/index.html |date=6 October 2012 }}, BFI screenonline.</ref> Unlike the New Wave film makers though, critical responses to Dearden's and Relph's work have not generally been positive.<ref name="O'Sullivan"/><ref>See also [[David Thomson (film critic)|David Thomson]] ''[[A New Biographical Dictionary of Film]]'', London: Little, Brown, 2002, p. 213, and (for a defence) [[Brian McFarlane (writer)|Brian McFarlane]] (ed.), ''The Encyclopedia of British Film'', 2003, London: Methuen/BFI, p. 168.</ref>