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English realsim


             There is also an argument that the gritty-realist films in the north are a type of heritage films with a quasi socialist agenda that looks back fondly on a time before the consumerist, American standardization of Britain. Lovell discusses this when he states "The spate of writings set in the traditional Northern working class community was a nostalgic affirmation of the values and a way of life whose imminent passing it lamented" (Lovell in Higson, 1996, Pg160). In short the majority of gritty-realist-films are set in northern landscapes as they are the biggest collection of the type of community the films intend to mythologize and glorify.
             The socio-economic map of Britain has always shown there to be a dramatic divide between the North and South of Britain in terms of standard of living and wealth in favour of the South. This sociological difference is a massive contributing factor to many gritty realist films being set in the North. .
             Firstly it means that many characters in the north will be deprived of many material effects and objects and live just above or below the poverty line. This struggle once again for basic human needs creates a sense of grittiness which is again considered a suitably real subject for gritty realist films. In addition it means that the characters will have to deal with events and issues that the viewer can feel an empathy with, for example Saturday night and Sunday Morning (dir. Reisz, 1960) deals with abortion, affairs, being beat up and dissatisfaction at work. In a nutshell films set in the north will for socio economic reasons immediately cause the characters in the film to be involved in situations the audience will recognize either through personal experience or world knowledge making the film seem more real. Therefore explaining why so many gritty-realism films are set in Northern landscapes. .
             Films such as Brassed Off (dir. Herman 1996) and The Full Monty (dir.


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