snsm final 2

8/11/2019 SNSM Final 2

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SNSM 2



Point Scene Analysis/ evidence

Genre

Narrative

RepresentationGenderAgeClassissues

AudienceAppeal/targeting

Industry



Starter

• Can you think of any other contemporaryBritish films which exhibit social realism?Consider the similarities between them.



SNSM Bend it like Beckham:

Rebels against passive acceptance ofauthority Hates ‘spinelessness’ Note behaviour of husbands with wives Parental control of their offspring Artificial control of behaviour (You’re a‘red’) Stands up to the ugly side of community

Rebels against society Lives by her passions Engages audience’s empathy Reflects British society of the time ‘Realistic’ photography – no ‘idealised’images Eventual triumph and recognition



• Saturday Night And Sunday Morning had beensubmitted to the BBFC at script stage .Concerns were expressed about the language,violence and the theme of abortion , and thescript was modified to meet these concerns.

This might have been the 'swinging Sixties' ,but in spite of the film's BBFC uncut release atX, Warwickshire Council deemed it too strong

and demanded that cuts be made for a localcertificate . The film was rated PG on video in1990.



Critical/ commercial success – Audience/ industry

Awards: BAFTA• British Academy Awards for Best British Film,

Best British Actress (Roberts)• and Most Promising Newcomer (Finney),

1960.

• Budget/ box office?



• one of British cinema's finest achievements, astatus very much dependent upon itsaccomplished mobilisation of qualitiesdefined as realist by the majority of Britishfilm commentators.

•



Representation

• Through a textual analysis of Saturday Nightand Sunday Morning it is clear that

• gender identities• class (Marxism)• were primary concerns within the social

realist film.• Age• Issues



1950/60’s - The growing postwarmood

• Both France and Britain were overcoming post-war shortages and rebuldng a NEW MODERNWESTERN EUROPE.

• was a new optimism being generated in Britainafter the 1950 Festival of Britain and its espousalof new technologies

• Becoming increasingly affluent society• Americanised consumer culture• The older empires were finally having to readjust

to a new world order.



key social anxieties and fantasies ofthe period

angry, anarchic confrontation with the alienation of manuallabour (most clearly stated in Arthur's opening soliloquy)

Vs.

celebration of traditional working-class cultures andcommunities (the two different bars in the pub in which Arthur

has his drinking match at the beginning of the film are veryrevealing: one contains mainly older people, some of whom are

having a communal singsong around the piano; the othercontains the brash dynamism of a skiffle band and Arthur's

irresponsible boozing, surrounded by much younger people).



• The film also struggles with• middle-class fears about the increasing

commodification of leisure, and the apparentgrowth of mass culture and Americanisation —with television as the major scapegoat (effectsdebate!)

• making clear the distinction between culturalenlightenment , or at least active participation ,and cultural passivity (note Arthur's conversation

with his father when dad is watching television) – effects debate – passive v active!



Rebel vs. conformist – narrative binaryoppositions

• Work – examples?• New housing estate• In a final piece of rebellion, and much to Doreen’s

angst, Arthur throws a stone at a billboard saying ‘itwon’t be the last one I’ll throw’ which is open toseveral readings.

• On one hand Arthur still wishes to be independent but yet the symbolism of Arthur throwing the stonesuggests that he is still bitter towards consumerismand aspects of modernity proving that there is stillrecklessness in spite of him being ‘ground down’ .



Representation of Age (gap)• feeds the moral panic (Stanley Cohen)

surrounding the emergent youth cultures andthe increasing legitimisation of individual self-

expressio n

"What I'm out for is a good time; all the rest ispropaganda!"

says Arthur at the start of the film



1960sThe mods and rockers were two conflicting British youth subcultures of the early to mid 1960s.Media coverage of mods and rockers fighting in 1964 sparked a moral panic about British youths andthe two groups became labelled as folk devils.

Mod is a youth culture of the early to mid-1960s. Focused on fashionand music, the subculture has its roots in a small group of London-based stylish young men in the late 1950s who weretermed modernists because they listened to modern jazz. Significantelements of the mod subculture include fashion (often tailor-made

suits); music (including Soul, SKA , and R&B); and motor scooters(usually Lambretta or Vespa). The original mod scene was associatedwith amphetamine -fuelled all-night dancing at clubs

Rockers , leather boys or ton-up boys are members of a bikersubculture that originated in the United Kingdom during the 1950s.

It was mainly centred around British café racer, motorcycles and rockand roll music. The Teddy boys were considered their "spiritualancestors". The rockers or ton-up boys took what was essentially asport and turned it into a lifestyle, dropping out of mainstreamsociety and "rebelling at the points where their will crossedsociety's". This damaged the public image of motorcycling in the UKand led to the politicisation of the motorcycling community



MasculinityJack Arthur

appearance is conservative Arthur is scruffy and unkempt.

‘wants to get on’ and this is exemplifiedthrough Arthur’s sarcasm towards Jack’sability to get on with his job without anyfuss.

Brenda regards Jack as a dissatisfyinghusband

Brenda has fun with Arthur

physically positioned on his motorbikethus appearing to be ‘ground down’

Arthur has an ordinary bicycle

happily married to Brenda and has a childwith her thus conforming to traditionalvalues

masculinity is seen to be threatenedresulting in Jack slapping Brenda across



• SNSM shows concern with the nature ofmasculinity and with analysis of both Arthurand Jack the film shows concern , and offers acritique, of males being both rebellious andtraditional .



• Read more:http://www.filmreference.com/Films-Ro-Se/Saturday-Night-and-Sunday-Morning.html#ixzz3FYKGuOU1

http://www.filmreference.com/Films-Ro-Se/Saturday-Night-and-Sunday-Morning.html
















snsm final 2

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