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Essay / Research Paper Abstract
This 5 page paper compares the book and film forms of works
from the British realist period of the sixties, finding that the relationship
found between British realist literary tradition and the film representation
of the sixties is based on the reflection of social norms as well as the
circumstances of the working class, mostly because of the nature of the times
and the transitional status of the working class. Bibliography lists 10
sources.
Page Count:
5 pages (~225 words per page)
File: D0_KTbrtrel.rtf
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Unformatted sample text from the term paper:
loss of identity; a feeling that reality has been made ambivalent in the face of actual events and, or, experiences. Modern British literature and its interpretive counterpart, cinema, have
evolved to include realism as an integral component. As Jonathan Romney so aptly states, "the history of British cinema, for better or worse, is a history of realism" (1995,
p. 33). The relationship found between British realist literary tradition and the film representation of the sixties is based on the reflection of social norms as well as the
circumstances of the working class, mostly because of the nature of the times and the transitional status of the working class. In Brian Richardsons model of cataloging British
literature he includes five distinct and significant, narrative poetics: realism, postmodernism, high modernism, expressionism, and romance. Which "continuously fluctuate, battle against, merge with, and interanimate each other dialogically every
decade ... Realism, the crowning achievement of nineteenth-century narrative, was supplanted by modernism, its inevitable successor, which, due to its own inherent limitations, in turn gave way to postmodernism" (291).
The realist film, including the films, Saturday Night and Sunday Morning, Gorgy Girl and Poor Cow, all include a commentary on the changing nature of working class norms that are
an exaggerated representation of the fiction from which they are culled. The realist movement of the 1960s was centered on "the rejection of literary conventions of language, role model
behavior, and happy endings thought appropriate for young adults. Evolving from its original position of opposition to mainstream" (Jenkins, 1998, p. 320). The new realism of the time
addressed many of the conflicts that are common to almost every adolescent: finding ones place in society, the problem of alienation from values and experiences that do not value that
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