Social (or Documentary) Realism in Feature Film

Abstract

This chapter examines social (or documentary) realism in feature film. It focuses on three of Ken Loach's films: Ladybird Ladybird (1994), made before his collaboration with screenwriter, Paul Laverty, and two after: Sweet Sixteen (2002) and It's a Free World... (2006). The reality uncovered in Ladybird Ladybird is arguably not strictly political in a primary, economically driven sense. It is based on the true story of Maggie (Crissy Rock) whose children are taken away by social services. The 'truth' premise that is a given in such an uncompromising work of social realism made for a stark confrontation: on one side, Loach protesting the truth of his depiction; on the other, social services crying foul on behalf of every beleaguered social worker in the country. It might be argued that the resulting standoff over who had truth on their side was not all that productive in improving social services in Britain. Meanwhile, Loach's Sweet Sixteen is a classic example of his later documentary-drama approach. It's a Free World... works to a very similar template as Sweet Sixteen. The chapter then considers realism in Paul Greengrass's drama-documentary Bloody Sunday (2002) and Jim Sheridan's In The Name Of The Father (1993).