This is a book-length study of one of the most respected and prolific producers working in British television. From ground-breaking dramas from the 1960s such as Up the Junction and Cathy Come Home to the ‘must-see’ series in the 1990s and 2000s such as This Life and The Cops, Tony Garnett has produced some of the most important and influential British television drama. This book charts his career from his early days as an actor to his position as executive producer and head of World Productions, focusing on the ways in which he has helped to define the role of the creative producer, shaping the distinctive politics and aesthetics of the drama he has produced, and enabling and facilitating the contributions of others. Garnett's distinctive contribution to the development of a social realist aesthetic is also examined, through the documentary-inspired early single plays to the subversion of genre within popular drama series.
and his subject: Daniel and Sebastián have an on-set discussion in Even the Rain. Conclusion A social-realist aesthetic may be frequently construed as the antithesis of Hollywood filmmaking, but both Even the Rain and Sebastián’s film-within-a-film are the kind of prestige co-productions which paradoxically seek to counter North American hegemony
uncaring philanderer; in fact, he does not treat Ténin any better than her malicious father does. Class thus seems far less important than gender, but even the treatment of gender is dealt with in a fashion that cannot be classified unreservedly as belonging to the ‘social realist’ aesthetic so closely associated with Cissé’s early films. For Cissé appears far more concerned with exploring the experience of being young in modern
ideologies of the free cinema movement of which Reisz was a founder member. The continuing influence of the British new wave and of the social realist aesthetic is evident in films as diverse as Mike Leigh’s Vera Drake (2004) and Mark Herman’s Brassed Off (1996). Film as social history Aesthetically, the film draws on older traditions in British cinema of documentary and social commentary. Dubbed ‘kitchen-sink drama’ or social realism for its engagement with issues and social concerns, the films of the new wave did not shy away from addressing issues which had previously
something new to this Spanish–Mexican co-production, which has arguably influenced European film production. El laberinto can, for instance, be seen to have set a trend of merging the fantastic with the realist: in Un prophète the ghost angel of Reyeb regularly visits Malik, after he has murdered him, while the use of a social realist aesthetic to tell the story of the vampire girl next door and her young, lonely human boyfriend gave the Swedish film Låt den rätte komma in its power.6 My point here is that El laberinto is paradigmatic of a trend within European filmmaking