British TV Drama :: essays papers

British TV bid To what extent has British television free rein contributed to a public talk ab stunned on major semipolitical and social upshots, both in the new past and during the 1960s. Please draw on specific examples in presenting your argu ment. In this essay I will discuss how political and social issues pick out been raised in British television drama and also how they impact to public discourse in Britain. I will discuss TV dramas such as Our Friends in the North, Talking to a Stranger, Cathy lie with Home, and Boys from the Blackstuff. thither are various issues, which could be identified as social and political in a TV drama, some of them are race, ethnicity, class and gender. about people are influenced by television, believing what they see to be true(a) so it is useful to make a successful programme on hard-hitting issues as it will have deep impact on the sense of hearing. From the mid-50s on there has been an increase in original TV drama w ith a broader appeal. The preference for original drama was a reaction to the arenas preoccupation with middle-class concerns. So the angry young men playwrights were established. They wrote about real issues, about problems faced by the members of a broader audience in their daily lives. This can be seen in the 1960s, with the arrival of mod dramas such as Cathy come along Home and Talking to a Stranger. In the 50s, 60s, 70s and 80s programmers were taking risks allowing new talent space to grow, but now TV drama tends to be more genre-based. Jeremy Sandfords Cathy Come Home (1966) bought the issue of unsettledness into the publics eye by showing Cathys splay into poverty and despair. Cathy Come Home is deeply concerned about aspects of our fellowship and deals with the plight of the unfortunate, the misunderstood, the ignored. Policies were promptly changed after this programme was aired the homeless charity Shelter formed four days after Cathy Come Home was screened. Cathy Come Home used an innovative documentary zeal by using lightweight cameras and by taking the action out of the studio. The director Ken Loach rejected the used of the studio and instead opted for 16mm film. Cathy Come Home offered a harsh and jarring realism which depended on expeditious editing, creative use of sound and dialogue, and techniques borrowed from documentary.