David Shapiro, ed.,Social Realism: Art as a Weapon

Art Journal ◽  
1974 ◽  
Vol 34 (2) ◽  
pp. 182-184
Author(s):  
Alfred Werner
Keyword(s):  
Social Realism

Cinematic Search for Identity in the Shade of Turkey’s 1960 Coup: The Social Realism Debate and The Hope

2017 ◽  
Vol 6 (1) ◽  
pp. 153-168
Author(s):  
Celal Hayir ◽  
Ayman Kole
Keyword(s):  
Party System ◽  
Social Realism ◽  
New Era ◽  
Cultural Life ◽  
The Social ◽  
Turkish Cinema ◽  
To Come ◽  
First Time ◽  
Democratic Constitution ◽  
Realism Debate

When the Turkish army seized power on May 27th, 1960, a new democratic constitution was carried into effect. The positive atmosphere created by the 1961 constitution quickly showed its effects on political balances in the parliament and it became difficult for one single party to come into power, which strengthened the multi-party-system. The freedom initiative created by 1961’s constitution had a direct effect on the rise of public opposition. Filmmakers, who generally steered clear from the discussion of social problems and conflicts until 1960, started to produce movies questioning conflicts in political, social and cultural life for the first time and discussions about the “Social Realism” movement in the ensuing films arose in cinematic circles in Turkey. At the same time, the “regional managers” emerged, and movies in line with demands of this system started to be produced. The Hope (Umut), produced by Yılmaz Güney in 1970, rang in a new era in Turkish cinema, because it differed from other movies previously made in its cinematic language, expression, and use of actors and settings. The aim of this study is to mention the reality discussions in Turkish cinema and outline the political facts which initiated this expression leading up to the film Umut (The Hope, directed by Yılmaz Güney), which has been accepted as the most distinctive social realist movie in Turkey. 

Working-Class Fictions

2018 ◽  
Author(s):  
Nicola Wilson
Keyword(s):  
Working Class ◽  
Social Realism ◽  
Cultural Significance ◽  
Reading Public ◽  
Industrial Community ◽  
Working People ◽  
History Of ◽  
Post War ◽  
The Individual ◽  
Exciting Wave

This chapter explores why working-class fictions flourished in the period from the late 1950s through to the early 1970s and the distinctive contributions that they made to the post-war British and Irish novel. These writers of working-class fiction were celebrated for their bold, socially realistic, and often candid depictions of the lives and desires of ordinary working people. Their works were seen to herald a new and exciting wave of gritty social realism. The narrative focus on the individual signalled a shift in the history of working-class writing away from the plot staples of strikes and the industrial community, striking a chord with a post-war reading public keen to see ordinary lives represented in books in a complex and realistic manner. The cultural significance of such novels was enhanced as they were adapted in quick succession for a mass cinema audience by a group of radical film-makers.

Let the Right One In

2011 ◽  
Author(s):  
Anne Billson
Keyword(s):  
Social Realism ◽  
Serial Killer ◽  
Modern World ◽  
Housing Estate ◽  
Love Story ◽  
The World ◽  
The Right

These days it takes a very special vampire movie to stand out. Like Twilight, the Swedish film Let the Right One In is a love story between a human and a vampire but there the resemblance ends. Let the Right One In is not a romantic fantasy but combines the supernatural with social realism. Set on a housing estate in the suburbs of Stockholm in the early 1980s, it's the story of Oskar, a lonely, bullied child, who makes friends with Eli, the girl in the next apartment. 'Oskar, I'm not a girl,' she tells him and she's not kidding. They forge a relationship which is oddly innocent yet disturbing, two outsiders against the rest of the world. But one of these outsiders is, effectively, a serial killer. While Let the Right One In is startlingly original, it nevertheless couldn't have existed without the near century of vampire cinema that preceded it. This book looks at how it has drawn from, and wrung new twists on, such classics as Nosferatu (1922), how vampire cinema has already flirted with social realism in films like Near Dark (1987) and how vampire mythology adapts itself to the modern world.

Iraq

2017 ◽  
Author(s):  
Haytham Bahoora
Keyword(s):  
Twentieth Century ◽  
Short Story ◽  
Social Issues ◽  
Social Realism ◽  
Self Awareness ◽  
Historical Novels ◽  
The Novel ◽  
War In Iraq ◽  
Critical Social

This chapter examines the development of the novel in Iraq. It first considers the beginnings of prose narrative in Iraq, using the intermingling of the short story and the novel, particularly in the first half of the twentieth century, as a framework for reassessing the formal qualities of the Arabic novel. It then turns to romantic and historical novels published in the 1920s, as well as novels dealing with social issues like poverty and the condition of peasants in the countryside. It discusses the narrative emergence of the bourgeois intellectual’s self-awareness and interiority in Iraqi fiction, especially the novella; works that continued the expression of a critical social realism in the Iraqi novelistic tradition and the appearance of modernist aesthetics; and narratives that addressed dictatorship and war in Iraq. The chapter concludes with an overview of the novel genre in Iraq after 2003.

Samira Azzam: Author's Works and Vision

1988 ◽  
Vol 20 (1) ◽  
pp. 93-108
Author(s):  
Kathyanne Piselli
Keyword(s):  
Social Realism ◽  
Arabic Literature ◽  
Palestinian Refugees ◽  
Profound Impact ◽  
Physical Presence ◽  
The 1950S

The loss of Palestine and the resulting dispersal of Palestinian refugees has had a profound impact on the development of Arabic literature. If independence and revolution in most Arab lands served to catapult poets and writers into new literary themes and forms, the psychological jolt of defeat combined with the sudden physical presence of refugees who could not help but witness that defeat helped decisively to move writers away from earlier romantic themes and flowery language in favor of themes and styles considered to be more realistic. The 1950s and 1960s in particular were times of concern for social realism, and among the educated class there was a growing impatience with art that did not treat the important changes that shook the Arabs at the time.

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