This course will be based on the analysis and evaluation of the different approaches to social realism in British cinema since 1960. In particular, we will examine how different directors have managed to reflect the lives of British in his films. , how social life and reality have been presented in other films. Exhibited in 1954, British artist John Bratby's expressive image of a dirty, messy kitchen led John Silvestre on one critical occasion to dub Brotby's style "sink realism." "cooking bowl" - realism of a kitchen bowl. The term has become accustomed, and not only in painting - British art of the 1950s, like Italian neo-realism, experienced an explosion of interest in the lives of simple people, working class people. not to be outdone either: in the 1960s Karel Reisz made the film “Saturday evening, Sunday morning”, another novel by A. Sillitoe “The loneliness of the long-distance runner” was made into a film in 1962 by Toni Richardson. In 1963, young Lindsay Anderson directed the sensational film “This Sporting Life” and proclaimed the creation of a so-called “Free Cinema Movement.” The new generation of British filmmakers received the unique name "angry young men", their direction also refers to social realism and - at an early stage - free cinema. In their films, which often take place in the depressive atmosphere of the visual life of the working classes, are characterized by a harsh criticism of all social structures of modern society. detached, ironic, and the general vector of flow can be described as going from harsh criticism to ever more total ironic nihilism. Samantha Lay (2002) suggested that the angry young man was not “polite...” . middle of paper......quite different from the mass film production of the time presented by easy comedies and traditional drama. Conclusion British social realism, of course, did not disappear, but migrated to television screens: in particular, already in The 1960s, the television series “Coronation Street” was born, which tells about the life of workers from Manchester. On television began and the directors who, with the greatest success, of course, have not always always been at the forefront of British cinema until now: Stephen Frears, Ken Loach and Mike Leigh. The subject matter of social film has expanded from simply class of issues to gender and race; the tone is different - every now and then a social image is the picturesque backdrop for a comedy or extremely current stories. The British consider social realism to be the most British genre. In the end, you can always find a reason to be angry.