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Word Count: 553
John Grierson spoke of an unknown England beyond the West End and of a desire to travel dangerously into the jungles of Middlesbrough and the Clyde This has been a feature of British realist films through Ealing and new wave to the underclass films of the 1990s such as The Full Monty Peter Cattaneo 1997 and Brassed Off Mark Herman 1996 - the use of northern landscapes and shots of our town from that hill This was Griersons idea of the purpose of documentary to allow the nation to represent itself to itself to educate and inform He believed his own Drifters John Grierson 1929 was the definitive example of film primarily because the aesthetic fulfilled a social aim to champion the high bravery of upstanding labour or working-class heroism The work of Grierson with the Empire Marketing Board Film Unit 1927-33 argues Ian Aitken was modernist and aesthetically experimental To back this up he employed the likes of Len Lye Norman McLaren and Alberto Cavalcanti who with Harry Watt helped to develop the documentary-drama form of the Second World War for the Crown Film Unit Andrew Higson sees this as a Golden Age with drama and documentary coming together to form a truly national cinema North Sea Harry Watt 1938 was an influential film in this respect - it was singled out for special praise by The Home Planning Sub-Committee in May 1939 Its success has been considerable and warrants serious consideration of the story form in representing government propaganda Cavalcanti was one of the documentary filmmakers employed by Michael Balcon at Ealing Studios ensuring that the Documentary Film Movement would influence British Cinema in terms of personnel as well as aesthetic form Balcon believed Ealing could make a serious contribution to the war effort by bringing realism to its output Went the Day Well Alberto Cavalcanti 1942 with the main propaganda message a warning against complacency is hard-edged realism using simple iconography such
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