Early British cinema used the common social interaction found in the literary works of Charles Dickens and Thomas Hardy. One of the first British films to emphasize realism's value as a social protest was James Williamson's A Reservist Before the War, and After the War in 1902. The film memorialized Boer War serviceman coming back home to unemployment. Repressive censorship during 1945-54 prevented British films from more radical social positions.
After World War I, the British middle-class generally responded to realism and restraint in cinema while the working-class generally favored Hollywood genre movies. Thus realism carried connotations of education and high seriousness. These social and aesthetic distinctions have become running themes; Social Realism is now associated with the arthouse auteur, while mainstream Hollywood films are shown at the multiplex.
Producer Michael Balcon revived this distinction in the 1940s, referring to the British industry's rivalry with Hollywood in terms of "realism and tinsel." Balcon, the head of Ealing Studios, became a key figure in the emergence of a national cinema characterized by stoicism and verisimilitude. "Combining the objective temper and aesthetics of the documentary movement with the stars and resources of studio filmmaking, 1940s British cinema made a stirring appeal to a mass audience," noted critic Richard Armstrong.
Social Realism in cinema was reflecting Britain's transforming wartime society. Women were working alongside men in the military and its munitions factories, challenging pre-assigned gender roles. Rationing, air raids and unprecedented state intervention in the life of the individual encouraged a more social philosophy and worldview.
A British New Wave movement emerged in the 1950s and 1960s. British auteurs like Karel Reisz, Tony Richardson, and John Schlesinger brought wide shots and plain speaking to stories of ordinary Britons negotiating postwar social structures. Relaxation of censorship enabled film makers to portray issues such as prostitution, abortion, homosexuality, and alienation. Characters included factory workers, office underlings, dissatisfied wives, pregnant girlfriends, runaways, the marginalized, the poor, and the depressed. "The New Wave protagonist was usually a working-class male without bearings in a society in which traditional industries and the cultures that went with them were in decline.
This information was retained from: https://en.wikipedia.org/wiki/Social_realism#In_film
