He later wrote for Sight and Sound, a journal for the British Film Institute and the New Statesman, a left wing weekly. He lashed at contemporary critics and their objectivity pursuit in one article for Sights and Sounds. Anderson went on to develop a philosophy concerning cinema, which was christened the Free Cinema movement in the latter part of the 1950s. This philosophy held that cinema in Britain needed to break off from the class-bound attitudes it projected and that the national screens needed to be adorned with stories of non-metropolitan Britain. This paper seeks to examine three of Anderson’s films: “If...”, “O, Lucky Man”, and “Britannia hospital” and the view of British class and society that they provided.
The use of the word new wave to describe cultural phenomena is a vital metaphor that when extended and scrutinised further allows one to picture the deep up currents and swellings that formed the wave (Allon, 2007 p7). These films challenged the old norms and were driven by an amalgam of social-democratic and liberal sentiments, which can ironically be viewed as a portion of the success of the economic boom in Britain that allowed the era’s youth to dream, in relatively secure economic mind-frames, about futures other than those that had been held as the norm. Perhaps a perfect example is If…, which came at the tail-end of the New Wave’s phase of social realism and had a nature that was ambiguous in both its recognition of a rapidly changing and expanding British future and its style, both in technique and theme.
After his vital role in the Free Cinema movement development, he was involved integrally in the social realist filmmaking of the British New Wave (Anderson et al, 2007 p45). His movie This Sporting Life, based on flashbacks, was viewed as having too much intensity and purely naturalistic. In 1968, Anderson made