Both France and Britain were overcoming post-war shortages and whilst there was a new optimism being generated in Britain after the 1950 Festival of Britain and its espousal of new technologies the mid-1950s saw the post-Suez recognition within both Britain and France that the political world had shifted entirely to a mainspring centred upon the USA in tension with the USSR. , "The new waves provided an alternative to the pre-eminence of the largely taylorised American product, the so-called 'classical Hollywood film', whose dependence on compelling narrative, glamorous stars and popular genres was widely influential, if seldom closely or effectively imitated. Anderson's O Dreamland (1953) reflected on the public's need for a cheap night out, while Tony Richardson's Momma Don't Allow (1955) and Reisz's We Are the Lambeth Boys (1958) rendered teenagers' lifestyles with considerable affection. It can be argued that the representation of the Rachel Roberts character is negative, to the point that she commits suicide however this representation of a woman who is left on a small widow’s pension and is struggling to survive financially yet resists the pressure to be made dependent upon a man is an underlying theme. Jazz in 1960s British New Wave Cinema: An Interview with Sir John Dankworth http://bura.brunel.ac.uk/bitstream/2438/743/1/DankwortharticleJP.pdf, Open University History and the Arts on British New Wave Realism is a difficult concept because encapsulated within it there are a range of changing aesthetic conventions all of which have as a central concern the intention of representing ‘the world as it really is’ or ‘life as it is really lived’. Hollywood lured away homegrown talent, including Alfred Hitchcock and a huge gallery of star performers, writers and other craftsmen, while the major studios, all located in or around London and tied closely to the West End theatre, seemed able to conceive only dramas that reflected middle-class, southern values and sensibilities, often without much appeal for a broader national audience. In the content of location shooting in the latter two films and even in the more prosaic autobiography Truffaut finds a lightness of touch even in the grim institutions. Wollen’s criticism largely hinges on a textualist based comparative analysis which judges the British ‘new wave’ with the Cahiers group of French directors who for Wollen’s appear to encapsulate the whole ethos of the French Nouvelle Vague. Lindsay Anderson was a prominent writer for Sequence and Sight and Sound magazines, and developed his own film-making philosophy and … On the whole Billy Liar manages to transcend this tendency which helped to give the impression of British New Wave social realism its grim and gritty reputation. Most of these realist fiction films were notable for their divergence, at least in significance part, from the international pattern for cinematic entertainment set by Hollywood, even though the American cinema of the period featured a similar genre. Their collective disenchantment with the smugness and false promises of post-war British society struck an ideological chord with the proponents of Free Cinema." In that sense the underlying discourses can be seen as ones which promote a meritocratic society in which opportunities are available but it is down to the individual actor themselves about whether they make a success of these opportunities. Although Look Back in Anger was a commercial failure, another Woodfall film made at the same time, and released shortly before it, did well at the box office. The British New Wave is a part of this process. These films also marked the emergence of a new breed of British actor: a tough, street-wise, and instinctive performer, whose acting style owed more to Brando and Dean than to Olivier and Alec Guinness. "Collectively these films constituted the latest manifestation of a progressive realist aesthetic in British cinema, dating back to Grierson's 'documentary ideal' which involved a gradual extension of the cinematic franchise to include realistic representations of the lower orders in society.
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