Form : used to describe the way in which social realist texts exists but to also connect they way in which they are structured.

Style : used to define the creative techniques used by film-makers to achieve atmosphere and objectives

Both Form and Style can be influenced by practice and politics of the film-maker.

Form is structured by levels:

Social realism is a representation of realism. The texts demonstrate the reason of why society is structured and comments on a particular theme in a creative way. Social realism follows William’s criteria as the film-maker has a dominant intent when creating their work, what unites them is there understanding of aims that are non- profitable.

Acknowledgement of creative techniques and practices that can support the social realist text as therefore, the technique has an effect on the form. The form allows us to differentiate between what is real and what isn't and what type the text is presented in. Although this, there is no definite form to accompany social realism, it is just through common opinion and emotional response that the grittiness of a film can be equal to realism. These forms are used by film-makers to create verisimilitude by enforcing a level of strain on a cast in a social issues, defining the connection between character and place.

Finally, the text is working contrastingly against mainstream products. Mainstream texts are commonly structured in a resolving manner where as realist texts offer a less happier structure as resolutions to problems are rarely used.

Example: The ending of the film Kidulthood shows one of the main characters get beaten to death, resulting in devastation and upset among the ensemble cast. When contrasting this to a mainstream film, you can see that the ending did not provide any resolution but in fact created a problem.

Social realist texts are often connected with a detailed way of filming as it captures the relationship between spectator and text.In some cases, British social realist texts have come into tense contact with ‘sociological realism’. This is also identified as ‘poetic realism’ which allows the obviously simple to be captured more imaginably, therefore corrupting the sense of realism.

This evidentially means that style has more a role than to just present what the film-maker has created. What was known to be forms within the social realism genre has moved across into techniques displayed by mainstream texts. An example of this is the handheld camera movement in Jaws.

Stylistic approaches can now have connotations to which film it is associated with. This means that the success and overall achievement of the film-makers intent depends on the style of the text.