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It is hard to imagine a viewer so unskilled in the conventions of television as to believe that Cathy was "actuality" footage, so extensively is it conceived of in terms of narrative fiction. However, doubt clearly existed in some viewers' minds as to whether it was a story based directly on a real incident, or whether (as was actually the case) Cathy's tale was a construction developed from a range of research materials. The legitimacy of combining the dramatic license to articulate a viewpoint through character and action with the documentary requirement to be "impartial" was queried by several commentators, often with a certain amount of naivety about the veracity of "straight documentary." Against these complaints, other critics defended the programme-makers' right to use dramatic emotional devices in order to engage the viewer with public issues and pointed to the way in which the programme's view of officialdom was essentially the view of Cathy herself--in their eyes, a perfectly proper use of character viewpoint from which audience members could measure their own empathetic distance. In British television history, then, Cathy Come Home remains an important marker in the long-running debate about television and truth. This should not be allowed to overshadow its own qualities as a work of social imagination however, and as an exploration in "hybridized" forms which sometimes brilliantly prefigures much later shifts in the modes of address of factual television.(museum.tv/eotv/cathycomeho.htm)
Television's impact on society for good or bad is a hotly debated topic - now a panel of industry experts has produced a list of the ten most influential programmes of all time. Topping the list of "agenda setting programmes" was Cathy Come Home - the 1960s television play which focused on homelessness and led to the setting up of the charity Shelter within a week of its broadcast.(scotsman.com/news/uk/television-that-changed-our-world-1-720880)
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