Give them dignity : a review of I, Daniel Blake

I, Daniel Blake | Ken Loach, Director | UK/France/Belgium | 2016</jats:p

Jim Allen : radical drama beyond 'days of hope'

Due to a desire to establish television as a serious medium, television drama has often been seen as a forum for writers, with names such as David Mercer, Dennis Potter and Trevor Griffiths identified by critics as the driving force, or auteur, behind the works that bear their names rather than, as in much writing about film, the director. However, while this has been so, there are also many examples of writers whose contribution to television writing has been much less celebrated, often due to their close collaboration with a high-profile director who in many critics’ view remains the most influential contributor to the final piece of work. One practitioner who arguably has failed to get the critical credit he is due is Jim Allen, a writer still perhaps best known for his work with one such high-profile director, Ken Loach

La parte de los ángeles: ascenso y forja del héroe como relato social

La parte de los &aacute;ngeles (Angels&acute;Share, 2012) es uno de los &uacute;ltimos trabajos dirigidos por Ken Loach y en el que el cineasta vuelve a incidir en una de las constantes que vertebran su obra: la hibridaci&oacute;n entre un cine de denuncia social, que pone el acento en la situaci&oacute;n de las clases m&aacute;s desfavorecidas y/o de aquellos individuos excluidos de un sistema de bienestar en crisis, con estrategias narrativas propias del cine popular de g&eacute;nero. En esta ocasi&oacute;n, Loach plantea un relato que, bajo el realismo de su apariencia formal, reproduce los arquetipos y la estructura del viaje del h&eacute;roe campbelliano, en un gui&oacute;n que hibrida una trama de ascenso y redenci&oacute;n con la b&uacute;squeda de un tesoro simb&oacute;lico.Palabras clave: An&aacute;lisis narrativo; Ken Loach; crisis del estado de bienestar; viaje del h&eacute;roe; Campbell; realismo social; hibridaci&oacute;n gen&eacute;rica &nbsp;Keywords: Narrative analysis; Ken Loach; crisis of the welfare State; hero&acute;s journey, Campbell, social realism, hibridization off genre

Safety Culture Onboard Ships

Malassinet Alain. Ken Loach, Black Jack. In: Raison présente, n°56, 4e trimestre 1980. La parapsychologie oui ou non ? pp. 153-154

Immigration and citizenship from Ken Loach´s approach

[Resumen]: Tomando como referencia una producción cinematográfica particular, la del cineasta británico Ken Loach (Nuneaton, 1936), abordamos en este artículo el tema de la inmigración reflejado en dos de sus películas: Pan y Rosas (2000) y Solo un beso (2004). Cuestiones como la inmigración ilegal, las segundas generaciones inmigrantes, la multiculturalidad, la adaptación y el mestizaje (dentro de un contexto anglosajón) son algunos de los temas que se tratan en estos filmes y que sacan a relucir la problemática que conlleva el concepto de ciudadanía en la actualidad. Desde una perspectiva fundamentalmente (aunque no solo) económica en Pan y Rosas y cultural en Solo un beso, observamos los mecanismos de inclusión y exclusión que configuran la posición del inmigrante en la sociedad contemporánea. El análisis detallado de las escenas, diálogos y personajes de las citadas películas intentará recoger el discurso crítico de este realizador, prestando atención a las cuestiones más significativas desde un punto de vista sociológico[Abstract]: Using British Ken Loach´s (Nuneaton 1936) particular cinematographic production as reference, this paper addresses the immigration subject reflected in two of his films: Bread and Roses (2000) and Ae Fond Kiss (2004). Ilegal inmigration, second-generation immigrants, multiculturalism, integration and mixture matters (seeing within an Anglo Saxon context), are some issues these films deal with bringing out the nowadays citizenship definition problem. Inclusion and exclusion mechanisms which set up the immigrant position into Contemporary Society are depicted in both films, mainly (but not exclusively) from an economic point of view in Bread and Roses and from a cultural perspective in Ae Fond Kiss. The thorough analysis of dialogues, scenes and characters on both movies aims to highlight the critical speech of this filmmaker emphasizing the more meaningful sociological questions

A História que a escola não conta

A Batalha de Argel, Direção: Gillo Pontecorvo, Produção: Sérgio More. Duração: 100min. Terra e liberdade (Land and Freedom), Direção - Ken Loach, Inglaterra: 1995, Duração: 109min.Terra estrangeira, Direção: Walter Salles e Daniela Thomas, Brasil: 1995, Duração: 1OOmin

The unscripted image

This article examines realism in the films of Ken Loach and Mike Leigh, comparing and relating the two director's distinct processes to the procedure of making a painting that represents everyday life. In particular, the article positions painting from found photographs as akin to making a film based on a very tight script and predetermined narrative (Loach). Leigh's mode of arriving at narrative, subject and meaning through devising is compared to painting from memory and experience without a constraint on outcome. The article references Ricoeur's proposals that narrative structures impose linear histories and Carel Weight's narrative paintings

The unscripted image

This article examines realism in the films of Ken Loach and Mike Leigh, comparing and relating the two director's distinct processes to the procedure of making a painting that represents everyday life. In particular, the article positions painting from found photographs as akin to making a film based on a very tight script and predetermined narrative (Loach). Leigh's mode of arriving at narrative, subject and meaning through devising is compared to painting from memory and experience without a constraint on outcome. The article references Ricoeur's proposals that narrative structures impose linear histories and Carel Weight's narrative paintings

La canción de Carla. (Carlas Song) de Ken Loach

Abstract not availabl