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Relevant bibliographies by topics / Loach, Ken Film

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Academic literature on the topic 'Loach, Ken Film'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Loach, Ken Film"

1

Gibbons, Andrea. "Film Review: I, Daniel Blake I, Daniel Blake." Urbanisation 2, no. 2 (2017): 173–76. http://dx.doi.org/10.1177/2455747117734704.

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2

Jones, Huw David. "UK/European Co-productions: The Case of Ken Loach." Journal of British Cinema and Television 13, no. 3 (2016): 368–89. http://dx.doi.org/10.3366/jbctv.2016.0325.

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Ken Loach stands out as one of the few British directors whose films are regularly co-produced with European partners. Of the nineteen films he has directed since 1990, fourteen have been UK/continental European co-productions. This article draws on interviews with Loach's long-term producer Rebecca O'Brien, content analysis of his films and the statistical analysis of box-office data to examine how and why Loach came to work with continental European co-production partners and how these partnerships have affected the cultural identity of his films and their box-office performance. It argues t

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3

Archer, Neil. "Ken Loach and the Comedians: The Politics of ‘Acting’." Journal of British Cinema and Television 18, no. 3 (2021): 280–302. http://dx.doi.org/10.3366/jbctv.2021.0575.

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This article explores a gap in the scholarship on Ken Loach's film-making, focusing on his casting of comedians in central roles and the specific impacts of such casting strategies across Loach's work. While the relevance of such casting to Loach's project has been anecdotally acknowledged in criticism, this article recommends a more systematic historical and aesthetic approach. After summarising the theoretical considerations around acting as a practice and its ‘problem’ within Loach's terms, I consequently look at the broader institutional and political contexts of actor preparation training

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4

Bottalico, Andrea. "Quali scuse? Riflessioni sull'ultimo film di Ken Loach." SOCIOLOGIA DEL LAVORO, no. 157 (August 2020): 243–46. http://dx.doi.org/10.3280/sl2020-157013.

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5

Petrie, Duncan. "Ken Loach: the politics of film and television." Historical Journal of Film, Radio and Television 32, no. 3 (2012): 473–75. http://dx.doi.org/10.1080/01439685.2012.699620.

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6

Archibald, D. "Ken Loach: the Politics of Film and Television." Screen 54, no. 3 (2013): 427–30. http://dx.doi.org/10.1093/screen/hjt025.

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7

Soares, Marcos César De Paula. "O trabalho colaborativo no cinema de Ken Loach." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 72, no. 1 (2019): 251–64. http://dx.doi.org/10.5007/2175-8026.2019v72n1p251.

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The article begins with an analysis of the initial scene of the film I, Daniel Blake by the British filmmaker Ken Loach, to discuss the context in which the filmmaker's career began, amid the English debate about the legacies of Naturalism in literature and cinema. The article then turns to some of the practical consequences of this discussion of the collaborative working methods adopted by the director to ensure what he calls "portrait authenticity of the life of the English working classes."

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8

Goddard, Chris. "I, Daniel Blake (2016) - Director: Ken Loach Script: Paul Laverty." Children Australia 42, no. 4 (2017): 287–88. http://dx.doi.org/10.1017/cha.2017.42.

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This film is the story of Daniel Blake, a widowed 59-year-old carpenter. Daniel suffered a heart attack at work, on scaffolding, and nearly died. He has been told by his doctors that he is unfit for any strenuous work. The bureaucracy has decided, however, that as he can raise his arms, he should be spending 35 hours a week seeking work.

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Rickards, Carolyn. "An Ordinary Spectacle: Critical Responses to Fantasy and Whimsy inLooking for EricandThe Angels’ Share." Journal of British Cinema and Television 15, no. 4 (2018): 553–70. http://dx.doi.org/10.3366/jbctv.2018.0442.

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The extensive career of the British film director Ken Loach has been defined by his perceived commitment to portraying the lives of ordinary, everyday people on screen. The realist impulse underpinning this output can be determined from early television credits on the BBC's ‘Wednesday Play’ series to more recent films such as Jimmy's Hall (2014) and I, Daniel Blake (2016). It could be argued that this aesthetic tendency also continues to inform critical appropriations of Loach's work. This article considers Looking for Eric (2009) and The Angels' Share (2012) as two films which appear to chall

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10

Cresswell, Mark, and Zulfia Karimova. "Ken Loach,Family Lifeand Socialist Realism: Some Historical and Theoretical Aspects." Journal of British Cinema and Television 14, no. 1 (2017): 19–38. http://dx.doi.org/10.3366/jbctv.2017.0350.

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This article considers certain historical and theoretical aspects of Ken Loach's 1971 film about mental illness, Family Life. Historically, it explores the film's influences, particularly that of the 1960s ‘anti-psychiatry’ and counter-cultural figure, R. D. Laing. To this end, the article examines in detail a contemporaneous critique of Family Life, namely Peter Sedgwick's hostile review for Socialist Worker in 1972. In the light of this critique, the article then reconsiders, theoretically, Loach's strategies of socialist-realist representation in Family Life, particularly as they relate to,

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Dissertations / Theses on the topic "Loach, Ken Film"

1

Yun, Jong Uk. "Die Spielfilme von Ken Loach Perspektive eines realistischen Kinos." Darmstadt Büchner-Verl, 2010. http://d-nb.info/998913006/04.

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2

Herrmann, Jana. "Ken Loach : voice of the working class." Bachelor's thesis, Universität Potsdam, 2014. http://opus.kobv.de/ubp/volltexte/2014/7198/.

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Ken Loach has been playing an important role for the British cinema for more than five decades now. His work has gained international regocnition and recieved various prestigious awards. Some of his films were even quite successful at the box office, nevertheless many people have still not heard of him. That is regrettable, because Loach is without doubt one of the best in his field. This paper is meant to show what distinguishes his films from the work of other directors and explains why his films are of such great value. Loach's career can be broadly divided into three stages, which will b

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Books on the topic "Loach, Ken Film"

1

Institute, British Film, ed. Ken Loach: The politics of film and television. Palgrave Macmillan, 2011.

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2

Which side are you on?: Ken Loach and his films. Bloomsbury, 2004.

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3

Fuller, Graham, ed. Loach on Loach. Bloomsbury Publishing Plc, 1998. http://dx.doi.org/10.5040/9780571344086.

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Ken Loach is one of Britain's most distinguished, and respected, film-makers. His career embraces both film and television. His landmark TV production of Cathy Come Home caused such an outcry over the plight of the homeless that Shelter was established in response. His film work is as remarkable as his television work. He makes tough, uncompromising films about a beleaguered working class – but with a poetry (as in Kes) and with a humanity soaked in humour (as in Riff Raff and Raining Stones). His work has been feted, especially on the Continent where Riff Raff received the Felix award (Europe

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4

Ken Loach: The holdings of the National Film and Television Archive. London, 1997.

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5

George, McKnight, ed. Agent of challenge and defiance: Films of Ken Loach. Flicks Books, 1997.

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6

Oliver, James. English With English Subtitles: The Films of Ken Loach. Screenpress Books, 2004.

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7

Which Side Are You On?: Ken Loach and His Films. Bloomsbury Publishing Plc, 2005.

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8

George, McKnight, ed. Agent of challenge and defiance: The films of Ken Loach. Greenwood Press, 1997.

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9

George, McKnight, ed. Agent of challenge and defiance: The films of Ken Loach. Flicks Books, 1997.

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10

McKnight, George. Agent of Challenge and Defiance: The Films of Ken Loach (Contributions to the Study of Popular Culture). Greenwood Press, 1997.

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Book chapters on the topic "Loach, Ken Film"

1

Hill, John. "From Television into Film." In Ken Loach. British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-349-92473-8_6.

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2

Traverso, Enzo. "Melancholy Images." In Left-Wing Melancholia. Columbia University Press, 2017. http://dx.doi.org/10.7312/columbia/9780231179423.003.0004.

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The third chapter analyzes left-wing melancholy in contemporary cinema, focusing on significant movies of the last decades (Ken Loach, Chris Marker, Carmen Castillo, Gillo Pontecorvo among other film-makers). Most of these movies transform the experience of revolution into a “realm of memory” (according to Pierre Nora’s concept of lieux de mémoire).

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3

Forrest, David, and Sue Vice. "Thatcherism and South Yorkshire." In Barry Hines. Manchester University Press, 2017. http://dx.doi.org/10.7228/manchester/9781784992620.003.0004.

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This chapter traces the effects of Thatcherism on Hines’s work, and on the region and communities he depicts. His screenplay for the 1981 film Looks and Smiles takes an art-cinematic form to explore the pressures of the era’s unemployment on young people, in his fourth and final collaboration with Ken Loach, while the unproduced play Fun City offers a blackly comic view of the era’s schooling. Unfinished Business (1983) examines the possibilities of social freedom for women, while 1984’s Threads is an exceptionally bleak documentary drama about the effects of nuclear war. Tracing the screenplay’s archival history reveals the detail of Hines’s aesthetic and political practice.

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4

Sohn-Rethel, Martin. "Social (or Documentary) Realism in Feature Film." In Real to Reel. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993071768.003.0003.

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This chapter examines social (or documentary) realism in feature film. It focuses on three of Ken Loach's films: Ladybird Ladybird (1994), made before his collaboration with screenwriter, Paul Laverty, and two after: Sweet Sixteen (2002) and It's a Free World... (2006). The reality uncovered in Ladybird Ladybird is arguably not strictly political in a primary, economically driven sense. It is based on the true story of Maggie (Crissy Rock) whose children are taken away by social services. The 'truth' premise that is a given in such an uncompromising work of social realism made for a stark confrontation: on one side, Loach protesting the truth of his depiction; on the other, social services crying foul on behalf of every beleaguered social worker in the country. It might be argued that the resulting standoff over who had truth on their side was not all that productive in improving social services in Britain. Meanwhile, Loach's Sweet Sixteen is a classic example of his later documentary-drama approach. It's a Free World... works to a very similar template as Sweet Sixteen. The chapter then considers realism in Paul Greengrass's drama-documentary Bloody Sunday (2002) and Jim Sheridan's In The Name Of The Father (1993).

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5

Davies, Luke. "Precarious Living in the Films of Ken Loach." In Living with Strangers. Routledge, 2020. http://dx.doi.org/10.4324/9781003085898-9.

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