Artigos de revistas: "Ken Loach"

1

Vulbeau, Alain. "Contrepoint - Looking for Ken Loach." Informations sociales 159, no. 3 (2010): 127. http://dx.doi.org/10.3917/inso.159.0127.

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Trémois, Claude-Marie. "Looking for Eric, de Ken Loach." Esprit Juin, no. 6 (2009): 185. http://dx.doi.org/10.3917/espri.0906.0185.

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Lewis, Natasha. "On the Dole with Ken Loach." Dissent 64, no. 2 (2017): 13–16. http://dx.doi.org/10.1353/dss.2017.0049.

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Sáez-González, Jesús Miguel. "En un mundo libre (Ken Loach)." Vivat Academia, no. 93 (March 15, 2008): 7. http://dx.doi.org/10.15178/va.2008.93.7-8.

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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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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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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

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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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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Maria, Cristiane Toledo. "O material melodramático na forma cinematográfica de Ken Loach." Revista Crítica Cultural 7, no. 1 (2012): 169. http://dx.doi.org/10.19177/rcc.v7e12012169-179.

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Este artigo discute o projeto estético-político do cineasta inglês Ken Loach dentro da história da arte política, e como fruto de um processo histórico de crise da esquerda e fragmentação da classe trabalhadora, intensificado durante a segunda metade do século XX, especialmente em países como a Inglaterra. Observamos de que maneira a obra de Ken Loach cria uma forma que realiza um resgate de materiais melodramáticos, e as consequências de tal escolha formal para o conteúdo político de seus filmes. O filme usado como base para a análise é Terra e Liberdade (Land and Freedom, 1995), cuja forma e conteúdo, além de discutirem a guerra civil espanhola e sua relação com o contexto britânico do final do século XX, trazem à tona a discussão sobre o papel do cinema político e suas possibilidades e limites dentro da indústria cultural.

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11

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 that while some of Loach's co-production partnerships were initiated for creative reasons, most have proceeded on a ‘finance-only’ basis, whereby the partners have had very little creative input into his films. Co-production has therefore allowed Loach to continue making ‘culturally British’ films without the creative interference which often comes with this mode of film-making. This creative freedom has been vital in terms of maintaining Loach's reputation as one of Europe's leading auteurs and attracting the attention of film festivals like Cannes and Berlin, which in turn has played a key role in the marketing of his films and increasing their admissions in key continental European territories. Co-production has also boosted the performance and circulation of Loach's films in mainland Europe by making it easier to access EU MEDIA distribution support. These findings not only offer new insights into Loach's films in terms of their production, content and reception, but also contribute to wider debates surrounding co-production and transnational cinema.

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12

López Hernández, Sofía. "La contribución de la música de George Fenton al cine de Ken Loach." Anuario Musical, no. 72 (January 22, 2018): 277. http://dx.doi.org/10.3989/anuariomusical.2017.72.13.

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Ken Loach es un realizador británico de gran relevancia. Desde mediados de los 60 ha dirigido numerosas películas para cine y televisión. Y aunque sobre su modo de rodar se ha escrito mucho, hay muy poco sobre su el sentido de su música de cine. Para conocer este aspecto es indispensable hablar de George Fenton, que desde 1994 es su compositor habitual. Esta investigación surge del interés por descubrir qué características musicales aporta Fenton al cine de Loach.

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13

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 and casting in British television and film since Loach's emergence as a director in the 1960s, and the relevance of comedian casting within these. Drawing on a sample of Loach's films, I then offer a more systematic analysis of how the comedian's body, voice and action signify, examining how such ‘realist’ performances respond to the cultural conventions of ‘trained’ actor practice, as well as the narrative and broader institutional conventions of comedy performance in mainstream film.

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Orellana, Gutiérrez de Terán, Juan. "El marxismo ambivalente del cine de Ken Loach (2000-2015)." Relectiones, no. 2 (November 15, 2015): 37–48. http://dx.doi.org/10.32466/eufv-rel.2015.2.44.37-48.

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En el cine del británico Ken Loach convive una ideología marxista radical y revolucionaria, con un planteamiento antropológico de ecos cristianos y humanistas. Esto se traduce en películas que cuentan con un protagonismo compartido entre la “colectividad” genérica y sujetos individuales, con sus dramas personales e intransferibles. Del mismo modo, la responsabilidad de las injusticias que aquejan a la sociedad, en unos casos se atribuye genéricamente al sistema capitalista, y en otros a la libertad y voluntad particulares de un personaje concreto. En cualquier caso, no se percibe ninguna evolución en los planteamientos ideológicos del autor.

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15

Baguet, Georges. "Une tragique beauté : Le vent se lève, de Ken Loach." Esprit Octobre, no. 10 (2006): 202. http://dx.doi.org/10.3917/espri.0610.0202.

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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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17

Cardullo, B. "A Cinema of Social Conscience: An Interview with Ken Loach." Minnesota review 2011, no. 76 (2011): 81–96. http://dx.doi.org/10.1215/00265667-1222065.

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Clark, Romy. "From text to performance: interpretation or traduction? Trevor Griffiths’ Fatherland, as directed by Ken Loach." Language and Literature: International Journal of Stylistics 8, no. 2 (1999): 99–123. http://dx.doi.org/10.1177/096394709900800201.

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In the collaborative arts such as the theatre and the cinema the struggle over interpretation is central. In order to explore the issue of interpretation, in this article I compare the print text (screenplay) of Trevor Griffiths’ Fatherland with the realized performance text as directed by Ken Loach. I argue that because of Loach’s views about the role of the written text, the role of the actor/character and his concept of naturalism in performance, he goes beyond legitimate interpretation of the written text and ends up traducing it. I also suggest that the circumstances of production of the film - a European co-production for cinema and television distribution with an ‘international’ cast - contribute to this traduction. I illustrate my argument by comparing the discursive practices of Griffiths and Loach and by analysing one key scene.

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19

Yansen, Guillermina. "Camino a la informacionalización y la plataformización del trabajo en un retrato inglés: reseña de Sorry We Missed You (Ken Loach, 2019)." Hipertextos 9, no. 16 (2021): 143–54. http://dx.doi.org/10.24215/23143924e045.

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Este texto reseña la película Sorry We Missed You (2019) dirigida por Ken Loach. Particularmente, se enfoca en la caracterización de las tendencias del trabajo hacia la informacionalización y plataformización en el capitalismo actual, cuyo grado de penetración se observa en distinta medida en las historias de los protagonistas, representando éstas una buena antesala de su pleno impacto.

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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, firstly, mental illness and institutional psychiatry; and secondly, the distinction drawn by Raymond Williams between artistic and political forms of representation.

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21

Williams, Tony. ": Agent of Challenge and Defiance: The Films of Ken Loach . George McKnight." Film Quarterly 53, no. 3 (2000): 54. http://dx.doi.org/10.1525/fq.2000.53.3.04a00080.

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Williams, Tony. "Review: Agent of Challenge and Defiance: The Films of Ken Loach by George McKnight." Film Quarterly 53, no. 3 (2000): 54. http://dx.doi.org/10.2307/1213737.

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23

Cooke, Lez. "Jacob Leigh, The Cinema of Ken Loach: Art In The Service of the People." Journal of British Cinema and Television 1, no. 1 (2004): 164–68. http://dx.doi.org/10.3366/jbctv.2004.1.1.164.

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Hill, John. "Routes Irish: ‘Irishness’, ‘authenticity’ and the working class in the films of Ken Loach." Irish Studies Review 19, no. 1 (2011): 99–109. http://dx.doi.org/10.1080/09670882.2011.541653.

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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 challenge this established discourse. In Looking for Eric, the spectacle is manifold: the appearance of Eric Cantona, a well-known French actor and celebrity, is complicated by his fantasised role while The Angels' Share evokes the whimsical tradition of Ealing comedies. This study explores critical response to both films, finding a disruption of existing preconceptions attributed to Loach as a British film director, and also considers the potential wider impact of such discourse.

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Weber, Sabrine. "(Des)subjetivação pelo trabalho na era da uberização em Você não estava aqui, de Ken Loach (The (un)subjetivation through work in the uberitation era in Sorry, we missed you, by Ken Loach)." Estudos da Língua(gem) 19, no. 3 (2021): 171–82. http://dx.doi.org/10.22481/el.v19i3.8981.

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Este artigo apresenta uma leitura do filme Você não estava aqui (2019), do cineasta inglês Ken Loach, para discutir relações acerca dos processos de subjetivação e dessubjetivação pelo trabalho na era da uberização, em que se evidencia a ascensão de discursos de autoemprendedorismo. A análise é realizada por um suporte teórico foucaoutiano, articulando com o conceito marxista de alienação. Para isso, são descritos o contexto de produção e o enredo, com foco nas ações realizadas pelo protagonista. A análise traz à tona o modo que a obra representa as consequências das relações de poder implicadas no cenário trabalhista pós-moderno, como a reidentificação do desempregado à condição de trabalhador autônomo. Esse lugar que, aparentemente, reserva-se a uma ilusória liberdade, encaminha o sujeito a um dessasujeitamento e, por conseguinte, instaura uma nova forma de controle de si.

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Kanbur, Ayla. "From Box Office to Memory: Telling Stories is not an Innocent Act." CINEJ Cinema Journal 7, no. 1 (2018): 72–90. http://dx.doi.org/10.5195/cinej.2018.188.

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Throughout human history narratives have had crucial function to construct a society with meanings culturally binding its members and to sustain them for generations in society. Epic stories, proverbs, historical tales are such narratives which, in particular, form patterns for the “shared conceptual framework” of members of a culture. Thus narratives, in a broadest sense, circulate within a society through individual memories of its members and serve to communicate and create meanings by operating like language.Films Bread and Roses by Ken Loach (2000) and Maid in Manhattan (2002) by Wayne Wange intersect with their narrative tools indicating how individual and cultural memory overlap and contested globally within international film industry.

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Padovani, Daniela Wernecke, and Jorge Luís Mialhe. "A condição dos trabalhadores migrantes na perspectiva do cinema: análise da obra "Mundo Livre"." Direito e Desenvolvimento 9, no. 1 (2018): 6–22. http://dx.doi.org/10.25246/direitoedesenvolvimento.v9i1.600.

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O presente artigo trata da questão de trabalhadores migrantes que deixam seus países de origem em busca de melhores condições de vida e de trabalho, mas acabam por encontrar em outras localidades situações de exploração laboral e de marginalização de direitos. A discussão do tema tem como ponto referencial a análise da obra cinematográfica "Mundo Livre", do diretor britânico Ken Loach, como como o exame de instrumentos jurídicos internacionais de proteção dos direitos humanos dos migrantes, a fim de, a partir de um diálogo dos elementos apresentados no filme com a ciência jurídica, buscar a compreensão da questão migratória e sua intersecção com o alcance da justiça social.

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Gracia Gómez, Alfonso A. "“Quiero ser mi propio jefe”: la crítica de la autonomía en Sorry We Missed You de Ken Loach." Ámbitos. Revista Internacional de Comunicación, no. 55 (2022): 114–30. http://dx.doi.org/10.12795/ambitos.2022.i55.07.

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El cine de Ken Loach es célebre por una propuesta incisiva que busca extraer en sus historias las contradicciones del sistema económico y social. En este sentido, la reciente Sorry We Missed You contribuye a una reflexión novedosa que nos acerca a la crítica del totalitarismo neoliberal que expusieron los autores de la ya célebre Dialéctica de la Ilustración. En concreto nos remitiremos a una tesis ilustrada por antonomasia, que es la que propone la exigencia de autonomía del individuo como mandato ético presuntamente emancipador. Pese a que este mandato ético es imposible de obedecer, los individuos se ven obligados a observarlo con respeto y admiración por exigencias ideológicas que solo contribuyen a cavar más y más hondo en la zanja de su propia perdición.

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Pereira, Marco Antônio Machado Lima. "O cinema e a literatura vão à guerra." Revista de História, no. 178 (October 3, 2019): 1–25. http://dx.doi.org/10.11606/issn.2316-9141.rh.2019.144680.

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A guerra civil espanhola (1936-1939), um dos acontecimentos emblemáticos do século XX, foi responsável por aglutinar uma geração de jovens escritores, poetas e artistas que consideravam o conflito como algo central em sua vida. Este artigo tem como objetivo analisar como alguns escritores e cineastas têm retratado a guerra civil espanhola em sua obra, demonstrando de que maneira os autores dialogam com o contexto histórico-político do período entreguerras. Além disso, parte relevante de nossa proposta consiste em explorar o cinema e a literatura como formas específicas de conhecimento do mundo social. A apresentação terá como eixo central as polêmicas e os conflitos que dividiram as forças políticas de esquerda (socialistas, comunistas e anarquistas) que lutavam pela República presentes no livro de George Orwell Lutando na Espanha (1938) e no filme Terra e liberdade (1995) de Ken Loach.

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Hilton, Matthew. "Ken Loach and the Save the Children Film: Humanitarianism, Imperialism, and the Changing Role of Charity in Postwar Britain." Journal of Modern History 87, no. 2 (2015): 357–94. http://dx.doi.org/10.1086/681133.

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Yun, Jong Uk. "Change and Continuity in the Cinema of Ken Loach: A Comparative Analysis of 〈Cathy Come Home〉and〈I, Daniel Blake〉." Film Studies 85 (September 30, 2020): 5–32. http://dx.doi.org/10.17947/fs.2020.9.85.5.

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Rustin, Emily. "Film review: Ladybird, Ladybird (Ken Loach, 1994) and The Florida Project (Sean Baker, 2017): different perspectives on families in crisis." Journal of Child Psychotherapy 44, no. 3 (2018): 430–34. http://dx.doi.org/10.1080/0075417x.2018.1553992.

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Kalmár, György. "Angry Old Men in Post-Crisis European Cinema." Acta Universitatis Sapientiae, Film and Media Studies 18, no. 1 (2020): 27–56. http://dx.doi.org/10.2478/ausfm-2020-0002.

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AbstractThe paper explores the representation of ageing white men in 21st-century European art cinema in the socio-cultural context of the series of crises that European societies had to face in the first decades of the new millennium. In Europe ageing is a growing concern, which already influences economic productivity and further endangers the welfare system. Ageing white men, who used to belong to the hegemonic majority of society during their active period, are often disoriented and frustrated by rapid technological development, social changes, shifts in social values or the failures of the welfare system. This paper, through the analysis of Tyrannosaur (Paddy Considine, 2011), I, Daniel Blake (Ken Loach, 2016) and A Man Called Ove (Hannes Holm, 2015), explores the ways these issues are represented in contemporary European cinema. The films of this period often depict the disappearance of an old life-world, together with its old sense of community and its old types of men. Thus, these films tend to be critical of globalized modern societies, and often reveal both the vulnerability and the potential destructiveness of these vanishing masculinities.

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윤종욱. "Identifikation im Autorenfilm - eine Analyse der Filme 'It's a Free World...' von Ken Loach und 'Das weiße Band' von Michael Haneke." Zeitschrift f？r Deutsche Sprache und Literatur ll, no. 55 (2012): 39–60. http://dx.doi.org/10.30947/zfdsl.2012..55.39.

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Smart, Billy. "The Life of Galileo and Brechtian Television Drama." Journal of British Cinema and Television 10, no. 1 (2013): 112–29. http://dx.doi.org/10.3366/jbctv.2013.0125.

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Bertolt Brecht's dramaturgy was as influential upon the development of British drama on television between the 1950s and the 1970s as it was in the theatre. His influence was made manifest through the work of writers, directors and producers such as Tony Garnett, Ken Loach, John McGrath and Dennis Potter, whose attempts to create original Brechtian forms of television drama were reflected in the frequent reference to Brecht in contemporary debate concerning the political and aesthetic direction and value of television drama. While this discussion has been framed thus far around how Brechtian techniques and theory were applied to the newer media of television, this article examines these arguments from another perspective. Through detailed analysis of a 1964 BBC production of The Life of Galileo, I assess how the primary, canonical sources of Brecht's stage plays were realised on television during this period, locating Brecht's drama in the wider context of British television drama in general during the 1960s and 1970s. I pay particular attention to the use of the television studio as a site that could replicate or reinvent the theatrical space of the stage, and the responsiveness of the television audience towards Brechtian dramaturgy.

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Panos, Leah. "Realism and Politics in Alienated Space: Trevor Griffiths's Plays of the 1970s in the Television Studio." New Theatre Quarterly 26, no. 3 (2010): 273–86. http://dx.doi.org/10.1017/s0266464x10000461.

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The television studio play is often perceived as a somewhat compromised, problematic mode in which spatial and technological constraints inhibit the signifying and aesthetic capacity of dramatic texts. Leah Panos examines the function of the studio in the 1970s television dramas of socialist playwright Trevor Griffiths, and argues that the established verbal and visual conventions of the studio play, in its confined and ‘alienated’ space, connect with and reinforce various aspects of Griffiths's particular approach and agenda. As well as suggesting ways in which the idealist, theoretical focus of the intellectual New Left is reflexively replicated within the studio, Panos explores how the ‘intimate’ visual language of the television studio allows Griffiths to create a ‘humanized’ Marxist discourse through which he examines dialectically his dramatic characters' experiences, ideas, morality, and political objectives. Leah Panos recently completed her doctoral thesis, ‘Dramatizing New Left Contradictions: Television Texts of Ken Loach, Jim Allen, and Trevor Griffiths’, at the University of Reading and is now a Postdoctoral Researcher on the AHRC funded project, ‘Spaces of Television: Production, Site and Style’, which runs from July 2010 to March 2014.

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Torricelli, Emily. "Multicultural Glasgow." Alphaville: Journal of Film and Screen Media, no. 13 (July 20, 2017): 90–104. http://dx.doi.org/10.33178/alpha.13.05.

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In films, even contemporary ones posing alternatives to the mythic representations of Scotland, Scottish identity is often constructed as homogeneous and white. Though a small number of films have been made addressing Scotland’s white minority groups, it is not until the 2000s that filmmakers such as Ken Loach and Pratibha Parmar began to explore non-white Scottish identities. This article explores the ways the former’s Ae Fond Kiss… (2004) and the latter’s Nina’s Heavenly Delights (2006) construct hybrid, plural Scottish identities by first considering the way the two films construct these identities, and then by considering the how the identities constructed were received by film critics. Ae Fond Kiss… suggests that racial and ethnic minorities understand “Scottishness” in varied ways that are often influenced by gender, whereas, for Nina’s Heavenly Delights, race, gender, and sexuality are some of the many identities that are united in the Scottish nation. In support of the plural and hybrid Scotlands these two films construct, film critics, despite the complications of genre, strongly label both as Scottish films, which suggests they understand Scotland as a diverse or hybrid place or culture.

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Cooke, Lez. "Six and ‘Five More’: Experiments in Filmed Drama for BBC2." Journal of British Cinema and Television 14, no. 3 (2017): 298–323. http://dx.doi.org/10.3366/jbctv.2017.0375.

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In 1964–6 John McGrath produced two series of filmed dramas for BBC2, the first under the series title Six, while the second series, provisionally titled ‘Five More’, was transmitted without a series title. At a time when most drama was being produced from the television studio, some of it still being transmitted live, this was a new departure, with the first six films pre-dating Up the Junction (1965) and the second series predating Cathy Come Home (1966), the two Wednesday Plays which have been celebrated for making the breakthrough to filmed drama at the BBC. Unlike the Loach/Garnett films, which were made by the Drama Department, McGrath's series were commissioned by Huw Wheldon's Documentary and Music Programmes department, which also produced Peter Watkins’ Culloden (1964), and were described as a hybrid of ‘documentary fiction’. In fact, they were an eclectic mix of different forms and styles, from Ken Russell's silent cinema pastiche, The Diary of a Nobody (1964) to Philip Saville's experimental The Logic Game (1965) and John Irvin's lyrical Strangers (1966). This article seeks to reconsider these films as examples of forgotten television drama from the mid-1960s and to examine the claim that they represent a new form of ‘documentary fiction’.

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BIONDINI, BÁRBARA KATHERINE FARIS, ROSSI HENRIQUE SOARES CHAVES, and JANAYNNA DE MOURA FERRAZ. "Lukács e a particularidade estética do trabalho assalariado e da mediação da burocracia do Estado em ‘Eu, Daniel Blake'." Cadernos EBAPE.BR 18, no. 2 (2020): 297–307. http://dx.doi.org/10.1590/1679-395177695.

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Resumo Este ensaio objetiva perscrutar o filme Eu, Daniel Blake, tendo como foco o tratamento do diretor Ken Loach acerca da particularidade do trabalho assalariado e da burocracia do Estado no capitalismo contemporâneo, apoiados na estética oferecida por Lukács, o qual aponta ser a particularidade a questão central que envolve o processo de criação artística e a qual tomamos como ponto de partida para realizar uma análise fílmica materialista. Apontamos que o tratamento dado às categorias tem em sua gênese a tomada de partido por parte do diretor, uma vez que as aborda de maneira crítica e comprometida com a realidade, delineando, assim, o seu potencial reflexivo. Logo, ao retratar uma realidade singular vivida por um trabalhador britânico submetido a uma condição socioeconômica superestrutural que tem no regime do capital o elemento universal, a forma como a particularidade é retratada permite transcender a obra, que se constitui em uma síntese capaz de refletir a condição de exploração e estranhamento das mediações sobre as quais estão submetidos os trabalhadores em várias partes do mundo, bem como o papel do Estado. Concluímos que a estética materialista mostra-se um meio robusto e denso, que pode contribuir com as investigações da sociabilidade contemporânea.

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BIONDINI, BÁRBARA KATHERINE FARIS, ROSSI HENRIQUE SOARES CHAVES, and JANAYNNA DE MOURA FERRAZ. "Lukács and the aesthetic particularity of wage labor and the mediation of the state bureaucracy in ‘I, Daniel Blake'." Cadernos EBAPE.BR 18, no. 2 (2020): 297–307. http://dx.doi.org/10.1590/1679-395177695x.

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Resumo Este ensaio objetiva perscrutar o filme Eu, Daniel Blake, tendo como foco o tratamento do diretor Ken Loach acerca da particularidade do trabalho assalariado e da burocracia do Estado no capitalismo contemporâneo, apoiados na estética oferecida por Lukács, o qual aponta ser a particularidade a questão central que envolve o processo de criação artística e a qual tomamos como ponto de partida para realizar uma análise fílmica materialista. Apontamos que o tratamento dado às categorias tem em sua gênese a tomada de partido por parte do diretor, uma vez que as aborda de maneira crítica e comprometida com a realidade, delineando, assim, o seu potencial reflexivo. Logo, ao retratar uma realidade singular vivida por um trabalhador britânico submetido a uma condição socioeconômica superestrutural que tem no regime do capital o elemento universal, a forma como a particularidade é retratada permite transcender a obra, que se constitui em uma síntese capaz de refletir a condição de exploração e estranhamento das mediações sobre as quais estão submetidos os trabalhadores em várias partes do mundo, bem como o papel do Estado. Concluímos que a estética materialista mostra-se um meio robusto e denso, que pode contribuir com as investigações da sociabilidade contemporânea.

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Scott, Jason. "From Local Roots to Global Screens: Shane Meadows’ Positioning in the Ecology of Contemporary British Film." Journal of British Cinema and Television 10, no. 4 (2013): 829–45. http://dx.doi.org/10.3366/jbctv.2013.0182.

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This article provides a case study of the ecology of British independent film, as illustrated through the continuing career of Shane Meadows. I focus on the intersection between the practices of economic independence and creative independence, ameliorated by low-budget, local films that exploit festival showcasing and critical buzz to achieve international exhibition in a range of markets. While Meadows’ earlier films exemplify the reliance on television funding that has characterised British and continental European cinema since the 1980s, and the emerging significance of regional and Lottery-based funding in the 1990s, they also correspond to the local/international model of much low-budget European realist art cinema, best identified with the Dogme 95 films or those of the Dardenne brothers. Yet since Once Upon a Time in the Midlands (2002), Meadows has deviated from the established trajectory of recognised British auteurs, Mike Leigh and Ken Loach, instead utilising co-production funding to reduce his budgets to ensure maintaining artistic control. Akin to post-Dogme rule-based production manifestoes such as ‘Industrial Film DK’, Meadows has developed and revisited his own rules: film what you know – focusing on a particular local community, localised identities, and restricted locations – in addition to improvisational approaches to acting. Consequently Meadows has achieved recognition as a local but global film-maker.

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Dave, Paul. "Choosing Death: Working-Class Coming of Age in Contemporary British Cinema." Journal of British Cinema and Television 10, no. 4 (2013): 746–68. http://dx.doi.org/10.3366/jbctv.2013.0173.

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Starting with Franco Moretti's hypothesis of a relationship between the experience of modernity and the coming of age narrative in the European novel, this article explores representations of the working-class Bildung in contemporary British films that can be seen as responding to social and economic changes generally associated with neoliberalism. Contrasting the emphasis on the individual negotiation of social space in the films of Danny Boyle with work from a range of directors, including Ken Loach, Penny Woolcock, Shane Meadows and Anton Corbijn, along with recent production cycles such as the football film, the article seeks to identify representations of working-class experiences, both limiting and liberating, which mark the inherently problematic attempt to imagine a successful working-class coming of age. In doing so, the article considers the usefulness of Raymond Williams’ class-inflected account of traditions of the social bond, in particular his notion of a ‘common culture’. At the same time, it examines how such representations of working-class life often emphasise the experience of class conflict, distinguished here from class struggle, and how, formally, this emphasis can result in narratives which are marked less by what Moretti describes as the ‘novelistic’, temporising structures of the classical Bildungsroman and more by the sense of crisis and trauma found in the late Bildungsroman and modern tragedy. Ultimately, the article argues for the relevance of the long view of the social history of Britain, as a pioneer culture of capitalism, in understanding these aspects of the representation of class cultures in contemporary British film.

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Souza, Agnes Cruz De. "Uberização, ode à crise e precarização: desempenho, cansaço e colonização do tempo." MovimentAção 8, no. 14 (2021): 11–23. http://dx.doi.org/10.30612/mvt.v8i14.15017.

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O artigo discute perspectivas contemporâneas relacionadas ao mundo do trabalho e a intensidade das transformações práticas, teóricas e discursivas no contexto da ordem capitalista neoliberal que invocam, por um lado, a noção de liberdade, autonomia, flexibilização e incentivo ao empreendedorismo e, por outro, redimensionam o âmbito da precarização configurando uma ordem facetada por reformas trabalhistas e sociais que reduzem o espaço de direitos. Referencia-se o processo de uberização do trabalho, a noção de cansaço, colonização de tempo 24/7 e a incrustação da precarização de categorias amplas e significativas de trabalhadores. Procura-se observar de que maneira os fatores elencados associam-se à legitimação, cristalização, incentivo e acentuação da falta de limites com relação à exploração e desestabilização das condições de trabalho na atualidade. Conclui-se que a tecnologia inaugura novos padrões e processos de trabalho e estes são permeados por empregos precários, mal remunerados e instáveis afetando de forma ampla a vida dos trabalhadores uberizados, para além da esfera laboral. Os recursos metodológicos do texto perpassam por recortes teóricos das obras de Antunes (2020, 2018, 2009), Abílio (2020, 2019a, 2019b), Crary (2016) e Han (2017), além de aportes midiáticos e artísticos para referenciar a realidade das condições e experiências do trabalho na atualidade: a série Years and years (2019) produzida pela BBC e HBO, o curta-documentário Vidas Entregues (2019) de Renato Prata Bitar, o filme Você não estava aqui (2019) dirigido por Ken Loach e o quadro modernista de Goya, O sono da razão produz monstros.

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MacMurraugh-Kavanagh, Madeleine, and Stephen Lacey. "Who Framed Theatre? The ‘Moment of Change’ in British TV Drama." New Theatre Quarterly 15, no. 1 (1999): 58–74. http://dx.doi.org/10.1017/s0266464x00012653.

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It has long been the received wisdom that television drama has become increasingly ‘filmic’ in orientation, moving away from the ‘theatrical’ as its point of aesthetic reference. This development, which is associated with the rejection of the studio in favour of location shooting – made possible by the increased use of new technology in the 1960s – and with the adoption of cinematic as opposed to theatrical genres, is generally regarded as a sign that the medium has come into its own. By examining a key ‘moment of change’ in the history of television drama, the BBC ‘Wednesday Play’ series of 1964 to 1970, this article asks what was lost in the movement out of the studio and into the streets, and questions the notion that the transition from ‘theatre’ to ‘film’, in the wake of Ken Loach and Tony Garnett's experiments in all-film production, was without tension or contradiction. The discussion explores issues of dramatic space as well as of socio-cultural context, expectation, and audience, and incorporates detailed analyses of Nell Dunn's Up the Junction (1965) and David Mercer's Let's Murder Vivaldi (1968). Madeleine MacMurraugh-Kavanagh is the Post-Doctoral Research Fellow on the HEFCE-funded project, ‘The BBC Wednesday Plays and Post-War British Drama’, now in its third year at the University of Reading. Her publications include Peter Shaffer: Theatre and Drama (Macmillan, 1998), and papers in Screen, The British Journal of Canadian Studies, The Historical Journal of Film, Radio and Television, and Media, Culture, and Society. Stephen Lacey is a lecturer in Film and Drama at the University of Reading, where he is co-director of the ‘BBC Wednesday Plays’ project. His publications include British Realist Theatre: the New Wave and its Contexts (Routledge, 1995) and articles in New Theatre Quarterly and Studies in Theatre Production.

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Bauer, Henry. "The Essential Guide to the Loch Ness Monster and Other Aquatic Cryptids by Ken Gerhard." Journal of Scientific Exploration 35, no. 4 (2022): 1058–61. http://dx.doi.org/10.31275/20212135.

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This is a readable overview of reports of unidentified aquatic creatures in the oceans and in freshwater, and it can be a useful introduction for people who have not previously read much about this subject. Cryptozoologists, however, will find nothing new here; the treatment is purely descriptive rather than analytical and critical. A nice Foreword by Steve Feltham, in residence at Loch Ness for 30 years looking for Nessies, includes the important point that the number of actual sightings is a large multiple of the number of publicly known reports. The first two chapters are about the Loch Ness Monster. Chapter 3 deals with sea serpents. Chapters 4 through 6 are about the Canadian “Ogopogo” of Lake Okanogan, the American “Champ” of Lake Champlain, and less-well-known lake monsters of North America. Chapter 7 reports on lake monsters around the world. Chapter 8 surveys the typically mysterious carcasses periodically found on seashores. Chapter 9 mentions the surprises that the ocean depths occasionally reveal, notably the coelacanth, the giant squid, and the megamouth shark, as well as the little-known beaked whales, oarfish, and sturgeon of monstrous size.

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Bergmann, Antje, and Peter Schwarz. "Das große Loch im Fuß – oder: „ich bin kein Pferd!”." Diabetes aktuell 6, no. 06 (2008): 237. http://dx.doi.org/10.1055/s-0028-1119415.

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Corrêa, Mirele, Jessiel Odilon Junglos, and Gicele Maria Cervi. "Políticas Educacionais e Proesde: Uma experiência de formação docente no Estado de Santa Catarina (Educational Policies and Proesde: An experience of teacher training in the State of Santa Catarina)." Revista Eletrônica de Educação 14 (September 9, 2020): 3924129. http://dx.doi.org/10.14244/198271993924.

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The text proposes to report a teacher training experience with the Proesde/Educational Degree (Higher Education Program for the Regional Development of the State of Santa Catarina), linked to the Regional University of Blumenau - FURB. In 2018, this program sought to qualify undergraduate students to work in front of the BNCC (Common National Curricular Base), configured as a public policy for standardizing the national curriculum. Within the planned training program, a meeting had been provided that covered other flows of the hitherto instituted and discussed about BNCC, problematizing the curriculum through the post-critical epistemological bias, which interprets it as being a field of disputes for the meaning of what comes curriculum and how it should operate in the school institution. This perspective understands that political decisions are determined by discourses of truth that crystallize common and totalitarian norms that deserve to be questioned, giving rise to the antagonisms of what was sedimented as a result of a choice/act of power. Thus, the BNCC doubts its own legitimacy in the current social-political-economic context. The objective of this training meeting was to discuss, with the undergraduate students, through texts and videos, the contingencies and flows of the BNCC, defending the idea of a curriculum policy without foundation to be able, from there, to think about possibilities of other curricula, less hegemonic, normatized, unequal, excluding, assisted by the idea of minor education. The result of such a discussion crystallized in the activity of writing and rewriting a cloud of words throughout the formation, in which the Base went from a set of statements to a set of uncertainties and questions.ResumoO texto propõe relatar uma experiência de formação docente junto ao Proesde/Licenciatura (Programa de Educação Superior para o Desenvolvimento Regional do Estado de Santa Catarina), vinculado à Universidade Regional de Blumenau – FURB. No ano 2018, tal programa buscou qualificar os estudantes de licenciatura para atuarem frente à BNCC (Base Nacional Comum Curricular), configurada como sendo uma política pública de padronização do currículo nacional. Dentro do programa previsto de formação, foi proporcionado um encontro que percorresse outros fluxos do até então instituído e discursado sobre a BNCC, problematizando o currículo através do viés epistemológico pós-crítico, que o interpreta como sendo um campo de disputas pela significação do que vem a ser currículo e como ele deve operar na instituição escolar. Essa perspectiva entende que as decisões políticas são determinadas por discursos de verdade que cristalizam normas comuns e totalitárias que merecem ser questionadas, fazendo emergir os antagonismos daquilo que foi sedimentado em decorrência de uma escolha/ato de poder. Assim, a BNCC coloca em dúvida sua própria legitimidade no contexto social-político-econômico atual. Objetivou-se nesse encontro de formação discutir, junto aos licenciandos, através de textos e vídeos, as contingências e os fluxos da BNCC, defendendo a ideia de uma política curricular sem fundamentos para poder, a partir daí, pensar possibilidades de currículos-outros, menos hegemônicos, normatizados, desiguais, excludentes, assistidos pela ideia de educação menor. O resultado proveniente de tal discussão cristalizou-se na atividade de escrita e reescrita de uma nuvem de palavras ao longo da formação, na qual a Base passou de um conjunto de afirmações para um conjunto de incertezas e interrogações.Palavras-chave: BNCC, Currículo, Formação docente, Políticas educacionais.Keywords: Curriculum, Teacher training, Educational policies.ReferencesA LINGUA das mariposas (La lengua de las mariposas, original). Direção: José Luis Cuerda. Elenco: Manuel Lozano, Fernando Fernán Gómez, Uxía Blanco, outros. Roteiro: José Luis Cuerda, Manuel Rivas, Rafael Azcona. Produção: Canal+ España. Espanha, 1999 (drama, 96 min).AGUIAR, Marcia Angela da S.; DOURADO, Luiz Fernandes. (orgs.). A BNCC na contramão do PNE 2014-2014: avaliação e perspectivas. [Livro Eletrônico]. – Recife: ANPAE, 2018.APPLE, Michael W. Reestruturação Educativa e Curricular e as Agendas Neoliberal e Neoconservadora: Entrevista com Michael Apple. Currículo sem Fronteiras, v.1, n.1, pp.5-33, jan./jun. 2001.BRASIL. LEI Nº 9.394, de 20 de dezembro de 1996. Estabelece as diretrizes e bases da educação nacional. Diário Oficial da União: Brasília, 1996; 175º da Independência e 108º da República.DELEUZE, Gilles. Conversações. Tradução de Peter Pál Pelbart. São Paulo: Editora 34, 2013.DELEUZE, Gilles; GUATARRI, Félix. Kafka: por uma literatura menor. Tradução Cintia Vieira da Silva. Belo Horizonte: Editora Autêntica, 2015.FOUCAULT, Michel. Vigiar e Punir: Nascimento da Prisão; tradução de Raquel Ramalhete. 38. Ed. Petrópolis, RJ: Vozes, 2010.GALLO, Sílvio. Deleuze & a Educação. 3. ed. Belo Horizonte: Autêntica Editora, 2013.LOPES, Alice Casemiro. Por um currículo sem fundamentos. Linhas Críticas, v. 21, n. 45, 2015.NEGRI, Antoni. Exílio. São Paulo: Iluminuras, 2001.QUINTANA, Mario. Caderno H. Rio de Janeiro: Objetiva, 2013.SILVA, Tomaz Tadeu da. Documentos de identidade: uma introdução as teorias de currículo. 3 ed. Belo Horizonte: Autêntica Editora, 2013.TODESCHINI, Raquel Terezinha. (org.). BNCC da Educação Infantil e Ensino Fundamental segundo a análise dos profissionais da educação pública de Santa Catarina. UNIEDU: Programa de Bolsas Universitárias de Santa Catarina. Estado de Santa Catarina, Secretaria de Estado da Educação, Diretoria de Políticas e Planejamento Educacional, 2018.VARELA, Julia; ALVAREZ-URÍA, Fernando. A Maquinaria escolar. Teoria & Educação. São Paulo, n. 6, p.68-96, 1992.11'9"01 September 11. Filme composto de 11 curtas-metragens. Direção e Roteiro: Youssef Chahine, Amos Gitaï, Alejandro González Iñárritu, Shohei Imamura, Claude Lelouch, Ken Loach, Samira Makhmalbaf, Mira Nair, Idrissa Ouedraogo, Sean Penn, Danis Tanovic. Produção: Alain Brigand. França, Estados Unidos, México, Irã, outros, 2002 (drama, 134 min).e3924129

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Mondelo González, Edisa, Rubén Sánchez Trigos, and Alfonso Cuadrado Alvarado. "La parte de los ángeles: ascenso y forja del héroe como relato social." Fotocinema. Revista científica de cine y fotografía, no. 8 (March 31, 2014). http://dx.doi.org/10.24310/fotocinema.2014.v0i8.5950.

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La parte de los ángeles (Angels´Share, 2012) es uno de los últimos trabajos dirigidos por Ken Loach y en el que el cineasta vuelve a incidir en una de las constantes que vertebran su obra: la hibridación entre un cine de denuncia social, que pone el acento en la situación de las clases más desfavorecidas y/o de aquellos individuos excluidos de un sistema de bienestar en crisis, con estrategias narrativas propias del cine popular de género. En esta ocasión, Loach plantea un relato que, bajo el realismo de su apariencia formal, reproduce los arquetipos y la estructura del viaje del héroe campbelliano, en un guión que hibrida una trama de ascenso y redención con la búsqueda de un tesoro simbólico.Palabras clave: Análisis narrativo; Ken Loach; crisis del estado de bienestar; viaje del héroe; Campbell; realismo social; hibridación genérica Keywords: Narrative analysis; Ken Loach; crisis of the welfare State; hero´s journey, Campbell, social realism, hibridization off genres

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Martínez González, Víctor Hugo. "Formas contemporáneas de explotación laboral en el cine de Ken Loach." Andamios, Revista de Investigación Social 19, no. 48 (2022). http://dx.doi.org/10.29092/uacm.v19i48.901.

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Conocido como un clásico del cine político, los filmes de Ken Loach denuncian las injusticias del capitalismo contra las clases trabajadoras y critican la explotación laboral profundizada por el neoliberalismo. Este ensayo analiza en tres filmes la mirada de Ken Loach, y reflexiona sobre la necesidad de revisar políticamente las bases económicas del orden social. Precarizar el trabajo y el bienestar de las clases trabajadoras es, como aquí se argumenta, un síntoma de la confusión ideológica entre modernización y democracia de nuestro tiempo.

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