FSC Contents
Total Page:16
File Type:pdf, Size:1020Kb
Load more
										Recommended publications
									
								- 
												  Lycéens Au CinémaRAINING STONES un film de Ken LOACH Lycéens au cinéma avec le soutien de Centre National de la Cinématographie Conseil régional du Centre D.R.A.C. Centre Rectorat d'Académie rédigé par Philippe Pilard SOMMAIRE GÉNÉRIQUE SYNOPSIS KENNETH LOACH 3 Titre original Raining Stones L'Angleterre du Nord, banlieue de Manchester, dans les années 90. Dans une campagne brumeuse, deux copains, LES ACTEURS et Production Parallax Pictures Bob et Tommy, cherchent à voler un mouton : il s'agit LES PERSONNAGES 6 et Channel Four Films ensuite de le vendre pour se faire quelques sous. Les deux Mise en scène Ken Loach hommes, qui sont au chômage et survivent grâce à des LE SCÉNARIO Productrice Sally Hibbin "combines" plus ou moins astucieuses, ont bien du mal à • Déroulé séquentiel 8 Scénario Jim Allen vendre la viande. Pire : Bob se fait voler sa camionnette ! • Analyse de la structure 9 Image Barry Ackroyd Bob et sa femme, Ann, ont un autre souci : leur fille Montage Jonathan Morris Coleen, sept ans, prépare sa Première Communion. Ann Musique Stewart Copeland LE TRAITEMENT 10 pense qu'on peut limiter les frais. Mais pour Bob, pas Design Martin Johnson UNE SÉQUENCE 11 question que sa fille n'ait pas une belle robe, "comme les autres". Pour gagner un peu d'argent, il ne craint pas les tâches les plus rebutantes : curer les conduites du tout-à- SIGNIFICATIONS 15 Interprètes l'égout, par exemple. Mais cela lui rapporte surtout des... LA TRADITION "RÉALISTE" 16 Bob Bruce Jones embêtements ! Quant à Tommy, il supporte mal de Ann Julie Brown devoir accepter de l'argent de sa fille - âgée, elle, d'une LE CONTEXTE DU FILM 17 Tommy Ricky Tomlinson vingtaine d'années - et qui gagne bien sa vie, dit-elle, en vendant des cosmétiques.
- 
												  A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope ToFielding, Steven. "The Televised Crisis." A State of Play: British Politics on Screen, Stage and Page, from Anthony Trollope to . : Bloomsbury Academic, 2014. 157–186. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781472545015.ch-006>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 00:50 UTC. Copyright © Steven Fielding 2014. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 6 The Televised Crisis The Clangers was a children’s animated television series featuring what their creator Oliver Postgate described as ‘a small tribe or extended family of civil mouse-like persons living their peaceful lives on, in and around a small, undis- tinguished moon’. They were ‘plump and shocking pink, with noses that were long, perhaps for sucking up … soup’.1 Originally broadcast on BBC One during 1969–72, the series was repeated many times thereafter. On the night of 10 October 1974 the BBC showed a special episode, ‘Vote for Froglet’, one designed for grown-ups, in which the narrator informs the Clangers that ‘the proudest moment of the British people [is] a parliamentary election’. The purpose of the episode was, however, not to celebrate the state of democracy on the day the country went to the polls. Postgate had something he wanted to get off his chest. The grandson of George Lansbury, who led the Labour party during 1932–5, Postgate was from a left-wing bohemian family. Yet, as the post-war period developed, he came to believe that ‘the prospect of a just and loving social order based on the principles of true socialism’, for which his grandfather and parents had worked, would not materialize.
- 
												  An Interview with Ken LoachOn Media, Culture & The Prospects For a New Liberatory Project: An Interview with Ken Loach Theodoros Papadopoulos Papadopoulos - What in your opinion is the relationship between class and culture? Can the elites force their culture on the rest of society? Loach - I think this comes down to very concrete questions. We have to define the terms in the classic old fashion way. What is culture? If we take the popular meaning, culture can be the means of communicating, the means of expression, the way we reflect the world we are in. But of course, this reflection is never neutral, it is always informed by an ideology and, so, the reflection always takes place through the distorting lenses of a particular ideology. The culture of any age carries with it the ideas of this age. The ideas of our age are expressed in very concrete ways. You can see this happening, for example, through broadcasting and the news - the clearest way in which the world is reflected back to society. There, you can very clearly see the political and social ideas that determine what news is. This is especially the case with newspapers which are openly driven by political ideas. Broadcasters are driven by the same political ideas but in a covert way. The way in which the dominant ideology is transmitted through broadcasting and the press is, in a way, like the Church of the past, where the dominant ideology was communicated from the top. I mean, in our country those organizations are controlled by political appointments. People who are appointed are the ones who can be relied upon to safeguard the ideology which is transmitted downwards.
- 
												  Revue Française De Civilisation Britannique, XXVI-1 | 2021 Challenging the “Neutrality” of Public Service in the 1960S: the Wednesday PlRevue Française de Civilisation Britannique French Journal of British Studies XXVI-1 | 2021 The BBC and Public Service Broadcasting in the Twentieth Century Challenging the “Neutrality” of Public Service in the 1960s: The Wednesday Plays of Tony Garnett and Ken Loach Les Wednesday Plays de Tony Garnett et de Ken Loach : La “neutralité” du service public des années 1960 mise à l’épreuve Susannah O’Carroll Electronic version URL: http://journals.openedition.org/rfcb/7542 DOI: 10.4000/rfcb.7542 ISSN: 2429-4373 Publisher CRECIB - Centre de recherche et d'études en civilisation britannique Electronic reference Susannah O’Carroll, “Challenging the “Neutrality” of Public Service in the 1960s: The Wednesday Plays of Tony Garnett and Ken Loach”, Revue Française de Civilisation Britannique [Online], XXVI-1 | 2021, Online since 05 December 2020, connection on 19 January 2021. URL: http:// journals.openedition.org/rfcb/7542 ; DOI: https://doi.org/10.4000/rfcb.7542 This text was automatically generated on 19 January 2021. Revue française de civilisation britannique est mis à disposition selon les termes de la licence Creative Commons Attribution - Pas d'Utilisation Commerciale - Pas de Modification 4.0 International. Challenging the “Neutrality” of Public Service in the 1960s: The Wednesday Pl... 1 Challenging the “Neutrality” of Public Service in the 1960s: The Wednesday Plays of Tony Garnett and Ken Loach Les Wednesday Plays de Tony Garnett et de Ken Loach : La “neutralité” du service public des années 1960 mise à l’épreuve Susannah O’Carroll 1 In trying to understand an object, it is often useful to consider it from all angles.
- 
												  A Study of Rhetorical Systems in the Documentary ModeA STUDY OF RHETORICAL SYSTEMS IN THE DOCUMENTARY MODE by JAMES HENRY IDDINGS A DISSERTATION PRESENTED TO THE GRADUATE SCHOOL OF THE UNIVERSITY OF FLORIDA IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF DOCTOR OF PHILOSOPHY UNIVERSITY OF FLORIDA 1991 TABLE OF CONTENTS page ABSTRACT v PREFACE 1 The Formation of a Topic 1 Some Significant Discoveries 4 Personal Rewards 7 THE EVOLUTION OF AMERICAN DOCUMENTARY FILM: AN OVERVIEW WITH A LEFTIST PERSPECTIVE 10 Introduction 10 Dziga Vertov and Post-Revolutionary Russia 13 Workers' Newsreels in Europe in the 1920s and Early 1930s 22 Joris Ivens and the Workers' Newsreels of Holland. 24 John Grierson and the British Documentary Movement. 41 The Other British Documentary: Workers' Film Organizations 49 Robert Flaherty and Poetic Realism 53 The Workers' Film and Photo League in America, Nykino, and Frontier Films 60 The March of Time 75 Conclusion of Description of American Documentary Film 80 Pare Lorentz 81 The Plow that Broke the Plains 83 The River 91 The Rhetorical Diegesis of The River 94 DOCUMENTARY DRAMA IN THE 1930s : A THEATRE OF POLITICS. 112 Factors and Conditions Contribution to the Evolution of Documentary Drama 112 The Federal Theatre Project: A People's Theatre, Not a Workers' Theatre 116 The Living Newspaper: Theatre as an Educational and Social Force 120 Early Attempts of the Living Newspaper 125 One-third of a Nation : A Study of Rhetoric on Two Levels 129 Rhetorical Inventory and Interpretive Possibilities 158 ii ARTHUR KOPIT'S INDIANS : A STUDY OF MYTHS AND DOCUMENTARY
- 
												  Team Loach and Sixteen Films: Authorship, Collaboration, Leadership (And Football)Archibald, D. (2017) Team Loach and Sixteen Films: authorship, collaboration, leadership (and football). In: Mazierska, E. and Kristensen, L. (eds.) Contemporary Cinema and Ideology: Neoliberal Capitalism and Its Alternatives in Filmmaking. Routledge: New York and London, pp. 25- 41. ISBN 9781138235731. This is the author’s final accepted version. There may be differences between this version and the published version. You are advised to consult the publisher’s version if you wish to cite from it. http://eprints.gla.ac.uk/142632/ Deposited on: 01 August 2017 Enlighten – Research publications by members of the University of Glasgow http://eprints.gla.ac.uk Chapter 1 Team Loach and Sixteen Films: Authorship, Collaboration, Leadership (and Football)1 David Archibald For over five decades, Ken Loach has directed film and television programmes, which challenge the orthodoxies of contemporary capitalism and champion the struggles of oppressed groups. Working initially with the British Broadcasting Corporation, he negotiated the constraints of public sector broadcasting to direct ground-breaking television films such as Up the Junction (1965) and Cathy Come Home (1966). Fifty years after the success of Cathy, Loach received the Palm D’Or at the 2016 Cannes Film Festival for I, Daniel Blake (2016), which was produced by Sixteen Films, the company Loach established with producer Rebecca O’Brien in 2002. Loach, then, has created work and achieved notable success (although not always consistently) both within the confines of a state broadcasting institution governed by a Keynesian model, and with production companies working within the economic and ideological constraints of neoliberalism. This chapter sets out to explore the working practices of a socialist filmmaker who has, on the whole, successfully negotiated a pathway to produce films which contain an overt critique of capitalism whilst simultaneously operating within it.
- 
												  Ken Loach, 'Family Life' and Socialist Realism: Some Historical and Theoretical Aspects’, Journal of British Cinema and Television, 14 (1), PpCresswell, M. and Karimova, Z. (2016) 'Ken Loach, 'Family Life' and socialist realism: some historical and theoretical aspects’, Journal of British Cinema and Television, 14 (1), pp. 19-38. This is an Accepted Manuscript of an article published by Edinburgh University Press in Journal of British Cinema and Television. The Version of Record is available online at: https://doi.org/10.3366/jbctv.2017.0350 ResearchSPAce http://researchspace.bathspa.ac.uk/ This pre-published version is made available in accordance with publisher policies. Please cite only the published version using the reference above. Your access and use of this document is based on your acceptance of the ResearchSPAce Metadata and Data Policies, as well as applicable law:- https://researchspace.bathspa.ac.uk/policies.html Unless you accept the terms of these Policies in full, you do not have permission to download this document. This cover sheet may not be removed from the document. Please scroll down to view the document. Ken Loach, Family Life (1971) and Socialist Realism: Some Historical and Theoretical Aspects Abstract This article considers some 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-psychiatrist’ and counter-cultural figure, R.D. Laing. In this respect, the article specifies a contemporaneous critique of Family Life in Peter Sedgwick’s (1972) hostile review for Socialist Worker. In light of this critique, the article then reconsiders, theoretically, Loach’s strategies of socialist-realist representation in Family Life, particularly as they relate to: 1) mental illness and institutional psychiatry; and 2) the distinction drawn by Raymond Williams between artistic and political forms of representation.
- 
												  Jim Allen : Radical Drama Beyond 'Days of Hope' Willis, AJim Allen : radical drama beyond 'days of hope' Willis, A http://dx.doi.org/10.3366/E1743452108000381 Title Jim Allen : radical drama beyond 'days of hope' Authors Willis, A Type Article URL This version is available at: http://usir.salford.ac.uk/id/eprint/12666/ Published Date 2008 USIR is a digital collection of the research output of the University of Salford. Where copyright permits, full text material held in the repository is made freely available online and can be read, downloaded and copied for non-commercial private study or research purposes. Please check the manuscript for any further copyright restrictions. For more information, including our policy and submission procedure, please contact the Repository Team at: [email protected]. December 19, 2008 Time: 09:13am jbctv038.tex Jim Allen: Radical Drama Beyond Days of Hope Andy Willis 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.
- 
												  Official Programme of the 21St British Screen FestivalOfficial Programme of the 21st British Screen Festival Translations Écrans Britanniques Sylvie Vanston Susan de Rudder Patrick Hurley (and, Catherine Oudet) SFEVE symposium With Vanessa Toulmin In partnership with British Screen and the Fabre Museum, the SFEVE (Société Française des Études Victoriennes et Édouardiennes) (French Society of Victorian and Edwardian Studies) has kindly agreed for half a day to hold its annual symposium in Nîmes in the run-up to the 21st Festival (see p.6 in the programme). The symposium and the round table discussion that follows will all be in English. Ken Loach Retrospective Ken Loach honoured us when he accepted our invitation fifteen years ago. He received a triumphant welcome from the Nîmes public. Tickets were sold out within minutes. Subsequently, each of his films had a Nîmes preview, presented for British Screen by a script writer, a producer, an editor or actors. Loach himself promised to come back this year for a retrospective which includes a certain number of his TV films, hitherto unknown to French audiences. A good chance for Nîmes cinema-goers to observe the clear links between these earlier works and the films made for the big screen, as well the astonishing continuity in a body of work spanning more than fifty years. Cathy Come Home By Ken Loach (UK, 1966, 75 mn) with Carol White, Ray Brooks, Wally Patch, Winifred Dennis Cathy and Reg live in a modern home with their child and all goes well for the young couple until the day Reg loses his job. Then the torture of unemployment and poverty begins.
- 
												  Roy Battersby and the Politics of RaFrom Five Women to Leeds United!: Roy Battersby and the Politics of ‘Radical’ Television Drama John Hill Abstract: Focusing on the work of the left-wing film and television director Roy Battersby, this article seeks to shed light on the issues at stake in the controversies surrounding the production and reception of ‘radical television drama’ during the late 1960s and early 1970s. Through an examination of a number of BBC productions that were either cut (Five Women), banned (Hit Suddenly Hit) or the subject of moral and political objections (The Operation and Leeds United!), the discussion indicates how arguments over ‘radical’ television drama involved a degree of shift away from concerns with the blurring of boundaries between ‘fact’ and ‘fiction’ towards a preoccupation with political ‘balance’ (that involved the application of criteria to drama that were originally reserved for documentaries). Although the period in question is often characterised as one in which the creators of television drama enjoyed substantial creative freedom to make work that challenged the status quo, this article also reveals how such work was far from the norm and often only got made, and shown, in the face of considerable opposition. The article therefore concludes with an assessment of some of the ideological and institutional constraints weighing upon ‘radical’ political expression in television drama at this time. Keywords: Some Women, Leeds United!; Roy Battersby; radical television drama; documentary drama; political balance; censorship; Workers’ Revolutionary Party. As early as 1967, Philip Purser, writing in the Sunday Telegraph on 5 February, felt justified in referring to what he labelled ‘the Red Wing of the Wednesday drama department’.
- 
												  Ken Russell, the BBC and ‘Television Biography’‘Blurring the lines between fact and fiction’: Ken Russell, the BBC and ‘television biography’ John Hill Abstract: Working for the BBC arts programmes Monitor and Omnibus during the 1960s, the director Ken Russell was responsible for a series of biographical films based on the lives of painters and composers. Tracing the development of Russell’s work from Prokofiev (1961) and Elgar (1962) through to Bartok (1964) and The Debussy Film (1965), the article examines how Russell’s incorporation of elements of drama into the arts documentary generated arguments, both within the BBC and beyond, about the legitimacy of mixing ‘fact’ and ‘fiction’ in such works. These debates focused, in particular, on the use of ‘dramatic reconstruction’ and subjective ‘interpretation’ and the ‘fairness’ of the films’ treatment of the artists and composers with which they dealt. As a result of its unusually explicit representations of sex and violence, Russell’s film about the composer Richard Strauss, Dance of the Seven Veils (1970), took these arguments to a new level. Through an examination of the responses that the film generated, the article concludes that, due to the degree to which the programme departed from BBC norms of documentary practice, and the related values of ‘impartiality’ and ‘good taste’, it became a work that tested the very limits of what the BBC then considered it possible to transmit. Keywords: BBC; Ken Russell; Ken Loach; Huw Wheldon; David Attenborough; Monitor; Omnibus; documentary; drama documentary; television biography; Elgar; The Debussy Film; Dance of the Seven Veils; Richard Strauss. It has become something of a commonplace within British film and television studies to counterpose a dominant tradition of ‘documentary-realist’ practice to alternative filmmaking currents associated with melodrama, visual stylisation and fantasy.
- 
												  Family Life in the Making7 Days 12 January 1972 A 7 Days Discussion Tony Garnett and Ken Loach talk about Family Life Nevis Cameron in the making C ATHY COME HOME”, “Up the Junction”, “The Big Flame”. “Kes”, and now “Family Life”. Ken Loach (Director) and Tony Garnett (Producer) have been responsible for some of the most important films to appear on British T.V. and cinema for the last decade. Using naturalistic documentary techniques, their films have uncompromisingly explored social injustice. Why have they made these kinds of movies? How have they financed them? Is there a future for naturalistic films? Peter Wollen (script writer and author of Signs and Meaning in the Cinema), John McGrath (playwright, script-writer and T.V. director, currently touring with his new theatre company 7/84), John Mathews (who pro duced Cinemantics) and Anthony Barnett (co-researcher with John Mathews of last weeks feature on British Mental treatment in 7 DAYS) went to talk to Ken Loach along with Tony Garnett — who was in bed recovering from Tony Garnett laryngitis. Ken Loach JM: How did you come to make Family closed, they’ve been attempting to schizogenic family. KL: I tend to see it as the inverse of audience? Life? create “asylums”, in the best sense, in PW: That must have meant a lot of care what you’re saying... It’s possible KL: No, I’m sure you can make films houses — there’s one in North London in the casting. from observing individuals reacting on which are un-naturalistic in the way the TG: Well actually it goes back to when I — where people who have had long and was at university — at University KL: Yes, if you can find the right one another to make some generalised sequences are juxtaposed, but if people awful experiences in bins can just “be”.