SUNDIAL Vol^2,Jlo, 78 San Fernondo Volley State College Friday, March 22, 1968

Total Page:16

File Type:pdf, Size:1020Kb

SUNDIAL Vol^2,Jlo, 78 San Fernondo Volley State College Friday, March 22, 1968 SUNDIAL Vol^2,Jlo, 78 San Fernondo Volley State College Friday, March 22, 1968 Major policy talk forseen By Ron Hale 1 • EDITOR • . T ^, -• .• ' '. United States Sen. Robert F. Kennedy (D-N.Y.) will bring his drive fpr the presidency to the Southland when he delivers a major policy statement at 10 a.m. Monday in the open forum. An audience of more than 5,000 persons Is expected to turn put for the senator's only^ college appearance during his two-Ttey visit to Los Angeles. Plans for Kennedy's visit to Valley State were announced late Wednesday night with final confirmation coming from the senator's spokesmen who appeared on campus Thursday morning to discuss the visit with nearly evfety key student leader and adniinlstratar on campus. Valley State was chosen-as the site of the;talk over UCLA, Cal State KOs Angeles anS Cal State Long Beach, according to Bob Vanderet, chairman of Citizens for Kennedy. UCL.A Is on quarter t>reak, Cal State L.A. has registration, and Long Beach has an unhealthy political climate, Vanderet said. No announcement was made as to what Kennedy would talk about. Spokesmen said only that the talk would be his major policy state­ ment dealing with tKls state. * • The speech is being jointly sponsored by the Associated Stu­ dents, Associated Mens and Women Students and coordinated by The"newly formed Ypung |;itlzeas for Kennedy organization oa campus, - I Nell Snyder, Associated Students President, will Introduce Ken­ nedy. A special platform will be erected ln|ront of the forum due to the fact that the present structure is too low for such a large audience. Kennedy's visit will mark the first time that a nationally prom­ inent politican has come to campus since Sept., 1966 when Vipe R^Bsldent Hubert Humphrey addressed some 6,000 persons In the open forum. » Ten o'clock classes wiU not be cancelled as they were with Hum- „phrey, according to Dr. Delmar T. Oviatt, acting College President. Such a move would necessitate cancelling all classes whenever candidates come to campus. Rumors from the camp for U.S. Sen. Eugene McCarthy (D-Minn.) say that McCartfiy will also be at VaUey State--probably the fol­ lowing week. No official statement has been released, however. i- Immediately following Thursday's announcement, Snyder sent out telegrams to all high schools and colleges in the area inviting them to campus Monday. State College Chancellor Glenn S. Dumke was also invited and Is expected to attend If his schedule permits. Kennedy wiU fly to Northern California sometime today and will Sen. Robert Kennedy will deliver p tna|or come to Los Angeles early Sunday morning wh^te he-is^entatively Cblifornio policy talk to on expected 5,000 scheduled to make speeches in Watts and at the Greek Theatre. persons Monday in ithe open forum. Surprise His Valley State visit will be tlie first scheduled event on his Candidote announcement was received by campus offi­ Monday agenda. Current plans call for him to come from his cials We'dnesday night With official decision hotel, which will remain unknown to the public, to campus in a coming Thursday. For more photos, see page specially'designed motorcaile i'Oute. '' four. No organized trouble or opposition is expected, atcording to Vaqderet. rg!gj^»^;2^^gP'gi^fig2.-;'"j^ ymmmi&r/^. Page 2 Valley State Daily Sundial /March 22, 1968 ponders ^pill[ This is the first of a two- pill are various. < part story concerning the "Some parents write to' the healUi center requesting that Student Health Center's Director Klotz tells position «i.their daughter be given birth dispensing of birth control control pills,* Dr. Klotz said. pills. The second part will Yet the Health Center hasnev- appear on Tuesday. e^ been swamped with requests By Ralph Sanders VSC office on birth control for the pill, she said, STAFF WRITER The college Health Center IS The birth control pill: the key where would she turn? Usually quire about the pill, the informa- ' said; hot the only possible source for to woman's sexual independence, the parents have been fully util- _tion will be passed on to the Dean A college woman who first goes obtaining birth control pills. , an easy method of family plan­ ize(i as a source for sex infor­ of students and to their parents, to the HeaUh Center to request The Los Angeles County Fam­ ning or a ticket to sexual prom­ mation at an 'earlier age, and Dr. Klotz feels. a prescription for birth control ily Planning Centers will make iscuity is the question which the cost of a private physician "There Is no reason for con­ pills is first given a complete the pill available to unmarried must be faced by parents, teach­ may be prohibltiye. The source cern," she said. The Student physical and a cancer test. "Then women over the age of 18. ers, health officials and college may too often still tie the Im­ Health Center keeps the confi­ we follow the case with periodi­ One reason students. mediate group of peers. dence of a doctor patient rela­ cal checkups,* she explained. One reason for seeking med­ — The male's long-standing sta- But the Valley State Health tionship. * Too many students health cen­ ical information about the pill ,tus as the independent partner Center serves- as more ttian a , - , 'Who takes pill ters are glad to help When the is to find out about the possible' in a sexual relationship has been dispensory of medicines for ill­ "The medical profession student has a nice, clean disease, harmful side effects of taking It. • greatly altered by the widespread nesses and injuries. It can also should'determine who takes the Dr. Klotz observed, but when the •The biyth control pill is still acceptance of the birth control serve as a source for sex In­ pill," she said. student has a sticky problem like young in terms of what the long pill. By greatly reducing the formation, according to Dr. Ad- "1 realize we must follow the venerlal disease or a pregnancy, range physical effects will be,* chances of pregnancy, the pill die L. Klotz, director of the laws, but college regulations they shy away. Dr. Klotz warns. Health Center. should not interfere with treat­ has allowed the woman also to "A shame" But the birth control pill is not ments," she added. assume a position of Indepen­ Private physician •I think it is a shame,» she alone In possible harmful side • But tlie main interest voiced by dence. "Often a young person gets said. 'We should become more effects. 'There are enough med­ students has been directed at'the >- The emotional changes brought caught in the middle without en­ involved.* ical findings to warrant concern Health Center's policy on pre­ about in sexual relations, as well ough money to afford a private Dr. Klotz, however, would not about any pill given to anyone scribing the birth control pill, as the range of possible uses for physician and with nowhere else state an age or marltial status at anytime, * she said. —the pill in regulating the size of to turn,^ Dr. K16tz said.- ^.^ not on the availability of sex restriction as a qualification for __a family, have added additional "By and large, I would rather education. ' : "^ woman receiving a prescrip­ (Tuesday, writer Sanders,CDV- demands on pur approach to sex^ colHRTl "young, WrtarrlwJ'girl': ' "We, woul* no more give any tion for birth control pills.. _5rs Dr. Klotz' views on possible '- education.' pni_' student birth control pills who Each case in handled indlv- harm of indiscriminate dispehs-" How much knowledge? she said, "than to~eounsfel her asked for them'^than we would "tdually, according to l-piUo, and , How much does the college man alKiut what to do after she is give penniclUen "to any student^ The reasons for and conditions compares the population increase tuid woman know about the pos­ prisginant. • who asked for it,' Dr. Klotz under which women request the of the state and country.) sible emotional and physical ef­ the student Health Center fects of using the pill or other doesn't have a set policy regu­ contraceptive devices, and where lating prescription of the pill to ®DAILY SUNDIAL did he or she get their informa­ students. "It is a doctOr-student tion? Most likely, from the store relationship," she explained. of knowledge held in their im­ TTiere are no restrictions, mediate peer group. however, on providing sex infor­ If a college woman desires mation. either sex information or a pre­ Many students fear that if they come to the Health Center to in­ AIMALYSKS scription for birth control pills, EDITORIAL Sexual saiiity How does a woman know whether the Student Health Center at' Valley State will dispense birth control pills to her? She doesn't. Presently the Student Health Center has no _^efinite policy as t^^who can obtain b|rth con- tfol pills and who caiihot. -------r~^:'\\i:C'-^'-^ While it would be expected that a college center of this type might pass some exact measure, such as only those married (or enr gaged) women could purchase the pill, the ^Student Health Center here dispenses the pill to both non-married and married women. To complicate matters, the Health Center has no policy about dispensing the pill to a particular age-level, such as all women over 18 or 21 years of age, regardless of maritial status. ,i,. £^ But the Health Center refuses to s^y that it dispenses the pill to all those who ask for it.
Recommended publications
  • Read Ebook {PDF EPUB} up the Junction by Nell Dunn up the JUNCTION (1967) from the Collection of Short Stories 'Up the Junction' by Nell Dunn Published in 1963
    Read Ebook {PDF EPUB} Up the Junction by Nell Dunn UP THE JUNCTION (1967) From the collection of short stories 'Up the Junction' by Nell Dunn published in 1963. Nell Dunn was an upper-class woman who went 'slumming' in Battersea in 1959 and wrote a series of sketches (sketches being a much more appropriate term than short stories) which were published in 1963 (my copy has the cover on the left above) as 'Up the Junction'. Four of the pieces were published in The New Statesman. The stories mainly revolve around three working-class women, sisters Sylvie and Rube and an unnamed narrator. The first story, 'Out with the Girls', begins: We stand, the three of us, me, Sylvie and Rube, pressed up against the saloon door, brown ales clutched in our hands. Rube, neck stiff so as not to shake her beehive, stares sultrily round the packed pub. Sylvie eyes the boy hunched over the mike and shifts her gaze down to her breasts snug in her new pink jumper. 'Kiss! Kiss! Kiss!' he screams. Three blokes beckon us over to their table. Rube doubles up with laughter. 'Come on, then. They can buy us some beer.' 'Hey, look out, yer steppin' on me winkle!' Dignified, the three of us squeeze between tables and sit ourselves, knees tight together, daintily on the chairs. 'Three browns, please,' says Sylvie before we've been asked. The first version of 'Up the Junction' was of course Ken Loach and Tony Garnett's filming of the book for the Play for Today strand in 1965, with Carol White as Sylvie, Geraldine Sherman as Rube and Vickery Turner as Eileen, presumably the unnamed narrator of the book.
    [Show full text]
  • The Working-Class and Post-War Britain in Pete Townshend's
    Class, Youth, and Dirty Jobs: the working-class and post-war Britain in Pete Townshend’s Quadrophenia This chapter examines Pete Townshend’s Quadrophenia (1973) and the way in which it depicts continuity and change in the lives of the British working-class in the period that the album documents (1964/5), the political milieu in which it was written (1972/3), and the legacy of the concept that was depicted in the screen version directed by Franc Roddam (1978/9).1 Quadrophenia was recorded and released in a fraught period of industrial militancy in Britain that had not been witnessed since the general strike of 1926.2 The album can be ‘read’ as both a social history of an element of youth culture in the mid-1960s, but also a reflection on contemporary anxieties relating to youth, class, race, and national identity in the period 1972/3.3 Similarly, the cinematic version of Quadrophenia was conceived and directed in 1978/9 in the months prior to and after Margaret Thatcher was swept to power, ushering in a long period of Conservative politics that economically, socially, and culturally reshaped British society.4 Quadrophenia is a significant historical source for ‘reading’ these pivotal years and providing a sense of how musicians and writers were both reflecting and dramatizing a sense of ‘crisis’, ‘continuity’, and ‘change’ in working-class Britain.5 Along with the novels and films of the English ‘new wave’ and contemporary sociological examinations of working-class communities and youth culture, Quadrophenia represents a classic slice of ‘social realism’, social history, and political commentary.
    [Show full text]
  • The Spaces of the Wednesday Play (BBC TV 1964–1970): Production, Technology and Style
    The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style Article Accepted Version Bignell, J. (2014) The spaces of the Wednesday Play (BBC TV 1964–1970): production, technology and style. Historical Journal of Film, Radio and Television, 34 (3). pp. 369-389. ISSN 0143-9685 doi: https://doi.org/10.1080/01439685.2014.937182 (Special issue "Production, site and style") Available at http://centaur.reading.ac.uk/37674/ It is advisable to refer to the publisher’s version if you intend to cite from the work. See Guidance on citing . Published version at: http://www.tandfonline.com/doi/abs/10.1080/.VBsWcFYsoYU To link to this article DOI: http://dx.doi.org/10.1080/01439685.2014.937182 Publisher: Taylor & Francis All outputs in CentAUR are protected by Intellectual Property Rights law, including copyright law. Copyright and IPR is retained by the creators or other copyright holders. Terms and conditions for use of this material are defined in the End User Agreement . www.reading.ac.uk/centaur CentAUR Central Archive at the University of Reading Reading’s research outputs online Bignell, J., ‘The Spaces of The Wednesday Play (BBC TV 1964–1970): Production, Technology and Style’, Historical Journal of Radio, Film and Television Studies, 34:3 (2014), 369-389. The Spaces of The Wednesday Play (BBC TV 1964-70): Production, Technology and Style Jonathan Bignell Keywords Television; drama; film; location; studio; 1960s; BBC; Wednesday Play. Writing in the trade magazine Film and Television Technician in 1967, the story editor of The Wednesday Play, Roger Smith, looked forward to a moment of decisive change.1 British television production companies would need to re-equip themselves, ready for the coming of colour broadcasting.
    [Show full text]
  • Name a Seat at HOME
    home box office Name mcr. 0161 200 1500 a seat org home at HOME To find out more about dedicating a seat please call Michelle Nicholson, Development Administrator on 0161 212 3429 or drop her an email at: [email protected] You can also visit us at homemcr. org/individual-sponsorship VISIT OPENING TIMES FILM PRICES HOME Box Office Off Peak (before 17:00) 2 Tony Wilson Place Mon – Sun: 12:00 – 20:00 Full £7 / Member Full £5.50 Manchester Main Gallery Peak (from 17:00) M15 4FN Mon: Closed* Full £9 / Member Full £7 INFORMATION & BOOKING Tue – Sat: 12:00 – 20:00 £5 student advance tickets HOMEmcr.org Sun: 12:00 – 18:00 available (limited capacity). 0161 200 1500 Granada Foundation Galleries Concessions and discounts are [email protected] Mon – Thu: 11:00 – 23:00 available, please see website for KEEP IN TOUCH Fri – Sat: 11:00 – 00:00 further details. Sun: 11:00 – 22:30 e-news HOMEmcr.org/sign-up Twitter @HOME_mcr Bookshop Facebook HOMEmcr Mon – Sun: 12:00 – 20:00 Instagram HOMEmcr Bar Audioboom HOMEmcr Mon – Thu: 10:00 – 23:00 Flickr HOMEmcr Fri – Sat: 10:00 – 00:00 Youtube HOMEmcrorg Sun: 11:00 – 22:30 Google + HOMEmcrorg Café Mon – Thu: 11:00 – 23:00 Fri – Sat: 11:00 – 00:00 Sun: 11:00 – 22:30 *Except Bank Holiday Mondays OFFICIAL OFFICIAL TECHNOLOGY HOTEL FUNDED BY PARTNER PARTNER JUN- FOUNDING SUPPORTERS HOME is a trading name of Greater Manchester Arts Centre Ltd, a company limited by guarantee, registered in England and Wales No: 1681278.
    [Show full text]
  • Department of English and American Studies Lone Mother Narrative In
    Masaryk University Faculty of Arts Department of English and American Studies English Language and Literature Veronika Bránišová Lone Mother Narrative in British Fiction in the Sixties Master’s Diploma Thesis Supervisor: Prof. Mgr. Milada Franková, CSc., M.A. 2017 I declare that I have worked on this thesis independently, using only the primary and secondary sources listed in the bibliography. …………………………………………….. Author’s signature I would like to thank my supervisor prof. Milada Franková for her patience, encouragement and valuable advice. Table of Contents Introduction …………………………………………………………………......1 Chapter One: A Brief Contextualization of the Period …………………………4 Chapter Two: Margaret Drabble’s The Millstone……………..…….…………..19 Chapter Three: Lynn Reid Banks’s The L-Shaped Room ……………………....36 Chapter Four: Nell Dunn’s Poor Cow ………………………………………….47 Chapter Five: Societal Background in The Millstone, The L-Shaped Room and Poor Cow ………………………………………………………….60 Conclusion ……………………………………………………..………….……68 Works Cited …………………………………………………………………….71 Summary ………………………………………………………………………..75 Resumé ………………………………………………………………..…….…..76 Introduction The Beatles, Pop Art or students’ protests are for many the embodiments of popular and conventional images associated with the sixties. The sixties are depicted and experienced by some as a transformative era of tolerance, freedom, love and new opportunities, but it overshadows the fact that millions of individuals did not encounter any real and instant change and their lives transformed only little if at all. Single mothers make one of these groups of people. Accounted in the 1960s society as a symptom of ‘morality in decline’, their lives significantly differ from the media version of the sixties. Regardless of their class, lone mothers suffer some degree of societal exclusion and, at the same time, they are considered as a threat to the ‘ideal’ or ‘normality’.
    [Show full text]
  • Revue Française De Civilisation Britannique, XXVI-1 | 2021 Challenging the “Neutrality” of Public Service in the 1960S: the Wednesday Pl
    Revue 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.
    [Show full text]
  • Northumbria Research Link Northumbria Research Link
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by Northumbria Research Link Northumbria Research Link Citation: Shaw, Katy (2018) Affluence and Its Discontents: Working Class Literature of the 1960s and 1970s. In: Flower/Power: British Literature in Transition, Volume 2, 1960-1980. British Literature in Transition . Cambridge University Press, pp. 117-130. ISBN 9781316424179 Published by: Cambridge University Press URL: https://doi.org/10.1017/9781316424179.010 <https://doi.org/10.1017/9781316424179.010> This version was downloaded from Northumbria Research Link: http://nrl.northumbria.ac.uk/34226/ Northumbria University has developed Northumbria Research Link (NRL) to enable users to access the University’s research output. Copyright © and moral rights for items on NRL are retained by the individual author(s) and/or other copyright owners. Single copies of full items can be reproduced, displayed or performed, and given to third parties in any format or medium for personal research or study, educational, or not-for-profit purposes without prior permission or charge, provided the authors, title and full bibliographic details are given, as well as a hyperlink and/or URL to the original metadata page. The content must not be changed in any way. Full items must not be sold commercially in any format or medium without formal permission of the copyright holder. The full policy is available online: http://nrl.northumbria.ac.uk/pol i cies.html This document may differ from the final, published version of the research and has been made available online in accordance with publisher policies.
    [Show full text]
  • Realism and Representations of the Working Class in Contemporary British Cinema
    View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by De Montfort University Open Research Archive Realism and Representations of the Working Class in Contemporary British Cinema TAKAKO SEINO MPhil in Film Studies De Montfort University 2010 Abstract This thesis examines the history of social realism and the representation of the working-class in contemporary British cinema. Opening with a critical history, of the political and social context of British social realist film-making since the 1960‟s British New Wave era, it moves the grounds of the discussion to social realism in the 1980s and 1990s. The main chapters are dedicated to individual case studies. Three distinctive approaches are applied towards these case studies: the auteurist approach is applied to the works of Ken Loach, and exposes how his politics is reflected in the films, whilst revealing the consistency and changes of his approach towards the subject-matter. In the second chapter, the aesthetic approach is used to examine how the new trend of „social art-cinema‟ affected the concept of social realism. It will discuss how social realism employs the style and aesthetic of art cinema, to enhance the subjective representation in the film. In the last chapter, the new subjective approach is used to study films that deal with the issue of asylum seekers, immigrants and immigration. This thesis will reveal the complexity and flexibility of the concept of social realism, by analysing its use in contemporary British cinema from these three perspectives. The significance of social realism is its ability to add to the film a sense of immediacy, a sense of „here and now‟.
    [Show full text]
  • Bfi Marks Ken Loach's 75Th Birthday with Major
    BFI MARKS KEN LOACH’S 75TH BIRTHDAY WITH MAJOR PROJECT In September 2011 the BFI will mark Ken Loach’s 75th birthday, and 50-year career in film and television, with the most comprehensive retrospective ever of his work. Ken Loach is a filmmaker with an outstanding international reputation both as a hugely talented craftsman and as a radical social and political commentator; the retrospective will explore the full range of Loach’s films, television plays and documentaries. In full collaboration with Loach himself, this major BFI project incorporates a donation of Loach’s collection to the BFI National Archive, a two- month BFI Southbank season and Mezzanine exhibition, regional tour, an education programme and Screenonline and Mediatheque programmes. Ken Loach said, “I am of course delighted that the BFI will show all these films. However, I can’t help feeling a little anxious about what will be revealed…” Winner of the Palme d’or at Cannes 2006 for The Wind That Shakes the Barley Ken Loach is one of Britain’s most celebrated and socially committed film-makers. He began his career in media production 50 years ago when he joined BBC Television’s drama department as a trainee director and went on to make ground-breaking television plays which are among the most important ever broadcast, such as Cathy Come Home or Up the Junction. His pioneering methods and gritty social realism had a huge influence on many filmmakers today including Shane Meadows, Paul Greengrass, Peter Mullan and many more. Loach’s career is full of richly rewarding films, from compelling accounts of contemporary life such as Riff-Raff and Looking for Eric, as well as engaging political dramas such as Hidden Agenda or Land and Freedom.
    [Show full text]
  • Official Programme of the 21St British Screen Festival
    Official 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.
    [Show full text]
  • Ken Loach's Fair Share of Home and Family Issues
    KEN LOACH’S FAIR SHARE OF HOME AND FAMILY ISSUES FROM CATHY COME HOME AND THE ANGELS’ SHARE TO SORRY, WE MISSED YOU ANDREA VELICH Eötvös Loránd University, Budapest Abstract: 84-year old Ken Loach is known today as one of the best British social realist film directors. In this essay, I shall try to prove that there is some stubborn consistency in his oeuvre, in the representation of the disenfranchised and basic social issues (like health, home and family) and their emotional strain on families as well as in the criticism of the Establishment for unemployment, poverty, sickness or addictions, from Cathy Come Home (1966) to his last film, Sorry, we missed you (2019). In the past few years, Ken Loach seems to have lost the optimism still present in The Angels’ Share (2012). Keywords: family, home, hope, Ken Loach, representation, social realism 1. Introduction Ken Loach was born in Nuneaton, England in 1936. After studying law at Oxford where he was president of the Dramatic Society, he worked in theatre and then in 1963 moved into television with the BBC (Shail 2002: 137). Loach, who is known today as one of the best British social realist film directors, has sustained a commitment to representing the disenfranchised and exploring controversial social, historical and political issues all through his career (Stollery 2001: 202). According to the IMDb (Internet Movie Database), Loach has never “succumbed to the siren call of Hollywood” and it is impossible to imagine his particular brand of British socialist realism translating well to that context. While studying law at St.
    [Show full text]
  • Draft Introduction to Volume 49
    DRAFT Introduction Battersea, covering some 2,164 acres, makes up about a quarter of the area of the London Borough of Wandsworth. As the easternmost portion of the modern borough, closest to central London, it was the part first thoroughly built up. Its northern boundary is defined by the Thames, but it also runs deeply to the south, cutting through both Clapham and Wandsworth Commons and stretching at its southernmost point to a tip not far north of Balham High Road, three miles from the river. Battersea was an independent parish from around 1100 till 1855, when it lost its main powers of self- government to the Wandsworth District Board of Works. A surge in population ensued, allowing Battersea to recoup those powers in 1888 and gain borough status in 1900. It relinquished its independence once more when London’s boroughs were enlarged and regrouped in 1965. This volume covers Battersea themes and building types other than housing, which is considered in volume 50. Since many topics such as the railways, industry, public buildings and the provision of open space are discussed in the opening pages of the chapters that follow, this introduction is selective. It begins with a history of Battersea up to the 1830s, mainly from the manorial standpoint. There follow a number of themes not otherwise treated in the body of this or the next volume: communication by river and road, including Thames bridges; drainage; agriculture; and politics and administration. Battersea’s demography and fluctuating social character are analysed alongside housing in the introduction to volume 50.
    [Show full text]