Ken Loach's collaborative work in cinema

Marcos César de Paula Soares


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."


Ken Loach; Naturalism; Brecht; Raymond Williams; Collaboration


Curran, James & Porter, Vincent (eds.). British Cinema History. New Jersey: Barnes & Noble Books, 1983.

Benjamin, Walter. Obras Escolhidas. São Paulo: Brasiliense, 1993.

Eisenstein, Sergei. Non-Indifferent Nature: Film and the Structure of Things. Cambridge: CUP, 1988.

Estevam, Douglas, Costa, Iná, Villas Bôas, Rafael (eds.). Agitprop: Cultural Política. São Paulo: Expressão Popular, 2015

Fuller, Graham (ed.). Loach on Loach. London: Faber and Faber, 1998.

Harman, Chris. The Fire Last Time: 1968 and After. London, Chicado & Sidney: Bookmarks, 1998.

Jameson, Fredric. A cultura do dinheiro: ensaios sobre a globalização. Petrópolis: Vozes, 2001.

Sandbrook, Dominic. White Heat: a History of Britain in the Swinging Sixties. London: Abacus, 2007.

Szondi, Peter. Teoria do drama moderno. São Paulo: Cosac & Naify, 2003.

Taylor, B. F. The British New Wave. Manchester & New York: Manchester University Press, 2006.

Williams, Raymond. Politics and Letters: Interviews with New Left Review. London: Verso, 1981.

________________. What I Came to Say. London: Hutchison Radius, 1989.

________________ . Tragédia Moderna. São Paulo: Cosac & Naify, 2002.


Copyright (c) 2019 Marcos César de Paula Soares

Creative Commons License
This work is licensed under a Creative Commons Attribution 4.0 International License.