Ken Loach

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Ken Charles Loach
Ken Loach.jpg
Born Kenneth Charles Loach
(1936-06-17) 17 June 1936 (age 80)
Nuneaton, Warwickshire, England
Alma mater St Peter's College, Oxford
Years active June 1962 – present
Spouse(s) Lesley Ashton (m. 1962)
Children 5

Kenneth Charles "Ken" Loach (born 17 June 1936) is an English film and television director. He is known for his socially critical directing style and for his socialist ideals, which are evident in his film treatment of social issues such as poverty, homelessness (Cathy Come Home, 1966) and labour rights (Riff-Raff, 1991, and The Navigators, 2001).

Loach's film Kes (1969) was voted the seventh greatest British film of the 20th century in a poll by the British Film Institute. Two of his films, The Wind That Shakes the Barley (2006) and I, Daniel Blake (2016) received the Palme d'Or at the Cannes Film Festival, making him the ninth filmmaker to win the prestigious award twice.[1]

Life and career[edit]

Loach was born in Nuneaton, Warwickshire, the son of Vivien (née Hamlin) and John Loach.[2] He attended King Edward VI Grammar School and went on to study law at St Peter's College, Oxford.[3]

Loach's ten contributions to the BBC's Wednesday Play anthology series include the docudramas Up the Junction (1965), Cathy Come Home (1966) and In Two Minds (1967). They portray working-class people in conflict with the authorities above them. Three of his early plays are believed to be lost films.[4] His 1965 play Three Clear Sundays dealt with capital punishment, and was broadcast at a time when the debate was at a height in the United Kingdom.[5] Up the Junction, adapted by Nell Dunn from her book with the assistance of Loach, deals with an illegal abortion while the leading characters in Cathy Come Home, by Jeremy Sandford, are affected by homelessness, unemployment, and the workings of Social Services. In Two Minds, written by David Mercer, concerns a young schizophrenic woman's experiences of the mental health system. Tony Garnett began to work as his producer in this period, a professional connection which would last until the end of the 1970s.[6]

During this period, he also directed the absurdist comedy The End of Arthur's Marriage, about which he later said that he was "the wrong man for the job".[7]

Coinciding with his work for The Wednesday Play, Loach began to direct feature films for the cinema, with Poor Cow (1967) and Kes (1969). The latter recounts the story of a troubled boy and his kestrel, and is based on the novel A Kestrel for a Knave by Barry Hines. The film was widely acclaimed, although the use of Yorkshire dialect throughout the film restricted its distribution, with some American executives at United Artists saying that they would have found a film in Hungarian easier to understand.[8] The British Film Institute named it No 7 in its list of best British films of the twentieth century, published in 1999.[9][10]

During the 1970s and 1980s, Loach's films were less successful, often suffering from poor distribution, lack of interest and political censorship. His documentary The Save the Children Fund Film (1971) was commissioned by the charity, who subsequently disliked it so much they attempted to have the negative destroyed. It was only screened publicly for the first time on 1 September 2011, at the BFI Southbank.[11] Loach concentrated on television documentaries rather than fiction during the 1980s, and many of these films are now difficult to access as the television companies have not released them on video or DVD. At the end of the 1980s, he directed some television advertisements for Tennent's Lager to earn money.[12]

Loach's 1981 documentary A Question of Leadership interviewed members of the Iron and Steel Trades Confederation (the main trade union for Britain's steel industry) with regards to their 14-week strike in 1980, and recorded much criticism of the union's leadership for conceding over the issues in the strike. Subsequently, Loach made a four-part series named Questions of Leadership which subjected the leadership of other trade unions to similar scrutiny from their members, but this has never been broadcast. Frank Chapple, leader of the Electrical, Electronic, Telecommunications and Plumbing Union, walked out of the interview and made a complaint to the Independent Broadcasting Authority. A separate complaint was made by Terry Duffy of the Amalgamated Engineering and Electrical Union. The series was due to be broadcast during the Trade Union Congress conference in 1983, but Channel 4 decided against broadcasting the series following the complaints.[13] Anthony Hayward claimed in 2004 that the media tycoon Robert Maxwell had put pressure on Central's[clarification needed] board, of which he had become a director, to withdraw Questions of Leadership at the time he was buying the Daily Mirror newspaper and needed the co-operation of union leaders, especially Chapple.[14][page needed]

Which Side Are You On? (1985), about the songs and poems of the UK miners' strike, was originally due to be broadcast on The South Bank Show, but was rejected on the grounds that it was too politically unbalanced for an arts show. The film was eventually transmitted on Channel 4, but only after it won a prize at an Italian film festival.[15] Three weeks after the end of the strike, the film End of the Battle ... Not the End of the War? was broadcast by Channel 4 in its Diverse Strands series. This film argued that the Conservative Party had planned the destruction of the National Union of Mineworkers' political power from the late 1970s.[16]

Working with writer Jim Allen, Loach was due to direct a play named Perdition, which suggested that Zionists in Hungary collaborated with the Nazis to help the operation of the Holocaust in return for allowing a few Jews to emigrate to Palestine. The play was due to run at the Royal Court Theatre in 1987, but its run was cancelled 36 hours before the first night following widespread protests and allegations of anti-semitism.[12][17]

The late 1980s and the 1990s saw the production of a series of films such as Hidden Agenda, dealing with the political troubles in Northern Ireland, Carla's Song, which was set partially in Nicaragua, and Land and Freedom, examining the Republican resistance in the Spanish Civil War. He directed the Courtroom Drama reconstructions in the docu-film McLibel, concerning the longest libel trial in English history. Interspersed with political films were smaller dramas such as Raining Stones a working-class drama concerning an unemployed man's efforts to buy a communion dress for his young daughter.[citation needed]

On 28 May 2006, Loach won the Palme d'Or at the 2006 Cannes Film Festival for his film The Wind That Shakes the Barley,[18] a film about the Irish War of Independence and the subsequent Irish Civil War during the 1920s. In characteristic fashion this sweeping political-historical drama was followed by It's a Free World, a story of one woman's attempt to establish an illegal placement service for migrant workers in London. Throughout the 2000s Loach continued to intersperse wider political dramas such as Bread and Roses (which focused on the Los Angeles janitors strike) and Route Irish (set in the Iraq occupation) with smaller examinations of personal relationships. Ae Fond Kiss explored an inter-racial love affair, Sweet Sixteen a teenager's relationship with his mother, and My Name is Joe an alcoholic's struggle to stay sober. His most commercially successful recent film is 2009's Looking for Eric, featuring a depressed postman's conversations with the ex-Manchester United football star, Eric Cantona (played by Cantona himself). The film won the Magritte Award for Best Co-Production. Although successful in Manchester, the film was a flop in many other cities, especially cities with rival football teams to Manchester United.[4]

In 2011 Loach released Route Irish, an examination of private contractors working in the Iraqi occupation. A thematic consistency throughout his films, whether they examine broad political situations, or smaller intimate dramas, is his focus on personal relationships.[original research?] The sweeping political dramas (Land and Freedom, Bread and Roses, The Wind that Shakes the Barley) examine wider political forces in the context of relationships between family members (Bread and Roses, The Wind that Shakes the Barley, Carla's Song), comrades in struggle (Land and Freedom) or close friends (Route Irish). In a 2011 interview for the Financial Times, Loach explains how "The politics are embedded into the characters and the narrative, which is a more sophisticated way of doing it".[19]

Loach's 2013 film The Angels' Share is centred on a young Scottish troublemaker who is given one final opportunity to stay out of jail. Newcomer Paul Brannigan, 24, from Glasgow, played the lead role.[20] The film competed for the Palme d'Or at the 2012 Cannes Film Festival[21] where Loach won the Jury Prize.[22]

Loach's 2014 film Jimmy's Hall was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival.[23]

In 2016, Loach won his second Palme d'Or for I, Daniel Blake.[24]

Film style[edit]

Ken Loach at the 2006 Cannes Film Festival.

In May 2010, Loach referred in an interview to the three films that have influenced him most: Vittorio De Sica's Bicycle Thieves (1948), Miloš Forman's Loves of a Blonde (1965) and Gillo Pontecorvo's The Battle of Algiers (1966). De Sica's film had a particularly profound effect. He noted: "It made me realise that cinema could be about ordinary people and their dilemmas. It wasn't a film about stars, or riches or absurd adventures".[25]

Many of Loach's films include a large amount of traditional dialect, such as the Yorkshire dialect in Kes and in The Price of Coal, Cockney in Up the Junction, Scouse in The Big Flame, Potteries dialect in The Rank and File, Glaswegian in My Name is Joe and the dialect of Greenock in Sweet Sixteen. Many of these films have been subtitled when shown in other English-speaking countries.[26] When asked about this in an interview with Cineaste, Loach replied:

If you ask people to speak differently, you lose more than the voice. Everything about them changes. If I asked you not to speak with an American accent, your whole personality would change. That’s how you are. My hunch is that it’s better to use subtitles than not, even if that limits the films to an art-house circuit.[26]

Loach was amongst the first British directors to use swearing in his films. Mary Whitehouse complained about swearing in Cathy Come Home and Up The Junction,[27] the 1969 film The Big Flame was an early (possibly first) instance of the word shit on the BBC, and the certificate to Kes caused some debate owing to the profanity,[28] but these films have relatively few swear words compared to his later work. In particular, the film Sweet Sixteen was awarded an 18 certificate on the basis of the very large amount of swearing, despite the lack of serious violence or sexual content, which led Loach to encourage under-18s to break the law to see the film.[29]

Personal life[edit]

Loach lives with his wife, Lesley, in Bath.[citation needed] His son Jim Loach has also become a television and film director. A younger son died in a car accident, aged five, and he also has another son and two daughters. He announced his retirement from film-making in 2014 but soon after restarted his career following the election of a Conservative government in the UK general election of 2015.[30]

Political activities[edit]

Throughout his career, some of Loach's films have been shelved for political reasons. In a 2011 interview with The Guardian newspaper he said:

It makes you angry, not on your own behalf, but on behalf of the people whose voices weren't allowed to be heard. When you had trade unions, ordinary people, rank and file, never been on television, never been interviewed, and they're not allowed to be heard, that's scandalous. And you see it over and over again. I mean, we heard very little from the kids in the riots. You hear some people being inarticulate in a hood, but very few people were actually allowed to speak.[31]

In the same interview his focus on working people's lives is explained thus:

I think the underlying factors regarding the riots are plain for anyone with eyes to see ... It seems to me any economic structure that could give young people a future has been destroyed. Traditionally young people would be drawn into the world of work, and into groups of adults who would send the boys for a lefthanded screwdriver, or a pot of elbow grease, and so they'd be sent up in that way, but they would also learn about responsibilities, and learn a trade, and be defined by their skills. Well, they destroyed that. Thatcher destroyed that. She consciously destroyed the workforces in places like the railways, for example, and the mines, and the steelworks ... so that transition from adolescence to adulthood was destroyed, consciously, and knowingly.

Loach argues that working people's struggles are inherently dramatic:

They live life very vividly, and the stakes are very high if you don't have a lot of money to cushion your life. Also, because they're the front line of what we came to call the class war. Either through being workers without work, or through being exploited where they were working. And I guess for a political reason, because we felt, and I still think, that if there is to be change, it will come from below. It won't come from people who have a lot to lose, it will come from people who will have everything to gain.[31]

A member of the Labour Party from the early 1960s, Loach left in the mid-1990s.[32] In November 2004, he was elected to the national council of the Respect Coalition.[32] He stood for election to the European Parliament on a Respect mandate. Since then he has broken with Respect.[33]

In 2007, Loach was one of more than 100 artists and writers who signed an open letter calling on the San Francisco International LGBT Film Festival "to honour calls for an international boycott of Israeli political and cultural institutions, by discontinuing Israeli consulate sponsorship of the LGBT film festival and not co-sponsoring events with the Israeli consulate".[34][35] Loach also joined "54 international figures in the literary and cultural fields" in signing a letter that stated, in part, "celebrating 'Israel at 60' is tantamount to dancing on Palestinian graves to the haunting tune of lingering dispossession and multi-faceted injustice". The letter was published in the International Herald Tribune on 8 May 2008.[36]

Responding to a report, which Loach described as "a red herring", on the growth of antisemitism since the beginning of the Gaza War of 2008–2009, he said: "If there has been a rise I am not surprised. In fact, it is perfectly understandable because Israel feeds feelings of anti-Semitism". He added that "no-one can condone violence".[37]

In May 2009, organisers of the Edinburgh International Film Festival (EIFF) returned a £300 grant from the Israeli Embassy after speaking with Loach. He was supporting a boycott of the festival called for by the Palestinian Campaign for the Academic and Cultural Boycott of Israel (PACBI) campaign. In response, former Channel 4 chief executive Sir Jeremy Isaacs described Loach's intervention as an act of censorship, saying: "They must not allow someone who has no real position, no rock to stand on, to interfere with their programming". Later, a spokesman for the EIFF said that although it had returned £300 to the Israeli Embassy, the festival itself would fund Israeli filmmaker Tali Shalom-Ezer's travel to Edinburgh from its own budget.[38][39][40] In an open letter to Shalom-Ezer, Loach wrote: "From the beginning, Israel and its supporters have attacked their critics as anti-semites or racists. It is a tactic to undermine rational debate. To be crystal clear: as a film maker you will receive a warm welcome in Edinburgh. You are not censored or rejected. The opposition was to the Festival’s taking money from the Israeli state".[41] To his critics, he added later: "The boycott, as anyone who takes the trouble to investigate knows, is aimed at the Israeli state". Loach said he had a "respectful and reasoned" conversation with event organisers, saying they should not be accepting funds from Israel.[42]

In June 2009, Loach, Paul Laverty (writer) and Rebecca O'Brien (producer) withdrew their film Looking For Eric from the Melbourne International Film Festival, where the Israeli Embassy is a sponsor, after the festival declined the withdraw that sponsorship.[43] The festival's chief executive, Richard Moore, compared Loach's tactics to blackmail, stating that "we will not participate in a boycott against the State of Israel, just as we would not contemplate boycotting films from China or other nations involved in difficult long-standing historical disputes”. Australian lawmaker Michael Danby also criticised Loach’s tactics stating that “Israelis and Australians have always had a lot in common, including contempt for the irritating British penchant for claiming cultural superiority. Melbourne is a very different place to Londonistan”.[44]

Loach, Laverty and O'Brien subsequently wrote that:

We feel duty bound to take advice from those living at the sharp end inside the occupied territories. We would also encourage other filmmakers and actors invited to festivals to check for Israeli state backing before attending, and if so, to respect the boycott. Israeli filmmakers are not the target. State involvement is. In the grand scale of things it is a tiny contribution to a growing movement, but the example of South Africa should give us heart.[45]

Together with John Pilger and Jemima Khan, Loach was among the six people in court willing to offer surety for Julian Assange when he was arrested in London on 7 December 2010.[46] In a recent interview with ShortList[47] magazine he said: "It’s clear that he’s being set up. Clearly the Yanks want to get him back and either imprison him for a long time, or worse. We need a bit of solidarity with someone who has just told us things that we were entitled to know". The bail money was lost in June 2012 when a judge ordered it to be forfeited, as Assange had sought to escape the jurisdiction of the English courts by entering the London embassy of Ecuador.[48]

Loach supported the Trade Unionist and Socialist Coalition in the London Assembly election, 2012.[49] He wrote a letter to The Observer in 2012 condemning the Globe Theatre for allowing an Israeli theatre company to perform there.[50]

In November 2012, Loach turned down the Turin Film Festival award, after learning that the National Museum of Cinema in Turin had outsourced cleaning and security services. As a consequence, workers had been dismissed, while there had been allegations of intimidation and harassment. Some workers lost their jobs after opposing a wage cut.[51]

With the support of the activist Kate Hudson and academic Gilbert Achcar, Loach launched a campaign in March 2013 for a new left-wing party[52] which was founded as "Left Unity" on 30 November.

In February 2013, Loach was among those who gave their support to the People's Assembly in a letter published by The Guardian newspaper.[53] He also gave a speech at the People's Assembly Conference held at Westminster Central Hall on 22 June 2013.

In July 2014, Loach indicated support for Scottish Independence. He stated

For a few hours, Scottish people have control over their future. They can choose to keep that power or give it back to a state dominated by the British ruling class. Independence would not solve the problems but it would give Scottish people the power to start to create a more just, more fair, more sustainable society. When the Sandinistas in Nicaragua kicked out a dictator and began to build hospitals and schools and take industries into public ownership, they were opposed by the U.S. They were the ‘threat of a good example’. If Scotland leaves the UK, we in England will face a Tory majority. But if an independent Scotland is a success it can be, for us, the threat of a good example and show that a progressive government can improve lives now and make the future sustainable. A Scottish government that reproduces a pale version of Westminster politics will be a wasted opportunity. A Scottish government that puts the long term interests of the people first could move the centre of the political debate to the left and do us all a favour.[54]

Loach supports PACBI.[55] He has also expressed strong support for Chechen independence from Russia.[56]

Criticism[edit]

During the 1960s, Grace Wyndham Goldie, the BBC's head of Talks (i.e. non-fiction), complained that Loach appeared to be side-stepping the Corporation's normally stringent rules about political partisanship by using some documentary material in his fiction.[4]

The first episode of Days of Hope caused considerable controversy in the British media owing to its critical depiction of the military in World War I,[57] and particularly over a scene where conscientious objectors were tied up to stakes outside trenches in view of enemy fire after refusing to obey orders.[4][58] An ex-serviceman subsequently contacted The Times newspaper with an illustration from the time of a similar scene.[58]

His films Hidden Agenda and The Wind That Shakes The Barley have been criticised as being too sympathetic to the Irish Republican Army and Provisional Irish Republican Army.[4] Conservative MP Ivor Stanbrook referred to Hidden Agenda as "the IRA entry at Cannes".[59] In the case of the latter film, Loach was criticised for taking public money from the UK Film Council to make a film that sided with the IRA against the UK.[4] The Daily Mail published an article entitled, "Why does Ken Loach loathe his country so much?".[59]

Loach was criticised for his call for a boycott of the 2009 Edinburgh Film Festival if it showed a film by Tali Shalom-Ezer, who had accepted £300 from the Israeli embassy for travel expenses.[60] An editorial in The Scotsman noted that Loach had not called for the same boycott of the Cannes Film Festival, where his film was in competition with some Israeli films. [60]

Radical feminist Julie Bindel has criticised Loach's recent films for a lack of female characters who are not simply love interests for the male characters, although she praised his early film, Cathy Come Home.[61] Bindel also wrote, "Loach appears not to know gay people exist".[61] However, his early work Poor Cow was praised for "unusual sensitivity to a woman's point of view".[62]

Honours[edit]

Loach turned down an OBE in 1977. In a Radio Times interview, published in March 2001, he said:

It's all the things I think are despicable: patronage, deferring to the monarchy and the name of the British Empire, which is a monument of exploitation and conquest. I turned down the OBE because it's not a club you want to join when you look at the villains who've got it.[63]

Loach has been awarded honorary doctorates by the University of Bath, the University of Birmingham, Staffordshire University, and Keele University.[64] Oxford University awarded him an Honorary Doctor of Civil Law degree in June 2005. He is also an honorary fellow of his alma mater, St Peter's College, Oxford.[65] In May 2006, he was awarded the BAFTA Fellowship at the BAFTA TV Awards.

Loach also received an Honorary Doctorate from Heriot-Watt University in 2003 [66]

He received the 2003 Praemium Imperiale (lit. "World Culture Prize in Memory of His Imperial Highness Prince Takamatsu") in the category Film/Theatre.

In 2014 he was presented with the Honorary Golden Bear at the 64th Berlin International Film Festival.[67][68]

The Raindance Film Festival announced in September 2016 that it would be honouring Loach with its inaugural Auteur Award, to recognise his "achievements in filmmaking and contribution to the film industry." [69]

Filmography[edit]

Television[edit]

  • Catherine ("Teletale", 1964)
  • Z-Cars (series episodes, 1964)
  • Diary of a Young Man (series, 1964)
  • Tap on the Shoulder (The Wednesday Play, 1965)
  • Wear a Very Big Hat (The Wednesday Play, 1965)
  • Three Clear Sundays (The Wednesday Play, 1965)
  • Up the Junction (The Wednesday Play', 1965)
  • The End of Arthur's Marriage (The Wednesday Play', 1965)
  • The Coming Out Party (The Wednesday Play', 1965)
  • Cathy Come Home (The Wednesday Play', 1966)
  • In Two Minds (The Wednesday Play', 1967)
  • The Golden Vision (The Wednesday Play', 1968)
  • The Big Flame (The Wednesday Play', 1969)
  • The Rank and File (Play for Today, 1971)
  • After a Lifetime ("Sunday Night Theatre", 1971)
  • A Misfortune ("Full House", 1973)
  • Days of Hope (serial, 1975)
  • The Price of Coal (1977)
  • The Gamekeeper (1980)
  • Auditions (1980)
  • A Question of Leadership (1981)
  • The Red and the Blue: Impressions of Two Political Conferences – Autumn 1982 (1983)
  • Questions of Leadership (1983/4, untransmitted)
  • Which Side Are You On? (1985)
  • End of the Battle... Not the End of the War ("Diverse Reports", 1985)
  • Time to Go ("Split Screen", 1989)
  • The View From the Woodpile (1989)
  • The Arthur Legend ("Dispatches", 1991)
  • The Flickering Flame (1996)
  • Another City: A Week in the Life of Bath's Football Club (1998)

Cinema[edit]

See also[edit]

References[edit]

  1. ^ "Ken Loach wins the 2016 Palme d'Or cementing his place in the festival's pantheon of great directors". The Telegraph. Retrieved 22 May 2016. 
  2. ^ "Ken Loach Biography (1936–)". Filmreference.com. Retrieved 13 April 2013. 
  3. ^ Ken Loach at Sixteen Films. Retrieved 31 July 2016
  4. ^ a b c d e f "BFI Screenonline: Ken Loach: The Controversies". 
  5. ^ Insert booklet for DVD boxset Ken Loach at the BBC
  6. ^ Jason Deans and Maggie Brown (April 28, 2013). "Up the Junction's Tony Garnett reveals mother's backstreet abortion death". The Guardian. London. 
  7. ^ "End Of Arthur's Marriage, The (1965)". BFI screenonline. 2003–14. Retrieved 7 February 2016. 
  8. ^ Interview – Ken Loach (KES, 1970), La Semaine de la critique.
  9. ^ A selection of the favourite British films of the 20th century Archived 14 May 2012 at the Wayback Machine.
  10. ^ "Best 100 British films – full list". BBC. 
  11. ^ Stephen Bates "Ken Loach documentary to get first screening after 40 years", The Guardian, 20 July 2011
  12. ^ a b "Ken Loach interview". Time Out London. 
  13. ^ Fuller, Graham (1998). Loach on Loach (Directors on Directors). London: Faber and Faber. p. 68. ISBN 978-0571179183. 
  14. ^ Hayward, Anthony (2004). Which Side Are You On? Ken Loach and His Films. Bloomsbury. 
  15. ^ "BFI Screenonline: Which Side Are You On? (1984)". 
  16. ^ "BFI Screenonline: End of the Battle... (1985)". 
  17. ^ "BFI Screenonline: Allen, Jim (1926–99) Biography". 
  18. ^ "Festival de Cannes: The Wind That Shakes the Barley". festival-cannes.com. Retrieved 13 December 2009. 
  19. ^ "Ken Loach". Slate Magazine. 27 August 2011. 
  20. ^ Hudson, David. "Ken Loach at 75". MUBI. 
  21. ^ "2012 Official Selection". Cannes. Retrieved 19 April 2012. 
  22. ^ "Awards 2012". Cannes. Retrieved 27 May 2012. 
  23. ^ "2014 Official Selection". Cannes. Retrieved 17 April 2014. 
  24. ^ Benjamin Lee. "Cannes 2016: Ken Loach's I, Daniel Blake wins the Palme d'Or – live!". the Guardian. 
  25. ^ Lamont, Tom. "Films that changed my life: Ken Loach". The Observer. London. Retrieved May 2010.  Check date values in: |access-date= (help)
  26. ^ a b Dialect in Films: Examples of South Yorkshire. Grammatical and Lexical Features from Ken Loach Films, Dialectologica 3, page 6
  27. ^ Fletcher, Martin (10 November 2012). "BAN THIS FILTH! Letters from the Mary Whitehouse Archive, Edited by Ben Thompson". The Independent. London. Retrieved 1 January 2016. 
  28. ^ "BBFC Case Studies – Kes". BBFC. Retrieved 23 August 2014. 
  29. ^ Davies, Hugh (4 October 2002). "Break law to see my film, Ken Loach tells teenagers". The Daily Telegraph. London. Retrieved 1 January 2016. 
  30. ^ Interview with Loach in Versus: The Life and Films of Ken Loach, BBC Films/BFI, broadcast 30 July 2016.
  31. ^ a b Cochrane, Kira (28 August 2011). "Ken Loach: 'the ruling class are cracking the whip'". The Guardian. London. 
  32. ^ a b Amy Raphael "The great crusader", New Statesman, 20 September 2007
  33. ^ Salman Shaheen "Ken Loach Discusses His Hopes for Left Unity", The Huffington Post, 20 November 2013
  34. ^ Matthew S. Bajko "Political Notebook: Queer activists reel over Israel, Frameline ties", Bay Area Reporter, 17 May 2007.
  35. ^ "San Francisco Queers Say No Pride in Apartheid", The Electronic Intifada, 29 May 2007.
  36. ^ "60 Years of Palestinian Dispossession ... No Reason to Celebrate 'Israel at 60'!", Mr Zine (Monthly Review Press) website, 17 May 2008.
  37. ^ "EU-wide rise in anti-Semitism described as 'understandable'", EU Politics News, 4 March 2009
  38. ^ Edinburgh film festival bows to pressure from Ken Loach over Israeli boycott, The Times], 20 May 2009
  39. ^ Loach pressure sways Edinburgh festival [1] Digital Spy, 20 May 2009.
  40. ^ Edinburgh film festival refuses Israeli grant due to pressure by Ken Loach [2] Haaretz, 20 May 2009.
  41. ^ Ahmad, Muhammad. Ken Loach responds to critics, pulsemedia.org, 26 May 2009.
  42. ^ Ahmad, Muhammad. 'Enough is Enough', say Ken Loach and Ilan Pappe, pulsemedia.org, 18 June 2009.
  43. ^ Israeli funding angers filmmaker by Philippa Hawker, The Age. 18 July 2009.
  44. ^ British director withdraws festival film, Jewish Telegraphic Agency (JTA), 19 July 2009.
  45. ^ Why we back the boycott call by Ken Loach, Rebecca O'Brien and Paul Laverty, The Electronic Intifada, 7 September 2009.
  46. ^ Paul Owen, et al "Julian Assange refused bail over rape allegations",The Guardian, 7 December 2010
  47. ^ "Ken Loach Interview – Entertainment – ShortList Magazine". Shortlist.com. Retrieved 13 April 2013. 
  48. ^ "Julian Assange's high profile backers set to lose £340,000 bail money as he remains holed up in Ecuador Embassy – Daily Mail Online". Mail Online. 4 September 2012. 
  49. ^ "Film director Ken Loach is backing the Trade Unionist and Socialist Coalition in this May's London Assembly elections". Tusc.org.uk. Retrieved 13 April 2013. 
  50. ^ Ken Loach (15 April 2012). "Boycott this Israeli farce". The Observer. London. Retrieved 15 April 2012. 
  51. ^ Nick Clark (23 November 2012). "Director Ken Loach refuses Italian award after row over wage and staff cuts". The Independent. London. Retrieved 13 April 2013. 
  52. ^ Ken Loach, Kate Hudson and Gilbert Achcar "The Labour party has failed us. We need a new party of the left", The Guardian (London), 25 March 2013
  53. ^ "People's Assembly Against Austerity". The Guardian. London. 5 February 2013. Retrieved 16 September 2015. 
  54. ^ "Ken Loach statement on Scottish independence/". Left Unity. July 2014. 
  55. ^ Ken Loach; Rebecca O'Brien; Paul Laverty (1 September 2009). "Boycotts don't equal censorship". The Guardian. London. 
  56. ^ Ken Loach and others "Letter: Chechnya needs a fair political settlement", The Guardian (London), 23 February 2009
  57. ^ "BFI Screenonline: Days of Hope (1975)". 
  58. ^ a b Days of Hope, Tony Williams, Cinémathèque Annotations on Film, Issue 31, April 2004
  59. ^ a b Edwards, Ruth Dudley (30 May 2006). "Why does Ken Loach loathe his country so much?". Daily Mail. London. Retrieved 22 May 2015. 
  60. ^ a b Massie, Alex (19 May 2009). "Ken Loach's Bullying Ghastliness". The Spectator. London. Retrieved 26 October 2014. 
  61. ^ a b Bindel, Julie (2 June 2014). "Dick-swinging filmmakers like Ken Loach constantly write real women and our struggles out of history". The Spectator. London. Retrieved 26 October 2014. 
  62. ^ "Poor Cow". TVGuide.com. 
  63. ^ Director Loach slams TV news, BBC News, 13 March 2001, Retrieved 1 May 2012.
  64. ^ "Film director gets top Keele Uni honour (VIDEO)". The Sentinel. 21 February 2009. Retrieved 6 July 2011. 
  65. ^ Biography on Ken Loach's website.
  66. ^ "Heriot-Watt University Edinburgh & Scottish Borders: Annual Review 2003". www1.hw.ac.uk. Retrieved 2016-03-30. 
  67. ^ "Homage and Honorary Golden Bear for Ken Loach". berlinale.de. Retrieved 12 December 2013. 
  68. ^ "Ken Loach gets lifetime award in Berlin". BBC News. 14 February 2014. Retrieved 14 February 2014. 
  69. ^ "Raindance to honour Ken Loach with new award". What's Worth Seeing. 08 September 2016. Retrieved 08 September 2016.  Check date values in: |access-date=, |date= (help)
  • Golding, Simon W. – '(New & Updated – on KINDLE) Life After Kes: The Making of the British Film Classic, the People, the Story and Its Legacy.' Apex Publishing, Essex, 2014. ISBN 0-9548793-3-3
  • Golding, Simon W. Life After Kes: The Making of the British Film Classic, the People, the Story and Its Legacy. Shropshire, UK: GET Publishing, 2006. ISBN 0-9548793-3-3

External links[edit]