scholarly journals Ken Loach and the Comedians: The Politics of ‘Acting’

2021 ◽  
Vol 18 (3) ◽  
pp. 280-302
Author(s):  
Neil Archer
Keyword(s):  
Systematic Analysis ◽  
The 1960S ◽  
Film Making ◽  
Ken Loach ◽  
Theoretical Considerations

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.

scholarly journals CORPO E AUTOEXPERIMENTAÇÃO: UMA LEITURA DA ARTCHARNELDE ORLAN A PARTIR DO PENSAMENTO PÓS-FEMINISTA DE PAUL B. PRECIADO / Body and self-experimentation: a reading of ORLAN's artcharnel from Paul B. Preciado's post-feminist thinking

2020 ◽  
Vol 26 (39) ◽  
pp. 93-105
Author(s):  
Rejane Lopes Rodrigues
Keyword(s):  
Female Body ◽  
Western Society ◽  
Surgical Interventions ◽  
The Status ◽  
The Usa ◽  
The 1960S ◽  
Theoretical Considerations ◽  
Contemporary Western Society

A partir da década de 1960 teve início na Europa e nos EUA um novo movimento artístico conhecido como arte performativa. ORLAN, artista plástica francesa, insere-se neste movimento através de obras que incluem intervenções cirúrgicas em seu próprio corpo com o objetivo de questionar o status do corpo feminino na sociedade ocidental contemporânea. Diante disso, propomos no presente artigo, uma análise do seu trabalho a partir das considerações teóricas do filósofo e escritor transgênero Paul B. Preciado.Palavras-chave: Arte performativa; ORLAN; Gênero; Feminismo; Paul. B. Preciado.AbstractFrom the 1960s, a new artistic movement known as performative art began in Europe and the USA. ORLAN, a French artist, is part of this movement through works that include surgical interventions on her own body in order to question the status of the female body in contemporary Western society. Therefore, in this article, we propose an analysis of his work based on the theoretical considerations of the transgender philosopher and writer Paul B. Preciado.Keywords: Performative art; ORLAN; Genre; Feminism; Paul B. Preciado.

Middlemen in Third-World Corruption: Implications of an Indian Case

1987 ◽  
Vol 39 (4) ◽  
pp. 508-535 ◽  
Author(s):  
Philip Oldenburg
Keyword(s):  
Third World ◽  
Political Change ◽  
Systematic Analysis ◽  
The Third ◽  
1960S And 1970S ◽  
The 1960S ◽  
The Third World ◽  
Made In

Corruption—like the weather—is a phenomenon people in the third world talk about a great deal, and, it would seem, do little about. Scholars of political change in the third world share this interest, but—although they are usually not expected to deal with corruption itself —they should move beyond the recounting of vivid anecdotes to a more systematic analysis of the problem. Steps in this direction were made in the 1960s and 1970s, but surprisingly little more work has been done since.

scholarly journals Trends in plant ecology research in Ethiopia (1969-2019): Systematic analysis

2020 ◽  
Author(s):  
Kflay Gebrehiwot ◽  
Sebsebe Demissew
Keyword(s):  
Invasive Plant ◽  
Meta Analysis ◽  
Floristic Composition ◽  
Plant Ecology ◽  
Flow Diagram ◽  
Vegetation Types ◽  
Systematic Analysis ◽  
Afromontane Forest ◽  
The 1960S ◽  
Plant Ecological

AbstractThe objective of this paper was to systematically analyze the trend of plant ecological research in Ethiopia. The inclusion and exclusion of the articles for analysis were performed using Reporting Standards for Systematic Evidence Syntheses (ROSES) flow diagram developed for systematic review/meta-analysis. The number of articles published, authors, and collaboration has increased dramatically since the 1960s. Most of the research largely focused on the Dry evergreen Afromontane Forest and grassland complex (DAF) and Moist evergreen Afromontane Forest (MAF) vegetation types, comprising of about 52.6%. Of the remaining vegetation types, the woodlands (14.3%) i.e. Acacia-Commiphora woodland and bushland proper (ACW), and Combretum-Terminalia woodland and wooded grassland (CTW), desert and semi-desert scrubland (DSS) (2.3%), and the Afroalpine (AA) and Ericaceous Belt (EB) (1.5%) received little attention. A descriptive study on plant community ecology revolving on floristic composition and community structure is the dominant research theme, which revealed a narrow theme in contrast to the global trend. Other plant ecological studies such as reproductive and dispersal ecology of invasive plant species, and pollination ecology seems largely a neglected topic by the academia. Furthermore, the recommendations forwarded are not result-based. As a future direction, the Ethiopian government should develop a project database both for completed and ongoing projects.

scholarly journals UK/European Co-productions: The Case of Ken Loach

2016 ◽  
Vol 13 (3) ◽  
pp. 368-389
Author(s):  
Huw David Jones
Keyword(s):  
Statistical Analysis ◽  
Cultural Identity ◽  
Film Festivals ◽  
Transnational Cinema ◽  
Box Office ◽  
Media Distribution ◽  
Film Making ◽  
Ken Loach ◽  
Box Office Performance

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.

scholarly journals Training in Accessible Filmmaking

2020 ◽  
Vol 18 ◽  
Author(s):  
Pablo Romero-Fresco
Keyword(s):  
Film Studies ◽  
The Past ◽  
Audiovisual Translation ◽  
Film Making ◽  
Ken Loach ◽  
Current Proposal

Accessible filmmaking (AFM), that is, the integration of audiovisual translation (AVT) and media accessibility (MA) into the filmmaking process through collaboration between filmmakers and translators/MA experts, has developed significantly over the past few years. It has been endorsed by filmmakers such as Ken Loach and institutions such as the British Film Institute (BFI), which has decided to embrace it as a key element in the production of films and the training of future filmmakers. However, current training in AFM is at best anecdotal. This article aims to address this gap by proposing two different courses on AFM. By way of introduction, section 2 sets the background with an analysis of the reasons behind the division between film and AVT/MA. Special attention is paid to the invisibility of AVT/MA in Film Studies and to the new AVT/MA-aware notion of film that underpins the current proposal for AFM training. Sections 3 and 4 provide an overview of the training currently available in AVT/MA and film(-making). Finally, section 5 offers an account of the first pioneering attempts to provide AFM training and, most importantly, a proposed outline for two different courses designed to equip accessible filmmakers and translators/MA experts with the required skills and competences to apply the AFM model.

The Life of Galileo and Brechtian Television Drama

2013 ◽  
Vol 10 (1) ◽  
pp. 112-129 ◽  
Author(s):  
Billy Smart
Keyword(s):  
Television Drama ◽  
Theatrical Space ◽  
British Drama ◽  
1960S And 1970S ◽  
The 1960S ◽  
A Site ◽  
Television Audience ◽  
Dennis Potter ◽  
Ken Loach ◽  
Television Studio

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.

Choosing the Leader

2019 ◽  
Author(s):  
Matthew N Green ◽  
Douglas Harris
Keyword(s):  
Selection Process ◽  
Vote Choice ◽  
Comprehensive Model ◽  
Leadership Positions ◽  
Public And Private ◽  
Systematic Analysis ◽  
Party Leaders ◽  
Leadership Elections ◽  
The 1960S ◽  
Comprehensive Study

How are congressional party leaders chosen? In the first comprehensive study since Robert Peabody's classic Leadership in Congress, this book draws on newly collected data about U.S. House members who have sought leadership positions from the 1960s to the present—data including whip tallies, public and private vote commitments, interviews, and media accounts—to provide new insights into how the selection process truly works. Elections for congressional party leaders are conventionally seen as a function of either legislators' ideological preferences or factors too idiosyncratic to permit systematic analysis. Analyzing six decades' worth of information, the book finds evidence for a new comprehensive model of vote choice in House leadership elections that incorporates both legislators' goals and their connections with leadership candidates.

STATISTICAL AUTOMATIC STATICS ANALYSIS

Geophysics ◽  
1970 ◽  
Vol 35 (4) ◽  
pp. 574-585 ◽  
Author(s):  
David Alan Disher ◽  
Paul J. Naquin
Keyword(s):  
Correlation Functions ◽  
Time Windows ◽  
Independent Sets ◽  
Extensive Experience ◽  
Systematic Analysis ◽  
Time Jitter ◽  
Static Corrections ◽  
Correlation Statistics ◽  
Theoretical Considerations

From theoretical considerations and extensive experience, we show that proper weathering statics can be computed by use of a systematic analysis of correlation statistics. Time jitter on individual traces due to weathering variations, variations in shot depth, and trace reversals can be determined and corrected for in the presence of interference due to noise, dip, and improper normal‐moveout corrections. Four independent sets of statistics, requiring two time windows for shot‐oriented data and two time windows for receiver‐oriented data, are used to determine static corrections at the shot and at the receiver. To determine shot statics, we correlate pairs of traces from the same receivers and consecutive shots. Pairs of traces from consecutive receivers and the same shots are correlated to determine receiver statics. These two sets of correlation functions are viewed statistically to determine the two subsets of functions needed for the ensuing analysis. The functions remaining after rejection of those deviating greatly from the average values are summed in groups by receiver and by shot order. The resultant peaks yield two sets of differential statics. A cumulative total of the differential statics is computed. Subtraction of the low wavenumber part of the cumulative total, which is the dip, from the cumulative total yields residual shot and receiver weathering statics.

scholarly journals Ken Loach,Family Lifeand Socialist Realism: Some Historical and Theoretical Aspects

2017 ◽  
Vol 14 (1) ◽  
pp. 19-38
Author(s):  
Mark Cresswell ◽  
Zulfia Karimova
Keyword(s):  
Mental Illness ◽  
Family Life ◽  
Socialist Realism ◽  
Socialist Realist ◽  
Institutional Psychiatry ◽  
Raymond Williams ◽  
The 1960S ◽  
Ken Loach

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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