Kenneth Loach's "Riff Raff"between the British documentary tradition and the working class cinema

  1. Díaz-Cuesta Galián, José 1
  1. 1 Universidad de La Rioja
    info

    Universidad de La Rioja

    Logroño, España

    ROR https://ror.org/0553yr311

Revista:
Odisea: Revista de estudios ingleses

ISSN: 1578-3820

Año de publicación: 2001

Número: 1

Páginas: 147-157

Tipo: Artículo

DIALNET GOOGLE SCHOLAR lock_openAcceso abierto editor

Otras publicaciones en: Odisea: Revista de estudios ingleses

Resumen

Riff-Raff (1991) is analysed as a functional hinge between the British documentarymovement of the twenties, the free cinema of the fifties and the present current ofsocial films such as Trainspotting (1996), Brassed off (1996) or The Full Monty(1997). Kenneth Loach seems to have incorporated the theoretical doctrine of theBritish documentary tradition in most of his films, especially in Riff-Raff, as we cansee in his way of dealing with scripts and actors. Simultaneously he has introducedwhat we may call the humour factor, widely used in the working-class films of the1990s.

Referencias bibliográficas

  • Aitken, I. 1990. Film and Reform. John Grierson and the Documentary Film Movement. London and New York: Routledge.
  • Baddeley, W.H. 1963. The Technique of Documentary Film Production. London and New York: Focal Press.
  • Barr, C. ed. 1992. All Our Yesterdays: 90 Years of British Cinema. London: BFI.
  • Beaufoy, S. 1998. ““Hidden agendas””. Sight and Sound 8, 3: 61.
  • Blair, L. 1997. ““Northern exposure””. Sight and Sound 7, 9: 6.
  • Bollaín, I. 1996. Ken Loach. Un Observador Solidario. Madrid: El País/Aguilar.
  • Boyle, D. dir. 1996. Trainspotting. United Kingdom: Figment Film with The Noel Gay Motion Picture for Channel Four Films.
  • Cattaneo, P. dir. 1997. The Full Monty. USA/United Kingdom: Redwave Films, developed by Channel Four Television Company for Twentieth Century Fox Film Corporation Fox Searchlight.
  • Collas, G. 1997. Cine Europeo. El Desafío de la Realidad. Valladolid: Semana Internacional de Cine de Valladolid.
  • Eccleston, C. 1996. ““‘‘Kes’’ and my own life””. Sight and Sound 10: 8.
  • De Giusti, L. 1999. Ken Loach. Bilbao: Ediciones Mensajero.
  • Dixon, B. and C. Dupin. 2001. ““Soup dreams””, Sight and Sound 3: 28-30.
  • Fuller, G. ed. 1998. Loach on Loach. London: Faber and Faber.
  • Grierson, J. 1933. ““The documentary producer””, Cinema Quarterly 2, 1: 8.
  • Grierson, J. 1933.1992. ““Postulados del documental””. Textos y Manifiestos del Cine. Eds. J. Romaguera i Ramió and H. Alsina Thevenet. Madrid: Cátedra. 139-147.
  • Hacker, J. and D. Price. 1990. Take 10: Contemporary British Film Directors. Oxford: Oxford University Press.
  • Hardy, F. ed. 1979. Grierson on Documentary. London & Boston: Faber and Faber.
  • Harvey, S. 1992. ““The ‘‘other cinema’’ in Britain: Unfinished business in oppositional and independent film, 1929-1984””. All Our Yesterdays: 90 Years of British Cinema. Ed. C. Barr. London: BFI. 225-251.
  • Herman, M. dir. 1996. Brassed Off. United Kingdom: Steve Abbott/Mark Herman/ Prominent Features for Channel Four Films.
  • Higson, A. 1992. ““‘‘Britain’’s outstanding contribution to the film’’: The documentaristrealist tradition””. All Our Yesterdays: 90 Years of British Cinema. Ed. C. Barr. London: BFI. 72-97.
  • Hill, J. 1997. ““Finding a form: politics and aesthetics in Fatherland, Hidden Agenda and Riff-Raff””. Agent of Challenge and Defiance. The Films of Ken Loach. Ed. G. McKnight. Wiltshire: Flick Books.
  • Hill, J. 1998. ““Every fuckin’’ choice stinks””. Sight and Sound 8, 11: 18-21.
  • Loach, K. dir. 1965. Up the Junction. United Kingdom: BBC.
  • Loach, K. dir. 1966. Cathy Come Home. United Kingdom: BBC.
  • Loach, K. dir. 1969. Kes. United Kingdom: Woodfall/Kestrel Films.
  • Loach, K. dir. 1990. Hidden Agenda. United Kingdom: Initial Film & Television Production/Hendale.
  • Loach, K. dir. 1991. Riff-Raff. United Kingdom: Parallax Pictures for Channel Four.
  • Loach, K. dir. 1994. Land and Freedom. United Kingdom: Parallax Pictures, Messidor Films, Road Movies Dritte Produktionen.
  • Loach, K. dir. Carla’’s Song, United Kingdom/Spain: Parallax Pictures, Tornasol Films-Alta Films, Road Movies Dritte Produktionen, with the help of the Glasgow Film Fund, the Instituto de Cultura de Nicaragua, Ard Degeto Film, Filmstiftung Nordrehein-Westfalen and Televisión Española.
  • Loach, K. dir. ““Ken Loach, director de Mi nombre es Joe””. Seminci 7: 100-11.
  • MacMurraugh-Kavanagh, M. K. 1997. ““‘‘Drama’’ into ‘‘news’’: strategies of intervention in ‘‘The Wednesday Play’’””. Screen 38, 3: 247-259.
  • Petley, J. 1992. Ken Loach. La Mirada Radical. Valladolid: 37 Semana de Cine with the collaboration of The British Council.
  • Romaguera i Ramió, J. and H. Alsina Thevenet, eds. 1989. Textos y Manifiestos del Cine. Madrid: Cátedra.
  • Swan, P. 1989. The British Documentary Movement, 1926-1946. Cambridge: Cambridge University Press.
  • Vigo, J. 1992. ““El punto de vista documental. «À propos de Nice» (1929)””. Textos y Manifiestos del Cine. Eds. J. Romaguera i Ramió and H. Alsina Thevenet. Madrid: Cátedra. 134-138.
Fuente de los datos: Dialnet