| dc.description.abstract | Reportedly, Ken Loach makes „social cinema”. His films are also reportedly unilateral
pamphlets aimed against the system. Yet, labels tend to be misleading. Although the director
speaks directly that he wants to change the world by making movies , adding that art must
educate, my paper reveals a certain refined claw of his work, in an equal degree consisting of
the plot of films and a specificity of the applied cinematic means. Loach rams the viewer into
films populated by dialect-speaking representatives of the working class, smelly hooligans,
dregs of society, immigrants, and losers due to being born to the wrong class, but also
optimistic dreamers and those wishing to transform their lives. Practically anyone watching
films from the British director forms a sense of solidarity with his protagonists. It seems that
this is not only due to the plot relayed by means of a cinema screen. Therefore, what tricks,
or more correctly speaking, artistic procedures performed on a motion picture does Loach
use so that upon viewing Kes one can feel not only the moral and existential anxiety, but also
dejection, regardless of their age and social standing? | en |
