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GESTES FONDATEURS ET MONDES EN MOUVEMENT

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GESTES FONDATEURS ET MONDES EN MOUVEMENT

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L'époque fait tout son possible pour se faire accepter. Créant une légitimité au futur qu'elle dessine, inventant un nouveau récit fondateur, donnant une dimension planétaire aux enjeux de société  afin de convaincre les peuples qu'ils sont membres d'une communauté mondiale, qui n'attend plus qu'un seul chef et une pensée unifiée.

Les identités culturelles et locales y survivront-elles ?

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le réz0.pointé de MisterG

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Les axes étudiés seront l’objet des épreuves d’évaluation. L’élève choisira un axe parmi ceux proposés et devra faire le lien avec les documents apportés par l’examinateur.

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Les axes étudiés seront l’objet des épreuves d’évaluation. L’élève choisira un axe parmi ceux proposés et devra faire le lien avec les documents apportés par l’examinateur.

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identités et échanges
Y a-t-il encore des frontières ? La libre circulation des biens et personnes favorise-t-elle les échanges ou menace-t-elle nos identités culturelles, individuelles ? L’anglais va-t-il 'tuer' le français' ?
A quoi sert le pacte mondial ? Migrant ou Réfugié ?

espace privé et espace public
Espaces réservés, générations éloignées, défiance, individualisme : comment défendons-nous notre territoire ? De quel "nouveau contrat" social est-il question ?

art et pouvoir
L’art est-il un pouvoir ou sert-il le pouvoir ? La censure, la résistance, la propagande et l’art engagé nourrissent-ils l'esprit critique ?

citoyenneté et mondes virtuels
Les technologies de l'information nous aident-t-elles à mieux communiquer ou nous isolent-t-elle ? Nous rendent-elles plus autonomes ou plus dépendants à la propagande politique ? Sont-elles le creuset d'une nouvelle pègre ?

fictions et réalités
Comment les récits et légendes façonnent-ils nos imaginaires ? Quelles sont figures les plus inspirantes ?

innovations scientifiques et responsabilité
Clonage, IA, ADN, implants, puces sous-cutanées… Jusqu’où peut aller la techno-science ? A quel contrat 'éthique' devrait-elle se soumettre ?

diversité et inclusion
Les langues sont à la fois l'expression d'une identité et un pont vers d'autres sociétés. Les cultures locales sont-elles en course vers une domination globalisée ?

territoire et mémoire
La mondialisation offre-t-elle déjà une réécriture de l'Histoire, l'écriture d'un récit fondateur global ? L'appartenance à un territoire nous impose-t-elle sa mémoire, le récit guerrier de sa construction ? Que peut-on espérer apprendre du passé, de l'Histoire ?

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HOW CAN CINEMA GIVE A VOICE TO THE POWERLESS

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HOW CAN CINEMA GIVE A VOICE TO THE POWERLESS

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représenter le monde

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Years are normally divided into two parts; the first two digits and the last two digits.

2017 is divided into 20 and 17 say twenty seventeen

1982 = nineteen eighty-two

1999 = nineteen ninety-nine

2017 = twenty seventeen

2021 = twenty twenty-one

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Centuries can be written in different ways:

with an ordinal number (as an abbreviation): 18th

in the full form followed by the word "century": the eighteenth century

with numbers: the 1800s

You don’t need to use an apostrophe after writing numbers, as centuries are plurals, not possessives.

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5 AXES

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Write your text
Record it
Send it to the radio team!

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Découvrez les créations radiophoniques de la cité scolaire Paul Arène de Sisteron

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The Evolution of Dance - 1950 to 2019 - By Ricardo Walker's Crew

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Cette fille sait quelque chose c'est évident! Perrin - La Chèvre

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02 PRODUCTION ET CIRCULATION DES SAVOIRS

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02 PRODUCTION ET CIRCULATION DES SAVOIRS

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You're a member of the jury at a film festival.
Discover I, Daniel Blake.
Research its background.
Explore political and social issues.

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a free comic book on the history of music!

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COMIC AUDIO COMPANIONListen to the music discussed in the book!

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COMIC AUDIO COMPANIONListen to the music discussed in the book!

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Listen to the music discussed in the book!

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Scott Joplin,
Maple Leaf Rag

Malcolm X, 1964 Boston Radio Interview

(The sample you hear of "Now here's what I want you all to do for me" is from a live version of Rufus Thomas' "Do the Funky Penguin" that was taken down from YouTube.)

Special thanks to our web designers Balfour Smith, Michael Wright, and Madeeha Khan, and to our research assistants Peter Berris, Cory Fleming, and Rich Hatch.

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COMIC AUDIO COMPANION - Listen to the music discussed in the book! This is an educational website-the audio clips below are intended to help illustrate the material discussed in the comic book. The majority of these clips are hosted on third party services such as YouTube and SoundCloud.

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How can you ask for the date in English?

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How can you ask for the date in English?

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Q? - What day is it today?
R! - It’s Monday (the day of the week)
or
R! - It’s the 19th (the number)

Q? - What date is it?
R§ - It’s the 19th (the number)
or
R! - It’s 19th May (the day/month or May 19th)
They will not answer with a day of the week.

Q? - What is the date (today)?
or
Q? - What is today’s date?
R! - The date is 19th
R! - The date today is 19th
R! - Today is 19th
R! - It is the 19th (most common)

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identités et échanges
se représenter le monde

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Would you shortlist this film for an award?

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I, Daniel Blake | official FIRST LOOK clip - Winner Cannes Palme D'Or - Ken Loach

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Janis Lyn Joplin (; January 19, 1943 - October 4, 1970) was an American rock singer and songwriter. She was one of the biggest female rock stars of her era. After releasing three albums, she died of an accidental heroin overdose at age 27.

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Pearl is the second and final solo album (and fourth album overall) by Janis Joplin, released on January 11, 1971, three months after her death on October 4, 1970. It was the final album with her direct participation, and the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit. It peaked at number one on the Billboard 200, holding that spot for nine weeks. It has been certified quadruple platinum by the RIAA.

The album has a more polished feel than the albums she recorded with Big Brother and the Holding Company and the Kozmic Blues Band due to the expertise of producer Paul A. Rothchild and her new backing musicians. Rothchild was best-known as the recording studio producer of The Doors, and worked well with Joplin, calling her a producer's dream. Together they were able to craft an album that showcased her extraordinary vocal talents. They used Sunset Sound Recorders in Los Angeles.

The Full Tilt Boogie Band were the musicians who accompanied her on the Festival Express, a concert tour by train of Canada, in the summer of 1970. Many of the songs on this album were recorded on the concert stage in Canada two months before Joplin and the band started their Los Angeles recording sessions. The band also appeared twice on The Dick Cavett Show. They also played many American cities, both before and after Festival Express, although no recordings of those concerts have been officially released.

All nine tracks that she sings on were personally approved and arranged by Joplin. Pearl features the #1 hit " Me and Bobby McGee", on which she played acoustic guitar, written by Kris Kristofferson and Fred Foster; "Trust Me", by Bobby Womack, written for Joplin; Howard Tate's "Get It While You Can", showcasing her vocal range; and the original songs "Move Over" and "Mercedes Benz", the latter co-written by Joplin, Bobby Neuwirth, and Michael McClure.

Joplin sang on all tracks except "Buried Alive in the Blues", which was actually a backing track in which she had not yet recorded vocals. The song's writer Nick Gravenites was offered the opportunity to sing it as a tribute to Joplin, but he turned it down, so the song ended up as an instrumental. He later sang the song with Joplin's former band Big Brother and the Holding Company for their 1971 album How Hard It Is. The recording sessions, starting in early September, ended with Joplin's untimely death on October 4, 1970. Her final session, which took place on Thursday, October 1 after a break of several days, yielded her a cappella "Mercedes Benz." It was the last song she recorded before her death. The album cover, photographed by Barry Feinstein in Los Angeles, shows Joplin reclining on her Victorian era loveseat with a drink in her hand.

In 2003, the album was ranked number 122 on Rolling Stone magazine's list of The 500 Greatest Albums of All Time, moving to 125 in a 2012 revised listing. It was moved to a 259 ranking in the 2020 list.

In 1993 Columbia reissued the album on 24kt gold CD as part of their MasterSound series, this edition was remastered by Vic Anesini using the Super Bit Mapping process. In 1999 it was remastered again for the Box Of Pearls box set, this version was also mastered by Vic Anesini, it included four previously unreleased live recordings from the Festival Express Tour, recorded on July 4, 1970, as bonus tracks; it was also released as a standalone release. A two-disc Legacy Edition was released on June 14, 2005, with six bonus tracks including a birthday message to John Lennon of "Happy Trails," and a reunion of the Full Tilt Boogie Band in an instrumental tribute to Joplin. The second disc included an expanded set from the Festival Express Tour, recorded between June 28 and July 4, 1970. The album was again reissued again in 2012 as The Pearl Sessions. It contains the original album, six mono mixes, two live tracks and alternate takes of the songs that constituted the Pearl vinyl album when Columbia Records released it in 1971. Recordings of Joplin and Paul Rothchild talking between takes give the listener insight into their creative musical process. In 2016 Mobile Fidelity Sound Lab released the album on SACD and double 45 RPM vinyl, the SACD was mastered by Rob LoVerde while the vinyl was cut by Kreig Wunderlich assisted by LoVerde.

Full Tilt Boogie Band

Additional personnel

Technical

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Pearl is the second and final solo album (and fourth album overall) by Janis Joplin, released on January 11, 1971, three months after her death on October 4, 1970. It was the final album with her direct participation, and the only Joplin album recorded with the Full Tilt Boogie Band, her final touring unit.

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listen to the song and fill in the blanks

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understanding a piece of art is interpretive, personal. It involves an effort: understand - both litteral/abstract and theoretical/figurative perspectives.

It only happens if you are able to establish its concordance with History.

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Leadbelly - Where Did you Sleep Last Night

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Nirvana - Where Did You Sleep Last Night (Live On MTV Unplugged Unedited)

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follow the plan in the document:
- here is my curriculum
- which are my goals?
- these are my objectives ..

GET READY TO PRESENT IT ORALLY

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Messiaen gave colours to his music .. but that's not our subject

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What's the Colour of Music? Messiaen and Colour

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Is music a pivotal element of African American identity?

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Is music a pivotal element of African American identity?

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What is striking in the picture above?
Who are these celebrities? What do they represent?
Can music be representative of a culture?
What is the difference between inspiration and copy?

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- la modification d'une qualité/quantité
- une terme, une limite, une échéance
- des règles, des moyens, une mise en oeuvre

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One of the great early stars of cinema, Al Jolson is also one of the most problematic. From an era that gave us the 1915 racist classic The Birth of a Nation, a celebration of the Ku Klux Klan featuring White actors playing African American stereotypes while wearing blackface, the Lithuanian-born Jolson became an icon performing in blackface, perhaps most famously and infamously as he sang “My Mammy” in the 1927 film The Jazz Singer (the first talking picture).

https://www.rd.com/list/examples-of-cultural-appropriation/

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The following is excerpted from the upcoming Berklee Online course Introduction to Iconic Dance and Urban Movement.

In an increasingly global society, extremely focused on innovation and originality, the issue of authenticity is more relevant than ever. What does it mean to be authentic in today’s society? How can one remain true to themselves while engaging in conversation with other cultures? When is it okay to borrow, quote, or pay homage to a culture that is not your own? And how can we do that thoughtfully and respectfully?

Think about high profile artists who have been accused of cultural appropriation over the past few years: Justin Bieber sporting dreadlocks; Justin Timberlake beat-boxing; Ariana Grande rapping in a “Blaccent.”

In my course, Intro to Iconic Dance, we start this discussion by introducing three key concepts: Appropriation, Acculturation, and Assimilation.

Cultural appropriation is the adoption of an element or elements of one culture by members of another culture. This can be controversial when members of a dominant culture appropriate from disadvantaged minority cultures.

Unlike acculturation and assimilation, cultural appropriation echoes domains of economic dominance and is a form of colonialism, which seeks to reign extended authority over a group of people, and/or territories.

The debate around cultural borrowing and appropriation is ongoing—examples abound in the arts, music, and fashion fields. Model Karlie Kloss wore a Native American headdress in 2012 Victoria’s Secret Fashion Show. Both the model and brand executives apologized profusely, but unfortunately, the brand has continued to feature Indigeneous-inspired fashion in their shows, like in their 2017 “Nomadic Adventure”-themed fashion show.

The artist Kenneth Coutts-Smith wrote one of the first essays on the subject in 1976, entitled “Some General Observations on the Concept of Cultural Colonialism,” as reported by Ash Sarkar for The Guardian. Sarkar notes that while Coutts-Smith never actually used the term cultural appropriation, he was the first to bring together the Marxist idea of “class appropriation” (in which notions of “high culture” are appropriated and defined by the dominant social and economic class) and “cultural colonialism,” which describes the way Western cultures take ownership of art forms that originate from racially oppressed or colonized peoples.

Acculturation is a process of social, psychological, and cultural change that stems from the balancing of two cultures while adapting to the prevailing culture of the society. Acculturation is a process in which an individual adopts, acquires, and adjusts to a new cultural environment.

Cultural assimilation is the process in which a minority group or culture comes to resemble a dominant group or assume the values, behaviors, and beliefs of another group.

Authenticity comes from being original, which can include everyone, as no one individual shares the same unique experiences as another. Authenticity evolves with experience. We expand our own authenticity by repeated exposure to other cultures and people. Borrowing from other cultures is inevitable, but there are positive ways in which it can be done. We should engage with other cultures on more than just an aesthetic level. And we should also give credit to where credit is due. Pay homage and acknowledge the source.

"Borrowing from other cultures is inevitable, but there are positive ways in which it can be done. We should engage with other cultures on more than just an aesthetic level." —Ruka Hatua-Saar White Click To Tweet

In order to better illustrate the implications of these terms and how different people interpret them, some of the most controversial and well known contemporary examples are in pop music.

The pop/rap artist, Iggy Azalea ignited a firestorm of criticism with her music video, “Bounce.” This video starts with no music on a shot of an urban neighborhood in India, and then cuts to Azalea in traditional Indian wedding clothes and wearing a bindi, the traditional red dot between the eyes symbolizing a spiritual or religious awakening. The criticism came at Azalea from many corners of the world, all with a variation of: “Here is a white woman from Australia wearing traditional and ceremonial Indian clothes singing rap as if she was a Black person from Atlanta.” Was that a disrespectful appropriation of Hindu culture? Was that a disrespectful appropriation of Black American culture?

Katy Perry got major backlash for wearing a Japanese kimono in the style of a geisha at the 2013 American Music Awards. She was attacked for disrespecting and misrepresenting the geisha world and Japanese culture. Disrespectful, or artistic license?

Pharrell Williams partnered with Adidas to create a clothing line based on the Hindu holiday of Holi, which is a spiritual festival where people throw multi-colored powders on each other. The response was swift, negative and widespread with critics claiming that Pharrell had co opted sacred Hindu ceremonies, symbols, and imagery for commercial purposes.

Miley Cyrus has been criticized for appropriating Black culture, dipping into a hip-hop phase in both appearance and sound with her album Bangerz, then returning to her country roots in recent years. In her Bangerz phase, it wasn’t uncommon to see Miley sporting dreadlocks, cornrows, and grills. She also came under fire for infamously twerking at the 2013 VMA awards and for criticizing Kendrick Lamar’s rapping, claiming that the explicit lyrics are what made her depart from the hip-hop scene. The biggest issue with Miley’s foray into hip-hop is that she is privileged enough to benefit from both Black and white culture, dipping in and out of it when it’s convenient and profitable, where Black artists do not have that luxury.

White artists appropriating Black culture into pop culture goes back to early rock ‘n’ roll, jazz,  and beyond. The most famous example is Elvis Presley covering songs by Black artists, like “That’s Alright, Mama,” “Hound Dog,” and “Don’t Be Cruel,” and rising to fame as the “King of Rock ‘n’ Roll,” when Black artists such as Chuck Berry and Little Richard didn’t benefit nearly as much from the genre they essentially started.

But figuring out what is cultural appropriation and what is simply a young artist becoming familiar with a genre can be tricky. The Beatles notoriously entered the rock ‘n’ roll scene emulating these founders, playing a repertoire full of early Black rock ‘n’ roll covers at the beginning of their career, and became wildly successful as Lennon and McCartney tweaked the formula with their own compositions. Paul McCartney admits that he “learned everything he knows” from Little Richard.

As a creator, it’s important to acknowledge the origins of where your inspiration is derived from. If it comes from a culture that isn’t your own, are you informing yourself about that culture, especially if it’s a marginalized culture? Consider listening to and sharing the music of historically excluded artists who identify with the culture from which you wish to borrow. You may discover that there are authentic and positive ways for you to pay homage to a culture, especially when you consult people from that culture. But what is most important is that you do make every effort to engage, and to be mindful and ask yourself if what you’re doing is authentic, thoughtful, and respectful.

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Cultural Appropriation in Music – Berklee Online Take Note

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Ruka Hatua-Saar White discusses cultural appropriation and paying homage to a culture that is not your own thoughtfully and respectfully.

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VOCABULARY
I’m a huge fan of…
I’ve heard of… but I’ve never really listened to…

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Watch this documentary on this major influential but almost forgotten artist: Gil Scott-Heron, and write a two-page essay on:
SUBJECT: Who Was/Who Is Gil Scott-Heron?

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explanatory video clip - Gil Scott-Heron

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The Revolution Will Not Be Televised - Gil Scott-Heron

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Gil Scott-Heron - The Revolution Will Not Be Televised (Rare.mp4

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1989 Rare Gil Scott-Heron Interview on Race, Music and Revolution, USA | Premium Footage

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THROW THESE THREE THINGS TROUGH THE THEATER WITH STRENGTH

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Frustration: a very common human feeling ..
Speaking a foreign language will probably feed that feeling of frustration! We all need to get used to it. We must get to know our frustrations, accept them: they are probably the best mirrors we have at our disposal to see where our difficulties in life are.
From there, open ourselves up to the outside world and communicate with people around us, in order to overcome our own boundaries, evolve, and reach out!

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listen to the song and fill in the blanks

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When one man loses it all...

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Falling Down - Original Theatrical Trailer

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Falling Down - Breakfast at Whammyburger

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Practice the whole song
Especially learn the parts of the text in bold

VOCABULARY
to plug in
to turn on
to cop out
skag, scag*
commercials
hog maws: stomach of a pig
to star/starring
nub: protuberance
on the dead run: running as fast as possible
pigs*
instant replay
relevant
highlights
re-run ≠ live broadcat

*slang

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Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills-Hollywood NAACP branch. He claimed the genre was "proliferating offenses" to the black community in its perpetuation of stereotypes often involved in crime. The genre does rank among the first after the race films in the 1940s and 1960s in which black characters and communities are the protagonists and subjects of film and television, rather than sidekicks, antagonists or victims of brutality. The genre's inception coincides with the rethinking of race relations in the 1970s.

Blaxploitation films were originally aimed at an urban African-American audience but the genre's audience appeal soon broadened across racial and ethnic lines. Hollywood realized the potential profit of expanding the audiences of blaxploitation films.

credited Sweet Sweetback's Baadasssss Song and the less radical Hollywood-financed film (both released in 1971) with the invention of the blaxploitation genre, although Cotton Comes to Harlem was released the prior year. Blaxploitation films were also the first to feature soundtracks of funk and soul music.

[S]upercharged, bad-talking, highly romanticized melodramas about Harlem superstuds, the pimps, the private eyes and the pushers who more or less singlehandedly make whitey's corrupt world safe for black pimping, black private-eyeing and black pushing.

Blaxploitation films set in the Northeast or West Coast mainly take place in poor urban neighborhoods. Pejorative terms for white characters, such as " cracker" and " honky," are commonly used. Blaxploitation films set in the South often deal with slavery and miscegenation. The genre's films are often bold in their statements and use violence, sex, drug trafficking and other shocking qualities to provoke the audience. The films usually portray black protagonists overcoming " The Man" or emblems of the white majority that oppresses the black community.

Blaxploitation includes several subtypes, including crime (), action/martial arts (Three the Hard Way), westerns (Boss Nigger), horror (, ), prison (Penitentiary), comedy (Uptown Saturday Night), nostalgia (Five on the Black Hand Side), coming-of-age (Cooley High/Cornbread, Earl and Me), and musical ().

Following the example set by Sweet Sweetback's Baadasssss Song, many blaxploitation films feature funk and soul jazz soundtracks with heavy bass, funky beats and wah-wah guitars. These soundtracks are notable for complexity that was not common to the radio-friendly funk tracks of the 1970s. They also often feature a rich orchestration which included flutes and violins.

Following the popularity of these films in the 1970s, movies within other genres began to feature black characters with stereotypical blaxploitation characteristics, such as the Harlem underworld characters in the James Bond film Live and Let Die (1973), Jim Kelly's character in Enter the Dragon (1973) and Fred Williamson's character in The Inglorious Bastards (1978).

Richard Roundtree as John Shaft

Afeni Shakur claimed that every aspect of culture (including cinema) in the 1960s and 1970s was influenced by the Black Power movement. Sweet Sweetback's Baadasssss Song was one of the first films to incorporate black power ideology and permit black actors to be the stars of their own narratives, rather than being relegated to the typical roles available to them (such as the " mammy" figure and other low-status characters). Films such as Shaft brought the black experience to film in a new way, allowing black political and social issues that had been ignored in cinema to be explored. Shaft and its protagonist, John Shaft, brought African American culture to the mainstream world. Sweetback and Shaft were both influenced by the black power movement, containing Marxist themes, solidarity and social consciousness alongside the genre-typical images of sex and violence.

Knowing that film could bring about social and cultural change, the Black Power movement seized the genre to highlight black socioeconomic struggles in the 1970s; many such films contained black heroes who were able to overcome the institutional oppression of African American culture and history. Later films such as softened the rhetoric of black power, encouraging resistance within the capitalist system rather than a radical transformation of society. Super Fly still embraced the black nationalist movement in its argument that black and white authority cannot coexist easily.

The genre's role in exploring and shaping race relations in the United States has been controversial. Some held that the blaxploitation trend was a token of black empowerment but others accused the movies of perpetuating common white stereotypes about black people. As a result, many called for the end of the genre. The NAACP, Southern Christian Leadership Conference and National Urban League joined to form the Coalition Against Blaxploitation. Their influence in the late 1970s contributed to the genre's demise. Literary critic Addison Gayle wrote in 1974, "The best example of this kind of nihilism / irresponsibility are the Black films; here is freedom pushed to its most ridiculous limits; here are writers and actors who claim that freedom for the artist entails exploitation of the very people to whom they owe their artistic existence."

Films such as Super Fly and The Mack received intense criticism not only for the stereotype of the protagonist (generalizing pimps as representative of all African-American men, in this case) but for portraying all black communities as hotbeds for drugs and crime.[citation needed ]

Blaxploitation films such as (1975) provided mainstream Hollywood producers, in this case Dino De Laurentiis, a cinematic way to depict plantation slavery with all of its brutal, historical and racial contradictions and controversies, including sex, miscegenation, rebellion. The story world also depicts the plantation as one of the main origins of boxing as a sport in the U.S.

In the late 1980s and early 1990s, a new wave of acclaimed black film makers, particularly Spike Lee (Do the Right Thing), John Singleton (Boyz n the Hood), and Allen and Albert Hughes (Menace II Society) focused on black urban life in their movies. These directors made use of blaxploitation elements while incorporating implicit criticism of the genre's glorification of stereotypical "criminal" behavior.

Alongside accusations of exploiting stereotypes, the NAACP also criticized the blaxploitation genre of exploiting the black community and culture of America, by creating films for a profit that those communities would never see, despite being the vastly misrepresented main focus of many blaxploitation film plots. Many film professionals still believe that there is no truly equal "Black Hollywood" as evidenced by the " Oscars So White" scandal in 2015 that caused uproar when no black actors were nominated for " Best Actor" Oscar Awards.

Brenda Sykes and Perry King on the set of Mandingo (1975).

Slavesploitation, a subgenre of blaxploitation in literature and film, flourished briefly in the late 1960s and 1970s. As its name suggests, the genre is characterized by sensationalistic depictions of slavery.

Abrams, arguing that Quentin Tarantino's Django Unchained (2012) finds its historical roots in the slavesploitation genre, observes that slavesploitation films are characterized by "crassly exploitative representations of oppressed slave protagonists".

One early antecedent of the genre is Slaves (1969), which Gaines notes was "not 'slavesploitation' in the vein of later films", but which nonetheless featured graphic depictions of beatings and sexual violence against slaves. Novotny argues that Blacula (1972), although it does not depict slavery directly, is historically linked to the slavesploitation subgenre.

By far, the best-known and best-studied exemplar of slavesploitation is Mandingo, a 1957 novel which was adapted into a 1961 play and a 1975 film. Indeed, Mandingo was so well known that a contemporary reviewer of Die the Long Day, a 1972 novel by Orlando Patterson, called it an example of the "Mandingo genre". The film, panned on its release, has been subject to widely divergent critical assessments. Robin Wood, for instance, argued in 1998 that it is the "greatest film about race ever made in Hollywood, certainly prior to Spike Lee and in some respects still".

Blaxploitation films have had an enormous and complicated influence on American cinema. Filmmaker and exploitation film fan Quentin Tarantino, for example, has made numerous references to the blaxploitation genre in his films. An early blaxploitation tribute can be seen in the character of "Lite," played by Sy Richardson, in (1984).[citation needed ] Richardson later wrote (1993), which is a kind of blaxploitation Western.

Some of the later, blaxploitation-influenced movies such as Jackie Brown (1997), Undercover Brother (2002), Austin Powers in Goldmember (2002), Kill Bill Vol. 1 (2003), and Django Unchained (2012) feature pop culture nods to the genre. The parody Undercover Brother, for example, stars Eddie Griffin as an afro-topped agent for a clandestine organization satirically known as the "B.R.O.T.H.E.R.H.O.O.D.". Likewise, Austin Powers in Goldmember co-stars Beyoncé Knowles as the Tamara Dobson/ Pam Grier-inspired heroine, Foxxy Cleopatra. In the 1977 parody film The Kentucky Fried Movie, a mock trailer for Cleopatra Schwartz depicts another Grier-like action star married to a rabbi. In a famous scene in Reservoir Dogs, the protagonists discuss Get Christie Love!, a mid-1970s blaxploitation television series. In the catalytic scene of True Romance, the characters watch the movie .

John Singleton's (2000), starring Samuel L. Jackson, is a modern-day interpretation of a classic blaxploitation film. The 1997 film starring Laurence Fishburne portrays a fictional account of black mobster Ellsworth "Bumpy" Johnson and recasts gangster blaxploitation with a 1930s twist. In 2004, Mario Van Peebles released Baadasssss!, about the making of his father Melvin's movie (with Mario playing Melvin). 2007's American Gangster, based on the true story of heroin dealer Frank Lucas, takes place in the early 1970s in Harlem and has many elements similar in style to blaxploitation films, specifically its prominent featuring of the song " Across 110th Street".

Blaxploitation films have profoundly impacted contemporary hip-hop culture. Several prominent hip hop artists, including Snoop Dogg, Big Daddy Kane, Ice-T, Slick Rick, and Too Short, have adopted the no-nonsense pimp persona popularized first by ex-pimp Iceberg Slim's 1967 book Pimp and subsequently by films such as , , and Willie Dynamite. In fact, many hip-hop artists have paid tribute to pimping within their lyrics (most notably 50 Cent's hit single " P.I.M.P.") and have openly embraced the pimp image in their music videos, which include entourages of scantily-clad women, flashy jewelry (known as ""), and luxury Cadillacs (referred to as " pimpmobiles"). The most famous scene of The Mack, featuring the "Annual Players Ball", has become an often-referenced pop culture icon-most recently by Chappelle's Show, where it was parodied as the "Playa Hater's Ball". The genre's overseas influence extends to artists such as Norway's hip-hop duo Madcon.

In Michael Chabon's novel Telegraph Avenue, set in 2004, two characters are former blaxploitation stars.

In 1980, opera director Peter Sellars (not to be confused with actor Peter Sellers) produced and directed a staging of Mozart's opera Don Giovanni in the manner of a blaxploitation film, set in contemporary Spanish Harlem, with African-American singers portraying the anti-heroes as street-thugs, killing by gunshot rather than with a sword, using recreational drugs, and partying almost naked. It was later released on commercial video and can be seen on YouTube.

A 2016 video game, , is set in the year 1968 and revolves around Lincoln Clay, a mixed-race African American orphan raised by "black mob". After the murder of his surrogate family at the hands of the Italian mafia, Lincoln Clay seeks vengeance on those who took away the only thing that mattered to him.

The notoriety of the blaxploitation genre has led to many parodies. The earliest attempts to mock the genre, Ralph Bakshi's and Rudy Ray Moore's , date back to the genre's heyday in 1975.

Coonskin was intended to deconstruct racial stereotypes, from early minstrel show stereotypes to more recent stereotypes found in blaxploitation film itself. The work stimulated great controversy even before its release when the Congress of Racial Equality challenged it. Even though distribution was handed to a smaller distributor who advertised it as an exploitation film, it soon developed a cult following with black viewers.

Dolemite, less serious in tone and produced as a spoof, centers around a sexually active black pimp played by Rudy Ray Moore, who based the film on his stand-up comedy act. A sequel, The Human Tornado, followed.

Later spoofs parodying the blaxploitation genre include I'm Gonna Git You Sucka, Pootie Tang, Undercover Brother, Black Dynamite, and The Hebrew Hammer, which featured a Jewish protagonist and was jokingly referred to by its director as a "Jewsploitation" film.

Robert Townsend's comedy Hollywood Shuffle features a young black actor who is tempted to take part in a white-produced blaxploitation film.

The satirical book Our Dumb Century features an article from the 1970s entitled "Congress Passes Anti-Blaxploitation Act: Pimps, Players Subject to Heavy Fines".

FOX's network television comedy, , has frequently spoofed the Rudy Ray Moore-created franchise , with a series of sketches performed by comic actor Aries Spears, in the role of "The Son of Dolemite". Other sketches include the characters " Funkenstein", " Dr. Funkenstein" and more recently Condoleezza Rice as a blaxploitation superhero. A recurring theme in these sketches is the inexperience of the cast and crew in the blaxploitation era, with emphasis on ridiculous scripting and shoddy acting, sets, costumes, and editing. The sketches are testaments to the poor production quality of the films, with obvious boom mike appearances and intentionally poor cuts and continuity.

Another of FOX's network television comedies, starring Martin Lawrence, frequently references the blaxploitation genre. In the Season Three episode "All The Players Came", when Martin organizes a "Player's Ball" charity event to save a local theater, several stars of the blaxploitation era, such as Rudy Ray Moore, Antonio Fargas, Dick Anthony Williams and Pam Grier all make cameo appearances. In one scene, Martin, in character as aging pimp "Jerome", refers to Pam Grier as " Sheba, Baby" in reference to her 1975 blaxploitation feature film of the same name.

In the movie Leprechaun in the Hood, a character played by Ice-T pulls a baseball bat from his Afro. This scene alludes to a similar scene in , in which Pam Grier hides a small semi-automatic pistol in her Afro.

Adult Swim's Aqua Teen Hunger Force series has a recurring character called "Boxy Brown" - a play on Foxy Brown. An imaginary friend of Meatwad, Boxy Brown is a cardboard box with a crudely drawn face with a French cut that dons an afro. Whenever Boxy speaks, '70s funk music, typical of blaxploitation films, plays in the background. The cardboard box also has a confrontational attitude and dialect similar to many heroes of this film genre.

Some of the TVs found in the action video game Max Payne 2: The Fall of Max Payne feature a Blaxploitation-themed parody of the original game called Dick Justice, after its main character. Dick behaves much like the original Max Payne (down to the "constipated" grimace and metaphorical speech) but wears an afro and mustache and speaks in Ebonics.

Duck King, a fictional character created for the video game series , is a prime example of foreign black stereotypes.

The sub-cult movie short Gayniggers from Outer Space is a blaxploitation-like science fiction oddity directed by Danish filmmaker, DJ, and singer Morten Lindberg.

Jefferson Twilight, a character in The Venture Bros., is a parody of the comic-book character Blade (a black, half human, half-vampire vampire hunter), as well as a blaxploitation reference. He has an afro, sideburns, and a mustache. He carries swords, dresses in stylish 1970s clothing, and says that he hunts "Blaculas". He looks and sounds like Samuel L. Jackson.[citation needed ]

A scene from the Season 9 episode of The Simpsons, " Simpson Tide", shows Homer Simpson watching Exploitation Theatre. A voice-over announces fake movie titles such as The Blunch Black of Blotre Blame.

Martha Southgate's 2005 novel Third Girl from the Left is set in Hollywood during the era of blaxploitation films and references many blaxploitation films and stars such as Pam Grier and Coffy.

Uptight (film) a 1968 American drama film directed by Jules Dassin. It was intended as an updated version of John Ford's 1935 film The Informer, based on the book of the same name by Liam O'Flaherty, but the setting was transposed from Dublin to Cleveland. The soundtrack was performed by Booker T. & the MG's. This movie follows the story of a Black nationalist organization in Cleveland (largely based in the Hough and Glenville neighborhoods) who becomes disillusioned with non-violence after the assassination of Martin Luther King Jr and prepares for urban guerilla warfare.

Sweet Sweetback's Baadasssss Song is written, produced, scored, directed by and stars Melvin Van Peebles. The hero, named Sweetback because of his sexual powers, is an apolitical sex worker. His pimp, Beadle, makes a deal with a couple of police officers to let them take Sweetback into the station so it looks like the cops are picking up suspects. While Sweetback is in custody, the police arrest a young black militant and take him to a rural area to torture him. Sweetback steps in and beats the police unconscious. With the police chasing him, Sweetback comes to understand the power of the black community sticking together. He uses his ingenuity and survival skills to outwit the police and escape to Mexico. Music by Earth Wind & Fire.

(dir. Gordon Parks) features Richard Roundtree as detective John Shaft. The soundtrack features contributions from Isaac Hayes, whose recording of the titular song won several awards, including an Academy Award. Shaft was deemed culturally relevant by the Library of Congress, and it spawned two sequels, Shaft's Big Score (1972) and Shaft in Africa (1973), as well as a short-lived TV series starring Roundtree. The concept was revived in 2000 with an all-new sequel starring Samuel L. Jackson as the nephew of the original John Shaft, with Roundtree reprising his role as the original Shaft. A direct sequel to the 2000 film was released in 2019, also titled .

The Bus Is Coming is a 1971 American drama film about a young black soldier who returns home to Los Angeles from combat in Vietnam to find out that his brother had been killed by a gang of racist cops. He struggles between maintaining his beliefs surrounding liberalism and centrism, or being radicalized from his brothers death, and possibly joining the Black nationalist organization the Black Fist. This movie was directed by Wendell James Franklin and starred Mike B. Simms and, Burl Bullock.

(dir. George Armitage) is the story of an Oakland hit man, played by former NFL player Bernie Casey, who comes to Los Angeles after his brother is murdered. He learns that his niece has been forced into pornography. She is eventually murdered. He sets out to murder everyone directly involved, from a porn star (Pam Grier), to a theater owner (Ed Cambridge), to a man he looked up to as a child (Rudy Challenger), and a mobster (Don Diamond).

(dir. Gordon Parks Jr.) features a soundtrack by Curtis Mayfield. Super Fly is one of the most controversial, profitable and popular classics of the genre.

Hammer (dir. Bruce D. Clark) stars Fred Williamson as B.J. Hammer, a boxer who gets mixed up with a crooked manager who wants him to throw a fight for the Mafia.

Across 110th Street (dir. Barry Shear) is a crime thriller about two detectives (played by Anthony Quinn and Yaphet Kotto) who try to catch a group of robbers who stole $300,000 from the Mob before the Mob catches up with them. The title track by Bobby Womack reached #19 on the Billboard Black Singles Chart.

Black Mama, White Mama is a women in prison film partly inspired by The Defiant Ones (1958) starring Pam Grier and Margaret Markov in the roles originated by Sidney Poitier and Tony Curtis.

is a take on which features an African prince (played by William H. Marshall) who is bitten and imprisoned by Count Dracula. Once freed from his coffin, he spreads terror in modern-day Los Angeles.

(dir. Hugh Robertson) features music by Jerry Peters and Jerry Butler.

stars Jim Brown as an ex-Green Beret who seeks revenge against a crime syndicate for the murder of his parents. It spawned the sequel, Slaughter's Big Rip-Off (1973).

The Final Comedown (dir. Oscar Williams) features music by Grant Green and Wade Marcus, and stars Billy Dee Williams. The film is an examination of racism in the United States and depicts a shootout between a radical black nationalist group and the police, with the backstory leading up to the shootout told through flashbacks.

Black Gunn is a 1972 American neo-noir crime thriller film, directed by Robert Hartford-Davis and starring Jim Brown, Martin Landau, Brenda Sykes, Herbert Jefferson Jr. and Luciana Paluzzi. The film is considered an entry blaxploitation sub-genre, but is unique to the genre in several different ways. The film is set in Los Angeles where a nighttime robbery of an illegal mafia bookmaking operation is carried out by the militant African-American organization BAG (Black Action Group). Though successful, several of the bookmakers and one of the burglars are killed. The mastermind behind the robbery, a Vietnam veteran named Scott, is the brother of a prominent nightclub owner, Gunn. Seeking safe haven, Scott hides out at his brother's mansion after a brief reunion.

Blackenstein is a parody of Frankenstein and features a black Frankenstein's monster.

Cleopatra Jones (1973) and its sequel, Cleopatra Jones and the Casino of Gold (1975), star Tamara Dobson as a karate-chopping government agent, with the mutual support of the Black Nationalist B&S (Brothers & Sisters) House. The first film marks the beginning of a subgenre of blaxploitation films focusing on strong female leads taking an active role in shootouts and fights. Some of these films include , Black Belt Jones, and T.N.T. Jackson.

, Pam Grier stars as Coffy, a nurse turned vigilante who takes revenge on all those who hooked her 11-year-old sister on heroin. Coffy marks Grier's biggest hit and was re-worked for Foxy Brown, Friday Foster and .

is a film starring Max Julien and Richard Pryor. It was produced during the era of such Blaxploitations as Dolemite. It is not considered by its makers a true blaxploitation picture. It is more a social commentary according to Mackin' Ain't Easy, a documentary about the making of The Mack, which can be found on the DVD edition of the film. The movie tells the story of the life of John Mickens (a.k.a. Goldie), a former drug dealer recently released from prison who becomes a big-time pimp. Standing in his way is another pimp: Pretty Tony. Two corrupt white cops, a local crime lord, and his own brother (a black nationalist), all try to force him out of the business. Set in Oakland, California, it was the highest grossing blaxploitation of its time. Its soundtrack was recorded by Motown artist Willie Hutch.

Scream Blacula Scream is the sequel to Blacula. William H. Marshall reprises his role as Blacula/Mamuwalde.

The Spook Who Sat By the Door is adapted from Sam Greenlee's novel and directed by Ivan Dixon with music by Herbie Hancock. A token black CIA employee, who is secretly a black nationalist, leaves his position to train a street gang in CIA tactics and guerilla warfare to become an army of "freedom fighters". The film was reportedly pulled from distribution because of its politically controversial message and depictions of an American race war. Until its 2004 DVD release, it was hard to find, save for infrequent bootleg VHS copies. In 2012, the film was included in the USA Library of Congress National Film Registry.

Superfly TNT (dir. Ron O'Neil)

Hell Up in Harlem is the sequel to Black Caesar and stars Fred Williamson and Gloria Hendry, with a soundtrack by Motown singer Edwin Starr.

is a version of The Exorcist and stars Carol Speed as a virtuous young woman possessed by a demon. Ms. Speed also sings the title song. William H. Marshall (of fame) conducts the exorcism of Abby on the floor of a discotheque. A hit in its time, it was later pulled from the theaters after Warner Bros. successfully sued AIP over copyright issues.

Black Belt Jones, Jim Kelly, who is better known for his role as "Mister Williams" in the Bruce Lee film Enter the Dragon, is given a leading role. He plays Black Belt Jones, a federal agent/martial arts expert who takes on the mob as he avenges the murder of a karate school owner.

Black Eye is an action-mystery starring Fred Williamson as a private detective investigating murders connected with a drug ring.

is largely a remake of the hit film Coffy. Pam Grier once again plays a nurse on a vendetta against a drug ring, who seeks help from the Black Panthers. Originally written as a sequel to Coffy, the film's working title was Burn, Coffy, Burn!. The soundtrack was recorded by Willie Hutch.

Claudine (film): Music by Curtis Mayfield and Gladys Knight & the Pips. Cast/Diahann Carroll.

Three Tough Guys stars Isaac Hayes and music by Isaac Hayes.

Together Brothers is set in Galveston, Texas, where a street gang solves the murder of a Galveston, TX police officer (played by Ed Bernard who has been a mentor to the gang leader). This was the first blaxploitation film to feature a transgender character as the villain. Galveston, TX native Barry White composed the score. The soundtrack features music by the Love Unlimited Orchestra.

Truck Turner (dir. Jonathan Kaplan) stars Isaac Hayes, Yaphet Kotto and Nichelle Nichols. A former football player turned bounty hunter is pitted against a powerful prostitution crime syndicate in Los Angeles. Music by Isaac Hayes.

Willie Dynamite, Roscoe Orman (Gordon from Sesame Street fame) plays a pimp. As in many blaxploitation films, the lead character drives a customized Cadillac Eldorado Coupe (the same car was used in Magnum Force).

Sheba, Baby, a female private eye (Pam Grier) tries to help her father save his loan business from a gang of thugs.

The Black Gestapo, Rod Perry plays General Ahmed, who has started an inner-city People's Army to try to relieve the misery of the citizens of Watts, Los Angeles. When the Mafia moves in, they establish a military-style squad.

Boss Nigger, along with his friend Amos (D'Urville Martin), Boss Nigger (Fred Williamson) takes over the vacated position of Sheriff in a small western town in this Western blaxploitation film. Because of its controversial title, it was released in some markets as The Boss, The Black Bounty Killer or The Black Bounty Hunter.

(dir. Ralph Bakshi) is a controversial animated/live-action film about Br'er Fox, Br'er Rabbit and Br'er Bear in a blaxploitation parody of Disney's Song of the South. It features the voice of Barry White as Br'er Bear.

is also the name of its principal character, played by Rudy Ray Moore, who co-wrote the script. Moore had developed the alter-ego as a stand-up comedian and released several comedy albums using this persona. The film was directed by D'Urville Martin, who appears as the villain Willie Green. The film has attained cult status, earning it a following and making it more well-known than many of its counterparts. A sequel, The Human Tornado, was released in 1976.

is based on a series of lurid Civil War novels and focuses on the abuses of slavery and the sexual relations between slaves and slave owners. It features Richard Ward and Ken Norton. It was followed by a sequel, (1976) starring Pam Grier.

The Candy Tangerine Man opens with pageantry pimp Baron (John Daniels) driving his customized two-tone red and yellow Rolls-Royce around downtown L.A at night. His ladies have been coming up short lately and he wants to know why. It turns out that two L.A.P.D. cops - Dempsey and Gordon, who have been after Baron for some time now, have resorted to rousting his girls every chance they get. Indeed, in the next scene they have set Baron up with a cop in drag to entrap him with procurement of prostitutes.

Let's Do It Again, Music: Composed by Curtis Mayfield.

Welcome Home Brother Charles. After being released from prison, a wrongfully imprisoned black man takes vengeance on those who previously crossed him by strangling them with his penis.

Ebony, Ivory & Jade (dir. Cirio Santiago) (also known as She Devils in Chains, American Beauty Hostages, Foxfire, Foxforce), features three female athletes who are kidnapped during an international track meet in Hong Kong and fight their way to freedom. This is another cross-genre blend of blaxploitation and martial arts action films.

The Muthers is another Cirio Santiago combination of Filipino martial arts action and women-in-prison elements. Jeanne Bell and Jayne Kennedy rescue prisoners held at an evil coffee plantation.

Passion Plantation (a.k.a. Black Emmanuel, White Emmanuel) is a blend of the Mandingo and Emmanuelle, erotic films with interracial sex and savagery.

Velvet Smooth, Johnnie Hill is a female private detective hired to infiltrate the criminal underworld.

The Human Tornado a.k.a. Dolemite II, Rudy Ray Moore reprises his role as Dolemite in the sequel to the 1975 film .

J. D.'s Revenge, a club driver is possessed by a dead gangster who seeks revenge for his murder over 30 years ago.

Petey Wheatstraw (a.k.a. Petey Wheatstraw, the Devil's Son-In-Law) is written by Cliff Roquemore and stars popular blaxploitation genre comedian Rudy Ray Moore along with Jimmy Lynch, Leroy Daniels, Ernest Mayhand and Ebony Wright. It is typical of Moore's other films of the era, and The Human Tornado, in that it features Moore's rhyming dialogue.

Death Dimension is a martial arts film directed by Al Adamson and starring Jim Kelly, Harold Sakata, George Lazenby, Terry Moore, and Aldo Ray. The film also goes by the names Death Dimensions, Freeze Bomb, Icy Death, The Kill Factor and Black Eliminator. A scientist, Professor Mason, invents a powerful freezing bomb for a gangster leader nicknamed "The Pig" (Sakata).

Disco Godfather, also known as The Avenging Disco Godfather, is an action film starring Rudy Ray Moore and Carol Speed. Moore's character, a retired cop, owns and operates a disco and tries to shut down the local angel dust dealer after his nephew becomes hooked on the drug.

The Last Dragon (1985) is a martial arts action film with blaxploitation elements.

Original Gangstas (1996) brings together 1970s blaxploitation stars Pam Grier, Richard Roundtree, Fred Williamson and Jim Brown.

Jackie Brown (1997, dir. Quentin Tarantino) stars Pam Grier and Samuel L. Jackson in an homage to the blaxploitation genre. Based on the Elmore Leonard novel Rum Punch, Tarantino's title change, casting of Grier and 1970s-style poster art, are all references to Grier's 1974 film Foxy Brown.

Pootie Tang (2001) incorporates many blaxploitation elements comedically.

The Return of Dolemite (2002), the third chapter to the Dolemite series, later retitled as The Dolemite Explosion for the DVD release.

Hookers In Revolt (2008, dir. Sean Weathers). With its prevalence of pimps and prostitutes, it is an inventive throwback to early 1970s blaxploitation.

(2018) is an action thriller starring Taraji P. Henson and Danny Glover.

Blaxploitation Films by Mikel J. Koven, 2010, Kamera Books, ISBN 978-1-903047-58-3

"The So Called Fall of Blaxploitation" by Ed Guerrero, The Velvet Light Trap #64 Fall 2009

"Black Outlaws and the Struggle for Empowerment in Blaxploitation Cinema," by Joshua K. Wright, Spectrum: A Journal on Black Men, Vol. 2, No. 2 (Spring 2014), pp. 63-86 (24 pages), Indiana University Press on JStor.

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Blaxploitation is an ethnic subgenre of the exploitation film that emerged in the United States during the early 1970s. The term, a portmanteau of the words "black" and "exploitation", was coined in August 1972 by Junius Griffin, the president of the Beverly Hills-Hollywood NAACP branch.

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copy or cover / stealing or being inspired

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Anderson .PAAK & NXWORRIES sampling Gil
https://philharmoniedeparis.fr/fr/magazine/perspectives/gil-scott-heron-anderson-paak

Anderson .PAAK
https://youtu.be/ferZnZ0_rSM

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Hip Hop Samples Taken From Gil Scott-Heron

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CO bac anglais: Segregation and Jim Crow Laws (with script)

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1

blues / jazz (n.)

country / folk (n.)

hard rock / heavy metal (n.)

rhythm and blues (n.)

rock and roll (n.)

2

amp(lifier) (n.)

drums / drum machine (n.)

guitar/ bass guitar (n.)

piano / keyboard (n.)

saxophone / trumpet (n.)

turntables / sampler (n.)

3

civil rights movement (exp.)

hippy movement (n.)

racial conflicts (n.)

segregation / slavery (n.)

riots (n.)

4

sold-out (adj.)

concert hall / venue (n.)

encore / clap (n.)

gig / concert / live performance (n.)

lighting effects (n.)

rehearsal (n.)

on stage (n.)

soundcheck (n.)

supporting artist / band (n.)

5

copyright (n.)

cover (n.)

major / indie record labels (exp.)

promotion / touring (n.)

6

role model / iconic figure (exp.)

agent / manager / producer (n.)

(guitar...) player / performer (n.)

lead singer (backing vocalist) (n.)

sound engineer (n.)

7

inspiring (adj.)

entertain (v.)

fight against prejudice (v.)

influence (v.)

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Who Will Survive in America -  Gil Scott Heron poem Kanye West music

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Who Will Survive in America - Kanye West (with Gil Scott Heron)

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03 REPRÉSENTER LE MONDE ET SE REPRÉSENTER

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03 REPRÉSENTER LE MONDE ET SE REPRÉSENTER

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production et circulation des savoirs

sciences et techniques, promesses et défis

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faire entendre sa voix : représentation et participation

informer et s'informer

représenter le monde et se représenter

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Winner Cannes Palme D'Or - Ken Loach

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I, Daniel Blake - Official Trailer I HD I Sundance Selects

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Kenneth Charles Loach (born 17 June 1936) is an English filmmaker. His socially critical directing style and socialist ideals are evident in his film treatment of social issues such as poverty (, 1967), homelessness (Cathy Come Home, 1966), and labour rights (, 1991, and The Navigators, 2001).

Loach's film (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 one of only nine filmmakers to win the award twice.

Loach, a social campaigner for most of his career, believes the current criteria for claiming benefits in the UK are "a Kafka-esque, situation designed to frustrate and humiliate the claimant to such an extent that they drop out of the system and stop pursuing their right to ask for support if necessary".

Kenneth Charles Loach was born on 17 June 1936 in Nuneaton, Warwickshire, the son of Vivien (née Hamlin) and John Loach. He attended King Edward VI Grammar School and went on to read law at St Peter's College, Oxford. He graduated with a law degree in 1957. As a member of the Oxford University Experimental Theatre Club he directed an open-air production of Bartholomew Fair for the Shakespeare Memorial Theatre, Stratford, in 1959 (when he also took the role of the shady horse-dealer Dan Jordan Knockem). After Oxford, he spent two years in the Royal Air Force and then began a career in the dramatic arts.

Loach worked first as an actor in regional theatre companies and then as a director for BBC Television. His 10 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. 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. 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.

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". Coinciding with his work for The Wednesday Play, Loach began to direct feature films for the cinema, with (1967) and (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 well received, 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. The British Film Institute named it No 7 in its list of best British films of the twentieth century, published in 1999.

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. 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.

Days of Hope (1975) is a four part drama for the BBC directed by Loach from scripts by dramatist Jim Allen. The first episode of the series caused considerable controversy in the British media owing to its critical depiction of the military in World War I, 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. An ex-serviceman subsequently contacted newspaper with an illustration from the time of a similar scene.

Loach's documentary A Question of Leadership (1981) 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. Anthony Hayward claimed in 2004 that the media tycoon Robert Maxwell had put pressure on Central Television's board (Central was the successor to the original production company Associated Television), 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.[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. 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.

Working again with Jim Allen, Loach was due to direct Allen's play at the Royal Court Theatre in 1987. In the play Jewish leaders in Nazi-occupied Hungary allow half a million Jews to be killed in pursuit of a Zionist state in Palestine. However, following protests and allegations of antisemitism, the play was cancelled 36 hours before its premiere.

In 1989, Loach directed a short documentary Time to go that called for the British Army to be withdrawn from Northern Ireland, which was broadcast in the BBC's Split Screen series.

From the late 1980s, Loach directed theatrical feature films more regularly, a series of films such as Hidden Agenda (1990), dealing with the political troubles in Northern Ireland, Land and Freedom (1995), examining the Republican resistance in the Spanish Civil War and Carla's Song (1996), which was set partially in Nicaragua. He directed the Courtroom Drama reconstructions in the docu-film , concerning McDonald's Restaurants v Morris & Steel, the longest libel trial in English history. Interspersed with political films were smaller dramas such as Raining Stones (1993) 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, a political-historical drama about the Irish War of Independence and the subsequent Irish Civil War during the 1920s. Like Hidden Agenda before it, The Wind That Shakes the Barley was criticised for allegedly being too sympathetic to the Irish Republican Army and Provisional Irish Republican Army. This film was followed by It's a Free World... (2007), a story of one woman's attempt to establish an illegal placement service for migrant workers in London.

Throughout the 2000s, Loach interspersed wider political dramas such as Bread and Roses (2000), which focused on the Los Angeles janitors strike and Route Irish (2010) set during the Iraq occupation with smaller examinations of personal relationships. Ae Fond Kiss... (aka, Just a Kiss, 2004) explored an inter-racial love affair, Sweet Sixteen (2002) concerns a teenager's relationship with his mother and My Name Is Joe (1998) an alcoholic's struggle to stay sober. His most commercial later film is Looking for Eric (2009), featuring a depressed postman's conversations with the ex- Manchester United footballer Eric Cantona appearing as 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.

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".

The Angels' Share (2013) is centred on a young Scottish troublemaker who is given a final opportunity to stay out of jail. Newcomer Paul Brannigan, then 24, from Glasgow, played the lead role. The film competed for the Palme d'Or at the 2012 Cannes Film Festival where Loach won the Jury Prize. Jimmy's Hall (2014) was selected to compete for the Palme d'Or in the main competition section at the 2014 Cannes Film Festival. Loach 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.

Loach won his second Palme d'Or for I, Daniel Blake (2016). In February 2017, the film was awarded a BAFTA as "Outstanding British Film".

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".

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.

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.

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 and , Scouse in The Big Flame, Lancashire dialect in Raining Stones, 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. 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.

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, while The Big Flame (1969) for the BBC was an early instance of the word shit, and the certificate to Kes caused some debate owing to the profanity, 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.

Feminist writer 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. Bindel also wrote, "Loach appears not to know gay people exist".

Loach first joined the Labour Party from the early 1960s. In the 1980s, he was in the Labour Party because of the presence of "a radical element that was critical of the leadership", but Loach had left the Labour Party by the mid-1990s after being a member for 30 years. During the 1960s and 1970s, he was associated with (or a member of) the Socialist Labour League (later the Workers Revolutionary Party), the International Socialists (later the Socialist Workers Party or SWP) and the International Marxist Group.

He was involved in Respect - The Unity Coalition from its beginnings in January 2004, and stood for election to the European Parliament on the Respect list in 2004. Loach was elected to the national council of Respect the following November. When Respect split in 2007, Loach identified with Respect Renewal, the faction identified with George Galloway. Later, his connection with Respect ended.

Together with John Pilger and Jemima Khan, Loach was among the six people in court who offered surety for Julian Assange when he was arrested in London on 7 December 2010. The money was forfeited when Assange skipped bail to seek asylum in the Embassy of Ecuador, London.

Loach supported the Trade Unionist and Socialist Coalition in the 2012 London Assembly election. 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 which was founded as Left Unity on 30 November. Left Unity candidates gained an average of 3.2% in the 2014 local elections. Loach gave a press conference during the launch of Left Unity's manifesto for the 2015 general election.

In a letter sent to The Guardian in 2009, Loach advocated support for the Palestine Campaign for the Academic and Cultural Boycott of Israel (PACBI) along with his regular colleagues Paul Laverty (writer) and Rebecca O'Brien (producer).

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". 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.

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". Speaking at the launch of the Russell Tribunal on Palestine on 4 March 2009, he asserted that "nothing has been a greater instigator of antisemitism than the self-proclaimed Jewish state itself".

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 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. Her film Surrogate (2008) is a comedy set in a sex-therapy clinic which is unconcerned with war or politics. 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". 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.

In June 2009, Loach, Laverty and O'Brien withdrew their film Looking For Eric from the Melbourne International Film Festival, where the Israeli Embassy is a sponsor, after the festival declined to withdraw that sponsorship. 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". An article in The Scotsman by Alex Massie 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.

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.

Loach is a member of the Labour Party. In August 2015, he endorsed Jeremy Corbyn's Labour leadership campaign. In September 2016, Loach's one-hour documentary In Conversation with Jeremy Corbyn was released during the second leadership election.

In May 2017, he directed an election broadcast featuring a profile of Jeremy Corbyn for the Labour Party's general election campaign. In all, he has made three broadcasts for the party.

In interviews in September and October 2019 Loach said MPs around Corbyn had not acted as a team and that most would prefer a rightwing leader. He said the Labour leadership had "compromised too much with the Labour right". He accused the right of the party, including Tom Watson, of aiming to destroy the socialist programme put forward by Corbyn. He suggested that sitting Labour MP's and councillors should reapply for their jobs before each election so that they could be judged on their record. He also demanded that Labour people make a case for socialism including "[en]hancing trade union rights, planning the economy, investing in the regions, kicking out the privatised elements of the NHS". He considered issues such as health, schools, poverty, inequality and climate change as more important than Brexit.

In November 2019, Loach endorsed the Labour Party in the 2019 UK general election. In December 2019, along with 42 other leading cultural figures, he signed a letter endorsing the Labour Party under Corbyn's leadership in the 2019 general election. The letter stated that "Labour's election manifesto under Jeremy Corbyn's leadership offers a transformative plan that prioritises the needs of people and the planet over private profit and the vested interests of a few."

Views on allegations of antisemitism in the Labour Party

At the Labour Party conference in September 2017, Loach said he had been going to Labour Party, trade union and left wing meetings for over 50 years and had never heard anti-Semitic or racist remarks, although such views certainly existed in society. When asked about allegations of antisemitic abuse made by Ruth Smeeth MP, he suggested that they were raised to destabilise Corbyn's leadership, due to his support for Palestinian rights. He was also asked about a conference fringe event at which Miko Peled suggested people should be allowed to question whether the Holocaust had happened. Loach responded: "I think history is for all of us to discuss. The founding of the state of Israel, for example, based on ethnic cleansing, is there for us all to discuss, so don't try and subvert that by false stories of antisemitism". Following the publication of articles by Jonathan Freedland and Howard Jacobson which were critical of him, he denied that he felt it was acceptable to question the reality of the Holocaust, adding that it was as real a historical event as the Second World War itself and not to be challenged.

In April 2018, Loach was reported to have said, at a screening of I, Daniel Blake organised by Kingswood Labour Party, that those Labour MPs who had attended a rally in Parliament Square the previous month opposing alleged antisemitism in the Labour Party should be deselected or, as he reputedly expressed it, "kicked out" because of their lack of support for the current manifesto. Asked for clarification, Loach said the quoted remarks "do not reflect my position" and that "Reselecting an MP should not be based on individual incidents but reflect the MP's principles, actions and behaviour over a long period."

In July 2019, Panorama aired an episode entitled "Is Labour Anti-Semitic?", in which eight former members of Labour Party staff said that senior Labour figures had intervened to downgrade punishments handed out to members over antisemitism. Loach commented saying "it raised the horror of racism against Jews in the most atrocious propagandistic way, with crude journalism ... and it bought the propaganda from people who were intent on destroying Corbyn".

Loach lives with his wife, Lesley, in Bath. 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, one of whom is Emma Loach (born 1972), a documentary film maker who is married to the actor Elliot Levey.

Loach is a patron of the British Humanist Association and a secularist, saying "In particular, the indoctrination of children in separate faith schools is pernicious and divisive. I strongly support the British Humanist Association."

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.

Loach has been awarded honorary doctorates by the University of Bath, the University of Birmingham, Staffordshire University, and Keele University. 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. In May 2006, he was awarded the BAFTA Fellowship at the BAFTA TV Awards.

In 2003, Loach received an Honorary Doctorate from Heriot-Watt University and 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. 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." He was also made Honorary Associate of London Film School.

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.

In April 2018, Loach was awarded an honorary doctorate by the Université libre de Bruxelles. Belgium's Prime Minister Charles Michel objected. Belgian Jewish organisations campaigned for Loach not to receive the honorary doctorate. The previous evening, during a speech at Brussels Grand Synagogue, to mark the 70th anniversary of Israel's foundation, Michel said: "No accommodation with antisemitism can be tolerated, whatever its form. And that also goes for my own alma mater". His office told the Belgian De Standaard news website the comments could apply to Loach's honorary doctorate.

At a press conference before the award, Loach asked: "Is the law so badly taught here? Or did he not pass his exam?" In a press release, Loach said the claim about his alleged antisemitism was "malicious". The rector of the Free University of Brussels, Yvon Englert, supported Loach.

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)

The Coming Out Party (The Wednesday Play, 1965)

The Golden Vision (The Wednesday Play, 1968)

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)

Loach is arguably the most successful director in the history of the prestigious Cannes Film Festival. Films of his have won the Palme d'Or, the festival's top award, a joint-record twice ( The Wind That Shakes the Barley in 2006 and I, Daniel Blake in 2016), the Jury Prize a joint-record three times ( Hidden Agenda in 1990, Raining Stones in 1993, and The Angels' Share in 2012) as well as the FIPRESCI Prize three times ( Black Jack in 1979, Riff-Raff in 1991 and Land and Freedom in 1995) and the Prize of the Ecumenical Jury twice ( Land and Freedom in 1995 and Looking for Eric in 2009). Loach's collaborators have also won awards at the festival for their work on his films: Peter Mullan won Best Actor for My Name Is Joe in 1998, and Paul Laverty won Best Screenplay for Sweet Sixteen in 2002.

While Loach's films have only occasionally been entered into the Venice and Berlin Film Festivals (generally regarded as the main rivals of Cannes), he has won awards at both, including, most notably, their respective lifetime achievement awards: the Honorary Golden Lion in 1994, and the Honorary Golden Bear in 2014.

Other major awards won by Loach include the BAFTA for Outstanding British Film ( I, Daniel Blake in 2016) and BIFA Award for Best British Independent Film ( My Name is Joe in 1998 and Sweet Sixteen in 2002), the Cesar Award for Best Foreign Film ( Land and Freedom in 1995 and I, Daniel Blake in 2016), the European Film Award for Best Film ( Riff-Raff in 1992 and Land and Freedom in 1995), and the Belgian Film Critics Association Grand Prix ( Raining Stones in 1993).

In addition, Loach's 1969 classic Kes was judged the 7th best British film of the 20th century by the British Film Institute, and the 4th best British film ever made by , while his 1966 television play Cathy Come Home was ranked the second best British TV programme, also by the BFI, and the best ever single television drama in a readers' poll conducted by the Radio Times. Loach's 1997/2005 documentary McLibel, meanwhile, featured in the BFI's landmark Ten Documentaries which Changed the World series.

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Kenneth Charles Loach (born 17 June 1936) is an English filmmaker. His socially critical directing style and socialist ideals are evident in his film treatment of social issues such as poverty (, 1967), homelessness (Cathy Come Home , 1966), and labour rights (, 1991, and The Navigators , 2001).

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I, Daniel Blake - Clip "Shoplifting'' I HD I IFC Films

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Culture in Newcastle | Newcastle City Council

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For other places with the same name, see Newcastle.

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I, Daniel Blake | A Sociological Analysis

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Is there hope where there is help?
The power of education

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I, Daniel Blake - Clip "Help" I HD I IFC Films

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Ken LOACH was born on the 17th of June, 19 / 36
(USA: he was born on June, 17th, 19 / 36)

Kenneth Charles LOACH is a film director and a screenwriter. His films often deal with social issues and create polemics. He won several awards.
He started his career as an actor. He is now 86 but is not retired and he is still working.

polemic (noun): a controversial argument, refuting or attacking an opinion or a doctrine.

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Ken Loach, where is he from?

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What can you do when put under pressure?

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What can you do when put under pressure?

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1. https://membed.net/videos/i-daniel-blake

2. https://www.putlockers.do/movie/i-daniel-blake-39145.html (Mixdrop server)

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to pretend
to apply for a job online
to break down
to starve
to believe
to collapse

food bank
look for support
give support to

appeal
wase time and money
tag
computer
appointment
carpenter
allowance
income
single mother
superviser
300 quid in my pocket
lads
block
shilla
health condition
shoplifting
fill in a form
CV workshop
online job searches
self respect
take my jacket
you're creating a scene
caution sheet
criminal damage
re-offend
keep youself outside of trouble
heart attack

I'll be seeing you later

cheap
expensive

cheaper / cheapest
more expensive / most expensive

Where is London?
Where is Newscastel?

On the one hand...
On the other hand...

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How Margaret Thatcher accidentally revived British cinema

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How Margaret Thatcher accidentally revived British cinema - Macleans.ca

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Jaime J. Weinman on the art created in the wake of Thatcherism

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The prime minister of UK from 1979 to 1990, liked to patronise and 'educate' the people of her Downing Streets

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"look at yourself first" says the "iron lady"

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"look at yourself first" says the "iron lady"

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A rebel with a paint spray: a hero is born.

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Crass - How Does It Feel (to be the mother of a thousand dead)? (Remastered)

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Margaret Thatcher to Women's Own magazine, October 3 1987

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In other words the government sets the rules of society and no one should complain about their consequences on one's personal life. This frame of mind shaped the UK in the 80's and signed the end of socialism in the country.

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Margaret Thatcher: There's No Such Thing as Society

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Margaret Thatcher's quote There is no such thing as society has seen wide circulation. Often used to condemn Thatcher and the Conservative Government under her as uncaring and promoting atomistic individualism that left many behind and damaged the solidarity of British society. However it is worth considering the quote in full before a rush to judgement.

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1. ÉDITEUR DU SITE

Vous êtes actuellement connecté au site " e-didier.fr " (ci-après " le Site ").
Le site est édité par la société Editions Didier, S.N.C au capital de 3 404 000 euros, enregistrée au Registre du Commerce et des Sociétés de Paris sous le numéro RC Paris B 313042541

Siège social : Editions Didier - 13 rue de l'Odéon - 75006 PARIS - FRANCE
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Madame Véronique HUBLOT-PIERRE

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L'hébergement du Site est assuré par la Société Hachette Livre, Département Informatique Groupe Livre (DSI), 10 allée Latécoère, 78140 Vélizy (Téléphone 01.30.66 20.06)

4. ILLUSTRATIONS

Hanss/Adobe Stock

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Vous êtes actuellement connecté au site " e-didier.fr " (ci-après " le Site ").Le site est édité par la société Editions Didier, S.N.C au capital de 3 404 000 euros, enregistrée au Registre du Commerce et des Sociétés de Paris sous le numéro RC Paris B 313042541 Siège social :

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BRITISH SOCIAL REALISM : AUSTERITY IN THE UK

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BRITISH SOCIAL REALISM : AUSTERITY IN THE UK

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Where are the characters?
What happens to Kate?
Is she a hero too?

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My life has value!

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I'm as mad as hell, and I'm not going to take this anymore! Speech from Network (1976)

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" Freedom is just another word for nothing left to lose"

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Janis Joplin - Me and Bobby McGee (Lyrics)

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Jeremy Corbyn on I, Daniel Blake

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👊 LEFT / CENTER / RIGHT ✋
communism / / capitalism
socialism / / democrates
labour / / conservative

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PROMOTE THE FILM

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<< You don't know what you'll do until you're put under pressure

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Across the Universe (2007) Trailer #1 | Movieclips Classic Trailers

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Copy and Paste Hand Symbols

Hand symbols are copy and paste text symbols that can be used in any desktop, web, or mobile applications. This table explains the meaning of every hand symbol. Just click on the symbol to get more information such as hand symbol unicode, download hand emoji as a png image at different sizes, or copy hand symbol to clipboard then paste into your favorite application

Hand Symbol

Hand symbol ( ✌ 👍 👌 💪 ) is used to point toward a particular direction or shows a famous gesture. Hands symbols come in black ☚ ☛ or white ☜☞, while hands emojis come in yellow such as high five emoji ✋, praying hands emoji 🙏, hands up emoji 🙌, clapping hands emoji 👏, waving hand emoji 👋, flexed biceps emoji 💪, and fisted hand emoji. This page offers hand keyboard text symbol to copy and paste hand emojis, symbols, and emoticons to any application.

How to type hand symbol on any mobile or app?

Select one or more hand symbols (☚ ☛ ☜ ☝ ☞ ) using the hand text symbol keyboard of this page.

Copy the selected hand symbols by clicking the editor green copy button or CTRL+C.

Paste selected hand text symbols to your application by tapping paste or CTRL+V.

This technique is general and can be used to add or insert hand symbols on any device, app, or online game.

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white left pointing backhand index symbol

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white right pointing backhand index symbol

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white down pointing backhand index symbol

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person raising both hands in celebration symbol

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Hand Symbols Copy and Paste ☚ ☛ ☜ ☝ ☞ ☟ ✍ 👊 👈 👉

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Hand symbol ( ✌ 👍 👌 💪 ) is used to point toward a particular direction or shows a famous gesture. Hands symbols come in black ☚ ☛ or white ☜☞, while hands emojis come in yellow such as high five emoji ✋, praying hands emoji 🙏, hands up emoji 🙌, clapping hands emoji 👏, waving hand emoji 👋, flexed biceps emoji 💪, and fisted hand emoji.

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- What time is it?
- It's 20 to 10 (20 before 10)
- It's 20 past 10 (20 minutes after 10)

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Do english screen fictions blend FICTION and ILLUSION to criticize the world we live in - or promote it?

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Where is the real beyond its representations?

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Where is the real beyond its representations?

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1. reflection of people and things

2. deformation of people and things

3. illusion - blending point of the real and reality

4. acceptance of imaginary events or people

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Black Mirror 15 Million Merits - Earning 15 million merits - Best Scene