Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema
Riff-Raff (1991) is analysed as a functional hinge between the British documentary movement of the twenties, the free cinema of the fifties and the present current of social films such as Trainspotting (1996), Brassed off (1996) or The Full Monty (1997). Kenneth Loach seems to have incorporated t...
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| Format: | Article |
| Language: | English |
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Universidad de Almeria
2001-01-01
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| Series: | Odisea |
| Online Access: | http://ojs.ual.es/ojs/index.php/ODISEA/article/view/60 |
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| _version_ | 1849234089173843968 |
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| author | José Díaz Cuesta |
| author_facet | José Díaz Cuesta |
| author_sort | José Díaz Cuesta |
| collection | DOAJ |
| description | Riff-Raff (1991) is analysed as a functional hinge between the British documentary
movement of the twenties, the free cinema of the fifties and the present current of
social films such as Trainspotting (1996), Brassed off (1996) or The Full Monty
(1997). Kenneth Loach seems to have incorporated the theoretical doctrine of the
British documentary tradition in most of his films, especially in Riff-Raff, as we can
see in his way of dealing with scripts and actors. Simultaneously he has introduced
what we may call the humour factor, widely used in the working-class films of the
1990s. |
| format | Article |
| id | doaj-art-3293c0d4c31740f6b5f99dc4d9a10820 |
| institution | Kabale University |
| issn | 1578-3820 2174-1611 |
| language | English |
| publishDate | 2001-01-01 |
| publisher | Universidad de Almeria |
| record_format | Article |
| series | Odisea |
| spelling | doaj-art-3293c0d4c31740f6b5f99dc4d9a108202025-08-20T04:03:17ZengUniversidad de AlmeriaOdisea1578-38202174-16112001-01-010114715610.25115/odisea.v0i1.6057Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class CinemaJosé Díaz Cuesta0Universidad la RiojaRiff-Raff (1991) is analysed as a functional hinge between the British documentary movement of the twenties, the free cinema of the fifties and the present current of social films such as Trainspotting (1996), Brassed off (1996) or The Full Monty (1997). Kenneth Loach seems to have incorporated the theoretical doctrine of the British documentary tradition in most of his films, especially in Riff-Raff, as we can see in his way of dealing with scripts and actors. Simultaneously he has introduced what we may call the humour factor, widely used in the working-class films of the 1990s.http://ojs.ual.es/ojs/index.php/ODISEA/article/view/60 |
| spellingShingle | José Díaz Cuesta Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema Odisea |
| title | Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema |
| title_full | Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema |
| title_fullStr | Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema |
| title_full_unstemmed | Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema |
| title_short | Kenneth Loach’s Riff-Raff, Between the British Documentary Tradition and the Working-Class Cinema |
| title_sort | kenneth loach s riff raff between the british documentary tradition and the working class cinema |
| url | http://ojs.ual.es/ojs/index.php/ODISEA/article/view/60 |
| work_keys_str_mv | AT josediazcuesta kennethloachsriffraffbetweenthebritishdocumentarytraditionandtheworkingclasscinema |