Ken Loach represents this unusual type of authorship, where the author totally gives his film to the people he portrays and wants to support and thus gives up the title of the 'Master'. As a declared socialist he believes in the mission of a filmmaker - the cinema should be about us, the people, it shouldn't be about the exploitation and consumerism. Although his films, in terms of style, aesthetics and issues can be perceived as belonging to the category of social realism, and although Loach himself doesn't want to be treated as author and rejects this label, his directorial signature seems to be very strong and specific. Paradoxically this signature comes out in the moments when Loach stops directing but rather follows the situation and lets the scene to evolve in its own direction. That happens in 'Kes', when Billy talks to the class about his kestrel or in 'Land and Freedom', when the soldiers of the international brigades and the Spanish peasant discuss the collectivization of the land. The authoress tries to depict this specific kind of authorship - Ken Loach appears as a director for whom the people and their problems seems to be the most noble material for the cinema, and solidarity of the community seems to be the only way to fight with the oppressive system.
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