Ken Loach Early life, The Wednesday Play and Kes where did he spend his early life in? Loach was born in Nuneaton, Warwickshire, what were the significant aspects of his early life? He attended King Edward VI Grammar School and went on to study law at St Peter's College, Oxford. what does the article say about Wednesday play Loach's ten contributions to the BBC's Wednesday Play anthology series include the docudramas Up the Junction (1965 what more is known about this ? They portray working-class people in conflict with the authorities above them. what was the outcome of this portrayal? was broadcast at a time when the debate was at a height in the United Kingdom.
what is the most interesting aspect of this section?
what is the most interesting aspect of Ken Loach’s career
Loach was born in Nuneaton, Warwickshire, the son of Vivien (nee Hamlin) and John Loach. He attended King Edward VI Grammar School and went on to study law at St Peter's College, Oxford. He graduated with a law degree in 1957. After Oxford He spent 2 years in the Royal Air Force.  Loach's ten 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 Poor Cow (1967) and Kes (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. CANNOTANSWER
Loach began to direct feature films for the cinema, with Poor Cow (1967) and Kes (1969).
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 (Poor Cow, 1967), homelessness (Cathy Come Home, 1966), and labour rights (Riff-Raff, 1991, and The Navigators, 2001).

Loach's film Kes (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.

Early life
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 at the age of 19 went to serve in the Royal Air Force. He read law at St Peter's College, Oxford and graduated with a third-class degree. 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 began a career in the dramatic arts.

Career
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 Poor Cow (1967) and Kes (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 The Times 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) about 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.

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 documentary 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 Perdition 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 McLibel, concerning McDonald's Restaurants v Morris & Steel, the longest libel trial in English history. Interspersed with political films were more intimate works such as Raining Stones (1993) a working-class drama concerning an unemployed man's efforts to buy a communion dress for his young daughter.

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... (a.k.a. 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.

The Angels' Share (2012) is centered 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".

Film style

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: 

Loach argues that working people's struggles are inherently dramatic: 

A thematic consistency throughout his films, whether they examine broad political situations or smaller intimate dramas, is his focus on personal relationships. 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".

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 Poor Cow, 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:

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".

Political activities

Affiliations before 2015
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.

Campaign for boycott of Israel

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 said 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 to fund Israeli filmmaker Tali Shalom Ezer's travel to Edinburgh 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 Shalom-Ezer's travel 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 politician 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:

Association with Labour under Jeremy Corbyn
Loach had rejoined the Labour Party by 2017, and was a member until his expulsion in the summer of 2021. 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."

In August 2021, Loach was expelled from the Labour Party because of his membership of an organisation, Labour Against the Witchhunt, proscribed by the party the previous month, saying he was removed for failing to "disown" Labour members who had been expelled from the party. In an interview with Jacobin the same month, Loach stated that he was not a member of any of the organisations which had recently been proscribed by the party, but that he "support(ed) many of the people who have been expelled, because they are good friends and comrades". He also argued that his expulsion was an ex post facto action as the evidence the party cited in their letter informing him of their decision dated from before the organisations he was accused of being a member of had been banned by the party. Former shadow chancellor John McDonnell said, "To expel such a fine socialist who has done so much to further the cause of socialism is a disgrace". His expulsion was also opposed by the Socialist Campaign Group but supported by the Jewish Labour Movement.

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 antisemitic 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 said it was not acceptable to question or challenge the reality of the Holocaust, which was as real an historical event as the Second World War itself.

Loach was an official sponsor of the group Labour Against the Witchhunt, launched in 2017 to campaign against what it sees to be politically motivated allegations of antisemitism in the Labour Party.

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, BBC's 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".

In February 2021, Judith Buchanan, the Master of St Peter's College, Oxford, apologised to Jewish students for interviewing Loach.

Political views
In 2016, Loach, a social campaigner for most of his career, said the criteria for claiming benefits in the UK were "a Kafka-esque, Catch-22 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".

Personal life and honours
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: 

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.

Turning down Turin Film Festival award
In November 2012, Loach turned down the Turin Film Festival award, upon learning that the National Museum of Cinema in Turin had outsourced cleaning and security services. The museum outsourced this labor after dismissing workers who opposed a wage cut, in addition to raising allegations of intimidation and harassment. Loach publicly stated that his refusal to accept the award from the museum was an act of solidarity with these workers.

Honorary doctorate from Free University of Brussels
In April 2018, Loach was awarded an honorary doctorate by the Université libre de Bruxelles (Free University of Brussels). 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.

Filmography

Television
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)
Up the Junction (The Wednesday Play, 1965)
The End of Arthur's Marriage (The Wednesday Play, 1965)
The Coming Out Party (The Wednesday Play, 1965)
Cathy Come Home (The Wednesday Play, 1966)
In Two Minds (The Wednesday Play, 1967)
The Golden Vision (The Wednesday Play, 1968)
The Big Flame (The Wednesday Play, 1969)
The Rank and File (Play for Today, 1971)
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)

CinemaPoor Cow (1967)Kes (1969) (as Kenneth Loach)Family Life (1971)Black Jack (1979) (as Kenneth Loach)Looks and Smiles (1981) (as Kenneth Loach)Fatherland (1986)Hidden Agenda (1990)Riff-Raff (1991)Raining Stones (1993)Ladybird, Ladybird (1994)Land and Freedom (1995)Carla's Song (1996)My Name Is Joe (1998)Bread and Roses (2000)The Navigators (2001)Sweet Sixteen (2002)11'09"01 September 11 (segment "United Kingdom") (2002)Ae Fond Kiss... (2004)Tickets (2005), along with Ermanno Olmi and Abbas KiarostamiThe Wind That Shakes the Barley (2006)It's a Free World... (2007)Looking for Eric (2009)Route Irish (2010)The Angels' Share (2012)Jimmy's Hall (2014)I, Daniel Blake (2016)Sorry We Missed You (2019)

DocumentaryThe Save the Children Fund Film (1971)Time to go (1989)A Contemporary Case for Common Ownership (1995)The Flickering Flame (1997)McLibel (2005)
The Spirit of '45 (2013)

Filmmaking awards and recognition

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 Time Out, 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.

See also
 Kitchen sink realism

References

External links

 Ken Loach – Production Company and DVD box set
 
 
 Ken Loach at MUBI
 Ken Loach Filmography
 Extensive Ken Loach Biography and Filmography
 Interview with Loach about My Name is Joe
 Interview with Loach from 1998
 Posters and Stills Gallery from the BFI
 Interview: Ken Loach about Media, Culture and the Prospects for a New Liberatory Project, Democracy & Nature, Vol. 5, No.1 (March 1999). [Ken Loach was interviewed by Theodoros Papadopoulos in December 1998].
 Interview with Ken Loach, interview about Route Irish with Alex Barker and Alex Niven in the Oxonian Review

1936 births
Living people
20th-century Royal Air Force personnel
Alumni of St Peter's College, Oxford
BBC people
BAFTA Outstanding British Contribution to Cinema Award
BAFTA fellows
César Award winners
Directors of Palme d'Or winners
English film directors
English humanists
English republicans
English social commentators
English socialists
English television directors
European Film Awards winners (people)
Honorary Fellows of St Peter's College, Oxford
Honorary Golden Bear recipients
Labour Party (UK) people
People from Nuneaton
Prix Italia winners
Respect Party parliamentary candidates
Social realism
In aeronautics, the aspect ratio of a wing is the ratio of its span to its mean chord. It is equal to the square of the wingspan divided by the wing area. Thus, a long, narrow wing has a high aspect ratio, whereas a short, wide wing has a low aspect ratio.

Aspect ratio and other features of the planform are often used to predict the aerodynamic efficiency of a wing because the lift-to-drag ratio increases with aspect ratio, improving the fuel economy in powered airplanes and the gliding angle of sailplanes.

Definition 
The aspect ratio  is the ratio of the square of the wingspan  to the projected wing area , which is equal to the ratio of the wingspan  to the standard mean chord :

Mechanism 
As a useful simplification, an airplane in flight can be imagined to affect a circular cylinder of air with a diameter equal to the wingspan. A large wingspan affects a large cylinder of air, and a small wingspan affects a small cylinder of air. A small air cylinder must be pushed down with a greater power (energy change per unit time) than a large cylinder in order to produce an equal upward force (momentum change per unit time). This is because giving the same momentum change to a smaller mass of air requires giving it a greater velocity change, and a much greater energy change because energy is proportional to the square of the velocity while momentum is only linearly proportional to the velocity. The aft-leaning component of this change in velocity is proportional to the induced drag, which is the force needed to take up that power at that airspeed.

The interaction between undisturbed air outside the cylinder of air, and the downward-moving cylinder of air occurs at the wingtips and can be seen as wingtip vortices.

It is important to keep in mind that this is a drastic oversimplification, and an airplane wing affects a very large area around itself.

In aircraft

Although a long, narrow wing with a high aspect ratio has aerodynamic advantages like better lift-to-drag-ratio (see also details below), there are several reasons why not all aircraft have high aspect-ratio wings:

 Structural: A long wing has higher bending stress for a given load than a short one and therefore requires higher structural-design (architectural and/or material) specifications.  Also, longer wings may have some torsion for a given load, and in some applications this torsion is undesirable (e.g. if the warped wing interferes with aileron effect).
 Maneuverability: a low aspect-ratio wing will have a higher roll angular acceleration than one with high aspect ratio, because a high aspect-ratio wing has a higher moment of inertia to overcome. In a steady roll, the longer wing gives a higher roll moment because of the longer moment arm of the aileron. Low aspect-ratio wings are usually used on fighter aircraft, not only for the higher roll rates, but especially for longer chord and thinner airfoils involved in supersonic flight.
 Parasitic drag:  While high aspect wings create less induced drag, they have greater parasitic drag (drag due to shape, frontal area, and surface friction).  This is because, for an equal wing area, the average chord (length in the direction of wind travel over the wing) is smaller.  Due to the effects of Reynolds number, the value of the section drag coefficient is an inverse logarithmic function of the characteristic length of the surface, which means that, even if two wings of the same area are flying at equal speeds and equal angles of attack, the section drag coefficient is slightly higher on the wing with the smaller chord.  However, this variation is very small when compared to the variation in induced drag with changing wingspan.For example, the section drag coefficient  of a NACA 23012 airfoil (at typical lift coefficients) is inversely proportional to chord length to the power 0.129:   
A 20% increase in chord length would decrease the section drag coefficient by 2.38%.
 Practicality:  low aspect ratios have a greater useful internal volume, since the maximum thickness is greater, which can be used to house the fuel tanks, retractable landing gear and other systems.
 Airfield size: Airfields, hangars, and other ground equipment define a maximum wingspan, which cannot be exceeded. To generate enough lift at a given wingspan, the aircraft designer must increase wing area by lengthening the chord, thus lowering the aspect ratio. This limits the Airbus A380 to 80m wide with an aspect ratio of 7.8, while the Boeing 787 or Airbus A350 have an aspect ratio of 9.5, influencing flight economy.

Variable aspect ratio

Aircraft which approach or exceed the speed of sound sometimes incorporate variable-sweep wings. These wings give a high aspect ratio when unswept and a low aspect ratio at maximum sweep.

In subsonic flow, steeply swept and narrow wings are inefficient compared to a high-aspect-ratio wing. However, as the flow becomes transonic and then supersonic, the shock wave first generated along the wing's upper surface causes wave drag on the aircraft, and this drag is proportional to the span of the wing. Thus a long span, valuable at low speeds, causes excessive drag at transonic and supersonic speeds.

By varying the sweep the wing can be optimised for the current flight speed. However, the extra weight and complexity of a moveable wing mean that such a system is not included in many designs.

Birds and bats

The aspect ratios of birds' and bats' wings vary considerably.  Birds that fly long distances or spend long periods soaring such as albatrosses and eagles often have wings of high aspect ratio. By contrast, birds which require good maneuverability, such as the Eurasian sparrowhawk, have wings of low aspect ratio.

Details
For a constant-chord wing of chord c and span b, the aspect ratio is given by:

If the wing is swept, c is measured parallel to the direction of forward flight.

For most wings the length of the chord is not a constant but varies along the wing, so the aspect ratio AR is defined as the square of the wingspan b divided by the wing area S. In symbols,
.

For such a wing with varying chord, the standard mean chord SMC is defined as 

The performance of aspect ratio AR  related to the lift-to-drag-ratio and wingtip vortices is illustrated in the formula used to calculate the drag coefficient of an aircraft 

where
{| border="0"
|-
|            || is the aircraft drag coefficient
|-
|    || is the aircraft zero-lift drag coefficient,
|-
|            || is the aircraft lift coefficient,
|-
|            || is the circumference-to-diameter ratio of a circle, pi,
|- 
|              || is the Oswald efficiency number
|-
|        || is the aspect ratio.
|}

Wetted aspect ratio
The wetted aspect ratio considers the whole wetted surface area of the airframe, , rather than just the wing. It is a better measure of the aerodynamic efficiency of an aircraft than the wing aspect ratio. It is defined as:

where  is span and  is the wetted surface.

Illustrative examples are provided by the Boeing B-47 and Avro Vulcan. Both aircraft have very similar performance although they are radically different. The B-47 has a high aspect ratio wing, while the Avro Vulcan has a low aspect ratio wing. They have, however, a very similar wetted aspect ratio.

See also
Centerboard
Wing configuration

Notes

References
 Anderson, John D. Jr, Introduction to Flight, 5th edition, McGraw-Hill. New York, NY. 
 Anderson, John D. Jr, Fundamentals of Aerodynamics, Section 5.3 (4th edition), McGraw-Hill. New York, NY. 
 L. J. Clancy (1975), Aerodynamics, Pitman Publishing Limited, London 
 John P. Fielding. Introduction to Aircraft Design, Cambridge University Press, 
 Daniel P. Raymer (1989). Aircraft Design: A Conceptual Approach, American Institute of Aeronautics and Astronautics, Inc., Washington, DC. 
 McLean, Doug, Understanding Aerodynamics: Arguing from the Real Physics, Section 3.3.5 (1st Edition), Wiley. 

Engineering ratios
Aircraft wing design
Wing configurations The Cyclopedia Talislanta is a supplement published by Bard Games in 1988 for the fantasy role-playing game Talislanta.

Contents
The Cyclopedia Talislanta, by Stephan Michael Sechi and with cover art by P.D. Breeding-Black, is the fifth supplement about the world of Talislanta. Information includes
 places of interest in Talislanta 
 new monsters, animals, and plants 
 New character types
 new skills and abilities 

There are full-color maps of sections of Talislanta which join together to create a full map of the continent.

Reception
Stewart Wieck reviewed The Cyclopedia Talislanta for White Wolf #14, rating it 4 overall, and stated that "Ownership of this book is a necessity for gamers with campaigns set in Talislanta. Other gamers should take a look just to see what Talislanta offers."

In the May 1989 edition of Dragon (Issue #145), Jim Bambra applauded the "excellent interior illustrations", and the wide range of new material. He concluded "GMs and players who already adventure in Talislanta or use it as a source of ideas will find plenty of interesting material within this books pages, as it adds more interesting detail and color to the setting."

In the July-August 1989 edition of Space Gamer (Vol. II No. 1), Craig Sheeley commented that "The encyclopedia-style information is listed alphabetically, a minor drawback which spreads specific places in the same areas throughout this section. The section new character race types is brief and concise, as is the gamemaster section (which takes up two pages with new weapons, skills and information.)"

References

Talislanta supplements