Component 1: Section B ( I,DB)

Question 1

What is the context of I, Daniel Blake?

Answer 1

A British social realist drama released in 2016 and directed by the renowned British film-maker Ken Loach.
•Distributed by eOne films (UK) and Le Pacte (France)

Question 2

What is I, Daniel Blake about?

Answer 2

Daniel Blake has worked as a joiner all his life in Newcastle. For the first time ever he needs help from the state. Daniel and Katie find themselves in no mans land of welfare bureaucracy as played out against the rhetoric of ‘striver and skiver’ in modern day Britain

Question 3

Context of the film?

Answer 3

• A UK/French coproduction, received funding from the BFI and BBC films
• Ken Loachs largest grossing film at box office $8 million > highly critically acclaimed and generated much debate due to political and social issues addressed
• exhibited at many film festivals > won the Palme d’Or at Cannes and was nominated for many awards

Question 4

What is the social and political context of the film?

Answer 4

Addresses contemporary British social issues such as poverty, the welfare system and the Work Capability Assessment
•portrays a group of traditionally underrepresented characters struggling in poverty to gain benefits and support

Question 5

What sort of political message does the film convey?

Answer 5

A clear left wing political message and criticises specific government policies> austerity cuts and changes to benefit policy
•Most of Ken Loach’s work has addressed similar issues (Cathy come home) and he is a social campaigner, known for his socialist political views

Question 6

Conventions of the social realism genre?

Answer 6

• sans serif font>real and working class audience (no pretence)
• characters of working class > ‘ordinary’ Unknown actors
• natural lighting > a real feel
• social issues eg violence and gang culture
• economic factors are huge aspect
• Mise en scene to emphasise characters lifestyles
• music from era or subculture
• use of humour and seriousness
• semi improvised dialogue and actions

(VERISIMILITUDE)

Question 7

How significant is Ken Loach being the producer of this film?

Answer 7

•He is a practitioner in British and global cinema who has repeatedly secured funding from his social realist films
•Genre exists because of him and his work
•He is a well known and successful figure in UK> is his work mainstream? He challenges governmental policies
OR is it his pre sold audience that allows him license to funding?

Question 8

Who is the intended target audience of this film?

Answer 8

The educated, media literate and socially aware

•socially and politically intelligent audience aware of benefit crisis

Question 9

How significant is the trailer?

Answer 9

• The use of a trailer> hints at narrative and genre and establishes ‘real’, identifiable characters which evoke emotional responses
• Accents of characters show relatability as they are varied and authentic
• trailer intercuts with reviews of approval, persuading audience it is a film worthy of seeing

Question 10

What is significant about the film being premiered in the setting of the film (Newcastle)?

Answer 10

Production team rejected London in favour of holding it where film is set. Shows the film as authentic with aims of spreading a message rather than make profit > subverts Curran and Seaton’s theory

•Jeremy Corbyn attended festival in London who used it as an example of the flawed benefit system in parliament (gained publicity for film)

Question 11

How else was the film marketed?

Answer 11

• film poster > full of reviews that are most important part of poster and persuade audience to watch it
• director and producers name at the top of poster > well respected and famous

•social media> #wearedanielblake trended the internet, adding to the hype of the film while expressing need for social discussion
Twitter page also included articles about social issues and room for engagement and interaction with public

Question 12

How was platforming used for the marketing of the film?

Answer 12

• Release of film was preceded by the ‘festival run’ as directors and producers aimed to maximise exposure to the film and gain attention
• eOne organised ‘grassroots’ marketing campaign> advertised for regional marketing officers to promote film across parts of England by planning screenings to build word of mouth before the preview
• the ‘guerrilla’ projection campaign saw quotes from the film beaded onto buildings in cities as well as Houses of Parliament, grabbing attention of news