Ken Loach and the Save the Children Film: Humanitarianism, Imperialism, and the Changing Role of Charity in Postwar Britain
Ken Loach and the Save the Children Film: Humanitarianism, Imperialism, and the Changing Role of Charity in Postwar Britain
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肯·洛奇和救助儿童会电影：人道主义、帝国主义以及慈善事业在战后英国的角色变化
DOI：
10.1086/681133
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发表时间：
2015
期刊：
影响因子：
--
通讯作者：
Hilton M
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文献类型：
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作者：
Hilton M
本文以英国最大的慈善机构之一拯救儿童基金会（Save the Children Fund，SCF）的前50年为例，对英国的人道主义进行了批判性的评估。这是该组织曾经热衷于自己进行的一项活动。在1969年的五十周年庆祝活动之前，SCF决定委托制作一部电影。它是人道主义部门的“建制”慈善机构，但它做出了一个令人惊讶的决定，即与公开宣称的左翼社会现实主义电影制片人肯·洛奇（Ken Loach）接触，他当时可以说是达到了他的创作高峰（他最著名的电影《凯斯》（Kes）就是在同一年拍摄的）。SCF不想要一部仅仅庆祝该组织多年来取得的成就的电影。它希望在国家电视台播放一部有争议的纪录片，突出英国和发展中国家的贫困问题，并继续展示SCF在减轻痛苦方面的工作。理想情况下，它试图在公众意识中留下电影与慈善之间的联系，就像洛奇的《凯茜回家》（1966年11月16日作为BBC周三剧播出）之后成立无家可归者组织庇护所时所创造的那样两周后。正是因为泥鳅之前的成功，SCF很乐意让他自由发挥。[2]虽然它希望这部电影能“反映该组织的信誉”，但它知道这不是一部“直接吸引人的电影”;事实上，SCF明确地给了电影公司“准备主题的全权委托”。3洛奇把这句话牢记在心。在他访问肯尼亚记录SCF的活动之后，他似乎觉得 * 我非常感谢以下人提供的非常有益的建议和评论：艾米丽·鲍汉、马特·霍尔布鲁克、安德鲁·琼斯、凯文·奥沙利文、科里·罗斯、贝内德塔·罗西、凯特·斯金纳，以及三位匿名评论员和所有参加AHRC“非国家人道主义网络”的人（grant AH/K 002805/1）。
This article offers a critical assessment of British humanitarianism using a case study of the first fifty years of one of its largest charities, the Save the Children Fund (SCF). It is an exercise the organization was once keen to conduct itself. In the run-up to its fiftieth anniversary celebrations in 1969, SCF decided to commission a film. Very much the “establishment” charity of the humanitarian sector, it nevertheless made a surprising decision to approach the avowedly left-wing, social realist filmmaker Ken Loach, who at that time was arguably reaching his creative peak (his most well-known film, Kes, was made in the same year). SCF did not want a film that simply celebrated the achievements of the organization over the years. It wanted a controversial documentary to be shown on national television that would highlight the problems of poverty in both Britain and the developing world and that would go on to showcase the work of SCF in alleviating suffering. Ideally, it sought to stamp on the public consciousness an association between film and charity like the one created when Loach’s Cathy Come Home (aired as a BBC Wednesday Play on November 16, 1966) was followed by the launch of the homelessness organization Shelter two weeks later. 1 Precisely because of Loach’s prior success, SCF was happy to grant him free rein. 2 And while it hoped that the film would “reflect credit on the organisation,” it knew it was not to be a “direct-appeal film”; indeed, SCF explicitly gave the film company “carte blanche in preparing the theme.” 3 Loach took the instruction to heart. After he had visited Kenya to record SCF’s activities, it seemed to him that* I am extremely grateful to the following for their very helpful advice and comments: Emily Baughan, Matt Houlbrook, Andrew Jones, Kevin O’Sullivan, Corey Ross, Benedetta Rossi, Kate Skinner, plus three anonymous reviewers and all the participants in the AHRC “nonstate humanitarianism network”(grant AH/K002805/1).