In past decades, the issue and conflict surrounding the meaning and content of so-called "political" cinema revolved around two central choices. One considered cinema to be a mass educator; it insisted on the simplicity of the narrative and the educational aspect of the subject.

The other aspired to the emancipation of the cinematic product; it promoted a radical approach to ideological and aesthetic choices, aiming to establish a dynamic relationship between the creator and the viewer.

Ken Loach today repositions this issue but has now understood two parameters of it: the first choice encompasses the framework of a religious, moralistic approach to reality; the second has led to navel-gazing distortions and dead ends.

(. . .) [Excerpt from the text of the preface]