The fetish of digital techno-productivity by Ken Loach: the labour uberization in the film Sorry we missed you
Ken Loach's cinematographic work has been recognized for his ability to present and problematize burning situations arising from the contradictory relations between capital and work in contemporary times. In this sense, his most recent film, Sorry we missed you, from 2018, presents a narrative...
| Autores: | , |
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| Tipo de recurso: | artículo |
| Estado: | Versión publicada |
| Fecha de publicación: | 2020 |
| País: | Brasil |
| Institución: | Universidade de Brasília (UnB) |
| Repositorio: | Em Tempo de Histórias (Online) |
| Idioma: | portugués |
| OAI Identifier: | oai:ojs.pkp.sfu.ca:article/33751 |
| Acceso en línea: | https://periodicos.unb.br/index.php/emtempos/article/view/33751 |
| Access Level: | acceso abierto |
| Palabra clave: | Tecno-produtividade digital. Uberização. Ken Loach. Digital techno-productivity. Uberization. Ken Loach. nada |
| Sumario: | Ken Loach's cinematographic work has been recognized for his ability to present and problematize burning situations arising from the contradictory relations between capital and work in contemporary times. In this sense, his most recent film, Sorry we missed you, from 2018, presents a narrative that highlights the socioeconomic problems arising from the processes of uberization of the work in progress. Loss of legal rights between work and capital, flexibility and expansion of working hours, fragmentation of the working classes and reverberations of the economic crisis in the middle of the family; all of these phenomena are brought by the viewer through Ricky, Abbie and their family, who represent the Loachian archetypes of the intermittent worker in the process of distance employment. Thus, this article seeks to critically trace the current scenario of uberization of work in progress based on Loachian aesthetics and narrative. |
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