Abstract
This essay aims to examine the film I, Daniel Blake, focusing on the treatment of director Ken Loach for the particularity of wage labor and the state bureaucracy in contemporary capitalism, supported by the treatment given to aesthetics by Lukács, which points out that the particularity is the central issue that involves the process of artistic creation and which we take as the starting point for a materialistic filmic analysis. We point out that the treatment given to categories has, in its genesis, the taking of the role of the director in approaching in a critical and committed way with reality, thus delineating his reflective potential. In portraying a singular reality experienced by a British worker subjected to a super-structural socioeconomic condition that has the universal element in the capital system, the way the particularity is portrayed allows transcending the work, which is a synthesis capable of reflecting the condition of exploitation and estrangement of the mediations on which workers are subjected in various parts of the world, as well as the role of the State. We conclude that materialist aesthetics is a robust and dense medium that can contribute to the research on contemporary sociability.
Keywords:
Aesthetics; Particularity; Labor; State; Cinema