The document provides information about the film I, Daniel Blake including its production, distribution, marketing, genre, audience, narrative, and critical and commercial success. It was directed by Ken Loach, stars Dave Johns and Hailey Squires, and focuses on two characters affected by the UK benefits system. The film was marketed through grassroots screenings, social media campaigns, and press coverage of its themes. It was a critical success, winning the Palme d'Or at Cannes, and sparked political debate around welfare reform in the UK.

1. I, Daniel Blake

2. Production & Distribution
• Directed by Ken Loach
• Starring Dave Johns and Hailey Squires
• Produced by Sixteen Films, British Film Institute, Why Not Productions, Wild Bunch and BBC Films.
• Distributed by eOne Films (UK) and Le Pacte (France)
• Released: 13th
May 2016

3. The trailer for the film hints at the narrative and genre and has an inspiring yet
relatable and sad tone to it. The trailer emphasises the representations of Katie
and Daniel, portraying them as relatable/Identifiable characters to a British
audience. The trailer shows the characters in positions of infuriating bureaucracy
and suffering, making the audience sympathise and want to find out what happens
to them e.g. when Daniel is threatened with a benefits freeze. The accents of the
two main characters further show them to be relatable as they are varied and
authentic. The use of close ups on the faces of the character shows their emotions
and suggests that this is an emotional film. The trailer uses classical music which
builds up to a crescendo to give the trailer a sense of importance/grandeur, adding
to the idea that this film carries an important social message.
The natural lighting and overall grey colour pallette of the trailer suggests a typical
view of Britain, a setting a primarily British audience can relate to, prompting
people to go so they can see Loach’s view of Britain for themselves.
The trailer targets a socially/politically intelligent audience who are perhaps aware
of the current benefits crisis by showing demonstrating this narrative about 2
characters affected by it.
The purpose of this trailer is to show the audience what the film is about and
persuade them to see it. The trailer intercuts with reviews, further persuading the
audience that this is a film worthy of seeing as it has the approval of several
trusted sources such as Variety and Time Out.
I,DB was screened at Cannes, showing it to be an artful and respected film. By
winning the Palme d’Or (highest accolade) the film appeals to the audience as it has
been judged as the best and is seen to be worthy of watching.
The premiere for the film took place in Newcastle as the production team rejected
London in favour of holding it where the film is set. This shows the film to be
authentic with the aims of spreading a message rather than make money or appear
swanky. The premiere was attended by Jeremy Corbyn who used it as an example of
the flawed benefit system in parliament, showing the film to have a strong social
message (no publicity is bad publicity). The film also had several showings (over
1,000) in a grassroots marketing movement.
Marketing

4. Social media also played a part in the
marketing of the film, adding to its
popularity. Their twitter page has 12,500
followers and the Facebook page has
70,000 likes. The hashtag
♯wearealldanielblake circulated the
internet, adding to hype of the film while
also expressing the need for a social
discussion. The twitter also links to
articles about social issues to do with the
benefits system as well as showing images
from the film and information about
distribution/DVDs etc. The twitter page
also retweets fan messages and reviews,
allowing for engagement and interactions
with the public, making the film feel more
personal (similar to DKR).
The poster has a dark/dingy colour scheme with greys and blues which
contrasts with the red of the reviews and credits, making it stand out and
eye-catching, indicating that the reviews are the most important part of
the poster. The bolder reviews persuades the audience to watch the film
as they are respected opinions and indicate the film to have been well
received (2 step flow). The director and producers name at the top of the
poster further persuades the audience to view the film as they are well
respected and have written/directed several films before, with Loach
being nominated for a BAFTA in 1986.
The dress codes, wall background and graffiti writing indicates an urban,
lower-class narrative and setting, hinting to the audience whether they
would enjoy this film or not yet not giving too much away. The darker
colour scheme suggests that this is a sadder and more sombre film,
hinting at its genre. The pose held by Daniel indicates that he is some sort
of hero, but not stereotypical, indicating that this is not a big-budget
mainstream film as it defies stereotypical conventions of what we assume
a hero to be. It appeals to a more niche audience, perhaps those who
reject mainstreamers.

5. • The method of Platforming was used for the marketing of the film. The release of I,DB was preceded by the
‘festival run’ as the director and producers aimed to maximise the exposure of the film and gain attention through
word of mouth.
• eOne organised a ‘grassroots’ marketing campaign. They advertised for regional marketing officers to promote the
film across the Midlands, North of England and parts of Scotland. The role of the marketer was to arrange and
promote preview screenings and talks about the film in the weeks prior to its official release date, building up
word of mouth and visibility in regional communities. Those who attended were a source of marketing content
such as vox pops (Popular opinion represented through informal comments).
• A ‘guerrilla’ projection campaign saw quotes from the film beamed onto buildings in cities such as Newcastle, as
well as the Houses of Parliament, grabbing the attention of the news media & passers-by.
• Rather than London, the film’s UK premiere took place in Newcastle-upon-Tyne, the film’s setting, and involved a
number of local people and organisations who had contributed to the making of the film. It did, however, receive a
London premiere a week later, which was attended by Jeremy Corbyn.
• The producers managed to get the support of the Trinity Mirror to help market the film.
• The Trinity Mirror group implemented their campaign in the following ways:-
Giving away 10,000 free tickets to the regional screenings mentioned previously.
Prominent appeals from the film’s protagonist used on the mastheads and the front covers of their newspaper titles.
Banner advertising.
An editorial ‘written by’ Daniel within an October 2016 issue of the Mirror. Disruptive display advertising across the
group’s digital newspapers.
Articles promoting the film, which were retweeted by Ken Loach.

6. Genre
British Social Realism
o Natural Lighting, giving ‘real feel’. Can also save money.
o Unknown actors – do not remember previous roles so are immersed in the drama, they are seen as real people,
verisimilitude.
o Location over studio shooting.
o Use of humour and seriousness, everyday issues faced with a wry smile.
o ‘Slice of Life’ – seeing reality including the mundane such as meals.
o Semi-improvised dialogue and actions.
o Focus of narrative barriers faced by individuals and how they fight to overcome them. Films follow linear and
chronological narrative.
o Lack of non-diegetic music other than opening/closing music.

7. Audience
o 18-60: ages of the characters reflect this and Loach’s 50-year career may also attract older audiences.
o Both male and female as the two main characters are Daniel and Katie.
o Appeals to wide range of socio-economic groups. Loach’s established career plus the niche social realist genre appeals
to the cineliterate and art house audiences. Suggestion of a geodemographic audience as the issues raised in the film
affect certain places more.
Psychographics:
o Explorers: exploring a more niche and challenging genre.
o Aspirers/succeeders: attracted by the critical and awards success.
o Reformers: Film raises a number of issues relating to social inequality.
Uses and Gratifications:
Inform: Learn about the benefits system (middle/upper classes)
Entertain: Takes you out of everyday life (middle/upper class), engaging storyline.
Identity: Relate to the characters if in similar situation, could make audience question how they see the benefit system.
Interaction: prompts talks abut the government, popular film – can talk about seeing it, social media.

8. Narrative
o Todorov:
Begins with disruption as his benefits are taken away and we follow Daniel on his journey to seek justice. It ends with
his death (new equilibrium) but nothing is resolved and we do not see the rest of Katie’s life.
o Propp:
Hero: Daniel
Helper: Katie
Princess: the benefits that he needs to reclaim
Villain: he government (personified through the government workers).
o Binary oppositions
Marxist interpretation: Bourgeoisie vs Proletariat
Government vs People
o Ideology:
The government does not care about the poor/working classes.

9. Success and Response
Revenue
o Budget: £3.5m
o World Wide: £12.45m
o UK: $4.27m
o France: $6.4m
o US: $0.2m
o The film was nominated for several BAFTAs, winning one and also received the Palme d’Or, the highest prize at
Cannes.
o The film sparked a social debate and was referenced by Jeremy Corbyn to highlight the injustices occurring under
the Conservative government as he recommended that Teresa May watch the film. Ian Duncan Smith openly
criticized the film.
o Rotten Tomatoes: 93%
o IMDB: 7.9
o Box Office £12.45m (Loach’s biggest success)