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ODI SEA, N 1, 2001, P GS. 147-156 KENNETH COACH? S RIFFRAFF, BETWEEN THE BRITISH DOCUMENTARY TRADITION AND THE WORKING-CLASS CINEMA1 Jo's D AZ Cues ta. Universidad de La Rioja ABSTRACT Riffraff (1991)

The main goal of the movie is to analyze how the contemporary working class cinema of the seventies can be analyzed and criticized in terms of the historical development of British documentary film as a whole. There is also the issue of the historical and cultural relationship between documentary, social and political films, and this movie may thus be regarded as part of the history of documentary cinema as a whole. The analysis focuses on the use-value of the film “The Full Monty” and examines the theoretical and methodological approaches to this kind of cinema. The film is evaluated in terms of its political, moral, cultural, artistic value, and the relationship between those two concepts. 2. INTERPRETATION: The Full Monty and Other Works “The Full Monty” is a film by Terry Gilliam. According to its critics, it is “a wonderful combination of a number of influences, each of which is expressed differently, and which, by themselves, have no value beyond their particular relationship to the other.”1 The critics of this film are referring to the use of the historical techniques and the references to a number of different kinds of films, especially the works of directors such as Fellini, Antonio, Kieslowski and Schulz. Riffraff has been referred to as a fusion of the work of the directors David Lean, Gilliam, Riff and John Ford. Since it is a fusion of these and other films, its value as a historical study is also based on the fact that this is an amalgam and a mishmash of these films. The fusion is not only the result of the fact that Riffraff relies on a set of specific films, but also the result of a more general fusion of genres and of the various historical developments in the history of the form. This fusion can be seen as a fusion of the form and the content (the content being not only the films on which it is based, but also the films for which these kinds of films represent the source) and therefore, the work presents a number of different qualities, some of which were unknown to the historical scholars or critics whose analysis was responsible for the creation of Riffraff. Furthermore, both its main themes and its main aesthetic effects are new: the relationship between work, cinema and society, the role of film in the making of a society and the meaning of films in society.

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