Antonio Negri's concept of the multitude in Ken Loach's films

This study aims to examine Ken Loach's films in the context of Antonio Negri's concept of the Multitude. The purpose of the study is to go beyond classical Marxist analyses and to evaluate the representations of social class in Loach's films through Negri's Multitude. It particularly seeks to analyze the effects of neoliberal policies on social structures and the forms of collective struggle that have emerged in response to these effects. In the introductory section, the subject, aim, and methodology of the research are explained, the relational link between Negri's concept of the Multitude and Ken Loach's cinema is established, and the rationale behind the choice of films and methods is clarified. In this framework, the study has been conducted through content analysis and theoretical grounding. The second section deals with Antonio Negri's concept of the Multitude in detail. The fundamental components of this concept Global Class, Radical Democracy, Networks of Solidarity, New Alliances, Horizontal Organization, Immaterial Labor, and the Common are explained. In this regard, Negri's concept of the Multitude is discussed as the potential for heterogeneous social groups that emerged in the process of globalization to form a unified struggle. The third section evaluates Ken Loach's cinema within the framework of political cinema. Loach's narrative style, rooted in social realism, highlights the impacts of neoliberal policies on social structures. His cinema conveys the inequalities produced by capitalism through dramatic realism and demonstrates how the Multitude can serve as a cinematic representational tool that transcends the limits of classical Marxist analyses. The fourth section focuses on the selected films of Ken Loach that were analyzed in this study. Bread and Roses (2000), The Navigators (2001), It's a Free World (2007), I, Daniel Blake (2016), and Sorry We Missed You (2019) are examined in order to show how neoliberal policies deepen social injustices and how the boundaries of collective struggle emerge. In particular, the exploitation of migrant workers, the impact of privatization policies on the working class, and the ways in which individualization weakens collective struggles are discussed through these films. In conclusion, this study demonstrates that Ken Loach's films should be evaluated not solely through classical Marxist analyses but within the framework of Negri's concept of the Multitude. Thus, the study aims to contribute a new perspective to debates on political cinema and to reveal how Loach's cinema represents globalization and processes of social transformation. Keywords: Antonio Negri, Ken Loach, Multitude, Political Cinema