ABSTRACT

Sorry We Missed You, directed by Ken Loach and written by Paul Laverty, focuses on precarious work in modern Britain and its effects on a working-class nuclear family. Both Ricky (Kris Hitchen), the father, and Abby (Debbie Honeywood), the mother, work gruelling jobs that arguably situate them within the precariat. However, Loach and Laverty also draw attention to the gendered differences between Ricky’s and Abby’s situations. Drawing on the works of both Guy Standing and Arlie Russell Hochschild, we analyse Abby’s three domains of work as represented in the film: her paid work, which is precarious in similar ways to her husband’s; her domestic work, where she undertakes disproportionate care for their children; and her emotional work, which is required both at home and in her employment. In our analysis, we contend that Loach and Laverty do emphasise the ways Abby’s experience of precarious work is different due to being a woman and mother, however, the film’s ending deprioritises Abby’s struggles.

摘要

对不起，我们错过了你由肯·洛奇（Ken Loach）执导，保罗·拉弗蒂（Paul Laverty）编剧，专注于现代英国不稳定的工作及其对工人阶级核心家庭的影响。父亲瑞奇（克里斯·希钦饰）和母亲艾比（黛比·霍尼伍德饰）都从事艰苦的工作，可以说他们处于不稳定状态。然而，洛奇和拉弗蒂也提请注意瑞奇和艾比的情况之间的性别差异。借鉴 Guy Standing 和 Arlie Russell Hochschild 的作品，我们分析了 Abby 在电影中表现的三个工作领域：她的有偿工作，这与她丈夫的工作方式相似；她的家务工作，她承担不成比例的照顾孩子的工作；以及她在家庭和工作中都需要的情感工作。在我们的分析中，