[On where he fits on the left] I would have thought if you want to align yourself to any left current, the one to follow would be the one that fought… - Ken Loach

The whole antisemitism issue has been substantially revealed as a campaign that is not based on fact.
It's based on political determination to do a number of things, to remove people from the left, to protect the state of Israel, which many people, many Jewish people in the Labour Party, oppose, oppose this campaign.

[Sydney] Newman and [James] MacTaggart saw no problem with running a new wave of Paddy Chayefskyan problem plays out of the electronic studio, but [Tony] Garnett and Ken Loach were soon rejecting this whole classical notion of "the play"’. They had seen the future of television drama, and it was A bout de souffle mated with World in Action. While MacTaggart was away, they booked up as much off-base filming as they could for a television version of Nell Dunn's book, Up the Junction, a mouthy compendium of South London lower-class lore.
"At that time, you were allowed about four days filming |with cumbersome 35mm equipment] just to show a car pulling up or driving away," says Loach. "So we used those four days to whizz round and shoot half the script with a hand-held 16mm camera - about 35 to 40 minutes of screen time." The remaining studio scenes were dubbed from tape on to film so that the whole thing could be collaged together in the cutting room, with Loach deploying all manner of neo-Godardian time leaps and wild-track effects.

We had won the war together [...] Together we could win the peace. If we could collectively plan to wage military campaigns, could we not plan to build houses, create a health service and make goods needed for reconstruction? The spirit of the age was to be our brother's and our sister's keeper.