the hour of the furnaces
now is the hour of the furnaces, and only light should be seen .
la hora de los hornos / hour of the furnaces by fernando solanas and octavio getino (1968). online at: urltoken
thanks. . love your intertextual video essay! by the way, your link to len lye' s film gives the url to hour of the furnaces (as if free radicals is now absorbed - merged in hour of the furnaces... . interesting idea! )
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sound counts down to the september issue’s once - a - decade poll to find the greatest film of all time, french critic nicole brenez makes the case for one of the key revolutionary activist films of the 1960s, the hour of the furnaces .
robert stam, ‘ the hour of the furnaces and the two avant - gardes’, in julianne burton, ed. , the social documentary in latin america (pittsburgh: university of pittsburgh press, 1990), pp. 251 - 66 .
coming up on august 3rd, rivers of steel national heritage area and the young preservationists association will be co - hosting happy hour with carrie – a one hour tour of the carrie furnaces followed by beer and socializing at voodoo brewery homestead. ypa members receive a discount on tour tickets with the code ypa2016. this is a great opportunity to network with others who share a passion for preservation while checking out the incredible carrie furnaces site (and the awesome craft beer at voodoo) .
rivers of steel arts (rosa) is excited to welcome the pittsburgh community to our first annual community day at the carrie furnaces on july 15th, 2017 from 3 - 7pm! bring the kids and meet your neighbors at the national historic landmark carrie furnaces for a day filled with creative projects, outdoor fun, raffle prizes, local food and entertainment. visitors get behind - the - scenes look at the exciting programming rosa offers throughout the season including hands - on workshops, photo safaris, graffiti art projects, foundry work and much more. create your own unique piece of aerosol art or cyanotype. explore the massive furnaces through one of our inspirational tours. or simply come down and enjoy dinner with the family outdoors amidst the serene and awesome carrie furnaces !
the film’s elegant radicalism inspired many later visual essayists such as chris marker, the dziga vertov group, the cinéthique group, patricio guzmán, alexander kluge and films such as the spiral (1975) made by armand mattelart, jacqueline meppiel and valérie mayoux (with the help of chris marker). in fact the analysis of conditions in chile found in the spiral and guzmán’s the battle of chile (1977) can be considered fourth and fifth chapters of the hour of the furnaces .
having proved its power to inspire, the hour of the furnaces remains incendiary because it affirms its thesis as if it were throwing grenades, accepting that the wind of history drives some of the flames back towards the thrower. among its arguments urging armed struggle there is one slogan, however, that’s proving false in these times of lethal neoliberalism: “no social order commits suicide. ” let’s hope that some collective, somewhere in the world, is preparing the tinder .
the film la hora de los hornos (the hour of the furnaces, 1968), a third cinema manifesto against neocolonialism, has a brilliant installation specification. 1 a banner was to be hung at every screening with text reading: “every spectator is either a coward or a traitor. ” 2 it was intended to break down the distinctions between filmmaker and audience, author and producer, and thus create a sphere of political action. and where was this film shown? in factories, of course. now, ...
the chronicle of the political tension in chile in 1973 and of the violent counter revolution against the democratically elected government of salvador allende .
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the hour of the furnaces: notes and testimonies on neocolonialism, violence and liberation is a didactic essay organised into 14 chapters: ‘introduction’; 1) ‘the history’; 2) ‘the country’; 3) ‘daily violence’; 4) ‘the port city’; 5) ‘the oligarchy’; 6) ‘the system’; 7) ‘political violence’; 8) ‘neoracism’; 9) ‘dependence’; 10) ‘cultural violence’; 11) ‘models’; 12) ‘ideological welfare’; 13) ‘the choice’. in other words, the film conducts a comprehensive analysis of the history, geography, economy, sociology, ideology, culture, religion and daily life of latin america. each dimension and source of oppression is documented and pondered, as is each link between determinations and their consequences .
because no movie genre makes quite as personal de mands on the viewer as the political documentary, or plays on his prejudices with such accuracy, perhaps i should explain something of my own experiences, which, of course, i took with me when i entered the theater to see “the hour of the fur naces. ” i' m no student of either argentina or latin america, and just about everything i know of them is the more or less chance result of several short visits to argentina in the early 1960' s .
one of the key films of the 1960s, don’t miss this extremely rare chance to see on the big screen the film that established the paradigm of revolutionary activist cinema .
while chronicle of peronism drew on a reservoir of familiar images forming part of the audiovisual memory of argentinian popular classes, ‘chronicle of resistance’ incorporated a fresco of reports and testimonies about argentine popular struggles during a long period of proscription .
not only is farocki’s workers leaving the factory, on the level of content, a wonderful archaeology of the (non) representation of labor; on the level of form it points to the spilling over of the factory into the art space. workers who left the factory have ended up inside another one: the museum .
the former director of the austrian film museum on the preservation of film heritage & what it means to preserve cinema in the 21st century .
the seminar will consider how film can be used to explore changes in the architectural understanding of space that were central to emergence of the new architecture after world war i. starting with the explanation of architectural space offered by sigfried giedion' s hugely popular space time and architecture, the first half of the session will contrast the spatial composition of charles garnier' s opera house, paris, one of the heroic celebrations of the beaux arts approach, with le corbusier' s villa savoye, one of the best - known paradigms of the new architecture of the 1920s .
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a quote from frantz fanon’s the wretched of the earth. the film was of course banne d and had to be shown clandestinely .
as its title implies, the film is a series of interviews with five enlisted men who participated in the mylai ac tion and all of whom are now out of the army. the effect of the testimony—rueful, matter‐of‐fact, unsentimen tal, a lot of it smiling (at the interviewer and at the fact of being interviewed, rather than at the subject) —is ter rifying, and almost indescrib ably sad .
arl schmitt, groys assigns the role of sovereign to the artist who—in a state of exception—violently establishes his own law by “arresting” a space in the form of an installation. the artist then assumes a role as sovereign founder of the exhibition’s public sphere .
in october 1969 jean - luc godard interviewed solanas and getino in paris, and then published the following pronouncement in the maoist magazine cinéthique: “during the screening of an imperialist film, the screen sells the voice of the boss to the viewer; the voice flatters, represses or bludgeons. during the screening of a revisionist film, the screen is only the loudspeaker of a voice delegated by the people but which is no longer the voice of the people, for the people watch their own disfigured face in silence. during the screening of an activist film, the screen is just a blackboard or the wall of a school providing a concrete analysis of a concrete situation. ”
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from what i have seen, taekwondo is labyrinth of bodies. the male body in the film transforms into a generalized spectre, a site of struggle of sexuality. what i liked about the film is that it withdraws from the penetrative approach of contemporary gay films by exhuming the liminal power of the body to question the politics of visibility of lgbtq cinema. in withdrawing from penetrative paradigm of gay identity politics, the film reconstructs a ‘minotaurian dilemma’ of bodies and orientations. in the end, theseus, in parallel to the character of german (played by gabriel epstein), will slay the minotaur, in parallel to the character of fer (played by lucas papa), at the center of labyrinth with a kiss .
this production transcends the usual run of shakespearean presentations in taste, beauty and imagination. many of the misgivings one is
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to mark the centenary of the russian revolution and its cultural impact we present a season of films which were born from the revolutionary spirit and influence .
completed two years after the battle of chile: part i (1975) and the battle of chile: part ii (1976), this film deals with the creation of thousands of local groups of
popular power
by... see full summary »
the second part of la hora de los hornos caused the greatest degree of controversy internationally. the recovery of peronism as a revolutionary popular movement, and particularly of perón as a charismatic leader, was called into question. however, other critics rescued the new treatment of peronism which the film came to offer, as well as the more complex reading of a phenomenon which most of the european traditional left had wrongly and hastily associated with fascism .
we’ll have a complete list of prizes at the ballot box. please see the bottom of the article for some (totally reasonable !) terms and conditions for the prizes .
founded in 1999, senses of cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film - related content on the internet .
, which is one of the oldest building in one of pittsburgh’s most revered and notable historic districts, the mexican war streets .
taking the marxist concept of praxis seriously, the hours of the furnaces wages its battle not only on the argentinian political front but also on the aesthetic and theoretical fronts. considering its modest underground provenance and its growing historical influence, the film seems to have fought victoriously because it attacked all three areas with equal energy and ingenuity. as jean - luc godard once said about solzhenitsyn: “we already knew all about what he wrote, but he was listened to because he had style. ” the film’s renewal of the economic - political treatise as cinematic form can be traced in many subsequent films whose activism operates through similarly diverse experimental energies: godard’s le rapport darty (1989), raoul peck’s profit
jürgen habermas, the structural transformation of the public sphere: an inquiry into a category of bourgeois society, trans. thomas burger with the assistance of frederick lawrence (cambridge, ma: the mit press, [ 1962
ranjana khanna, ‘the battle of algiers and the nouba of the women of mont chenoua: from third to fourth cinema’ in third text, 12: 43 (1998), 13 - 32 .
cinema, which integrated the logic of taylorist production and the conveyor belt, now spreads the factory wherever it travels. but this type of production is much more intensive than the industrial one. the senses are drafted into production, the media capitalize upon the aesthetic faculties and imaginary practices of viewers .
in an interview in cahiers du cinéma, solanas rescued the historical meaning of peronism and the place of nationalism in liberation processes, and maintained that many had failed to understand the film’s theses: the limits of bourgeois nationalism; the impossibility of a democratic bourgeois revolution if it was not continued as a socialist revolution; the latin american horizon of national struggles .
over the course of the last century, the us has silently encircled the world with a web of military bases unlike any other in history. no continent is spared. they have shaped the lives of millions, yet remain a mystery to most .
one of the most popular attractions last year were the suits of armour we had set up. people loved to pose with them .
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it is quite curious that the first films ever made by louis lumière show workers leaving the factory. at the beginning of cinema, workers leave the industrial workplace. the invention of cinema thus symbolically marks the start of the exodus of workers from industrial modes of production. but even if they leave the factory building, it doesn’t mean that they have left labor behind. rather, they take it along with them and disperse it into every sector of life .
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rivers of steel arts (rosa) supports artistic place - based projects that further the interpretation of local history and re - imagine the future of familiar places... learn more
they are shown in the museum, or the gallery—the art space. that is, in any sort of white cube .
. ] the workers who left the factory in 1895 have today been recaptured on the screen of the cinema within the same space. they only left the factory to reemerge as a spectacle inside it .
an impassioned three - part documentary of the liberation struggle waged throughout latin america, the film uses argentina as an historical example of the imperialist exploitation of the continent. the first part, neo - colonialism and violence, is an historical, geographic, and economic analysis of argentina and part two, an act for liberation, examines the ten - year reign of juan perón (1945 - 55) and the activities of the peronist movement after his fall from power. the final part, violence and liberation, studies the role of violence in the national liberation process and constitutes a call for action .
protective custody is no simple arrest. it refers to a state of exception or (at least) a temporal suspension of legality that allows the suspension of the law itself. this state of exception is also addressed in boris groys
16 thinkers gathered together to discuss the political issues in japan, such as reuse of nuclear plants, accepting right of collective self defense, tpp, the secrecy law and the revision of constitution by abe regime .
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we’ve invited corinne betchel, director of tourism of rivers of steel national heritage area, to contribute to the ypa blog as our first guest blogger. check out what’s happening with rivers of steel this summer !
styles of substance: the extraordinary image: orson welles, alfred hitchcock, stanley kubrick, and the reimagining of cinema, by robert p. kolker
the last part of the film is presented as a study supported by testimonies (letters from fighters, interviews, reports) relating to the meaning of violence in the process of national liberation. from the beginning of this part, there is an insistence on the open nature of the film, related to its disposition to encouraging open dialogue. there is also a specific explanation of its ‘unfinishedness’, as it intends to incorporate new materials which might arise from the process of liberation itself in which the film seeks to be inserted. the film ends with footage of latin american and third world struggles, accompanying a discourse questioning the possibility of pacific coexistence, as well as a song on violence and liberation, written by solanas himself .
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there is however one interesting difference between cinema and factory: in the rebuilt scenery of the lumière museum, the opening of the former gate is now blocked by a transparent glass pane to indicate the framing of the early film. leaving spectators have to go around this obstacle, and leave through the former location of the gate itself, which no longer exists. thus, the current situation is like a negative of the former one: people are blocked by the former opening, which has now turned into a glass screen; they have to exit through the former walls of the factory, which have now partly vanished. see photographs at ibid .
divided into three segments, namely 1 neocolonialism, 2 act for liberation, 3 violence and liberation, the documentary lasts more than 4 hours this deals with the defense of the revolution and the revolution of the third world such as the revolt of the students in the united states and western europe, czech citizens protest against the soviet union' s state bureaucracy and also the revolution that (probably) is unprecedented in argentina .
at this point, a decisive difference emerges between classical cinema and the museum. while the classical space of cinema resembles the space of the industrial factory, the museum corresponds to the dispersed space of the social factory. both cinema and fordist factory are organized as locations of confinement, arrest, and temporal control. imagine: workers leaving the factory. spectators leaving the cinema—a similar mass, disciplined and controlled in time, assembled and released at regular intervals. as the traditional factory arrests its workers, the cinema arrests the spectator. both are disciplinary spaces and spaces of confinement .
one example of a development that capitalized on a historic pittsburgh building was a recent ypa happy hour destination. the ace hotel on s. whitfield street in the east liberty neighborhood was once a ymca. built in the early 1900’s, the ace hotel franchise purchased the building in 2006 and completed an extensive renovation. the building has been restored to its original glory, with a few minor adaptations: a bar and restaurant now occupy the entrance and the gym now holds dance parties as opposed to high school basketball games. an over $ 20 million dollar investment, the ace hotel leveraged tax credits, grant money, and private money to restore the boutique hotel. while a valid argument can be made about the benefit of the ace hotel for the existing east liberty residents, i know i would much rather see a historic building repurposed rather than bleak new construction erected or another building left to deteriorate .
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beginning in the mid - 1990s, young directors, the majority of whom had graduated from one of many film schools in argentina, began producing low - budget, independent films in a style that earned this group the classification of the new independent argentine cinema .
the second half of the seminar will concentrate on architectures d' aujourd' hui (1930), a collaboration between film - maker pierre chenal and le corbusier. it constitutes le corbusier' s most tangible foray into film - making and highlights the crucial contribution he made to the field of cinema and architecture as one of the first examples of' narrative expressive space'. this will be illustrated by the analysis of the' promenade architecturale' scene in the villa savoye .
one of my book finds in lav diaz’s library - kubler’s the shape of time. i wonder if he ever read this .
some of solanas' s juxtapo sitions are so obvious they are unworthy of the quality of the passion of the film that contains them. mostly, however, the images, the edit ing and the sound track are fine, even witty, as in the section on the argentine aristocracy, defined by its grandiose cemetery that looks like washington' s resurrec tion city, sculptured in mar ble. the aristocrats, he notes, “take the past as [ if it were ] a future. ”
diaz’s eurocentric audience also poses a problematic politics of reception. one of my cinephile friends from italy, renato loriga, expressed his distaste on european cinephilia’s instant positive appraisal on diaz’s cinema after winning three successive major awards from the top european film festivals of locarno, berlin and venice in the span of three years. renato told me that the italian critics, especially those who have ignored some of his early long - form works in the 2000s, were suddenly appreciative of his cinema because of the awards he won. diaz was almost suddenly under the radar of critics, scholars, producers, distributors and the media, earning him a title as one of the world’s most renowned filmmakers .
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grupo cine liberación (fernando e. solanas, octavio getino), argentina, 1968. the work is one of the most important films of third cinema .
a film about the true reasons for the 1989 us invasion of panama and big media complicity in these activities .
souriau developed his idea of the agogic as an explicit reaction to the ‘rather banal description [ of ] arts of space in contrast to the phonetic and cinematic arts’. [ of ] interest is popper’s use of the term to describe the quality of temporal pattern that he identifies in a range of works. at one extreme [. . ]. ] is the velocity and dramatic choreography of a len lye installation. the term agogic conflates speed, acceleration and duration and would appear to be a significant aspect of kinetic form. [ jules moloney, designing kinetics for architectural facades: state change (new york: taylor and francis, 2011), p. 64. ]
in continuing this written monologue about conversation, i am becoming aware of the sheer weirdness of thinking in this way about something that behaves so differently than writing “for the record. ” but if, as maurice blanchot demonstrates, conversation can be defined as a series of interruptions—perhaps the most powerful of which being the neutrality of silence—then writing, which is a kind of silent speech, may itself constitute an interruption to the way conversation is imagined. 1 ...
anhui xinke new materials stock co. ltd. , the chinese copper strip manufacturer based in wuhu city, anhui province, had signed a contract for the supply of two induction furnace systems with induga in october 2012. as part of a drive to expand production capacity, the equipment is intended to provide copper - iron alloy stock for the production of leadframe strip of high electrical conductivity. for melting down copper cathodes and return scrap, a 10 - tonne medium - frequency coreless furnace with a rated power of 3, 000 kw at 250 hz is to be provided by otto junker gmbh. the system can achieve a maximum melting rate of 7. 5 tonnes / hour. the furnace will be equipped with a stepless tilting feature allowing the vessel to be tipped backwards by up to 20º to facilitate de - slagging. from the melting furnace the liquid metal will be transferred directly to a mobile sidewell - type pouring furnace equipped with a 300 kw coreless inductor. both furnace systems are to be fitted with power converter and switchgear equipment based on igbt technology, apart from receiving the most advanced process control technology. our scope of delivery will likewise comprise the water recooling systems as well as the charging equipment for the melting furnace. delivery of these furnace installations is slated for october 2013. the customer aims to commission the production line in april 2014 .
paul a. schroeder is author of tomás gutiérrez alea: the dialectics of a filmmaker (routledge, 2002), and is currently working on a general history of latin american cinema .
the processes of the factory have entered the museum in ways that warhol and duchamp could never have dreamed: the amount of art production now by far exceeds what can be processed or understood, and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss, but also to gain anything from the sheer volume of artworks placed on display today. the time to engage and digest work is often replaced by additional work—it just keeps coming ...
prior to this, the filmmakers’ voice addressed compañeros (comrades – a privileged kind of spectator), those ‘protagonists of the process which the film somehow attempts to bear witness to and deepen’, reaffirming the idea of openness (and even collective authorship) contained in the concept of film act: ‘the film is a pretext for dialogue, for the search and the meeting of wills. this is a report we place before you for your consideration to be debated after the screening. what counts is the conclusions you can draw as the real authors and protagonists of this story… above all, what counts is the action that might spring from these conclusions… that’s why the film stops here and opens up for you to continue it. ’
lotte eisner,' the beginnings of the expressionist film', in the haunted screen: expressionism in the german cinema and the influence of max reinhardt [ 1952 ], transl. r. greaves (berkeley and los angeles 1973), pp. 17 - 27
how did this happen? first of all, the traditional fordist factory is, for the most part, gone .
every week until the show we’ll be giving away a pair of free tickets to the show on our facebook page .
manuel castells, “the space of flows”, in the rise of the network society, 2nd edn. (chichester; malden, ma: wiley - blackwell, 2010), pp. 407 - 59
tom gunning,'
now you see it, now you don' t
: the temporality of the cinema of attractions' (pp. 41 - 50 )
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while questions of creative sovereignty (hurriyat al - ibda‛) tend to loom large in egyptian academic writings, the artistic trajectory of the annual juried competition known as the youth salon has been marked, historically, by structural inertia. established in 1989 by the ministry of culture, the exhibition was meant to encourage a new generation of egyptian artists and increase their international visibility. 1 jessica winegar has explored the salon as a “tournament of values” that is ...
the period of the 1960s in latin american cinema was revolutionary. third cinema emerged during this period as collective effort to decolonize latin american culture and resist the cultural imperialism of the united states. how’s the third cinema project in your respective regions now? is the tradition of militant filmmaking, as inaugurated by getino and solanas, still practiced among militant filmmakers ?
without notice, the question of political cinema has been inverted. what began as a discussion of political cinema in the museum has turned into a question of cinematic politics in a factory. traditionally, political cinema was meant to educate—it was an instrumental effort at “representation” in order to achieve its effects in “reality. ” it was measured in terms of efficiency, of revolutionary revelation, of gains in consciousness, or as potential triggers of action .
go behind the scenes of the mission: impossible movies, check out the latest videos and trailers, and see which spy movies topped the box office in our mission: impossible guide .
rosenstone, robert,' introduction', in visions of the past: the challenge of film to our idea of history (cambridge, ma; london: harvard university press, 1995), pp. 1 - 19 .
this extreme control over visibility sits rather uncomfortably alongside the perception of the museum as a public space. what does this invisibility then say about the contemporary museum as a public space? and how does the inclusion of cinematic works complicate this picture ?
“photography and video filming are not normally allowed at tate” (→). however, filming there is welcomed on a commercial basis, with location fees starting at £200 an hour (→). policy at the centre pompidou is more confusing: “you may film or photograph works from permanent collections (which you will find on levels 4 and 5 and in the atelier brancusi) for your own personal use. you may not, however, photograph or film works that have a red dot, and you may not use a flash or stand. ” (→) .
are considered to be a great american triumph. two of his plays, “fences” and “the piano lesson”, have won pulitzer prizes. the august wilson house is also listed on the national register of historic places .
tom gunning, d. w. griffith and the origins of american narrative film: the early years at biograph (urbana, il: univerisity of illinois press, 1994) .
david harvey,' time - space compression and the rise of modernism as a cultural force' and' time - space compression and the postmodern condition', in the condition of postmodernity: an enquiry into the origins of cultural change (oxford: blackwell, 1990), pp. 260 - 307 .
the current discussion of cinema and the museum as public sphere is an animated one. thomas elsaesser, for example, asks whether cinema in the museum might constitute the last remaining bourgeois public sphere .
conditions of production: la hora de los hornos was made clandestinely in bits and pieces over a period of two years (1966 - 67) and owes much to the collaboration of subversive groups in various parts of the country. solanas and getino not only had to contend with the threat of political censorship and retribution - the film has not yet been allowed public exhibition in argentina and private attempts are dangerous - they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy. they worked as cheaply as possible, using the most crude 16mm bolex available, without sinc - sound or motorized drive (making their longest possible takes about 30 seconds). and to raise the money they worked in the daytime making commercials (many of which are exploited contemptuously in the film), an appropriate - and inescapable - contradiction .
' agogics' is a musical term that designates the use of agogic accents, that is accents consisting in a lengthening of the time - value of the note. the philosopher étienne souriau extended the use of the term to include all the arts existing in time. he defined' agogics' as \ what characterizes an artwork that takes place in time, through movement, and specifically through the creation of a fast or slow pace, or the use of different rhythms.' for musicians, the notion is related to gesture, to physical movements, to a bodily interaction with their instrument, to a sense of speed, an energy, a precise handling of a piece. [ christian jacquemin et al,' emergence of new institutions for art - science collaboration...' [ date unknown ], online at: urltoken. hyperlinks added by fsff ]
for a more sober description of the generally quite idealized condition of multitude, see paolo virno a grammar of the multitude, trans. isabella bertoletti, james cascaito, and andrea casson (new york and los angeles: semiotexte, 2004) .
mike wayne, chapter on ‘ third cinema as critical practice: a case study of the battle of algiers ’, in political film: the dialectics of third cinema (london: pluto press, 2001), pp. 5 - 24 .
the formal organisation of la hora de los hornos is inextricably linked to these objectives. its total running time of four hours 15 minutes is structured into three parts, each with a different formal treatment, theme and even objective. the first section, ‘neocolonialism and violence’, was conceived as an essay film, which discusses the neocolonial nature of argentine and latin american dependency through 13 chapters. the second part, ‘act for liberation’, is divided in two, reflecting specific time periods: chronicle of peronism and chronicle of resistance. conceived as a film act and dedicated to the ‘peronist proletarians’, these two chronicles respectively deal with an analysis of the ten years of peronism in power (1946–55) and a critical reconstruction of the ensuing struggles (1956–66). the third part, ‘violence and liberation’, dedicated to ‘the new man who is being born out of this liberation war’, presents itself as a study on the meaning of violence .
cinema, as jean - louis comolli notes, began as documentary and documentary as cinema. nevertheless, documentary remains a slippery, marginal filmic mode that pertains to the non - fictional world of knowledge and information while drawing on the resources of fiction, its roots identifiable in both scientific photographic inscription and modernist avant - garde filmmaking. from the vantage of point of contemporary documentary filmmaking – seen as a continuation of a cinematic renaissance in the form reaching back to the 1990s – this session will explore the ways in which documentary film’s complex relation to reality may be understood, addressing in particular how today’s “golden age” of documentary may be thought in relation to the genealogy of the mode and its theorizations .
today, cinematic politics are post - representational. they do not educate the crowd, but produce it. they articulate the crowd in space and in time. they submerge it in partial invisibility and then orchestrate their dispersion, movement, and reconfiguration. they organize the crowd without preaching to it. they replace the gaze of the bourgeois sovereign spectator of the white cube with the incomplete, obscured, fractured, and overwhelmed vision of the spectator - as - laborer .
mariano mestman is a lecturer at the university of buenos aires. this piece is translated from the spanish by libertad borda and is an edited version of an essay from 24 frames: the cinema of latin america, edited by alberto elena and marina díaz lópez and published by wallflower press .
drazin, c. in search of the third man (london: methuen, 1999) .
a brilliant installation by harun farocki makes clear where the workers leaving the factory are headed. farocki collected and installed different cinematic versions of
rivers of steel arts would like to thank the pittsburgh foundation as well as the following sponsors for helping to make this event possible .
he connects images to illuminate social contradictions not apparent when they are perceived in isolation. one particularly moving sequence links the upturned face of a hungry child in the back country with the exploitative neo - colonial system by intercepting it with a dazzling skyscraper in bucnos aires, the port city where foreigners siphon off the country' s natural wealth. instead of pretending a special or temporal literalness (like hollywood montage), this connection is based on a mediation of concrete images with the assessment of argentine social structure as a class structure. the ambiguous apparent nature of the images by a construct of contradiction is transformed into their essential nature based in material conditions .
by considering a range of critical attempts to define or describe the documentary alongside the work of two contemporary filmmakers, gianfranco rosi and nicholas philibert, we will consider how cinematic documentary continues to make its historical “truth claim” while employing experimental techniques that complicate the kinds of knowledge promised by the mode. in doing so, this session will attend to issues central to the study of documentary and to that of film more broadly – realism and formalism, indexicality and the digital, spectatorship and subjectivity, narrative and temporality – as well as reflecting on how the increasingly hybrid forms of contemporary documentary both reprise and reinvent earlier cinematic traditions .
in any case, this revision was there to be discussed by the audience. in this sense, the most interesting aspect was the fact that the film’s very structure incorporated an explicit call for the spectator to continue it through a collective discussion and a transforming praxis. thus, after chronicle of peronism was over, a legend announced: ‘space open for dialogue’. that was the point when a member of the militant group hosting the exhibition had to coordinate the act, as a unique communication moment among the viewers, a tool to make the spectator (in traditional filmic terms) into a protagonist of the exhibition and actor (militant) in the political process .
it might even be the same factory. because the former lumière factory, whose gates are portrayed in the original
the closing sequence, with a sacrificed che lying in state, is set up as the example of that invention, the new man theorised by che himself. the narrative function of this extended closing shot is to establish a visceral and tacit approval of violence against the system as the only viable act of liberation. it will be up to part 2 to develop the necessary historical and theoretical justification for this conclusion, and to part 3 to give more examples (besides che’s) on how to proceed .
i find difficult (and de pressing) solanas' s conclu sions in favor of perenism, which he describes as the first popular expression of argentina' s national con sciousness, and suspect that, in the style of other con temporary revolutionaries, he may well feel that the past can be rewritten, through re‐evaluation, according to the needs of the present. solanas' s conclusions thus escape me; his arguments do not .
amongst the many definitions of art, national identity is not a category used very often. and yet, when it comes to cinema, the tendency to define films by their national origin is a default position. why is that? what makes cinematic art more readily identified by its “nationality”? one of the most immediate answers to this question is the narrative nature of film as an art form that is closely connected to specific places and times that have specific identities. this session will address some of the connections between films and the societies and cultures they depict. by focusing on the small and manifestly ideological cinema of israel the session will examine some of the elements that make up so - called national cinemas .
in ‘ideological war’, the voice - over heard above background music stresses how ‘ideological war in latin america is mostly waged in men’s minds’, while a hand - held camera shows crowded downtown pedestrian streets by night. a long and remarkable montage of images and sounds opens up a wide range of issues to be denounced, unveiling mechanisms of ‘cultural penetration’. the last section presents ‘the option’. a sequence about the burial of a man from the marginal classes in the north of argentina, an ‘ordinary man’, is followed by images of che guevara ’s corpse: his lifeless body laid out on a concrete table, followed by a static shot of his face, which lingers on screen for the last five minutes of this section, accompanied only by percussion sounds. the image presents a christ - like che, whose example could function as an icon of liberation .
this seminar will examine the symbiosis between film and space, with a particular focus on the urban, taken as part of a broader problematic concerned with representations of space and spaces of representation (to use the terms coined by lefebvre). we will look at theories of urban and global / geopolitical space, from david harvey and ed soja to fredric jameson, and consider some key moments in which the mutual constitution of cinema and city is manifest, with a major film from the silent era, a 1950s film noir parody set in mexico, and a key example of cyberpunk from the 1980s .
harun farocki, workers leaving the factory in eleven decades, 2006. video still. courtesy of the leonard & bina ellen art gallery .
frantz fanon, ‘on violence’, in the wretched of the earth, trans. richard philcox. new york: grove press, 2004 .
a literary and artistic movement that flourished between the two world wars. defined by andré breton, surrealism endeavored to express the
real
workings of the human mind by liberating it from the influence of conventional value systems, whether aesthetic, moral, or logical. automatic expression of the mind by exploring dreams, the subconscious, and hypnotic trances, an artistic movement that displayed vivid dream worlds and fantastic unreal images
braddock sits just outside the city of pittsburgh in the mon valley. while mon valley towns like braddock have not seen the kind of renaissance that has occurred in places like east liberty, there is much potential for a resurgence. businesses like the brew gentleman and studebaker metals have chosen to locate their business along the main corridor, braddock avenue. there are many champions in the braddock neighborhood, from the local block watch members up to the mayor, who are working to bring investment to braddock while improving the lives of current residents .
while legitimizing his position as one of the forminable asian auteurs that penetrated the european cinephile culture, the limited turnout of filipino audience in most of his screenings in the philippines proved contradictory. diaz’s high cultural capital and idiosyncratic approach to filmmaking opened debates, critical appraisal and critiques in his home country. during the onset of his popularity, diaz’s long duration was dismissed as anti - people and anti - audience for its demand for long endurance and extreme durative work from its audience. diaz’s duration can be seen as a totalitarian conditioning of opticity. this and other problematiques would constitute the core problems of my thesis.
the hour of the furnaces ( spanish : la hora de los hornos ) is a 1968 film directed by octavio getino and fernando solanas . ' the paradigm of revolutionary activist cinema ' , it addresses the politics of the ' third worldist ' films and latin-american manifesto of the late 1960s . 
the hour of the furnaces (spanish: la hora de los hornos) is a 1968 film directed by octavio getino and fernando solanas. ' the paradigm of revolutionary activist cinema', it addresses the politics of the' third worldist' films and latin-american manifesto of the late 1960s.
the hour of the furnaces (spanish: la hora de los hornos) is a 1968 film directed by octavio getino and fernando solanas. ' the paradigm of revolutionary activist cinema', it addresses the politics of the' third worldist' films and latin-american manifesto of the late 1960s.