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‘My grandfather was a Nazi’ by Hanna Brown

‘My grandfather was a Nazi’ by Hanna Brown | CRITICA DE CINEMA | Scoop.it
A guest at this week’s Jerusalem Jewish Film Festival, director Barbara Albert speaks to the ‘Post’ about uncovering her family’s secret past.
Ihering Guedes Alcoforado's insight:

When people say their grandfather was at Auschwitz, they usually mean that he was an inmate there. But the heroine of Barbara Albert’s latest film, The Dead and the Living, has to come to terms with the fact that her beloved grandfather was an SS officer there. Albert will be at the 14th Jerusalem Jewish Film Festival, which runs through December 14 at the Jerusalem Cinematheque, to present her film, and the inevitable question this Austrian director will face is whether the film has autobiographical elements.

The short answer is yes, says Albert in a phone interview from Vienna a few days before the festival.

“Like Sita [the heroine of the film, played by Anna Fischer] I started to do research about my own family a few years ago,” Albert says. The Berlin-based director, who is originally from Austria, began a journey that mirrors Sita’s in the film, through several countries in Europe to find out the truth. The result is a moving film about a confused young woman whose search for her place in the world is complicated by what she learns about her grandfather.

“In 2003, I found out that my grandfather had been at Auschwitz as an SS officer. I definitely had feelings of guilt. I was trying to feel responsible for what’s happening in the world and then I found this out,” she says.

And, just like Sita in the film, she discovered an interview with her grandfather that her uncle, author Dieter Schlesak (who has published several works of fiction about the Holocaust, including The Druggist of Auschwitz: A Documentary Novel)had done while doing research. She recreated this interview closely in her film, and some of the most riveting moments in The Dead and the Living are when actor Hanns Schuschnig, playing the grandfather, talks about his feelings about what he did – and his lack of guilt.

“I knew that he had been in the SS, but no one talked about it. You just knew you shouldn’t ask. So I knew there was something I had to find out after he was dead,” she says, and her research led her to the interview footage and the discovery that he was not some low-level bureaucrat, as she had preferred to think, but that he had actually been an officer at Auschwitz.”

She learned about her grandfather’s years working at Auschwitz while she was writing the film and she knew she had to use it. “Auschwitz was at the core of everything. It’s such a symbol. People said, ‘It’s too obvious.’ But these are the facts.”

Many of the other facts in this film mirror her family’s experience, including their experience as Siebenburger Saxons, a German minority in Transylvania, many of whom served in the SS.

She acknowledges that while she doesn’t see it this way, her grandfather, like many Saxons, felt that he was a victim himself in that he had been displaced from the region where he grew up and where his family had lived for generations.

“They felt like victims. They felt had lost their homeland. They couldn’t say they were guilty, that we did something wrong,” she says. “My grandfather would have liked to go somewhere else to serve.”

Many of the SS guards were from the German groups like the Saxons who had lived in other parts of Europe, she says.

“It was presented to them, that you have to suffer now for the German ideal. You are the victims,” she says. It was very difficult for her to hear “my beloved grandfather” acknowledging what he did but saying he did not feel guilt.

Learning this painful truth helped Albert, like Sita, find her own identity.

“Sita has to know where she comes from in order to go in a new direction,” she says.

It was difficult for her to find funding for the film in Germany, where “they feel we’ve talked about this issue, we are over it.” But the Austrian film funds, and other throughout Europe, were more responsive.

Albert, whose parents are biologists, had a success in 1999 with her film, Nordland, about rootless young people, at the Venice Film Festival, and has been directing ever since.

She is excited that her film will be shown in Israel.

“For me it’s important to show it in Israel and talk to people there,” she says. She knows many Israelis living in Europe, and cast Israeli actor Itay Turan in a supporting role as a photographer Sita meets and has an affair with.

She hopes screening the film here will lead to some interesting discussions.

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André Singer: "A energia social não voltará atrás" by Guilherme Evelin

André Singer: "A energia social não voltará atrás" by Guilherme Evelin | CRITICA DE CINEMA | Scoop.it

O teórico do lulismo diz que as manifestações de rua abriram um ciclo longo de mobilizações que colocarão o governo e o país diante de escolhas cruciais

 

Ihering Guedes Alcoforado's insight:

O cientista político André Singer é um festejado teórico do “lulismo” – como ele batizou o alinhamento de segmentos sociais, antes hostis ao PT, às forças políticas comandadas pelo ex-presidente Luiz Inácio Lula da Silva. Embora surpreso com a forma como eclodiu, Singer diz que o movimento que tomou conta das ruas do Brasil estava “meio anunciado”. Ele o relaciona à ascensão de um “novo proletariado”. Nos últimos anos, diz, ele ganhou emprego e renda, mas vive ainda de forma precária. Para Singer, a emergência do movimento coloca o governo Dilma diante de uma encruzilhada. Os manifestantes pedem mais gastos públicos, enquanto o mercado cobra austeridade. 

À ESQUERDA

 

ÉPOCA – As manifestações são um abalo para o lulismo? Acabou a lua de mel da maioria da população com o PT?
André Singer – Elas representam um possível retorno do movimento de massas, ausente no cenário político brasileiro desde, pelo menos, 1992. Ele começou a desaparecer com a derrota eleitoral de Lula em 1989, quando se encerrou um ciclo de dez anos de mobilizações. O movimento tem hoje características novas e não pode ser ainda caracterizado como um abalo, mas um desafio importante. Coincidiu com um momento complicado da economia. O lulismo enfrenta duas forças em direções contrárias. Essas manifestações tendem a ser um movimento por aumento de gasto público. E, do lado do capital, vemos pressão pelo corte dos gastos públicos. É um momento que representa um desafio para o lulismo. Não havia, nos setores que se mobilizam, uma lua de mel com o governo. Há uma forte base do lulismo no subproletariado, um setor expressivo da população, que não está na rua.

 

ÉPOCA – Quem está na rua?
Singer – Minha hipótese é que as manifestações estão compostas de duas camadas sociais. Uma são os filhos da classe média tradicional, estabelecida assim há mais de uma geração, que possivelmente puxaram as manifestações. Elas ganharam adesão também do que chamo de novo proletariado. Não é uma nova classe média. São jovens que não pertencem a famílias nitidamente de classe média, mas passaram a ter emprego por causa do lulismo. Mas têm empregos precários, com alta rotatividade, más condições de trabalho e baixa remuneração. Ao longo das manifestações, a participação desse segundo grupo foi aumentando. Isso talvez explique por que, na segunda etapa, elas se expandiram pela Grande São Paulo, pelo Grande Rio e pelas cidades em torno das capitais. A segunda camada é muito mais extensa do que a primeira e mostra o potencial do movimento.

 

ÉPOCA – A que o senhor atribui a insatisfação que emergiu?
Singer – O lulismo é um processo de reformismo fraco, de mudança estrutural do Brasil, mas muito lento e concentrado no subproletariado, os mais pobres. De um modo geral, esse subproletariado não está nas capitais. É mais expressivo no Nordeste ou no interior do que nas grandes capitais. O lulismo é um modelo que favoreceu essa camada e, indiretamente, também os trabalhadores urbanos, porque aumentou emprego e renda. Mas os problemas urbanos das grandes metrópoles são muito caros. Para você conseguir resolvê-los, precisa fazer investimentos gigantescos, que teriam de sair dos cofres públicos. Para isso, teria de haver um rearranjo, em matéria tributária ou de serviços da dívida, ou na forma de taxação das grandes fortunas, ou tudo isso junto. Isso não foi feito. Os problemas urbanos se acumulam e se somam à precariedade da situação do novo proletariado. A situação estava meio anunciada, porque esse setor tem condições agora de reivindicar. Na verdade, foi completamente inesperada a maneira como o movimento emergiu. Mas, em retrospecto, a equação que explica o que aconteceu é bem clara.

 

ÉPOCA – Por que o senhor localiza o fim do movimento de massas em 1989 – e não no impeachment de 1992?
Singer – As manifestações pelo impeachment de Collor são uma espécie de uma última aparição daquele grande ciclo, que já terminara. O ciclo acaba em 1989, porque a derrota de Lula abriu a porta para o neoliberalismo no Brasil e quebrou a espinha dorsal da classe trabalhadora organizada, com aumento do desemprego. Houve uma diminuição expressiva no número de trabalhadores industriais nos anos 1990, seguida pela década do lulismo, onde começou a recomposição do trabalho. É um erro pensar que os movimentos sociais de massa ocorrem na depressão econômica. Eles ocorrem depois da ascensão das condições econômicas.

 "Há um pacote para produzir um ajuste recessivo. As manifestações dizem: ‘Isto não!’"  

ÉPOCA – As manifestações não têm liderança, não têm organização, não têm partido. Por que virariam um grande movimento?
Singer – Há uma recusa dos partidos, dos sindicatos, das instituições tradicionais. O princípio fundamental é a descentralização. São movimentos horizontais, em que a orientação principal é não ter hierarquia. Essa horizontalidade tem uma enorme vantagem. Os movimentos são pouco propensos à burocratização, grande problema de partidos e sindicatos. Isso é extremamente saudável. Mas há uma contrapartida: eles não têm uma direção clara e centralizada. Essa característica torna esses movimentos mais difíceis de entender. No que isso vai dar? Foi desencadeada uma energia social que não voltará atrás rapidamente. O curso que ela encontrará não sei dizer. Mas acredito que outras coisas desse tipo virão.

ÉPOCA – Quais serão as consequências no sistema político?
Singer – O novo ator impacta o sistema político, mas não o substitui. O sistema político continuará funcionando. Não deixará de existir, porque, na verdade, passamos por um momento em que esses novos movimentos não têm alternativa. Os partidos terão de incorporar coisas, dialogar com o movimento, fazer concessões, mudar. Alguns ganharão. Outros perderão. Para dar um exemplo concreto, o próprio movimento da Marina Silva é uma antecipação disso, porque ela fala aos ouvidos de parte dos manifestantes.

 

ÉPOCA – Marina será a grande ganhadora?
Singer – Não digo isso, porque, embora esse movimento se caracterize pela horizontalidade, ele tem uma agenda materialista. Estamos falando da distribuição da riqueza. É isso que está em jogo: para onde vão os recursos, sejam os públicos, sejam os que transitam entre capital e trabalho. Marina lida muito mal com essa agenda materialista, porque ela quer ficar no meio. Essa posição é inviável.

 

ÉPOCA – Qual pode ser a consequência nas próximas eleições presidenciais? Atrapalha a reeleição da presidente Dilma?
Singer – É impossível fazer um prognóstico. As manifestações pendem para a esquerda. O impacto sobre a candidatura Dilma dependerá de como ela lidará com essa pressão, por mais recursos para transporte, saúde, educação e segurança.

 

ÉPOCA – E o PT? Como será afetado?
Singer – O PT está desafiado, com o lulismo. Como o PT tem uma importante, embora não dominante, facção de esquerda, esses setores estão diante de perguntas existenciais.

 

ÉPOCA – O lulismo atendeu aos anseios de consumo de parte da população. Esse modelo de crescimento não foi posto em xeque pelas manifestações, que pedem melhores serviços públicos e não mais consumo?
Singer – Não creio que seja um problema do modelo de crescimento. Ele incluiu pessoas excluídas. Com isso, ativou a economia por baixo. Mas houve uma diminuição da margem para isso. Desde 2011, estamos num quadro complicado, que tem a ver com a crise do capitalismo iniciada em 2008. Acreditava-se que tinha sido contida em 2009. Na verdade, não conhecemos ainda o final do túnel. Se a economia tivesse continuado com um crescimento maior, haveria margem para investir mais em saúde, educação, segurança. Mas ela anda devagar. Os recursos estão mais escassos. Os juros subiram. As restrições ao capital especulativo foram retiradas. E agora há uma enorme pressão para cortes de gastos públicos. Há um pacote para produzir um ajuste recessivo na economia. De alguma maneira, as manifestações dizem: “Isto não!”.

ÉPOCA – O senhor diz que o lulismo não procurou enfrentar o capital na política econômica. Nos últimos dois anos, o governo a flexibilizou, e os resultados foram crescimento baixo e inflação mais alta, por causa dos gastos públicos. A estratégia desenvolvimentista de Dilma não deu resultados.
Singer – Isso mesmo. Na crise mundial, o governo Dilma decidiu dar um passo à frente e modificou os termos da política neoliberal. O resultado, em crescimento, foi decepcionante. Os economistas dizem: faltou investimento. Algo na equação então falhou, porque tudo foi feito para proteger o capital produtivo brasileiro. Tenho ouvido reclamações contra o intervencionismo do governo, mas é um intervencionismo para facilitar a vida desse capital. O que não funcionou não está claro ainda. Não quero subestimar o tamanho dos problemas. Mas, se é para seguir a linha reformista, esses problemas precisam ser enfrentados para manter as mudanças. Se voltar à agenda neoliberal, não dá para fazer as mudanças.

 

ÉPOCA – Mas Dilma já tem recuado. Aumentou os juros e voltou ao câmbio flutuante.
Singer – O governo tem recuado nos últimos seis meses. O capital pede um novo recuo, com o corte dos gastos públicos. Essas manifestações pedem o aumento dos gastos. Por isso, é um momento em que os desafios são sérios e cruciais. Essa é a questão: para onde o governo penderá nessa bifurcação.

 

ÉPOCA – Pode haver uma desestabilização do governo?
Singer – Não creio. O governo tem capacidade de entender o que acontece e demonstrou que não está descolado. Tenho certeza de que tentará equacionar as questões.

 

ÉPOCA – Como resultado, as instituições mudarão?
Singer – Sim e não. Sim, pois serão obrigadas a alguma abertura. Mas não a ponto de se desfazer. Os sistemas político e econômico continuarão em suas bases tradicionais. Pode estar se abrindo um ciclo longo, em que haverá as duas coisas. É o que acontece na Europa e mesmo em outros países, onde ocorreu a Primavera Árabe. Os movimentos lá foram enormes, mudaram o regime político. Mas, quando houve eleição, os partidos tradicionais ganharam. É o que deverá acontecer aqui. Temos, nas ruas, milhares de pessoas. Mas o eleitorado são milhões. Esses milhões é que votarão e decidirão. 

 

ENTREVISTA - REVISTA ÉPOCA,  23/06/2013 08h00


 

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MOSTRA II GRANDE REVOLUÇÃO E CRIAÇÃO DA URSS

MOSTRA II GRANDE REVOLUÇÃO E CRIAÇÃO DA URSS | CRITICA DE CINEMA | Scoop.it

 Curadoria Prof. Livio Andrade Wanderley -Doutor em Administração de Empresas pela Escola de Administração de Empresas de São Paulo da Fundação Getúlio Vargas (EAESP/FGV) e professor do Programa de Pós-Graduação em Economia da Universidade Federal da Bahia (PPGE/UFBA). livio@ufba.br

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Ihering Guedes Alcoforado's curator insight, April 30, 2015 12:42 PM

O termo “REVOLUÇÃO” denota mudanças estruturais profundas nas rotinas de funcionamento das ordens econômica, social e política, podendo ter rebatimentos na cultura da formação social.

A II Grande Revolução ocorreu quando da formação da União das Repúblicas Socialistas Soviéticas (URSS). Acontecimentos do processo revolucionário são retratados nos filmes “O Encouraçado Potemkin”, “Outubro“, “Stalin” e “O Círculo do Poder”. Os fundamentos básicos desse evento devem-se as clivagens de ordem teórica, socioeconômica e política que serão colocados através de antecedentes, consecução e implantação, implementação e consolidação, e epílogo.

 

ANTECEDENTES

 

Com o choque da grande indústria no século XIX adveio uma leitura sobre o funcionamento do então capitalismo assalariado através do “O Capital“ de Marx. Esta obra expõe a realidade do capitalismo tal qual a sua acumulação e reprodução ocorre através do paradigma do desequilíbrio entre capital e trabalho, diferindo-se da então lógica do equilíbrio de mercado smithianoe de equalização de margens da produção e do consumo de matriz neoclássica. A Rússia apesar de ter algumas indústrias no final desse século, ainda era um país estritamente agrário e feudal e convivia com grande concentração de riqueza 

os proprietários e de pobreza dos componeses e assalariados.

 

A ordem de poder apoiava-se no regime absolutista dos czares ou tzares em que predominava os privilégios para as classes dos proprietários e forte repressão sobre insurgentes. O primeiro Czar foi Ivan I e a consolidação do poder czarista deveu-se a Ivan IV (o terrível), sendo seguido por outros entre os quais Pedro I o reformador e Catarina II que se focaram na civilização do ocidente.

 

No início do século XVII, nomeia-se a dinastia dos Romanov que perdurou até II Grande Revolução em 1917. Dada às precariedades sociais e as novas ideias de sociedade socialista, têm-se as mobilizações políticas através do Partido Operário Social-Democrático da Rússia (POSDR) com partícipes de Plekhanov, Lênin, Trotsky, Martov e outros que contribuíram para a criação da URSS.

 

No II Congresso do POSDR em 1903 (Londres) há uma divisão de lideranças no que tange ao método a ser adotado para se chegar ao socialismo, de um lado, Lênin (bolchevique) – defendia o “centralismo democrático” e um partido pequeno e sectário de profissionais revolucionários (marxismo leninista: político) e, de outro lado, Martov (menchevisque)de linhagem marxiana, defendia a maturação do capitalismo, a democracia e um partido de ampla representatividade social (Marx: econômico). Trotsky não adere à visão autoritária de Lênin e pende para os menchevisques com a ressalva de que a sua tese de “revolução permanente” se aplica as etapas da democracia burguesa e do socialismo, com amplitude internacional. A revolução de 1905, com a participação de Trotsky, inicia-se em prática o processo revolucionário que apesar do insucesso, obrigou o regime czarista criar a Duma (Parlamento) e os Soviets (Conselhos Populares). (FILME: “O Encouraçado Potenkin”).

 

 

 

CONSECUÇÃO E IMPLANTAÇÃO

 

 

 

O ano de 1905 foi o ensaio geral para a revolução de fevereiro de 1917 que findou a era dos czares. Esta revolução de caráter popular foi liderada pelos menchevisques (então de maior apoio popular) tendo como um de seus líderes Kerensky. Cria-se um Governo Provisório (GP)

 

ssume a chefia, sendo em julho substituído por Kerensky. Este Governo com apoio popular tentou consolidar a democracia concedendo anistia política, fortalecendo a Duma e os Soviets, e outras iniciativas. Lênin, Trotsky, Martov e outros retornam do exílio e são libertados de prisões, Kamenev, Stalin, etc. Lênin assumindo liderança do Soviet de São Petersburgo (Petrogrado) propõe as “Teses de Abril” com suas estratégias de ação partidária com forte influência da “revolução permanente” de Trotsky, definindo objetivamente a possibilidade de se passar de imediato a etapa burguesa para a socialista. A síntese destes dois líderes, Lênin com a sua teoria do partido e Trotsky com a sua revolução permanente foi crucial para o êxito da então “insurreição bolchevique” em outubro de 1917. Stalin neste período se postou equidistante entre as posições radicais e conciliadoras em relação ao GP. Explorando-se os anseios populares que demandavam paz (saída da guerra com a Alemanha), pão (escassez e alta inflação) e terra (revolução agrária para findar os latifúndios), o partido bolchevique sob a liderança de Lênin tem êxito no ataque ao Palácio de Inverno e derrota o GP. (FILME: “Outubro“).


 

O novo governo bolchevique promove mudanças estruturais. A propriedade privada foi abolida e fez-se a nacionalização e/ou estatização de bancos, indústrias e a desapropriação fundiária (campesinato não entende, pois as desapropriações dos latifúndios foramapropriadas pelo Estado e não distribuídos entre eles); promove-se o acordo de paz com a Alemanha (Brest Litovski) tendo vasta desvantagem territorial, introduz-se em 1918 uma nova Constituição Socialista, e outras mudanças. Em consequência tem-se uma Guerra Civil (1918 – 1921) que resulta na quebra total da economia da Rússia. Após o fim da guerra, Lênin recua em sua estratégia econômica com a NEP (Nova Política Econômica) que permite a propriedade privada, a economia de mercado e outras gestões de caráter capitalistas. Em 1923 uma nova Constituição é elaborada em que se cria a então URSS (Confederação de várias Repúblicas regionais autônomas que aderiram à nova ordem política) sob a orientação da Secretaria Geral do Partido Comunista (PC). Com a doença e morte de Lênin em 1924, Stalin assume a Secretaria Geral do Partido Comunista.

 

 

 

IMPLEMENTAÇÃO E CONSOLIDAÇÃO

 

 

 

Após os debates, conflitos, articulações e conspirações em que Trotsky para muitos seria o sucessor natural de Lênin, contudo não se confirma em razão do total controle partidário que Stalin mantinha como Secretário Geral do PC. Cria-se um triunvirato composto por Stalin, Kamenev e Zinoviev. Diante da postura e iniciativas da troika, especialmente, de Stalin, no sentido de concentrar o poder em torno de si através da burocratização e do clientelismo na gestão de governo, apresentou-se um grande debate e troca de acusações com Trotsky, ao tempo em que Stalin conseguiu expulsá-lo do PC em 1927 e em seguida exilá-lo a força em 1929. Em oposição ao conceito de “revolução permanente” e imbuído na tese de “socialismo em um só país”, Stalin adota duas frentes de combate simultânea e integrada – na economia e na política - visando o total controle do poder.


 

Uma frente foi erguer a economia da URSS findando com os resquícios da NEP e introduzindo a Planificação Econômica através dos Planos Quinquenais (PQ). Visando seu êxito, adotou-se a força policial e métodos arbitrários, especialmente no combate aos kulaks (agricultura privada próspera).O I PQ (1928 – 32) impôs-se a coletivização forçada da agricultura via cooperativas (kolkhozes) e fazendas estatais (sovkhozes),e fez-se a industrialização acelerada com prioridade ao setor de bens de produção. O II PQ (1933 -37), dar-se continuidade na indústria pesada e se desenvolve a indústria de consumo. O III PQ (1938 – 42) não foi concluído em razão da 20 Guerra Mundial.


 

Outra frente envolve a ordem política e o exercício do poder. Criou-se uma camada social burocratizada oriunda em sua maior parte de classes proletárias do campo e da cidade. Segundo Löwy em seu livro “As aventuras de Karl Marx contra o Barão de Munchhausen”, esta camada era destituída, no sentido marxista, do conceito de classe social, mas tratava-se de “... uma ‘ordem social (Stand)’ definida por critérios político-ideológicos, de formação análoga à ordem clerical das sociedades pré-capitalistas.” A nova ordem política se pautou pelo culto a imagem, a personalidade e a personificação do poder na figura de Stalin. Este culto privou a sociedade das liberdades de opinião e expressão, propiciando perseguições, acusações e julgamentos forjados, condenações para os Gulags (campos de trabalhos forçados) e assassinatos políticos a todos os dissidentes, inclusive bolcheviques da velha guarda – Kamenev, Zinoviev, Bukharin, Trotksy, etc. (FILME: “Stalin”)


 

Com a combinação dessas frentes a URSS em 30 anos, transmuta-se de uma economia atrasada e feudal em um país potência econômica, política e militar. A experiência de uma democracia burguesa se deu apenas na tentativa do GP entre fevereiro e outubro de 1917.

 

 

 

EPÍLOGO

 

 

 

Toda ação e utopia revolucionária geram atos rudes violentando o Status Quo vigente. Cabe avaliar que estratégia temporal se prescinde para atingir tal fim. As teses teleológicas da revolução de outubro de 1917 que se imputam ideais de igualdade e liberdade no longo prazo foram rompidas com o modelo stalinista, pois se pautou no fato de que “todo fim justifica qualquer que sejam os meios”, resultando no declínio da utopia de 1917. (FILME: “O Circulo do Poder”).


 

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Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values by Kimerer L. LaMothe

Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values by Kimerer L. LaMothe | CRITICA DE CINEMA | Scoop.it

Martha Graham by Edward Steichen

 

"No artist is ahead of his time. He is his time; it is just that others are behind the times."  Martha Graham

 

Martha Graham is considered by many to be the 20th century's most important dancer and the mother of modern dance.

Ihering Guedes Alcoforado's insight:

 Nietzsche uses images of dance throughout his work to represent the process and the fruits of his "revaluation of all values."           American modern dancers Isadora Duncan and Martha Graham were inspired by his work as they created their respective visions for what dance can and should be. MARTHA GRAHAM  -    Martha Graham was born in Allegheny (now Pittsburgh), Pennsylvania, on May 11, 1894. As a child, she was influenced by her father, a doctor who used physical movement to remedy nervous disorders. Throughout her teens, Graham studied dance in Los Angeles at Denishawn. In 1926, she established her own dance company in New York City. She danced into her 60s and choreographed until her death in 1991, leaving the dance world forever changed.

Early Years and Inspiration

Born in a suburb of Allegheny (now Pittsburgh), Pennsylvania, on May 11, 1894, Martha Graham was influenced early on by her father, George Graham, a doctor who specialized in nervous disorders. Dr. Graham believed that the body could express its inner senses, an idea that intrigued his young daughter.

In the 1910s, the Graham family moved to California, and when Martha was 17, she saw Ruth St. Denis perform at the Mason Opera House in Los Angeles. After the show, she implored her parents to allow her to study dance, but being strong Presbyterians, they wouldn't permit it.

Still inspired, Graham enrolled in an arts-oriented junior college, and after her father died, at the newly opened Denishawn School of Dancing and Related Arts, founded by Ruth St. Denis and her husband, Ted Shawn. Graham spent more than eight years at Denishawn, as both a student and an instructor.

From Dancing to Choreography

Working primarily with Ted Shawn, Graham improved her technique and began dancing professionally. Shawn choreographed the dance production "Xochitl" specifically for Graham, who performed the role of an attacked Aztec maiden.The wildly emotional performance garnered her critical acclaim.

Graham left Denishawn in 1923 to take a job with the Greenwich Village Follies. Two years later, she left the Follies to broaden her career. She took teaching positions at the Eastman School of Music and Theater in Rochester, New York, and the John Murray Anderson School in New York City to support herself.

In 1926, she established the Martha Graham Dance Company. Its incipient programs were stylistically similar to those of her teachers, but she quickly found her artistic voice and began conducting elaborate experiments in dance.

Later Years

Ever more bold, and illustrating her visions through jarring, violent, spastic and trembling movements, Graham believed these physical expressions gave outlet to spiritual and emotional undercurrents that were entirely ignored in other Western dance forms. The musician Louis Horst came on as the company’s musical director and stayed with Graham for nearly her entire career. Some of Graham’s most impressive and famous works include “Frontier,” “Appalachian Spring,” “Seraphic Dialogue” and “Lamentation.” All of these works utilized the Delsartean principle of tension and relaxation -- what Graham termed “contraction and release.”

Despite the fact that many early critics described her dances as “ugly,” Graham’s genius caught on and became increasingly respected over time, and her advances in dance are considered by many to be an important achievement in America’s cultural history.

 

Graham continued to dance into her 60s and choreographed until her death on April 1, 1991, leaving behind a legacy of inspiration not only for dancers but for artists of all kinds.

 This book Nietzsche's Dancers: Isadora Duncan, Martha Graham, and the Revaluation of Christian Values by Kimerer L. LaMothe,   examines the relationships among these three figures, arguing that the techniques of dance practice, choreography, and performances developed by Duncan and Graham critically advance Nietzsche's revaluation of Christian values.

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The White Ribbon by Michael Haneke

The White Ribbon by  Michael Haneke | CRITICA DE CINEMA | Scoop.it
Ihering Guedes Alcoforado's insight:

In his masterpiece, The White Ribbon, writer and film‐maker Michael Haneke creates a tale that jars the viewer with his portrayal of life in a (German) village at the threshold of World War I.   But he also gratifies this psychoanalytic viewer in two ways:  (1) in the historically documented realistic portrayal of harsh child rearing and its thenunrecognized potential highly destructive consequences; and (2) in the psychoanalytic
cogency of his portrayal, given that established psychoanalytic and psychological  theorizing compelled by evidence‐based findings asserts just what Haneke tells us: that  abuse (and neglect) of children generate the hostile‐destructive‐laden psychodynamic that underlies the formation of delinquent and criminal characterology.[PRENS, 2011]

 

PARENS, Henry, A Contribution from Film to a Psychoanalytic Explanation of Large Consequence – Haneke’s Affirmation of Historical Antecedents to Nazism in International Journal of Applied Psychoanalytic Studies, 2011, 8(2): 133–146 (2011)

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Who was Rosie the Riveter by Alia Hoyt

Who was Rosie the Riveter by Alia Hoyt | CRITICA DE CINEMA | Scoop.it
Ihering Guedes Alcoforado's insight:

Rosie the Riveter History

First things first: What is a "riveter," anyway? A riveter is someone who operates a riveting gun, a necessary tool in the manufacturing industry. Many of the women who were inspired to join the work force by Rosie the Riveter actually did very little (if any) riveting, simply because their jobs didn't require it. In fact, the number of women who filled manufacturing roles never exceeded 10 percent of the overall women's working class, which numbered some 19 million [source:PBS].


The Rosie phenomenon came about following the beginning of United States involvement in World War II in 1941. A song titled "Rosie the Riveter," written by John Jacob Loeb and Redd Evans, was released in the early months of 1943. The lyrics described exactly the type of role the government was hoping women would fill during wartime: "She's a part of the assembly line, she's making history, working for victory, Rosie the Riveter."

On May 29, 1943, Rockwell's  depiction of Rosie appeared on the cover of the Saturday Evening Post. At the time, Rockwell had a reputation as the most popular illustrator in the country, so his cover reached a massive audience, bringing Rosie's unique and groundbreaking image to the forefront of attention [source: Library of Congress]. Rockwell sought 19-year-old Mary Doyle to serve as a model for Rosie, although he made some drastic changes to her natural appearance by adding a muscular physique [source:Rosie the Riveter].

Since the image's initial publication, critics have also noted a strong similarity between Rosie and the prophet Isaiah as he is depicted in Michelangelo's painting on the ceiling of the Sistine Chapel [source:Library of Congress].


Like Rosie, this woman is a true riveter. She drives rivets into an aircraft while her co-worker sits in the cockpit.

Harold M. Lambert/Lambert/Getty Images

But while Rockwell's version of Rosie may have been the most popular of its era, another version of Rosie -- the jaunty girl flexing her bicep and sporting a polka-dotted scarf on her head -- endures todayThis Rosie was conceived of in 1942 by an artist named J. Howard Miller. Miller was contracted by an advertising agency to create the image for Westinghouse Electric and Manufacturing Company. The poster was intended for private use in Westinghouse factories from Feb. 15 to 28, 1932, and the public didn't really discover it until the 1980s. Now, the image is one of the top 10 most frequently requested images from the National Archives [source: Kimble and Olson].


Many people continue to interpret Rosie as a feminist icon, but revisionist historians stress that she was not. She was appropriated by different parties for a similar reason: to beckon women into the workplace. Unfortunately for many women who had grown accustomed to working and the financial independence that resulted from their jobs, Rosie's purpose was extinguished at the end of the war.Although employers had grown to accept women in the workplace, the return of the soldiers to the home front forced them to admit that their recently adopted female staff had been only temporary -- for the most part.

Those women who continued to work outside their homes were pressured to take more socially accepted and lower-paying jobs, like secretarial positionsAlthough these gender disparities took hold once again, it was too late to close the floodgates. It wasn't long before the daughters of these women began to chip away at archaic ideas, making way for the women of today to seek higher education and excel in professional roles [source: National Park Service]. While the need for Rosie propaganda may no longer be necessary, her we-can-do-it attitude has left an imprint in history.


First things first: What is a "riveter," anyway? A riveter is someone who operates a riveting gun, a necessary tool in the manufacturing industry. Many of the women who were inspired to join the work force by Rosie the Riveter actually did very little (if any) riveting, simply because their jobs didn't require it. In fact, the number of women who filled manufacturing roles never exceeded 10 percent of the overall women's working class, which numbered some 19 million [source:PBS].


The Rosie phenomenon came about following the beginning of United States involvement in World War II in 1941. A song titled "Rosie the Riveter," written by John Jacob Loeb and Redd Evans, was released in the early months of 1943. The lyrics described exactly the type of role the government was hoping women would fill during wartime: "She's a part of the assembly line, she's making history, working for victory, Rosie the Riveter."

On May 29, 1943, Rockwell's  depiction of Rosie appeared on the cover of the Saturday Evening Post. At the time, Rockwell had a reputation as the most popular illustrator in the country, so his cover reached a massive audience, bringing Rosie's unique and groundbreaking image to the forefront of attention [source: Library of Congress]. Rockwell sought 19-year-old Mary Doyle to serve as a model for Rosie, although he made some drastic changes to her natural appearance by adding a muscular physique [source:Rosie the Riveter].

Since the image's initial publication,

critics have also noted a strong similarity between Rosie and the prophet Isaiah as he is depicted in Michelangelo's painting on the ceiling of the Sistine Chapel [source:Library of Congress].



Like Rosie, this woman is a true riveter. She drives rivets into an aircraft while her co-worker sits in the cockpit.


Harold M. Lambert/Lambert/Getty Images

But while Rockwell's version of Rosie may have been the most popular of its era, another version of Rosie -- the jaunty girl flexing her bicep and sporting a polka-dotted scarf on her head -- endures todayThis Rosie was conceived of in 1942 by an artist named J. Howard Miller. Miller was contracted by an advertising agency to create the image for Westinghouse Electric and Manufacturing Company. The poster was intended for private use in Westinghouse factories from Feb. 15 to 28, 1932, and the public didn't really discover it until the 1980s. Now, the image is one of the top 10 most frequently requested images from the National Archives [source: Kimble and Olson].


Many people continue to interpret Rosie as a feminist icon, but revisionist historians stress that she was not. She was appropriated by different parties for a similar reason: to beckon women into the workplace. Unfortunately for many women who had grown accustomed to working and the financial independence that resulted from their jobs, Rosie's purpose was extinguished at the end of the war.Although employers had grown to accept women in the workplace, the return of the soldiers to the home front forced them to admit that their recently adopted female staff had been only temporary -- for the most part.


Those women who continued to work outside their homes were pressured to take more socially accepted and lower-paying jobs, like secretarial positionsAlthough these gender disparities took hold once again, it was too late to close the floodgates. It wasn't long before the daughters of these women began to chip away at archaic ideas, making way for the women of today to seek higher education and excel in professional roles [source: National Park Service]. While the need for Rosie propaganda may no longer be necessary, her we-can-do-it attitude has left an imprint in history.

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Lightbulb Conspiracy Documentary by Cosima Dannoritzer

Lightbulb Conspiracy Documentary by Cosima Dannoritzer | CRITICA DE CINEMA | Scoop.it

Cosima Dannoritzer is a filmmaker specializing in history and ecology who has worked for broadcasters in the UK, Germany and Spain.

Her previous films include: Re-Building Berlin (Channel 4, U.K., 1992, Journalism Prize of the Anglo-German Society 1993), Germany Inside Out (BBC, U.K. / YLE, Finland, 2001), If Rubbish Could Speak (TVE, Spain, 2003, awards from 'Ekotopfilm' and The'Green Vision Film Festival') Electronic Amnesia (TVE, Spain, 2006)

Ihering Guedes Alcoforado's insight:

Synopsis written by the film's director Cosima Dannoritzer


Once upon a time..... products were made to last. Then, at the beginning of the 1920s, a group of businessmen were struck by the following insight: 'A product that refuses to wear out is a tragedy of business' (1928). Thus Planned Obsolescence was born.

Shortly after, the first worldwide cartel was set up expressly to reduce the life span of the incandescent light bulb, a symbol for innovation and bright new ideas, and the first official victim of Planned Obsolescence. During the 1950s, with the birth of the consumer society, the concept took on a whole new meaning, as explained by flamboyant designer Brooks Stevens: 'Planned Obsolescence, the desire to own something a little newer, a little better, a little sooner than is necessary...'.The growth society flourished, everybody had everything, the waste was piling up (preferably far away in illegal dumps in the Third World) - until consumers started rebelling...

The current throwaway climate - where the latest technology is outdated after a year and electronics are cheaper to replace than to repair – is the basis for economic growth. But infinite consumption is unsustainable with finite resources: With the economy crumbling and consumers becoming increasingly resistant to the practice, has planned obsolescence reached the end of its own life? Combining investigative research and rare archive footage with analysis by those working on ways to save both the economy and the environment, this documentary charts the creation of ‘engineering to fail’, its rise to prominence and its recent fall from grace.

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‘My grandfather was a Nazi’ by Hanna Brown

‘My grandfather was a Nazi’ by Hanna Brown | CRITICA DE CINEMA | Scoop.it
A guest at this week’s Jerusalem Jewish Film Festival, director Barbara Albert speaks to the ‘Post’ about uncovering her family’s secret past.
Ihering Guedes Alcoforado's insight:

When people say their grandfather was at Auschwitz, they usually mean that he was an inmate there. But the heroine of Barbara Albert’s latest film, The Dead and the Living, has to come to terms with the fact that her beloved grandfather was an SS officer there. Albert will be at the 14th Jerusalem Jewish Film Festival, which runs through December 14 at the Jerusalem Cinematheque, to present her film, and the inevitable question this Austrian director will face is whether the film has autobiographical elements.

The short answer is yes, says Albert in a phone interview from Vienna a few days before the festival.

“Like Sita [the heroine of the film, played by Anna Fischer] I started to do research about my own family a few years ago,” Albert says. The Berlin-based director, who is originally from Austria, began a journey that mirrors Sita’s in the film, through several countries in Europe to find out the truth. The result is a moving film about a confused young woman whose search for her place in the world is complicated by what she learns about her grandfather.

“In 2003, I found out that my grandfather had been at Auschwitz as an SS officer. I definitely had feelings of guilt. I was trying to feel responsible for what’s happening in the world and then I found this out,” she says.

And, just like Sita in the film, she discovered an interview with her grandfather that her uncle, author Dieter Schlesak (who has published several works of fiction about the Holocaust, including The Druggist of Auschwitz: A Documentary Novel)had done while doing research. She recreated this interview closely in her film, and some of the most riveting moments in The Dead and the Living are when actor Hanns Schuschnig, playing the grandfather, talks about his feelings about what he did – and his lack of guilt.

“I knew that he had been in the SS, but no one talked about it. You just knew you shouldn’t ask. So I knew there was something I had to find out after he was dead,” she says, and her research led her to the interview footage and the discovery that he was not some low-level bureaucrat, as she had preferred to think, but that he had actually been an officer at Auschwitz.”

She learned about her grandfather’s years working at Auschwitz while she was writing the film and she knew she had to use it. “Auschwitz was at the core of everything. It’s such a symbol. People said, ‘It’s too obvious.’ But these are the facts.”

Many of the other facts in this film mirror her family’s experience, including their experience as Siebenburger Saxons, a German minority in Transylvania, many of whom served in the SS.

She acknowledges that while she doesn’t see it this way, her grandfather, like many Saxons, felt that he was a victim himself in that he had been displaced from the region where he grew up and where his family had lived for generations.

“They felt like victims. They felt had lost their homeland. They couldn’t say they were guilty, that we did something wrong,” she says. “My grandfather would have liked to go somewhere else to serve.”

Many of the SS guards were from the German groups like the Saxons who had lived in other parts of Europe, she says.

“It was presented to them, that you have to suffer now for the German ideal. You are the victims,” she says. It was very difficult for her to hear “my beloved grandfather” acknowledging what he did but saying he did not feel guilt.

Learning this painful truth helped Albert, like Sita, find her own identity.

“Sita has to know where she comes from in order to go in a new direction,” she says.

It was difficult for her to find funding for the film in Germany, where “they feel we’ve talked about this issue, we are over it.” But the Austrian film funds, and other throughout Europe, were more responsive.

Albert, whose parents are biologists, had a success in 1999 with her film, Nordland, about rootless young people, at the Venice Film Festival, and has been directing ever since.

She is excited that her film will be shown in Israel.

“For me it’s important to show it in Israel and talk to people there,” she says. She knows many Israelis living in Europe, and cast Israeli actor Itay Turan in a supporting role as a photographer Sita meets and has an affair with.

She hopes screening the film here will lead to some interesting discussions.

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Barbara Albert (The Dead and the Living) by Vittoria Scarpa

Barbara Albert  (The Dead and the Living) by Vittoria Scarpa | CRITICA DE CINEMA | Scoop.it

“Transporting feelings of guilt to the next generation” - The Dead and the Living by Barbara Albert tells the tale of a young woman through the ghosts and past of her family during the Second World War, brought Austrian actress Barbara Albert the Cineuropa Prize at the 14th European Film Festival in Lecce (April 8th-13th, 2013)..

Ihering Guedes Alcoforado's insight:


 

Cineuropa: Sita works for a television talent show. Why did you choose this profession for the heroine of your film, The Dead and the Living?


Barbara Albert: I wanted to create a modern heroine, someone who represents our world, how I see it. How many of us have to do with pictures, with media, but are not aware of how we work with it, how much we can influence our surroundings. Sita does a lot of things, the way how young people tend to live nowadays. She's a student of German, she's working for a TV show, she's travelling, always in motion, on the road – without a goal.


How much your film is autobiographical?
The film deals with the story of my grandfather, who was an SS officer. He died in 1999, when I was 29 – and I really loved him. When I found out about his past and when I asked myself, how much he was guilty – or not, I needed to deal with it. My way to do this was to make a film about it. The film is so much about family, about transporting feelings of guilt to the next generation. I think that it is important to talk about family taboos, not only with those who lived before you, but even more to the people who follow you, your sons and daughters.


In the film, the new generations seem to know how to better deal with the ghosts of the past. Why does the father of Sita refuse to talk about it? Could they be seen as two faces of Europe (the old and the new)?
Yes, that's a very interesting and good point. I hope that the 'new' generation, the grandsons and granddaughters, are able to deal with the issues better than their parents. They don't accuse so much, but try to understand. And what they see, is, that it is us, not the monsters behind closed doors, who might be the perpetrator. They are able to see the 'greys', not only the 'blacks' and 'whites'. Sita's father ivery afraid of the truth, as it would be too painful to face. He’s learned to run away from things, from pain. He's blocking, like his father had blocked. He's identifying with his father, because he's also fearing for him.


Once she discovers the truth, how does the vision that Sita has of her grandfather change? And how does she see her father?

She is afraid that she might not be allowed to love her grandfather any more. I even guess, she really doesn't love him so much any more. But it's very difficult for her to be clear about her feelings. It's too disturbing, what she finds out. That's why she is looking for closeness towards her father. She thinks, if she questions him and his approach, she will get answers. But I agree with her uncle, when he asks Sita: "Does finding out the 'truth' help us to come to a solution?" Her father is coward, in her opinion. She doesn't understand him, that he never even tried to find out about the 'truth'.


How did you choose the actress, Anna Fischer, for a role so delicate and challenging? What characteristics did you search for?

I understood that Anna acts very intuitively from the very first moment I saw her, and then again, when I met her. I thought that it is very important to work with someone who doesn't seem to be too intellectual at the first sight. There were so many things I was thinking about all the time myself, that I needed an actress with a very 'direct', spontaneous, emotional, even naive approach.


Usually, in films and documentaries, is the point of view of the victims of the Holocaust to dominate the scene. Your film, instead, speaks for one of the executioners. How was the film received upon its release in Austria?
If I may say so, it was somewhat disturbing. As I am not a film critic or theorizer, it is still difficult to analyse. There were people in the audience, who thought for the first time in their lives, that they should talk about their own family secrets with their parents/children (and they were not only the young ones). There were very touched people on one hand, on the other there were people who didn't want to deal with the subject at all. The reactions were very divided.


Responsibility, guilt, forgiveness, inheritance are the central themes of your film.How can one live with the weight of a truth so dramatic, to have had a family member in the SS?
When you find out about it, you first feel so ashamed. But I think that doesn't help. That's why I tried to get over the shame. Shame paralyzes, but I believe in development, in movement. I, like the character of Sita, tried to find out about my responsibility (and my guilt) in my own life. There is a burden, yes, but it was not you, and on the other hand you should never forget, that you are not a victim, so I never wanted to feel pity for myself. But I know about groups of people, who meet in a therapeutic way - grandchildren of victims as well as the grandchildren of perpetraters - to overcome the things their families did or had done to them. Nevertheless to give answers in films is at least as difficult as to give answers in life, and I doubt that I found the right answer to this question.


What is your next project?
I am writing a love story. It's dealing with the wish for a child, with cheating on your partner and about feeling guilty because of things that happened in the past. It is also a 'ghost' story. I've always been interested in the supernatural.


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Ihering Guedes Alcoforado's comment, September 12, 2013 5:36 AM
Finalmente os alemães resolvem enfrentar o trauma da guerra e seu passado nazista, já os norte-americanos e sua bomba atômica sob um alvo civil, continua sendo considerado com um redutor do números de mortos, ou seja, a ação louvável.
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FESTIVAL DO RI0 de 26 de setembro a 10 de outubro

FESTIVAL DO RI0 de 26 de setembro a 10 de outubro | CRITICA DE CINEMA | Scoop.it

A maratona vai começar! Durante 15 dias o Festival do Rio vai apresentar 350 filmes de mais de 60 paises, espalhados por cerca de 30 locais de exibição, realizar oficinas, palestras e seminários no RioMarket e muito mais

Ihering Guedes Alcoforado's insight:


 

O Festival abre sua 15ª edição com exibição do aguardado Amazônia – Planeta Verde, a maior produção cinematográfica já realizada sobre a região, de Thierry Ragobert, em noite de Gala no Odeon Petrobras. Dada a largada, o público vai poder conferir os filmes mais esperados, descobrir raridades, votar no melhor da Première Brasil, participar de debates e de sessões especiais com a presença de personalidades do cinema mundial.

São 350 filmes divididos por mostras, entre eles, Blue Jasmine, de Woody Allen; Terra Prometida, de Gus Van Sant; Spring BreakersGarotas Perigosas, de Harmony Korine; Pussy Riot - A prece punk, de Mike Lerner e Maxim Pozdorovkin; Gravidade (Gravity), de Alfonso Cuarón; Diana, de Oliver Hirschbiegel; A Filha de Ninguém, de Hong Sang-soo; As Ondas do Rádio (a Oeste), de Lionel Baier;  Nossa querida Freda - A secretária dos Beatles (Good Ol’ Freda), de Ryan White; A Dança da Realidade, de Alejandro Jodorowsky; Jeune & Jolie, de François Ozon; o sci-fi iraniano Taboor, de Vahid Vakilifar; A grande beleza (La Grande Bellezza), de Paolo Sorrentino e outros. (ABAIXO ALGUNS TÍTULOS CONFIRMADOS. Outros serão divulgados posteriormente)

Além das mostras já conhecidas - Panorama, Expectativa 2013, Première Brasil,  Première Latina, Midnight, Midnight Terror e Midnight Música, Gay, Fronteiras, Dox, Filme Doc, Geração, Itinerários únicos e Meio Ambiente, o Festival renova sua programação com outras mostras:

  • Mostra Tec: antes do mundo virtual, era a privacidade: com 7 documentários que abordam o impacto da internet, midia e novas tecnologias de informação e interação nas relações entre individuos, grupos sociais, povos e governos


  • Mostra Expectativa Vanguarda com 6 filmes filmes que desafiam as regras da narrativa convencional que exploram, descobrem e potencializam novos percursos no cinema actual: pinturas sensoriais até relatos íntimos e outros colectivos desde uma sala de tribunal nos estados unidos até paisagens africanas longínquas: 


  • Mostra Panorama Grandes Documentaristas, com recentes produções dos mestres do documentário Frederick Wiseman, Nicolas Philibert, Errol Morris, Rithy Panh e Claude Lanzmann e de três cineastas de peso, tanto na ficção quanto no documentário: Marcel Ophuls, Ken Loach e Werner Herzog.


O Festival dedica uma retrospectiva especial ao diretor americano Paul Schrader, que vem ao Rio receber homenagem pelo conjunto da obra. Na seleção, o polêmico The Canyons e alguns de seus maiores sucessos, como A marca da panteraO gigolô americanoMishima: Uma vida em quatro tempos e outros.

Ainda pouco conhecidos no Brasil, os cineastas franceses Alain Guiraudie, (prêmio de melhor diretor da mostra Un Certain Regard do Festival de Cannes pelo filme Um Estranho no Lago) e Claire Simon (que vem apresentar seu último longa Gare du Nord) ganham retrospectivas.

Por conta das celebrações da Alemanha no Brasil, o país será homenagedo no Festival com as mostras Foco Alemanha e mostra Escola de Berlim:

No Foco Alemanha 
entre os destaques estão os filmes Ouro, de Thomas Arslan, exibido na competição do Festival de Berlim e protagonizado pela estrela Nina Hoss; Saída Marrakesh, novo da diretora Caroline Link, vencedora do Oscar por Lugar nenhum na ÁfricaHome From Home, de Edgar Reitz, espécie de prequel para sua cine-série Heimat, iniciada nos anos 1980, com o cineasta e ator bissexto Werner Herzog no elenco; e Os mortos e os vivos, de Barbara Albert, uma reflexão sobre o nascimento do nazismo e a realidade dos turcos na Alemanha contemporânea.

Mostra Escola de Berlim é focada no movimento cinematográfico que chamou atenção na última década e nasceu com diretores como Christian Petzold (YellaBarbara), Thomas Arslan (A Fine DayFérias) e Angela Schanelec (MarselhaOrly). Os filmes do movimento são marcados pela colaboração mútua entre diretores e artistas da geração. Um exemplo é a trilogia Dreileben, três telefilmes passados no mesmo cenário, cada um de um diretor diferente.

A cineasta de vanguarda Ulrike Ottinger também será homenageada, com a exibição de filmes como Sob a neve Freak Orlando.

Pelo terceiro ano, o Armazém da Utopia (Armazém 6) será a sede do RioMarket, do Cine Encontro e das sessões populares:

Palestras e rodadas de negócios, seminários sobre tecnologia, workshops para roteiro de cinema e televisão e outros temas serão abordados no RioMarket, com a presença de profissionais do audiovisual. Algumas oficinas terão entrada gratuita.

Cine Encontro oferece ao público a oportunidade de entrar em contato direto com quem faz cinema, através de debates e conversas com os realizadores e atores/atrizes dos filmes da Première Brasil, convidados internacionais de outras mostras e com representantes do meio cinematográfico. Todas as atividades do Cine Encontro tem entrada gratuita.

Filmes inéditos, exibição de clássicos, mostras especiais, retrospectivas, seminários, debates e encontros com   diretores e atores  internacionais fazem do evento um dos mais importantes encontros de cinema da América Latina

ALGUNS FILMES E ALGUMAS MOSTRAS: 

BREVE OUTROS TÍTULOS, NOTÍCIAS E CONVIDADOS SERÃO DIVULGADOS 

Os filmes da Premiere Brasil já foram divulgados anteriormente 

Alguns títulos da Mostra PANORAMA DO CINEMA MUNDIAL:
- Computer Chess (Computer Chess), de Andrew Bujalski
- The Crash Reel (The Crash Reel), de Lucy Walker
- Sozinhos (Gu du), de Wang Bing
- Até que a loucura nos separe (Feng Aimi), de Wang Bing
- Sapi (Sapi), de Brillante Mendoza
- Vosso ventre (Sinapupunan), de Brillante Mendoza
- A ravina do adeus (Sayonara keikoku ), de Tatsushi Omori
- Geografia Humana (Geographie Humaine), de Claire Simon
- Sonhos americanos na China (American Dreams in China), de Peter Ho-sun Chan
- Walesa, homem da esperança (Walesa. Czlowiek z Nadziei.), de Andrzej Wajda
- Chegará o dia (Un Giorno Devi Andare), de Giorgio Diritti
- Crystal Fairy e o cactus mágico (Crystal Fairy), de Sebastián Silva
- Pussy Riot - A prece punk (Pokazatelnyy protsess: Istoriya Pussy Riot), de Mike Lerner, Maxim Pozdorovkin
- Como Não Perder Essa Mulher  (Don Jon), de Joseph Gordon-Levitt
- A garota de lugar nenhum (La Fille de Nulle Part ), de Jean-Claude Brisseau
- Spring Breakers: Garotas Perigosas (Spring Breakers), de Harmony Korine
- Time Show de Bola (Metegol), de Juan José Campanella
- Fading Gigolo (Fading Gigolo), de John Turturro
- Gravidade (Gravity), de Alfonso Cuarón
- Outrage Beyond (Autoreiji: biyondo), de Takeshi Kitano
- Terra Prometida (Promised Land), de Gus Van Sant
- A Filha de Ninguém (Nugu-ui Ttal-do Anin Haewon), de Hong Sang-soo
- Vic+Flo Viram um Urso (Vic+Flo ont vu un ours), de Denis Côté
- O Mordomo da Casa Branca (Lee Daniels’ The Butler), de Lee Daniels
- Questão de tempo (About Time), de Richard Curtis
- Diana (Diana), de Oliver Hirschbiegel
- Suspensão da realidade (Suspension of Disbelief), de Mike Figgis
- Mea Maxima Culpa: Silêncio na casa de Deus (Mea Maxima Culpa: Silence in the House of God), de Alex Gibney
- The Canyons (The Canyons), de Paul Schrader
- A Batalha de Amfar (The Battle of amfAR), de Rob Epstein, Jeffrey Friedman
- Only Lovers Left Alive, de Jim Jarmusch
- Bastardos (Les Salauds), de Claire Denis
- Jeune & Jolie, de François Ozon
- The Immigrant, de James Gray
- Apenas Deus perdoa (Only God Forgives), de Nicolas Winding Refn
- Um Episódio na Vida de Um Catador de Ferro-Velho (Epizoda u zivotu beraca zeljeza), de Danis Tanovic
- Um Castelo na Itália (Un Château en Italie), de Valeria Bruni Tedeschi
- Michael Kohlhaas (Michael Kohlhaas), de Arnaud des Pallières
- Nebraska (Nebraska), de Alexander Payne
- A grande beleza (La Grande Bellezza), de Paolo Sorrentino
- Um Estranho no Lago (L’Inconnu du Lac), de Alain Guiraudie
- Blind Detective (Man Tam), de Johnnie To
- Jackie Stewart - O fim de semana de um campeão (Weekend of a Champion), de Frank SIMON
- Feio (Ugly), de Anurag Kashyap
- François Hollande no poder (Le Pouvoir), de Patrick Rotman
- Manuscritos não queimam (Dast-Neveshtehaa Nemisoosand), de Mohammad Rasoulof
- Os Belos Dias (Les beaux jours), de Marion Vernoux
- The Zero Theorem (The Zero Theorem), de Terry Gilliam
- Nós somos os melhores! (Vi är bäst!), de Lukas Moodysson
- Blue Jasmine (Blue Jasmine), de Woody Allen
- Viramundo (Viramundo), de Pierre-Yves Borgeaud
- Ensaio, de Tânia Lamarca
- Real (Riaru: Kanzen naru kubinagaryû no hi), de Kiyoshi Kurosawa
- Mão na Luva (Mão na Luva), de José Joffily, Roberto Bomtempo
- Gare du Nord (Gare du Nord), de Claire Simon
- Quando a noite cai em Bucareste ou metabolismo (Când se las  seara peste Bucure ti sau metabolism), de Corneliu Porumboiu
- Joe (Joe), de David Gordon Green
- Le Week-End (Le Week-End), de Roger Michell
- O Grande Kilapy (O Grande Kilapy), de Zézé Gamboa

Mostra PANORAMA – GRANDES DOCUMENTARISTAS
- A estação de rádio (La Maison de la Radio), de Nicolas Philibert
- O espírito de 45 (The Spirit of ‘45), de Ken Loach
- A imagem que falta (L’Image Manquante), de Rithy Panh
- Marcel Ophuls, Um Viajante (Un Voyageur), de Marcel Ophuls
- O último dos Injustos (Le Dernier des Injustes), de Claude Lanzmann
- Em Berkeley (At Berkeley), de Frederick Wiseman
- O conhecido desconhecido: a era Donald Rumsfeld (The Unknown Known), de Errol Morris
- Corredor da Morte II - Retratos: Blaine Milam + Robert Fratta, de Werner Herzog
- Corredor da Morte II - Retratos: Darlie Routier + Douglas Feldman, de Werner Herzog

** 
Alguns títulos da Mostra EXPECTATIVA 2013
- O que não falam quando falam de amor (Yang Tidak Dibicarakan Ketika Membicarak») de Mouly Surya
- Fruitvale Station de Ryan Coogler 
- Emanuel e a verdade sobre peixes (Emanuel and the Truth About Fishes) de Francesca Gregorini 
- Austenland (Austenland) de Jerusha Hess 
- As delícias da tarde (Afternoon Delight) de Jill Soloway 
- O Verão da Minha Vida (The Way, Way Back) de Nat Faxon, Jim Rash 
- Quando eu era sombrio (I Used to Be Darker) de Matthew Porterfield 
- Chevrolet azul (Blue Caprice) de Alexandre Moors 
- May e o Verão (May in the Summer) de Cherien Dabis 
- Carmina ou que se exploda (Carmina o Revienta) de Paco León 
- Yema (Yema) de Djamila Sahraoui 
- Para Toda a Vida (Hayatboyu) de Asli Özge 
- Rock the Casbah (Rock ba'Kasba) de Yariv Horowitz 
- Juventude (Youth) de Tom Shoval 
- Diego Star (Diego Star) de Frédérick Pelletier 
- A gatinha esquisita (Das merkwürdige Kätzchen) de Ramon Zürcher 
- Alì tem olhos azuis (Alì ha gli occhi azzurri) de Claudio Giovannesi 
- Tirem o sorriso do rosto (Hide Your Smiling Faces) de Daniel Patrick Carbone 
- The Broken Circle Breakdown (The Broken Circle Breakdown) de Felix van Groeningen 
- Boteco (Boteco) de Ivan Dias 
- Acalme esse coração inquieto (Stop the Pounding Heart) de Roberto Minervini 
- Mel (Miele) de Valeria Golino 
- Sarah prefere correr (Sarah Préfère la Course) de Chloé Robichaud 
- Grand Central (Grand Central) de Rebecca Zlotowski 
- O Chefe (The Major) de Yuri Bykov 
- Salvo (Salvo) de Fabio Grassadonia, Antonio Piazza 
- O Gigante Egoísta (The Selfish Giant) de Clio Barnard 
- Minha doce Pepper Land (My Sweet Pepper Land) de Hiner Saleem 
- Meia sombra (Halbschatten) de Nicolas Wackerbarth 
- A Batalha de Solferino (La Bataille de Solférino) de Justine Triet 
- Um Fim do Mundo (Um Fim do Mundo) de Pedro Pinho 
- Hotel Transeuropa (Transeurope Hotel) de Luigi Cinque 
- Baby Blues (Bejbi blues) de Katarzyna Ros aniec 
- Ondas de Rádio (A Oeste) (Les Grandes Ondes (À L’Ouest)) de Lionel Baier 
- Burma (Burma) de Carlos Puga 
- Meio Sol Amarelo (Half of a Yellow Sun) de Biyi Bandele 
- Bethlehem (Bethlehem) de Yuval Adler 

Mostra EXPECTATIVA VANGUARDA 
- Matéria Obscura (Materia Oscura), de Massimo Danolfi Martina Parenti 
- Taboor (Taboor), de Vahid Vakilifar
- A Batalha de Tabatô (A Batalha de Tabatô), de João Viana
- Lacrau (Lacrau), de João Vladimiro
- Mapa (mapa), de León Siminiani
- Audiência Pública (Public Hearing), de James N. Kienitz Wilkins

*** 

Mostra TEC: ANTES DO MUNDO VIRTUAL, ERA A PRIVACIDADE:

- Roubamos Segredos - A história do Wikileaks  (We Steal Secrets The Story of WikiLeaks) de Alex Gibney
- Google e o Cérebro do Mundo (Google and the World Brain) de Ben Lewis
- TPB AFK: O caso Pirate Bay (TPB AFK: The Pirate Bay Away From Keyboard) de Simon Klose
- O horário nobre no Afeganistão (The Network) de Eva Orner
- Sujeito a termos e condições (Terms and Conditions May Apply) de Cullen Hoback
- Downloaded - A saga do Napster (Downloaded) de Alex Winter
vidareal.com <http://vidareal.com>  (InRealLife) de Beeban Kidron

*** 
Mostra ALAIN GUIRAUDIE
- O rei da fuga (Le Roi de Lévasion), de Alain Guiraudie
- Agora é o momento (Voici Venu le Temps), de Alain Guiraudie
- Os fortes não descansam (Pas de Repos Pour les Braves), de Alain Guiraudie
- Esse velho sonho que se move (Ce Vieux Rêve Qui Bouge), de Alain Guiraudie
- Por um lugar ao sol (Du Soleil Pour les Gueux), de Alain Guiraudie

Mostra CLAIRE SIMON
- As Oficinas de Deus (Les Bureaux de Dieu), de Claire Simon 
- Pegando fogo (Ça Brûle), de Claire Simon
- Mimi (Mimi), de Claire Simon
- Custe o que custar (Coûte Que Coûte), de Claire Simon

** 

Mostra DOX
- M99 O Filme Colaborativo do Occupy Wal (M 99 The Occupy Wall Street Collaborati»), de Audrey Ewell, Aaron Aites, Lucian Read Nina Kristic
- Guerras Sujas (Dirty Wars), de Richard Rowley
- O Ato de Matar (The Act of Killing), de Joshua Oppenheimer, Co-directors:Christine Cynn, Anonym
- Deixe Queimar (Let the Fire Burn), de Jason Osder
- Filhos do Vento (Les fils du vent ), de Bruno Le Jean
- Nana Benz - a rainha do mercado  (Nana Benz), de Thomas Böltken
- Nos braços de minha mãe (In My Mother’s Arms), de Mohamed Al-Dardji
- Setenta (Setenta), de Emilia Silveira
- Desconectado (Katiyabazz), de Deepti Kakkar, Fahad Mustafa
- A fábrica de revoluções (La Fabbrica delle Rivoluzione), de Franco Fracassi
- A colheita do Império (Harvest of Empire), de Peter Getzels, Eduardo Lopez
- A toca do diabo (Devil’s Lair), de Riaan Hendricks
- Nós mulheres guerreiras  (We Women Warriors), de Nicole Karsin
- Ritmos de Resistência, de Jason O’Hara


Mostra FRONTEIRAS
- Narco Cultura (Narco Cultura), de Shaul Schwarz
- Como chego na linha de frente? A Vida de Tim Hetherington (Which Way Is The Front Line From Here? The Life and Time of Tim Hetherington), de Sebastian Junger
- Deus ama Uganda (God Loves Uganda), de Roger Ross Williams
- Fogo nas veias (Fire in the Blood), de Dylan Mohan Gray
- Acesso à zona de risco (), de Peter Casaer, Eddie Gregoor
- Meu Afeganistão - A Vida na zona proibida (Mit Afghanistan - Livet I Den Forbudte Zone), de Nagieb Khaja
- Libertem Angela (Free Angela), de Shola Lynch

** 
Mostra ESCOLA DE BERLIM

- Viver Na RFA (Leben – BRD), de Harun Farocki
- A Segurança Interna (Die Innere Sicherheit), de Christian Petzold
- Excursão Escolar  (Klassenfahrt), de Henner Winckler
- Marselha (Marseille), de Angela Schalenec
- Saudade (Sehnsucht), de Valeska Grisebach
- Yella (2007, 89 min), de Christian Petzold
- Todos Os Outros (Alle Anderen), de Maren Ade
-A Cidade Abaixo (Unter Dir Die Stadt), de Christoph Hochhäusler
- Nas Sombras (Im Schatten), de Thomas Arslan
- À Procura (Auf Der Suche), de Jan Krüger
- A Doença Do Sono (Schlafkrankheit), de Ulrich Köhler
- Dreileben: Algo Melhor Do Que A Morte (Dreileben – Etwas Besseres Als Den Tod), de Christian Petzold
- Dreileben: Um Minuto No Escuro (Dreileben - Eine Minute Dunkel), de Christoph Hochhäusler
-  Dreileben: Não Me Siga  (Dreileben – Komm Mir Nicht Nach), de Dominique Graf
- Ouro (Gold), de Thomas Arslan
-  A Gatinha Esquisita (Das Merkwürdige Kätzchen), de Ramon Zürcher
- Meia Sombra (Halbschatten), de Nicolas Wackerbarth

** 
Mostra FOCO ALEMANHA
- Houston (Houston) de Bastian Günther
- Ouro (Gold) de Thomas Arslan
- Layla Fourie (Layla Fourie) de Pia Marais
- Sonar (Echolot) de Athanasios Karanikolas
- Os Filhos de Hitler () de Chanoch Ze'evi
- No quarto escuro () de Nadav Schirman
- Fontes de Vida (Quellen des Lebens) de Oskar Roehler
- O último amor de Mr. Morgan (Mr. Morgan’s Last Love) de Sandra Nettelbeck
- Saída Marrakech (Exit Marrakech) de Caroline LInk
- A outra pátria (Die Andere Heimat) de Edgar Reitz
- Os Mortos e os Vivos (Die Lebenden) de Barbara Albert
-  (Nordstrand) de Florian Eichinger
- Pais (Eltern) de Robert Thalheim
- Broken Glass Park (Scherbenpark) de Bettina Blumner
- A garota das nove perucas (Heute bin ich blond) de Marc Rothemund
- Nemez (Nemez) de Stanislav Güntner
- Louisa Jules (Ich bin Louisa Jules) de Roberto Manhães Reis, Viola Scheuerer 

*** 
Mostra ITINERÁRIOS ÚNICOS
- Sophie Calle sem título (Sophie Calle Sans Titre), de Victoria Clay Mendoza 
- Muhammad Ali - Das Lutas ao Ativismo (Trials of Muhammad Ali), de Bill Siegel
- The Director - Uma Criadora na Gucci (The Director), de Christina Voros
- Carine Roitfeld, Mademoiselle Vogue (Mademoiselle C), de Fabien Constant
- Gore Vidal: Os Estados Unidos da Amnésia (Gore Vidal: The United States of Amnesia), de Nicholas Wrathall
- Restless - Keith Haring na Bahia (Restless - Keith Haring in Brazil), de Guto Barra, Gisela Matta
- A Fotografia Oculta de Vivian Maier (Finding Vivian Maier), de John Maloof, Charlie Siskel
- Richard Artschwager - Cale-se e Olhe (Shut Up and Look), de Maryte Kavaliauskas
- Get the Picture - Um retrato de John G. Morris (Get the Picture), de Cathy Pearson
- Stuart Hall e os Estudos Culturais (The Stuart Hall Project), de John Akomfrah
- Christoph Schlingensief e a Vila Opera em Burkina Faso (Knistern der Zeit - Christoph Schlingensief und sein Operndorf in Burkina Faso), de Sibylle Dahrendorf
- Dona Romana e o Grande Eixo da Terra (Dona Romana e o Grande Eixo da Terra), de Paulo Rezende
- Fragmentos de Dois Escritores (Fragmentos de Dois Escritores), de João Bethencourt

*** 
Mostra MIDNIGHT

- Os Encontros da Meia-Noite (Les Rencontres d’apres Minuit), de Yann Gonzalez
- A dança da realidade (La Danza de la Realidad), de Alejandro Jodorowsky
- Em serviço (On the Job), de Erik Matti
- Uma noite de crime (The Purge), de James DeMonaco
- Wrong Cops - Os Maus Policiais (Wrong Cops), de Quentin Dupieux
- kink - Sadomasô online (kink), de Christina Voros
- Eu sou Divine (I am Divine), de Jeffrey Schwarz
- O ABC da Morte (The ABCs of Death), de Nacho Vigalondo, Ben Wheatley, Jason Eisner, Marcel Sarmiento, Angela Bettis
- A gatinha Lil Bub e seus amiguinhos (Lil Bub & Friendz), de Andy Capper, Juliette Eisner
- O Lado Sombrio (Dark Touch), de Marina de Van
- Dragon Ball Z: A Batalha dos Deuses (Dragon Ball Z: Battle of Gods), de Masahiro Hosoda
- Os Lobos Maus (Big Bad Wolves), de Navot Papushado, Aharon Keshales
- Por que você não vai brincar no inferno? (Jigoku de Naze Warui), de Sion Sono

Mostra MIDNIGHT MÚSICA
- A Um Passo do Estrelato (Twenty Feet from Stardom), de Morgan Neville 
- As canções que dizem Eu Te Amo - Um Concerto de Rufus & Martha Wainwright (Sing Me the Songs that Say I Love You - A Concert for Kate McGarrigle), de Lian Lunson
- Muscle Shoals - Um estúdio lendário do rock (Muscle Shoals), de Greg "Freddy" Camalier
- Nossa querida Freda - A secretária dos Beatles (Good Ol’ Freda), de Ryan White
- The National: Mistaken for Strangers (Mistaken for Strangers), de Tom Berninger
- Peaches Does Herself - Uma Ópera-Rock (Peaches Does Herself), de Peaches
- Os Impostores do Hip Hop (The Great Hip Hop Hoax), de Jeanie Finlay
- Kuduro (Kuduro), de Mário Patrocínio

Mostra GAY
- Valentine Road (Valentine Road), de Marta Cunningham
- Abalo (Concussion), de Stacie Passon
- Mr. Angel (Mr. Angel), de Dan Hunt
- Arranha-céus flutuantes (Plynace wiezowce), de Tomasz Wasilewski
- She Said Boom: A história do Fifth Column (She Said Boom: The Story of Fifth Column), de Kevin Hegge
- O Comediante (The Comedian), de Tom Shkolnik
- Havaí (Hawaii), de Marco Berger
- Dúbio (Dvojina), de Nejc Gazvoda
- Um dia desses (Any Day Now), de Travis Fine
- Uma Família Gay (Una Familia Gay), de Maximiliano Pelosi 

** 
Mostra FILM DOC
- Casting By Escolhendo o elenco (Casting By), de Tom Donahue
- Michael Haneke - Profissão: Diretor (Michael H - Profession: Director), de Yves Montmayeur
- Contadores de Imagens (Conteurs D’Images), de Noelle Deschamps
- Jean-Claude Carrière, 250 Metros (Carrière, 250 Metros), de Juan Carlos Rulfo, Natalia Gil
- Uma história de crianças e Cinema (A Story of Children and Film), de Mark Cousins
- Invadindo Bergman (Trespassing Bergman), de Jane Magnusson, Hynek Pallas
- Seduzido e Abandonado - Os bastidores de Cannes (Seduced and Abandoned), de James Toback
- Milius (Milius), de Joey Figueroa, Zak Knutson

*** 
Mostra GERAÇÃO
- Tom o garoto malandro (Tom le Cancre), de Manuel Pradal
- Aya (Aya de yopougon), de Clément Oubrerie, Marguerite Abouet (animação) 
- Mãe, eu te amo (Mammu, es Tevi milu), de J nis Nords
- A Pérola (Morvarid), de Sirous Hassanpour
- O Super-Formiga (Antboy), de Ask Hasselbalch
- Pee Wee ou O Inverno que Mudou Minha Vida (Les Pee-Wee: L'hiver qui a changé ma vie ), de Éric Tessier
- Inocentes (Innocents), de Chen-Hsi Wong
- A Fraternidade Negra (Die schwarzen Brüder ), de Xavier Koller


Festival do Rio 2013
De 26 de setembro a 10 de outubro

Patrocínio: Prefeitura da Cidade do Rio de Janeiro / Petrobras
incentivos fiscais do Ministério da Cultura (via Lei Rouanet), Lei Estadual à Cultura do Rio de Janeiro, e Lei Municipal 1940/92 .
Copatrocinio: BNDES / Globo Filmes /  OI 

mais informações:

www.festivaldorio.com.br

ASSESSORIA DE IMPRENSA   
Liège Monteiro 2522 6843 liege@visualnet.com.br

Liliam Hargreaves: festivaldorioimprensa@festivaldorio.com.br 
21) 3035 7101 / 21) 80848981

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RADICAL FILMS - List

RADICAL FILMS -  List | CRITICA DE CINEMA | Scoop.it

Myself and some other people may try to get a radical film night together in our area. I was wondering if people have suggestions for radical films and documentaries. I'd particularly like to know about films/documentaries on labor struggles, but stuff like the Black Panthers, Young Lords, Zapatistas, and so forth are of interest as well. And naturally I think we'd show films on groups that some or all of us are very critical of, as well. The only thing I'm not terribly interest in is documentaries on consumer culture.


http://libcom.org/forums/thought/radical-films-19022008

Ihering Guedes Alcoforado's insight:

Here is a list of videos that I either have or have access to:



ABC da Greve
The Battle of Algiers
Burn!
Death of a Revolutionary - Word In Action
Entre Marx y una mujer desnuda
Finally Got the News
Forat
Huey Newton
Land & Freedom
Matewan
Our Paul - Remembering Paul Robeson
Paul Robeson, Tribute to an Artist
El Pueblo Se Levanta
Robeson on Robeson
The Russian Revolution in Colour
Sir No Sir
Sweet Sweetback's Baadasssss Song
The Take
De Toda la vida
Los Traidores
Unforgiveable Blackness
Vale a Pena Sonhar
Watermelon Man
The Wobblies
Zapatista

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VALE A PENA SONHAR by Stela Grisoti e Rudi Böhm (Radical Film List)

VALE A PENA SONHAR by Stela Grisoti e Rudi Böhm (Radical Film List) | CRITICA DE CINEMA | Scoop.it
Ihering Guedes Alcoforado's insight:

A trajetória de uma das mais ricas personalidades da vida social e política do Brasil, percorrendo episódios históricos – como a Insurreição de 1935, a luta pela anistia e a fundação do Partido dos Trabalhadores, além da Guerra Civil espanhola e a Resistência francesa contra a ocupação alemã durante a Segunda Guerra Mundial – e revelando motivações pessoais e dramas familiares. Assim é o longa-metragem “Vale A Pena Sonhar”, dirigido por Stella Grisotti e Rudi Böhm e produzido pela Superfilmes, que aborda a vida de Apolônio de Carvalho.

Clique para download: 
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Salt of the Earth (1954) is an American drama film written by Michael Wilson, directed by Herbert J. Biberman (Working Class Cinema List)

Salt of the Earth (1954) is an American drama film written by Michael Wilson, directed by Herbert J. Biberman (Working Class Cinema List) | CRITICA DE CINEMA | Scoop.it

Salt of the Earth (1954) is an American drama film written by Michael Wilson, directed by Herbert JBiberman.

 "Salt of the Earth" was produced, written and directed by victims of the Hollywood blacklist. Unable to make films in Hollywood, they looked for worthy social issues to put on screen independently. This film never would have been made in Hollywood at the time, so it is ironic that it was the anti-communist backlash that brought about the conditions for it to be made. In many ways it was a film ahead of its time. Mainstream culture did not pick up on its civil rights and feminist themes for at least a decade.


Download:  http://www.youtube.com/watch?v=G7ZoomADDOI

Ihering Guedes Alcoforado's insight:

Salt of the Earth (1954) is an American drama film written by Michael Wilson, directed by Herbert JBiberman

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American Splendor - Movie Trailer [Working Class Cinema List]

American Splendor - Movie Trailer [Working Class Cinema List] | CRITICA DE CINEMA | Scoop.it
http://zuguide.com/American-Splendor.html Harvey Pekar (Paul Giamatti) is a file clerk with a dead-end job and an unsatisfying life.
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SONHO SUSPENSO by André Singer

SONHO SUSPENSO by André Singer | CRITICA DE CINEMA | Scoop.it

Jornalista e professor de Ciência Política da USP (Universidade de São Paulo) 

Ihering Guedes Alcoforado's insight:

 

No auge da popularidade do lulismo, a qual possibilitou a eleição de Dilma Rousseff em 2010, publiquei ensaio na revista "Piauí" em que sugeria a ideia de que um sonho rooseveltiano havia tomado conta do Brasil. Em resumo, tratava-se da possibilidade de integrar, em curto espaço de tempo, as grandes maiorias a padrões civilizados de vida material, com aumento substantivo da igualdade. Passados quase cinco anos daquele momento otimista, sou obrigado a reconhecer que o desejo não se cumpriu.

 

Uma pequena, porém reveladora, notícia da semana passada pode ser tomada como índice disso. "O trabalho doméstico vinha caindo com a maior formação dos jovens brasileiros. No último ano, porém, temos percebido aumento nesse grupamento, talvez por falta de oportunidade", declarou o coordenador de Trabalho e Rendimento do IBGE, Cimar Azevedo (site da revista "Exame"). Nos três primeiro meses de 2015, cerca de 90 mil pessoas engrossaram o exército dos que se dedicam a tal atividade. Em outras palavras, o nítido declínio na oferta de mão de obra doméstica, ocasionado pela abertura de possibilidades de empregos melhores, e mesmo pela opção de fazer faculdade, começa a ser revertido.

 

O processo de mudança lenta que o lulismo abriu entre 2004 e 2010 não se acelerou o suficiente de maneira a tornar residual a modalidade de serviço que é considerada um castigo pelas camadas populares. É verdade que, em 2010, o Brasil era, segundo a Organização Internacional do Trabalho, o país com maior número de empregados domésticos do mundo, na casa dos 7 milhões. Ou seja, para absorver tal contingente em outras atividades teria sido necessário que o primeiro mandato de Dilma aumentasse de maneira expressiva a geração de vagas nos setores mais modernos e de maior remuneração.

Para sorte da minha interpretação à época, aceitei a sugestão do jornalista Mario Sergio Conti de encerrar o texto esperançoso com a ideia de que o ritmo da redução da pobreza e da desigualdade, deflagrada pelo lulismo, seria determinada pela luta de classes. Dito e feito. Com apoio passivo da classe trabalhadora organizada, Dilma tentou efetivar o anseio rooseveltiano por meio de uma política desenvolvimentista em 2011/12. Mas foi derrotada pela reunificação da burguesia em torno do rentismo, que é avesso de qualquer coisa que cheire a igualdade.

 

O lulismo não se revelou, até aqui, capaz de ultrapassar a exploração de brechas existentes na armação neoliberal. Em condições mundiais favoráveis, usou, com inegável habilidade, os espaços de não confronto para melhorar a vida dos pobres, o que confirma a minha tese principal. Porém o salto a um país realmente de classe média parece que ficará para outra quadra, com outra correlação de forças.

 

 

ANDRÉ SINGER escreve aos sábados nesta coluna da Folha de São Paulo.

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M. C. MARCUZZO: Com Keynes, Contra Keynes by Ihering Guedes Alcoforado

M. C. MARCUZZO: Com Keynes, Contra Keynes by Ihering Guedes Alcoforado | CRITICA DE CINEMA | Scoop.it

A professora M.C.Marcurzzo adota um  modus operandi (metodologia) que expressa os compromissos da Escola italiana com os clássicos, sejam tendo como referência os fundadores como Smith e Ricardo, sejam os clássicos recentes a exemplo de Keynes e Sraffa.  A particularidade é que como uma historiadora de fato, domina a técnica da pesquisa histórica e o manejo das suas fontes arquivais, mas vai muito além de uma mera historiadora, já que diante de cada registro, de cada documento ela busca extrair virtualidades que lhe permita ratrear a evolução  no conceito ou na ideia  em consideração. Abaixo, introduzimos sua leitura de Keynes sobre a relação entre o Treatise e a General Theory, no qual é bem exemplificado este procedimento.  

Ihering Guedes Alcoforado's insight:

 

No artigo From the Fundamental Equations to Effective Demand: ´Natural Evolution" or "Change of View, a professora M C Marcuzzo recorta seu  objeto, de forma a ressaltar a evolução de um processo, procedimento que  é recorrente no seu modus operandi.

 

No artigo em tela, um dos seus inúmeros estudos sobre Keynes, no qual se debruça sobre uma questão específica,   a transição do  Treatise  a General Theory  . O própri Keynes teve a preocupação de esclarescer e segundo ela

 

"Keynes wanted his readers to believe that ‘under the
surface […] the essential ideas are the same’ (Skidelsky 1992: 442), and presented his new book as a ‘natural evolution’ in his line of thought. (Keynes 1936  [1973b]: xxii)."[MARCUZZO, p.26]   Mas, tal inciativa de Keynes, em vez de eliminar  a controversia, a alimentou, o que é revelado no fato da própria Marcurzzo  adota uma chave de leitura de transição  que parte de uma discordância com a propria interpretação de Keynes da transição aludida.   Isto porque, segundo ela,  a transição do Treatise para a General Theory, em oposição ao próprio Keynes,  não é nada natural e requer  a introdução de novos conceitos  mudanças nas definições. Eis suas palavras: 

 

"[...] the transition from the Treatise analysis, as presented in the
Fundamental Equations and that of the General Theory, as incorporated in the  principle of effective demand, required the introduction of new concepts and a change in definitions, which eventually made the latter approach quite distinct
from the forme' [MARCUZZO, p, 26

 

E para tornar plausível sua tese 

 

 

" [...]I follow this evolution step by step, comparing Keynes’s own
measurement of the distance from his previous framework of analysis with our present understanding of the change involved in the process of building up the new one." [MARCUSO,    p.26} E, são desses passos que passamos a tratar.

 

 

 

BIBLIOGRAFIA

 

#MARCURZZO, Maria Cristina, From the Fundamental Equations to Effective Demand: ´Natural Evolution" or "Change of View " in ARESTIS, P, DESAI, Meghnad, DOW, Sheila C (eds)  Methodology, Microeconomics and Keynes - Essays in honour of Victoria Chick. v. II. Psychology Press, 2002.

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Ihering Guedes Alcoforado's curator insight, October 19, 2014 4:35 PM

No artigo From the Fundamental Equations to Effective Demand: ´Natural Evolution" or "Change of View, a professora M C Marcuzzo recorta seu  objeto, de forma a ressaltar a evolução de um processo, procedimento que  é recorrente no seu modus operandi.

 

No artigo em tela, um dos seus inúmeros estudos sobre Keynes, no qual se debruça sobre uma questão específica,   a transição do  Treatise  a General Theory  . O própri Keynes teve a preocupação de esclarescer e segundo ela

 

"Keynes wanted his readers to believe that ‘under the
surface […] the essential ideas are the same’ (Skidelsky 1992: 442), and presented his new book as a ‘natural evolution’ in his line of thought. (Keynes 1936  [1973b]: xxii)."[MARCUZZO, p.26]   Mas, tal inciativa de Keynes, em vez de eliminar  a controversia, a alimentou, o que é revelado no fato da própria Marcurzzo  adota uma chave de leitura de transição  que parte de uma discordância com a propria interpretação de Keynes da transição aludida.   Isto porque, segundo ela,  a transição do Treatise para a General Theory, em oposição ao próprio Keynes,  não é nada natural e requer  a introdução de novos conceitos  mudanças nas definições. Eis suas palavras: 

 

"[...] the transition from the Treatise analysis, as presented in the
Fundamental Equations and that of the General Theory, as incorporated in the  principle of effective demand, required the introduction of new concepts and a change in definitions, which eventually made the latter approach quite distinct
from the forme' [MARCUZZO, p, 26

 

E para tornar plausível sua tese 

 

 

" [...]I follow this evolution step by step, comparing Keynes’s own
measurement of the distance from his previous framework of analysis with our present understanding of the change involved in the process of building up the new one." [MARCUSO,    p.26} E, são desses passos que passamos a tratar.

 

 

 

BIBLIOGRAFIA

 

#MARCUZZO, Maria Cristina, From the Fundamental Equations to Effective Demand: ´Natural Evolution" or "Change of View " in ARESTIS, P, DESAI, Meghnad, DOW, Sheila C (eds)  Methodology, Microeconomics and Keynes - Essays in honour of Victoria Chick. v. II. Psychology Press, 2002.

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EU & VOCÊ by Ihering Guedes Alcoforado

EU & VOCÊ by Ihering Guedes Alcoforado | CRITICA DE CINEMA | Scoop.it
Ihering Guedes Alcoforado's insight:

 Eu e Tu (Io e Te) de Bertolucci (2012) nos põe diante do recorrente e do contingente posto à juventude no tempo presente.      O recorrente se expressa por meio de um mecanismo vivenciado por todo adolescente e expresso pelo personagem Lorenzo: a fuga, o retraimento na busca pela identidade.      O contigente é mostrado pelos desencontros da personagem Olívia, uma  pós-adolescente que  recorre  à droga  na busca frenética por uma nova  sociabilidade, atropelando a construção da sua identidade de  jovem adulta (eu sou uma drogada de merda)   e a necessária requalificação  da sua identificação com suas referências familiares: a única que lhe resta é a do meio-irmão, objeto do filme.

Resumindo: é a entrada na maturidade não só dos personagens, mas do próprio Bertolucci.

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Top Secret Rosies

Top Secret Rosies | CRITICA DE CINEMA | Scoop.it
official site for Top Secret Rosies documentary film

http://www.topsecretrosies.com/Top_Secret_Rosies/Home.html

Ihering Guedes Alcoforado's insight:

In early December 1941, Betty Jean Jennings was a freshman completing her first semester at a rural Missouri college. In Philadelphia, Doris and Shirley Blumberg were seniors at Girl’s High and Marlyn Wescoff was completing a minor in business machines at Temple University. In an era of limited career opportunities for women, these bright students anticipated low paying careers as schoolteachers or bookkeepers. But on Sunday, December 7, the Japanese bombed Pearl Harbor and changed these young women’s lives forever. With Pearl Harbor suddenly drawing the US in to WWII, the Army launched a frantic national search for women mathematicians.

The Documentary Subjects

Doris (Polsky) and Shirley (Melvin), the Blumberg Twins
Doris and Shirley grew up in the Grays Ferry neighborhood of Philadelphia. Their father was a respected real estate broker and both parents were active in the local Jewish community. In May 1942, as the Blumberg twins were graduating from the prestigious Philadelphia High School for Girls, at the urging of their high school principal they became part of a secret ballistics research lab then forming at the University of Pennsylvania.

Marlyn Wescoff (Meltzer)
In May of 1942 Marlyn was just completing a degree in Mathematics Education from Temple University and found that her minor in business machines would serve her well in the booming civilian job market. During the summer of ’42 a family friend told her about a professor at the University of Pennsylvania who was interviewing women to do weather calculations and by fall 1942, she became part of a group of human computers working under the direction of Dr. John Mauchly and his wife Mary.

Betty Jean Jennings (Bartik)
The Great Depression had hit Missouri hard, with farm families struggling mightily to make ends meet. Born the 6th or seven children, Betty Jean was determined to escape farm life and her path out lead through higher education. Thanks to a $400 loan from a beloved aunt, Betty Jean studied mathematics at the local Teacher’s College. Upon graduation in spring 1945, she seized the opportunity to come to Philadelphia, where she joined Doris, Shirley and Marlyn as a ballistics ‘computer’. Little did she know that this trip east would also lead to an unprecedented future as one of the first programmers of ENIAC.

Joe Chapline
In May 1942 Joe was a graduate student assisting Dr. Mauchly at the University of Pennsylvania where he had been hired to work as the ‘mechanic’ of UPenn’s Differential Analyzer. The Differential Analyzer was a 30 foot long mechanical calculating machine that generated differential calculations. In June of ’42 the Army took over operation of UPenn’s Differential Analyzer and, understanding Joe’s unique contribution to the workings of the machine, he was deferred from military service so he could keep the Differential Analyzer working 24 hours a day, for the duration.

James ‘Doug’ Mickle
Doug Mickle was a business major at the Drexel Institute of Technology when the war broke out and not waiting to be drafted, joined the Army Air Corp where he became a pilot on a B17 Flying Fortress. By January 1945 Lieutenant Mickle had completed 30 successful missions over Europe, thus fulfilling his duty to Uncle Sam. He remained in the service until September 1945, serving out the last months of WWII in England.

Edward Sage
Ed was an engineering student at Drexel when the war broke out and he enlisted in the Army Air Corp. His dream was to become a pilot but he was crushed when the Army said he was too small for the job. However, his small stature was perfect for the role of bombardier and so Ed became a lead bombardier and navigator on a B17. Based out of England, he completed 30 missions with only a minor injury to himself. But the ramifications of his service would stay with him for the rest of his life.

The other players in this story…

John Mauchly and J. Presper Eckert:
In 1942 Dr. John Mauchly was a young physics professor researching weather prediction at the University of Pennsylvania’s Moore School of Engineering, and J. Presper Eckert was a brilliant graduate student in Engineering. To speed up his weather calculations, Mauchly had conceived of a radical new machine, an entirely electronic, digital calculator, and Eckert wanted to help build it.

Captain Herman Goldstine:
Herman Goldstine held a PhD in mathematics from the University of Chicago and with the US entry into WWII, found himself assigned as the supervisor of the Army’s satellite ballistics research lab in Philadelphia at the Moore School of Engineering.

Thanks to Joe Chapline, Goldstine met Dr. Mauchly and heard about his plan to create an electronic digital computer. Convinced his idea could work, in the spring of 1943 Captain Goldstine escorted Mauchly and Eckert to Aberdeen Proving Ground to pitch their idea to the Army brass. The trio of eggheads was elated when the try-anything Army agreed to fund their project. The development of ENIAC- the Electronic Numerical Integrator And Computer- was underway.

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Top Secret Rosies: The Female Computers of WWII by LeAnn Erickson

Top Secret Rosies: The Female Computers of WWII  by  LeAnn Erickson | CRITICA DE CINEMA | Scoop.it

In 1942 a secret US military program was launched to recruit women to the war effort. But unlike the efforts to recruit Rosie to the factory, this search targeted female mathematicians who would become human 'computers' for the Army. From the bombing of Axis Europe to the assaults on Japanese strongholds, women worked round-the-clock shifts creating ballistics tables for every weapon in the US arsenal. Rosie made the weapons, but the female computers made them accurate. When the first electronic computer (ENIAC) was developed to aid the Army's calculation efforts, six of these women were tapped to become its first programmers. While the work of these human computers proved crucial to allied victory, it also carried a moral weight - how to square the larger issue of ending a world war against the personal recognition that their mathematical computations made every Allied bomb and gun more deadly. The summer of 2010 marks the 65th anniversary of the end of WWII, yet the amazing account ... Written by LeAnn Erickson



Top Secret Rosies: The  Female Computers of WWII, an hour-long documentary film produced and directed by LeAnn Erickson and written by Cynthia Baughman (PBS Distribution, 2010).

Ihering Guedes Alcoforado's insight:



"While the work of women in industrial production, personified by the
bicep-flexing Rosie the Riveter, often gets a perfunctory nod, the stories of
the women who performed great feats of intellectual labor have not received the attention they deserve in both popular and scholarly accounts of
the war.1
A big step in the right direction can be found in Top Secret Rosies: The
Female Computers of WWII, an hour-long documentary film produced and
directed by LeAnn Erickson and written by Cynthia Baughman (PBS Distribution, 2010). Tightly edited and highly polished, the film mixes interviews
with archival footage to tell the stories of several young women who were
recruited by the military to work as human computers for the Philadelphia
Computing Section, a secret operation run by the U.S. Army’s Ballistic Research Laboratory and housed within the University of Pennsylvania’s Moore School of Engineering. In short, the task of these women was to quickly and flawlessly carry out the enormous number of calculations necessary to construct accurate ballistics tables used to predict the flight paths of fired  artillery shells, as well as bombs dropped from airplanes (figs. 1–2)."[NOVEMBER,



 

NOVMBER, Joseh, F I L M R E V I E W -  When Women Were Computers
LeAnn Erickson, Top Secret Rosies in 

Technology and Culture, Volume 52, Number 4, October 2011, pp.
788-791

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Palm Beach: Jim Lee De l'art de l'érotisme | Le Journal de la Photographie

Palm Beach: Jim Lee De l'art de l'érotisme | Le Journal de la Photographie | CRITICA DE CINEMA | Scoop.it

François Truffaut once wrote that there are no good or bad movies, only good or bad directors. That was the upshot of his “politique des auteurs”, his politics or policy of authorship, which was based on the idea that the force of a personal vision could subdue the money-making machinery of the film industry to its own ends—and that anyone whose vision had the force to prevail against that apparatus once could probably not help manifesting it always. Like Hollywood directors, fashion photographers are artisans in the service of a big machine.


Via Mario Pires
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My Noiva Era Nazi

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Ihering Guedes Alcoforado's comment, September 12, 2013 5:36 AM
Finalmente os alemães resolvem enfrentar o trauma da guerra e seu passado nazista, já os norte-americanos e sua bomba atômica sob um alvo civil, continua sendo considerado com um redutor do números de mortos, ou seja, a ação louvável.
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It Was My Grandfather by Vittoria Scarpa (On Barbara Albert´s The Dead and the Living)

It Was My Grandfather  by Vittoria Scarpa (On  Barbara Albert´s  The Dead and the Living) | CRITICA DE CINEMA | Scoop.it



"The Dead and the Living could be defined as a historical road movie. Sita is continuously on the move, in the train, in an airplane, in a bus, looking through documents, at photos, watching footage. The spectator travels with her, reads diaries, and discovers elements from the past which encroach on the present. The spectator goes to demonstrations and occupations, mingles with other Europeans, listens to their stories and expectations. It is an important film because it speaks of common roots and pains through an individual story.

 The love that is born between Sita and Israeli Jocquin (Itay Tiran) symbolises a possible peace making. The past has been put to rest. To new generations, the future is a united Europe."

Ihering Guedes Alcoforado's insight:

A journey across Europe discovering family secrets, from Berlin to Vienna, Warsaw to Romania, questioning history and those who are no longer with us. The journey belongs to Sita, the main character in a new film by Austrian director and producerBarbara AlbertThe Dead and the Living [trailerfilm focus]. A dialogue between the living and the dead, past and present, which confronts older and younger generations. The latter want to know, the former want to forget.


Sita (Anna Fischer) is a young Austrian woman with Romanian origins living in Berlin, studying German at university. She jogs, goes around on a Vespa, takes part in talent show try-outs and loves without bounds. She goes to Vienna to celebrate her grandfather's (Hanns Schuschnig) 95th birthday and discovers from an old photo that her father's father has a terrible, hidden side, which is impossible to own up to: he was in the SS during World War II. Sita decides to stay in Vienna a little longer. There, she starts digging through books, archives and images. She is looking for a way to forgive.

Only through knowing will Sita be able to forgive. Her father (August Zirner) disagrees. For him, having been born in a concentration camp where his father was working, digging up the past will only bring pain. He refuses to speak, and instead finds refuge from his traumas by singing. Albert's film depicts a clash between generations, but also shows that Sita is not alone. "Many people come here, like her", a Warsaw museum worker tells her, when, thanks to archives, she discovers that her grandfather worked at Auschwitz.

The revealing of the truth is done through a video in which Sita's grandfather talks openly and remembers: "it was like a dream, it wasn't me." Dirty and disturbing images interrupt the otherwise formal and accurate film with a wave of shame and unavoidability. There is no remorse, and going back is not possible. Reality, slammed in your face, makes you cry. The only thing to be done is look ahead and get going again.

The Dead and the Living could be defined as a historical road movie. Sita is continuously on the move, in the train, in an airplane, in a bus, looking through documents, at photos, watching footage. The spectator travels with her, reads diaries, and discovers elements from the past which encroach on the present. The spectator goes to demonstrations and occupations, mingles with other Europeans, listens to their stories and expectations. It is an important film because it speaks of common roots and pains through an individual story. The love that is born between Sita and Israeli Jocquin (Itay Tiran) symbolises a possible peace making. The past has been put to rest. To new generations, the future is a united Europe.


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Working Class Cinema List

Working Class Cinema  List | CRITICA DE CINEMA | Scoop.it

Libcom.org's guide to class struggle films, showing realistic portrayals of the working class and revolutionary situations.

To watch any of these films, install uTorrent. Search using The Pirate Bay and click the magnet or arrow to start the download.

Ihering Guedes Alcoforado's insight:
American

Shari Springer Berman

  • American Splendor - Adaptation of Harvey Pekar's comic series, which he wrote whilst working as a file clerk in a hospital.

Herbert J. Biberman

  • Salt of the Earth - Film based on the 1951 miners' strike in New Mexico, and starring many of those involved, it shows how miners and their families all take part in the long hard struggle against the mining company. Made in 1953, it was originally banned as part of the 'Red Scare'.

James Bridges

  • The China Syndrome - A nuclear reactor almost goes into meltdown, whilst a team of reporters are on site covering a story.

Steve Buscemi

  • Trees Lounge - A mechanic, sacked for stealing out of the till, drinks his sorrows away over one summer in a Bukowski-esque anti-tale.

John Carpenter

  • Escape from New York and Escape from LA - Bakunin with an eyepatch is forced to save the President.
  • They Live - A special pair of sunglasses reveal billboards and adverts aren't what they seem.

Coen brothers

  • The Big Lebowski - The Dude is a loafer that would have made Paul Lafargue blush. When a case of mistaken identity ruins his rug, he is dragged into something far bigger.

Bill Duke

  • Deep Cover - Focusing on the role of the police in the war on drugs, an undercover cop begins to enjoy the rewards.

Ryan Fleck

  • Half Nelson - An inner city school teacher battles his demons with crack cocaine whilst trying to inspire his class.
  • Sugar - Miguel has dreamt all his life of leaving the Dominican Republican to play baseball professionally but he soon discovers it isn't all it's cracked up to be.

John Flynn

  • Rolling Thunder - A tortured Vietnam veteran returns home to suburban America but nothing will be the same again.

John Frankenheimer

  • Seconds - When an middle aged man trades his identity and his face, he only realises what he's given up when it's too late.

William Friedkin

  • Sorcerer - Remake of Wages for Fear.

Brian Goodman

  • What Doesn't Kill You - A small time criminal struggles to pay the bills and support his family.

John Huston

Mike Judge

  • Office Space - When Peter sees an hypnotherapist, he inadvertently begins a refusal of work while his friends at the company are going to be made redundant and want revenge.

Stanley Kubrick

  • The Killing - The robbery on a racetrack has been meticulously planned, but a scheming wife could end up getting someone killed, if they can pull it off.

Spike Lee

  • Do the Right Thing - Film set in a New York neighbourhood, where class and racial tensions collide on the hottest day of the summer.
  • Malcolm X - Biopic on the life of black power leader, Malcolm X, from his childhood through to his conversion to Islam in prison and his eventual split with the Nation of Islam.
  • Summer of Sam - Broad look at the white community in the South Bronx of 1977, with punk, disco and the serial killer Son of Sam raging over a summer.

Sidney Lumet

  • Network - When a news reporter is thrown off the air for voicing subversive opinions, the network see in him an opportunity to increase ratings.

Michael Mann

  • Heat - Work is the obsession for criminals and police alike, in this melancholy noir.
  • Collateral - One night with a taxi driver, whose fare is a hitman directing him to his jobs around the city.

Andrew Niccol

  • In Time - Time has replaced capital, and life runs out for those with no time left on their clock.

Jeff Nichols

  • Take Shelter - A construction contractor struggles with the recession and his worsening grip on reality.

Mike Nichols

  • Silkwood - Based on the true story of Karen Silkwood, who raised concerns about radiation from the nuclear plant she worked at and was found dead in suspicious circumstances.

Martin Ritt

  • Norma Rae - Inspired by a speech, a factory worker begins to organise at her workplace, based on the story of Crystal Lee Sutton.

Richard Sarafin

  • Vanishing Point - A car courier races across the country to make an impossible delivery, with an ending that symbolised the death of the hippie movement.

Tom Savini

  • Night of the Living Dead 1990 - Improved remake of the civil rights film with zombies, which places the damsel in distress of the original, Barbra, as a strong leader.

John Sayles

  • Matewan - The story of the Battle in Matewan, 1920, where miners fought private police.

Paul Schrader

  • Light Sleeper - An ageing drug dealer is faced with finding legitimate employment.
  • Blue Collar - 3 workers in a car factory steal from their union's safe, with tragic consequences.
  • American Gigolo - A gigolo for the wealthy becomes embroiled in scandal when he falls for a senator's wife.

Martin Scorsese

  • Taxi Driver - Damaged Vietnam vet cum taxi driver battles with New York, and himself.
  • After Hours - A chance date for an office worker turns into a nightmare trying to get back home in time for tomorrow's shift.
  • Bringing Out the Dead - An overworked and conscientious ambulance driver begins to slip into insanity.

Tarsem Singh

  • The Fall - A stuntman lies in the hospital bed, paralysed from his first film, where he befriends a small girl and loses himself in fantastical storytelling.

Mario Van Peebles

Argentinian

Santiago Grasso

  • Empleo - A man makes his way to work, finding people being used as objects.

Héctor Olivera

  • La Patagonia Rebelde - Based on anarchist Osvaldo Bayer's book, this is the true story of the massacre of FORA organised labourers in the 1920s.
Australian

John Hillcoat

  • Ghosts of the Civil Dead - Both prison guards and prisoners are manipulated into a riot to secure funding for a new maximum security complex.

George Miller

  • Mad Max and Mad Max 2: The Road Warrior - The defining films of what the apocalypse will look like, petrol has become the only commodity in a world of fast cars and dangerous roads.

Michael Rymer

  • Angel Baby - A man released from a mental institution struggles to stay healthy with a baby on the way and his first job in years.

Stephen Wallace

  • Stir - Written by an inmate involved, Stir shows what provoked the 1974 Bathurst Jail riots.
British

Alan Clarke

  • Scum - Nihilistic drama set in a young offenders institute.
  • Elephant - Experimental short about the Troubles in Northern Ireland.

Paddy Considine

  • Tyrannosaur - A bitter alcoholic finds salvation in a woman who seems to be perfect on the outside, but harbours an unhappy secret.

Duncan Jones

  • Moon - The moon has been colonised, and is manned for 3 years. Sam Bell is coming to the end of his contract when he begins to experience hallucinations.

Mike Leigh

  • Naked - A drifter meets similarly lost souls whilst living on the streets of London.

Ken Loach

  • Land and Freedom - Loose adaptation of George Orwell's Homage to Catalonia, following the POUM fighting in the Spanish Revolution.
  • The Navigators - Film following five railway workers affected by the 1995 privatisation of British Rail and how this changes their lives.

Shane Meadows

  • This is England, This is England '86 and This is England '88 - Documenting a group of skinheads as they grow up in a northern town.
  • Dead Man's Shoes - A Gulf War veteran returns his home town to dish out revenge to local gangsters responsible for an unknown crime.

Gary Oldman

  • Nil by Mouth - Life for an extended family on a South London council estate.

Tony Richardson

Ridley Scott

  • Alien - Space workers are hunted down by an unnatural force.
  • Blade Runner - Four androids look to extend their lifespan whilst being hunted by a policeman, in a dystopic Los Angeles.
Canadian

Gary Burns

  • Waydowntown - Office workers bet their salaries who can last the longest without stepping outside, using Calgary's skywalks to get around.
Chilean

Pablo Larrain

  • Fuga - The manuscript of a composer is rediscovered by students. They learn how he came to wrote it, and how it was sent him to an asylum.
  • Tony Manero - A man obsessed with the character from Saturday Night Fever is due to enter a television contest to crown the best Manero impersonator, whilst Pinochet's disappearances carry on in the background.
Chinese

Tsai Ming-liang

  • Rebels of a Neon God - A pair of friends make their living robbing arcade machine chips.

Li Yang

  • Blind Shaft - Two men killing miners for compensation find a conscience.

Jia Zhangke

  • Unknown Pleasures - Two unemployed teens roam about, chain smoking, unsure what they want to do with their lives.
Danish

Nicolas Winding Refn

  • Pusher trilogy - Interconnected stories of drug dealers falling from grace in Copenhagen.
  • Drive - A single mother falls for a moonlighter who'll do anything to protect her.
Dutch

Paul Verhoeven

  • Starship Troopers - Aryans fight bugs in space.
Finnish

Aki Kaurismäki

  • Shadows in Paradise - A binman falls in love with a supermarket checkout girl he sees on his rounds.
French

Jacques Becker

  • Le Trou - Four tight knit prisoners have been preparing their breakout for months when a new cellmate is added. Can they trust him?

Jean-Louis Comolli

  • La Cecilia - Based on Giovanni Rossi's memoirs of the little known Colonia Cecilia, the Brazilian emperor offers land to anarchists to create a commune. But tensions grow as they try to shake off the beliefs of the old world.

Henri-Georges Clouzot

  • Wages of Fear - A group of destitute men in South America agree to drive explosives across the country in a bid to escape.
German

Slatan Dudow

  • To Whom Does the World Belong - The trials and tribulations of an unemployable Berlin family.

Phil Jutzi

  • Mother Krause's Journey to Happiness - A family struggle in poverty in Weimar Germany, finding salvation too late.

Fritz Lang

  • Metropolis - An industrialist's son swaps places with a worker and agitates for insurrection, having fallen for a schoolteacher.

Volker Schlöndorff

  • Coup de grace - The Russian Revolution is on the doorstep of a Prussian army camp in Latvia, as sexual tensions grow.

Henner Winckler

  • Lucy - A teenage mother has to decide whether she wants the responsibility of bringing up a child.
Hong Kong

Fruit Chan

  • The Longest Summer - British soldiers made redundant after the handover of Hong Kong decide to rob a bank.

Johnnie To

  • Life Without Principle - Austerity noir, following different people's lives affected by the economic crisis.

Wong Kar-wai

  • In the Mood for Love - A couple, whose respective spouses are cheating with one another, deny themselves from doing the same, in a seductive account of conservative 1960s Hong Kong.

[/]

Hungarian

Miklós Jancsó

  • The Red and the White - Scenic look at the reprisals by both communists and White Guards during the Russian Revolution.
Icelandic

Dagur Kári

  • Noi the Albino - An uninterested teenager roams about his seaside town, wanting to get away.
Italian

Guido Chiesa

  • Working Slowly - Film set amongst the youth movement in 1970s Bologna, with the refusal of work, sexual freedom and cultural provocations it entailed.Made with the collaboration of the Wu Ming Foundation, it covers the radical pirate radio station Radia Alice and the 1977 rebellion.
  • Johnny the Partisan - Story of an English literature student who escapes into the mountains to join the Italian resistance of fascism.

Sergio Corbucci

  • The Great Silence - Bleak Western set in a snowy blizzard. A mute gunslinger tries to defend a town from outlaws.

Marco Tullio Giordana

  • One Hundred Steps - The true story of Giuseppe Impastato, a communist anti-mafia campaigner in Sicily, set against the backdrop of Italian politics in the 1970s.

Daniele Luchetti

  • My Brother is an Only Child - Story of two brothers in a working class Italian family, one who becomes a Communist while the other decides to become a fascist.

Giuliano Montaldo

Ermanno Olmi

  • Il Posto - A school leaver enters into the world of work whilst falling in love for the first time.

Elio Petri

  • The Working Class Goes to Heaven - Operaismo inspired film of a Stakhanovite factory worker turning radical. The star, Gian Maria Volonte, was a real member of the Italian Communist Party.
  • Investigation of a Citizen Above Suspicion - Dramatic, psychological crime film in which Gian Maria Volonte plays a top police officer who murders his girlfriend and plants obvious clues to test whether other officers would charge him for his crime.

Roberto Rossellini

  • Rome, Open City - Classic film about a working class Italian partisan, fighting fascism during the last days of the Nazi's occupation of Rome.
  • Paisan - Film split into six different episodes covering all of Italy towards the end of the Second World War, from the Americans landing in Sicily to the Venetian resistance to fascism in the north.
Iranian

Marjane Satrapi

  • Persepolis - Adaptation of the comic, a girl growing up begins to question the Iranian revolution.
Japanese

Masaki Kobayashi

  • Harakiri - When his son-in-law is killed begging for charity, Tsugumo visits the lord responsible to commit suicide. But only after he's told his story.
  • Samurai Rebellion - A clan lord orders a marriage between his mistress and the son of one of his swordsmen. When the lord changes his mind, the couple would rather die than be apart and his men are on their way.

Eiichi Kudō

  • Castle of Owls - The Toyotomi clan has declared peace. To stimulate business, a weapons merchant hires a ninja to assassinate its leader. But he begins to question whether his code is more important than his happiness.

Masahiro Shinoda

  • Samurai Spy - With the new shogun, war has ended. But the clans still vie for power and spies wander amongst them in Shinoda's Cold War allegory.

Hiroyuki Tanaka

  • Kanikosen - Film adaptation of Takiji Kobayashi's The Cannery Ship. Crab fishermen attempt to take control of the ship out at sea.
Norwegian

Bent Hamer

  • O'Horten - As a train driver finishes his last day before retirement, he wonders what to do with the rest of his life.
  • Factotum - Faithful adaptation of Bukowski's novel, as well as some of his short stories.
Polish

Wojciech Has

  • Petla - An alcoholic tries to quit drinking over 24 hours.

Alek Wasilewski

  • Lucky Day Forever - Prole 514 hopes to win the lottery, never having to work again. But when he does, is he any happier?
Russian

Yakov Protazanov

  • Aelita - Communists travel into space to help Martians with their revolution.
South African

Neill Blomkamp

  • District 9 - Alluding to the District Six evictions in apartheid and the more recent Blikkiesdorp settlement, District 9 sees aliens come to Earth. But when they arrive, they are a minority group just like any other, and are hated by both black and white in South Africa.

Bronwen Hughes

  • Stander - The embellished story of Andre Stander, a cop who turned bank robber, set in and around the Soweto uprising.
South Korean

Lee Chang-dong

  • Peppermint Candy - As Yongho stands on a track waiting for a train, he has a series of flashbacks to explain what has driven him to suicide; heartbreak, compulsory military service, the police force and bankruptcy.

Park Chan-wook

  • Sympathy for Mr Vengeance - A deaf factory worker made redundant kidnaps his boss' daughter for a ransom.

Park Kwang-su

  • A Single Spark - The story of Jeon Tae-il, a textile worker who self immolated in protest of poor conditions.

Shin Dong-il

  • Bandhobi - A Bangladeshi worker trying to get his wages befriends a schoolgirl.
Spanish

Vicente Aranda

  • Libertarias - The Mujres Libres battle in the Spanish Revolution, with liberated sex workers and a nun in tow. Trigger warning, features a rape scene.

Fernando Arrabal

  • The Tree of Guernica - Irreverent take on the Spanish Civil War set in the Basque region of Guernica, where both communists and Francoists await the fighting.

Fernando León de Aranoa

  • Mondays in the Sun - A group of shipworkers made redundant try to come to terms with the death of the shipping industry, a lack of jobs and financial troubles.

Álex de la Iglesia

  • 800 Bullets - Former stuntmen operate a theme park on the sets they filmed their spaghetti westerns on. When a real estate mogul buys up the land and threatens to send in the riot police, they decide to wait for them.
Swedish

Lukas Moodysson

  • Together - Comedy set in 1970s Stockholm, in which a woman leaves her violent husband and moves, with her children, to the Tillsammans ('Together' in Swedish) commune where her brother lives.

Thomas Vinterberg

  • Dear Wendy - In a mining town, a group of misfits create a pacifist gun club. They make a rule never to draw their guns, but when the police become involved, they find it difficult to keep to their promise.
Turkish

Fatih Akin

  • Head On - Two people admitted for attempted suicide decide to have a sham marriage, to free Sibyl from her conservative Muslim family.
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ABC DA GREVE by Leon Hirschman (Radical Films List)

ABC DA GREVE by Leon Hirschman (Radical Films List) | CRITICA DE CINEMA | Scoop.it
Ihering Guedes Alcoforado's insight:

Dados da AulaO que o aluno poderá aprender com esta aula

Nessa aula os alunos terão a oportunidade de se aproximarem do tema da abertura política no país através da abordagem de dois pontos importantes: as greves dos metalúrgicos em 1979 e o papel do cinema brasileiro nesse processo. A obra do cineasta Leon Hirszman e seu modo de intervenção política será ainda tematizada a partir de sua atuação e sua participação neste processo político.  A intenção aqui é tentar fazer o aluno entender não só o contexto histórico, mas também como os filmes se relacionam com ele.

Duração das atividades

6 aulas de 50 minutos

Conhecimentos prévios trabalhados pelo professor com o aluno

- O contexto política ditatorial que o país vivia durante os anos 1960 e 1970.

- O contexto político do final dos anos 1970, quando começa a ser anunciada uma abertura política no país.

Estratégias e recursos da aula

INTRODUÇÃO 

Sugerimos que o professor tente despertar o interesse do aluno para o tema através da música Capitão de Indústria (1972). A música de marcos Valle e Paulo Sérgio Valle originalmente interpretada por Djalma Dias (parte da trilha sonora de uma novela chamada Selva de Pedra dos anos 1970), conta a história de um trabalhador industrial:

 

- Versão original de Djalma Dias: http://www.youtube.com/watch?v=scdNn8M3qME&feature=related

 

http://portaldoprofessor.mec.gov.br/fichaTecnicaAula.html?aula=41525

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Entre Marx y Una Mujer Desnud País ( Ecuador 1996) by Camilo Luzuriaga [Radical Films List]

Entre Marx y Una Mujer Desnud País ( Ecuador 1996) by  Camilo Luzuriaga [Radical Films List] | CRITICA DE CINEMA | Scoop.it

La atormentada relación de un grupo de jóvenes activistas con su realidad, la filosofía marxista, y el sexo, durante la década del sesenta en el Ecuador, cuando la revolución parecía estar a la vuelta de la esquina, y donde todo estaba prohibido, hasta el amor.

Ihering Guedes Alcoforado's insight:


Ressoa Que é Isso Companheiro ?

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Salt of the Earth (1954)

."Salt of the Earth" was produced, written and directed by victims of the Hollywood blacklist. Unable to make films in Hollywood, they looked for worthy social issues to put on screen independently. This film never would have been made in Hollywood at the time, so it is ironic that it was the anti-communist backlash that brought about the conditions for it to be made. In many ways it was a film ahead of its time. Mainstream culture did not pick up on its civil rights and feminist themes for at least a decade...

Ihering Guedes Alcoforado's insight:



"Salt of the Earth" tells the tale of a real life strike by Mexican-American minersThe story is set in a remote New Mexico town where the workers live in a company town, in company-owned shacks without basic plumbing (Congress admitted New Mexico as the 47th state in the Union on January 6, 1912). Put at risk by cost cutting bosses, the miners strike for safe working conditions. As the strike progresses, the issues at stake grow, driven by the workers' wives. At first the wives are patronized by the traditional patriarchal culture. However, they assert themselves as equals and an integral part of the struggle, calling for improved sanitation and dignified treatment. Ultimately, when the bosses win a court order against the workers preventing them from demonstrating, gender roles reverse with the wives taking over the picket line and preventing scab workers from being brought in while the husbands stay at home and take care of house and children.

This film was selected for the National Film Registry in 1992 by the Library of Congress. It became public domain after its copyright was not renewed in 1982. 

Juan Chacón as Ramon Quintero
Rosaura Revueltas as Esperanza Quintero
Henrietta Williams as Teresa Vidal
Ernesto Velázquez as Charley Vidal
Ángela Sánchez as Consuelo Ruiz
Joe T. Morales as Sal Ruiz
Clorinda Alderette as Luz Morales
Charles Coleman as Antonio Morales
Virginia Jencks as Ruth Barnes
Clinton Jencks as Frank Barnes
Víctor Torres as Sebasatian Prieto
E.A. Rockwell as Vance
William Rockwell as Kimbrough
Floyd Bostick as Jenkins
and other members of Mine-Mill Local 890

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