Cinema and Socio-Political Consciousness

"El cine argentino en sus primeros años de vida sirvió como portavoz de una idea de país que se quería difundir y exportar y, por lo tanto, no había lugar en él para ningún tipo de crítica social o política. Ciertas temáticas de acuciante realidad, ciertos actores sociales e incluso ciertos espacios del país parecían ser invisibles a las cámaras de estos primeros cineastas, salvo cuando eran captados en contextos precisos como, por ejemplo, el de la beneficencia, en donde las clases más desprotegidas aparecían exclusivamente para ser “salvadas” por miembros de la elite que las aliviaban en su miseria. Sin embargo, en los años posteriores al Centenario, a medida que el cine vernáculo adquiría madurez estética y narrativa, aparecieron una serie de films que lograron otorgar visibilidad a ciertos problemas de orden político y social de su época. Estos films, concebidos por lo general en forma aislada y con poca continuidad dentro del marco del período silente se acercaron a la realidad de su tiempo a través de tres caminos que se transitaron en forma aislada o simultánea:
1-  Abordando temas social o políticamente conflictivos para la época
2- Otorgando protagonismo a diferentes tipos de alteridades que, por lo general, permanecían invisibles para la lente de los cineastas (Ej. indígenas, obreros o inmigrantes).
3- Eligiendo desplazar los conflictos a espacios alternativos o problematizando los espacios convencionales del cine hegemónico.
En este trabajo analizaremos una serie de films argentinos del período silente, que frente a la producción de una incipiente industria que empezaba a configurarse desde un conjunto de normas institucionales, intentaron arrojar una nueva luz sobre la realidad de su época.
"

Le projet de recherche « Cinéma des luttes autochtones », né en 2017, a pour enjeu de mieux interroger les formes filmiques produites lors des situations de luttes que les communautés autochtones – aborigènes, amérindiennes et rurales – ont connues et vivent encore. L’interrogation est double : comment le cinéma participe-t-il à la lutte et comment la lutte façonne-t-elle la pratique cinématographique ?

This paper explores Hollywood’s portrayal of women in war films, how it has changed, and how it compares to the evolving role of women in the United States military.  While most academics view Hollywood film as pure entertainment, seeing no connection between Hollywood film and public policy, research indicates that film is capable of constructing realities and influencing the opinions of cinemagoers.  In the case of war, something which few Americans in the modern era experience directly, Hollywood film can construct a cinematic reality which shapes how audiences see war and the people who fight it.

Relying on secondary sources and a primary source analysis of 85 war films released after the Gulf War in 1991, this paper argues that Hollywood’s portrayal of women in war films has evolved much more slowly than its real-life counterpart of women in the U.S. military.  Although women received more screentime, in more diverse and significant roles, in the 1990s and over the last several years, Hollywood continues to underrepresent women in the war genre after decades of confining women to traditional roles such as nurses or love interests.  Additionally, Hollywood’s portrayal of women in war films has not steadily developed, regressing during much of the 2000s even as women were participating in new and more numerous roles in real-life wars in Iraq and Afghanistan.  However, the success of female-led war films released since 2012, particularly several female-heavy dystopian war films, could signify a shift for the role of women within the genre, and potentially convince risk-averse Hollywood studios to support new projects focused on women in war.

Between 1945 and 1954, some politics, religious, economic and cultural manifestations had been fomented by the dissemination of the anticommunism in the Brazilian and United States society. From a conception of Social History of the Cinema, we intend to analyze the social impact of U.S movies with anti-communist messages exhibit in Brazil and, in this way, contribute for a better reflection and agreement of the construction of these ideas in both the countries. The movies produced in Hollywood with anti-communist messages, and certain news in periodicals and magazines had formed part of a communicational circuit composed for manifestations, brochures, diplomatic dispatches, programs of radio, lectures, amongst others. The emission/mediation/reception circuit of these products and its transnational character disclose that passionate defenses of the necessity of fight and contain the communism hadn’t been motivated by ethical, moral or religious principles, especially when observed mindfully one of the vehicles that more contribute in the dissemination of the anticommunism, the cinema. The way as communist and anti-communist was represented in these movies, and as such representations was treated by periodicals and magazines of the period was interpreted in its context of production to understand how they had related with the domination structures. Likewise, we investigate the forces of resistance to these representations, the ideological positions that noised in the debates and social fights of the period. It is frequent in the historiography that study the anticommunism in Brazil, the
conception of the anticommunism was less intense in the 1940’s and 1950’s of that in the years that precede and succeed this period. However, when studying the historicity of the practical anti-communist we unveil an extensive and impetuous effort of different social actors to prevent and to fight the communism. That picture demonstrates the difficulty in understanding the anticommunism of the period without one withheld examination of the actions of the State, social organisms and individuals. Despite its variants, the differences of its ideas and its practical politics, its social influences, especially in the cinema, are visible.

Film is a device that gives platform for reflecting contemporary social issues and it also works as watchdog for political system. Indian cinema has been, since long, a strong medium to portray and comment on social issues of its respective times. Although politics and social issues go hand in hand, Indian Cinema has been, though not as a rule, seen to ignore the politics largely. History of Indian politics has always been dramatic in nature and it seems to be following the same path in present too. In spite of this, there’s a strong disconnect between the filmmakers and the continuously ongoing political drama. Mrinal Sen was one filmmaker among very few others, who has fearlessly addressed social issues and their entanglement with the contemporary politics. This paper, mainly, will study the socio-political approach of Mrinal Sen’s filmmaking with some of his films like Calcutta Trilogy (1970 to 1973), Chorus (1974), Ek Din Pratidin (1979) and their relation with contemporary soci...

This treatise deals with popular heroic archetypes. It differs from previous research, because by exploring narrative structures of (anti)heroic fiction, it shows that essential parallels exist in transgressive heroic myths in Japan and the West. This is important since in recent decades we register general decline of moral perfectionism in contemporary popular fiction at the expense of morally ambiguous but charismatic “transgressive heroes”. These characters are honorable and “culturally permitted” despite their antisocial inclinations, extralegal violence, or motivation by vendetta (e.g. Robin Hood versus Nezumi Kōzō, or Al Pacino in Godfather versus Kitano Takeshi in Brother). Various culture-specific heroic archetypes are analyzed (cowboy, samurai, yakuza, gangster, social bandit, a military hero) as they appear in popular mainstream narratives (predominantly film) of Japan, United States and Europe. I offer an interdisciplinary methodological framework. While scrutinizing the production/consumption patterns of transgressive heroes and their narratives, I conflate Japanese philology, media studies, and semiotics of film. Furthermore, this research represents a significant departure from the perspective of Friedrich Nietzsche (the dichotomy of Dionysian versus Apollonian ideal of conduct, and the notion of overman) in order to illuminate the fascination by heroes that are located beyond the conventional categories of good and evil. My analysis found that elements of transgression, disorder, and tragic heroism are inculcated into popular narratives in a “hegemonic” manner, i.e. via the transgressive hero. This facilitates social order and relaxes frustrations of everydayness by leaping beyond conventions that usually bind people in society.

KEYWORDS
hero theory, antihero, transgressive fiction, Japanese heroes, Western heroes, good versus evil

Gücü anlamak ve idare etmek ve günümüze ne şekilde ayak uydurduğunu anlamak için gücü etkileyen faktörlerin, uluslararası sisteme uygun titizlikle araştırılması gerekmektedir. Gücü etkileyen faktörlerin ne kadar çok ve etkili olduğu yapılan araştırmalar sonucu net bir şekilde görülmüştür, bununla birlikte bir çok güç türü ortaya çıkmıştır. Güç unsurlarını geniş bir çerçevede ele almak, devletlerin politik amaçlarla kullandığı yöntemleri anlamamıza daha iyi yardımcı olacaktır. Bu araştırmada güç türlerini, unsurlarını ve etkileyen faktörleri ele alıp, bu türlerden yumuşak güç türüne eğilim göstereceğiz. Devlet ilişkilerinde genellikle sert güç kullanımını görmekteyiz. Sert güç, genellikle zorlama veya tehditten oluşmaktadır. İlk çağlardan beri kullanılan bu güç türü, istediğini almak isteyen aktörlerin başvurduğu yolların başında gelmektedir. Zamanla uluslararası sistemdeki güç anlayışının değişmesi ve sert gücün yarattığı sorunlar, aktörleri yeni bir güç arayışına itmiştir. Yumuşak güç, sert gücün sorunlarını ortaya çıkarmadan aktörlerin istediklerini alabilme kabiliyetinin oluşturulduğu güç türüdür. Yumuşak güç kaynağını bulunduğu bölgenin kültürü, siyasi değerleri ve dış politikalarından alır.
Yumuşak gücü en yoğun şekilde etkileyen faktörlerden biri medyadır. Bu güç türünün en büyük yardımcısı reklamdır. Yani gücü uygulayan aktör, kendisinin iyi yönlerini lanse etmek isteyecektir. Bunu tanıtım yoluyla sağlamaktadır. Ne kadar etkili ve sistemli olursa, o kadar iyi sonuçlar alabilmesi mümkündür. Aktörlerin istediğini elde edebilmesi adına, yumuşak gücün argümanlarını geliştirmesi ve farklı argümanlara başvurması kaçınılmazdır. Medyanın bir kolu olan sinema, yumuşak gücün geliştirilmesi konusuna büyük katkı sağlamaktadır. Sinema sektörünü geliştiren ve iyi bir şekilde dünyaya sergileyen devletler, yumuşak gücü uygulama konusunda diğer devletlerden bir adım öndedirler. Yumuşak güç ve sinema arasındaki ilişki, birbirlerini besleyerek büyüyen bir yapıya sahiptir. Bu çalışmada bu ikilinin devletler üzerindeki etkilerini araştıracağız. Günümüz dünyasında sinemanın politikaya etkilerini açıkça görmekteyiz. Bu çerçevede yumuşak gücü ve sinemayı politika üzerinden incelemek, devletlerin birbirleri üzerindeki etkilerine farklı bir bakış açısından yorumlamaya yardımcı olacaktır.

Produit d’un mémoire de Master 2 en Esthétique du cinéma sous la direction de Luc Vancheri, soutenu en mai 2013, ce texte est une tentative pour penser la politique en dehors de son attachement direct au cadre idéologique et partisan – représenté par l’affiliation du groupe Dziga Vertov au marxisme. Il en résulte une interrogation sur ce qu’une politique des formes peut désigner, sur le statut épistémologique qui est le sien, ainsi que sur les puissances d’image qu’elle est susceptible de déployer.

Exibição do curta documental Vigília (2019, 22’) no LASA Film Festival, no contexto do XXXVIII International Congress of the Latin American Studies Association, LASA Améfrica Ladina: vinculando mundos y saberes, tejiendo esperanzas, em Guadalajara, no México, em maio de 2020. Vigília, correalizado por Rafael Urban, Isabella Lanave e João Menna Barreto, filma o grupo em vigília que – estabelecido a menos de cem metros do cárcere de Luiz Inácio Lula da Silva, então preso político em Curitiba – acompanha o resultado das eleições presidenciais brasileiras de outubro de 2018. Lula havia sido excluído da disputa  eleitoral após decisão do juiz que, eventualmente, viria a ser o Ministro da Justiça do projeto de governo vencedor no pleito. A Vigília Lula Livre – registrada no filme e fortemente politizada – parecia antever que o resultado da eleição levaria o Brasil a uma trágica crise humanitária e de ruptura democrática.

Vigília teve sua estreia na 16ª edição do IndieLisboa – Festival Internacional de Cinema, em Portugal, e foi exibido pela primeira vez no Brasil na 13ª CineBH – Mostra de Cinema de Belo Horizonte.

LASA Film Festival com curadoria de Maria Eugenia Ulfe [diretora], Pontificia Universidad Católica del Perú; Susana Kaiser, University of San Francisco; Gabriela Zamorano Villarreal, Colegio de Michoacán; Fernando Vílchez Rodríguez, FILMADRID. Aqui, catálogo completo do evento que, dada a pandemia do COVID-19, se realizou de modo online.

--
Screening of the short documentary film Vigil at the LASA Film Festival, in the context of the XXXVIII International Congress of the Latin American Studies Association, LASA Améfrica Ladina: vinculando mundos y saberes, tejiendo esperanzas, in Guadalajara, Mexico, in May 2020. Vigília, by Rafael Urban, Isabella Lanave and João Menna Barreto, depicts the vigil group that – established less than two hundred feet away from the prison cell of former president and now political prisoner Lula da Silva, then a political prisoner in Curitiba – follows the outcome of the Brazilian presidential elections of October 2018. Lula had been excluded from the electoral dispute after a decision by the judge who would eventually become the Minister of Justice of the elected project. The group in vigil – recorded in the film and heavily politicized – seemed to foresee that the result of the election would lead Brazil to a tragic humanitarian crisis and democratic rupture.

Vigília had its World Première in the 16th edition of IndieLisboa –International Film Festival, in Portugal, and was shown for the first time in Brazil in the 13th CineBH – BH International Film Festival.

LASA Film Festival curated by Maria Eugenia Ulfe [director], Pontificia Universidad Católica del Perú; Susana Kaiser, University of San Francisco; Gabriela Zamorano Villarreal, Colegio de Michoacán; Fernando Vílchez Rodríguez, FILMADRID. Here the complete catalog of the event that, given the pandemic of COVID-19, took place online.

"This book challenges widespread and largely negative assumptions about Italian postmodernism and postmodernism in general. It considers contemporary Italian culture as a particularly interesting testing-ground for pluriform struggles of an ethical or political kind, struggles which build upon, whilst rejecting the essentialist assumptions behind, conventional notions of artistic commitment, or impegno.
Drawing on a variety of cultural fields and artistic media - from cinema to the literary genres of autobiography, romance and the giallo; from feminism to pensiero debole; from theatrical performance to shared practices of cultural memory - the volume charts instances of ethical commitment and emancipatory social and political intervention in Italian culture within a post-ideological and post-hegemonic framework, siding with a more constructive and less 'apocalyptic' analysis of the cultural climate of the past two decades in Italy. This balancing act is described by the contributors as 'postmodern impegno'. The authors, artists and thinkers discussed in the essays include, among others, Eraldo Affinati, Adriana Cavarero, Marco Tullio Giordana, Carlo Lucarelli, Nanni Moretti, Marco Paolini, Roberto Saviano, Gianni Vattimo and Antonio Tabucchi."

In der Nacht vom 20. auf den 21. August 1968 setzt der Einmarsch der Truppen des Warschauer Pakts dem Prager Frühling gewaltsam ein Ende. Damit kündigt sich auch das Ende für eine Entwicklung im tschechischen Kino an, die seit Beginn der sechziger Jahre national wie international für Aufsehen gesorgt hatte, und die als das „tschechische Filmwunder“ oder etwas bescheidener als die tschechische „Neue Welle“ bekannt geworden war.
Mit dem Ende der Ära Dubček im April 1969 kehrt Ernüchterung ein. Gerade die Intellektuellen trifft die nun beginnende, bis weit ins Privatleben reichende Verfolgung hart, waren sie doch federführend bei der ideellen Ausgestaltung des Projekts eines „Sozialismus mit menschlichem Antlitz“ oder wurden jedenfalls dafür von den Hardlinern verantwortlich gemacht.  Einige Filmemacher emigrieren früh, die meisten anderen werden nach Erstellung von entsprechenden schwarzen Listen mit Berufsverbot belegt, das für einige lebenslang gilt. Andere dürfen nach einigen Jahren wieder drehen, wenn auch unter scharfer Beobachtung und schikaniert durch eine mißgünstige Bürokratie. Die inkriminierten Filme verschwinden in den Tresoren und kommen teilweise erst nach der „Samtenen Revolution“ 1989 (wieder) ans Licht der Öffentlichkeit. Die letzten Ausläufer der Neuen Welle meint man bis in die siebziger Jahre beobachten zu können. Spätestens jetzt hat die „Normalisierung“ endgültig alle Lebensbereiche erfaßt.
Ein Gebiet, das den unliebsam gewordenen Filmemachern offensteht, ist neben dem Refugium des Kurzfilms  der von den verantwortlichen Stellen offenbar ebenfalls als politisch weniger sensibel erachtete Kinderfilm, unter den auch der Märchenfilm fiel.  Dies sind in aller Kürze die Voraussetzungen dafür, daß in den siebziger Jahren namhafte Künstler der Neuen Welle Märchenfilme drehen. Doch schon sehr bald nach dem Ende des Prager Frühlings läßt sich eine Tendenz hin zu märchenhaften Formen auch in einigen Filmen erkennen, die üblicherweise noch zum Kanon der Neuen Welle gerechnet werden. All diesen Filmen ist gemein, daß sie sich zwar auf Formeln und Strukturen des „Kinder-Märchenfilms“ beziehen lassen, diese jedoch in einer Weise reflektieren, überdehnen und brechen, die sie außergewöhnlich macht. Die vorliegende Arbeit hat den Zweck, die betreffenden Verfahren zu beschreiben, um schließlich zu einer poetischen Logik zu gelangen, die diese Filme in ein Verhältnis zum zeitgenössischen Märchenfilm und schließlich zu ihren politisch-historischen Zeitumständen setzt.

Mi texto escrito para mi ciclo (13 proyecciones) "La Tricontinental. Cine, utopía e internacionalismo" para el Museo Reina Sofía (Madrid).
My text written for my film program (13 screenings) "Tricontinental. Cinema, Utopia and Internationalism for Museum Reina Sofía (Madrid).

Questo paper intende analizzare "Travolti da un insolito destino nell’azzurro mare d’agosto", uno dei più conosciuti film della regista romana Lina Wertmüller, seguendo una pista costituita dalle tracce inferenziali legate alla dimensione culturale e politica che pervade l’intera pellicola. In particolare si cercherà di indagare quelle peculiarità semantiche, visuali e verbali, che intrecciano l’ideologia marxista con la multiforme cultura mediterranea, al fine di mettere in risalto alcuni elementi critici legati al pericolo della rivoluzione politica quale mero strumento di rivalsa e vendetta sociale.

The point of departure of the thesis is a question how to bring human rights discourse out of the closed circles of human rights organisations often drowned by the traditional methods of advocacy. I answer: by Film.
Although a label ‘Human Rights Film’ (HRF) is a recent and ambiguous phenomenon, film as such, has had various positive effects in relation to human rights. Performing its part in strategies to reduce prejudices and stereotypes, in protests against injustice and in denouncing violence, certain films are more or less explicitly directed toward an objective to advance human rights.
Daan Bronkorst’s work on establishing ‘Principles, history and practice of HRF’  was a significant source for the thesis’ theoretical framework. Additionally, I conducted six film studies and eight in-depth interviews with filmmakers and human rights activists. Those interviewed have described various functions of HRF, from educating and sensitivasing public, to denouncing crimes and violence.
Throughout its history, due to its enormous power to influence both the intellect and emotions of broad masses, film has been used to agitate for various ideas. However, the effects of persuasion on pro-social behavior were rarely examined. Available data demonstrates that when a resistance toward a film’s messages is lower, an altruistic behavior in audience prevails. Simultaneously with (mis)usage of film for political propaganda, it has been recorded that film has a strong impact against war’s devastation of life and humanity. The Holocaust film representations also opened a debate on the prevalence of documentaries over features because of the former pretension to monopolize the truth. The debate on truthfulness, however, confutes such myths.
The thesis argues that, in order to act as human rights medium, a film, feature or documentary, does not have to be pre-labelled as such. However, it has to be unbiased, with an ambition to be truthful and have a straightforward and courageous elaboration of human rights issues. It should not to be oversimplified and most importantly it should transmit a message on which should be acted upon.  A HRF should awaken a sense of urgency for the change of human rights violations and injustices. To capitalise its effects is a matter of contexts, but as a part of a broader action, e.g. Pro-tolerance propaganda, a HRF can be very effective. A notion of propaganda does not have to be negative. Specialised human rights festivals act upon this principle.
In conclusion, as the notion of human rights, with all its controversies, is generally accepted, the engagement of film to support such values is a promising concept. However, it would be important to conduct further empirical research to measure the impact of such films on public action to prevent human rights violations.

ACLARACION: Este texto es una revisión actualizada a 2016 del publicado originalmente en 2002, con un título ligeramente diverso. En 2016 se publicó en un número especial de la revista Secuencias, de homenaje al Profesor Alberto Elena, como se sabe, uno de los mayores historiadores de los cines del Tercer Mundo, del Sur o periféricos.
En su versión original, el texto intentaba aportar nuevos documentos que mostraban la continuidad del famoso Encuentro de Cineastas del Tercer Mundo de diciembre de 1973 celebrado en Argel en una segunda reunión realizada en Buenos Aires en mayo de 1974. Pero en los años que siguieron a su publicación original, fueron apareciendo otras fuentes sobre el mismo tema o afines, hasta que en 2012 di con los registros audiovisuales de una suerte de continuidad de ese vínculo, ahora ya no en el Sur, sino en Montreal (Canadá). De ahí, el cambio también en el título respecto de la versión original (aquí se agrega Montreal). Este último encuentro  del cine político mundial fue realizado en junio de 1974 y allí la tendencia tercermundista forjada entre Argel y Buenos Aires se expresó en toda su plenitud. Si bien publiqué estos materiales de Montreal en 2014 me pareció oportuno reeditar aquí el viejo artículo de la relación entre los dos primeros eventos (Argel-Buenos Aires) pero modificado en aspectos que fui corrigiendo en estos más de quince años y agregándole no sólo lo de Montreal, sino otros datos que fueron apareciendo recientemente en la bibliografía, como la presencia del argentino Raymundo Gleyzer en los vínculos con el cine argelino (que muestran las cartas publicadas hace poco por Juana Sapire y Cynthia Sabat) o la del chileno Sergio Trabucco en el encuentro de Buenos Aires (de su libro de 2014),, entre otras informaciones de otras fuentes que también incorporé.

In his description of modern political cinema, Gilles Deleuze touches rather briefly on Youssif Chahine's Alexandria Why? (1979) as he explains how it subscribes to minor cinema. He ascribes to Chahine's film the quality of a 'compositional mode', which Deleuze categorises as the third characteristic of minor cinema. The aim of this paper is, therefore, not only to elaborate on the Deleuzian view discussed in his book Cinema 2: The Time-Image (1985) but also to examine extensively how Chahine's film blurs or conforms to the other characteristics of minor cinema. The paper furthermore explores Deleuze's three descriptions of modern political cinema in relation to Deleuze and Guatarri's conceptual understanding of minor literature as explicated in their book Kafka: Toward a Minor Literature (1975).

Capítulo incluído en "Las rupturas del 68 en el cine de América Latina". Mariano Mestman (coordinador general). Akal 2016

PRESENTACION

Las rupturas del 68 en el cine de América Latina.
Contracultura, experimentación y política.
Mariano Mestman


PARTE I. Casos nacionales

Argentina: El profano llamado del mundo
David Oubiña

Bolivia: Cine de los sesenta, subalternidad y transculturación narrativa
Javier Sanjinés

Brasil: Alegorías del subdesarrollo
Ismail Xavier

Chile: Crítica y Crisis en el Nuevo Cine
Iván Pinto

Colombia: Un cine militante en torno a Camilo Torres y el movimiento estudiantil
Sergio Becerra

Cuba: Revolución, intelectual y cine. Notas para una intrahistoria del 68 audiovisual
Juan Antonio García Borrero

México: El 68 cinematográfico
Alvaro Vázquez Mantecón

Uruguay: La comezón por el intercambio
Cecilia Lacruz


PARTE II. El documental, la televisión y la industria cultural

Mérida 68. Las disyuntivas del documental
María Luisa Ortega

Con y contra el cine y la televisión
Mirta Varela

Industria cultural e identidad nacional. Dos films emblemáticos
Paula Halperin


LOS AUTORES

Concluding this issue, my own essay explores the particular case of Christian Petzold’s approach to symbolism, which works with the materiality of objects and functions as a narrative device. Be it a car-shaped keychain, a book, or a song, their objecthood reframes and reverbs with the stories that connect or disjunct the protagonists of his films, however different they may be. Petzold prefers to dwell on the border between mainstream and arthouse and, alongside his long-term collaborator Farocki, believes the impossibility of separation between the two to be a political statement.

Parmi les cinéastes d'origine germanique immigrés aux Etats-Unis pendant les années 1920-1940 Dieterle est un des plus sous-estimés. Un seul ouvrage lui est consacré en français et la bibliographie anglaise, assez curieusement, est encore plus pauvre, son cas n'étant traité que dans des ouvrages généraux. De plus, quand on se réfère à lui, les remarques sont peu flatteuses : « William Dieterle dans ses années à la Warner parait moins intéressant que Michael Curtiz, et dans ses années Paramount, moins intéressant que Billy Wilder » 1 ... Il « cultive soigneusement l'image d'un maître artisan -mais non artiste » 2 . Et il n'apparaît pas comme un enfant chéri de la critique dans les périodiques de référence. Pourtant, l'oeuvre de Dieterle, jugée moins flamboyante que celle d'un Michael Curtiz et moins dramatiquement structurée que chez Fritz Lang 3 , est pleinement caractéristique bien qu'atypique de l'ère classique du cinéma hollywoodien. Dieterle, acteur et metteur en scène allemand réputé, est passé du théâtre au cinéma, et puis de l'Allemagne aux Etats-Unis. Tandis que, durant ses années à la Warner (1930 à 1940) -sa période la plus connue -, il devient l'un des piliers du studio, sa réputation est des plus modestes. Largement considéré par les historiens comme un exemple d'adaptation quasi-parfaite à Hollywood, à l'instar d'un Ernst Lubitsch ou d'un Curtiz, Dieterle n'a pas non plus fui l'Allemagne à cause du nazisme, ayant été invité dans le cadre de la politique constante de recrutement d'Européens par les studios. Cependant, après l'arrivée des nazis au pouvoir, il est devenu lui aussi un proscrit, un indésirable dans son pays d'origine. À Hollywood il signera 53 films sur une période de 26 ans 4 . Deux tendances parfois mêlées gouvernent son oeuvre : d'un côté la veine « fantastique et romanesque », et de l'autre l' « engagement progressiste et démocrate » 5 . Cet article se concentre sur la deuxième tendance, de ses débuts en Allemagne à son engagement politique et social pendant la montée du fascisme en Europe.

Tepenin Ardı filmi bilinmeyen bir öznenin henüz olgunlaşmakta olan kavaklara saldırısı ile başlar. Kavaklara şiddetini hoyratça yönelten özne, zavallı kavakları dallarından ve gövdesinden yaralar. Her kaba saba sopa darbesi rüzgârın hışıltısını bastırır. Görünen, öznenin bütünüyle tutkuyla beslediği bir şiddettir, dizginsiz kalmış hıncın bileylenmesidir. Bu bileylenme sonunda kavakların boyunlarını daha fazla eğmek zorunda kalıp kalmayacakları sorusu yanıt bulacaktır, ancak sahne hemen değişir; böylece söz konusu eylemi gerçekleştirenin kim olduğu ve bu eylemi niçin gerçekleştirdiği sorusu bulmacanın bir köşesine yerleşir. İkinci sahnede kamera, bir evdeki somyada yatmakta olan ve uykusundan irkilerek uyanan birine odaklanır. Tüfeği kapar kapmaz soluğu kümeste alan bu orta yaşlı adam Faik'tir. Faik kümese vardığında onu endişelendiren sesin kaynağını bulamamış gibidir. Yine de kararlıdır ve bu yüzden kümesten gelen seslerin olumsuz yankısının izini sürer, homurtuyla çevresini kolaçan ederek vadiyi açıklık içinde gören bir alana kadar ilerler ve orada durup vadiyi süzer. Faik'in evden çıkışını, kümese yönelişini ve vadiye doğru koşuşunu izleyen Mehmet, onu yalnız bırakmamak için Faik'in peşinden gider, ona yetişir ve

Durante el segundo gobierno de Juan Domingo Perón, las tensiones políticas, ideológicas y sociales crecieron rápida y violentamente, desembocando en el Golpe de Estado del 16 de septiembre de 1955. La autodenominada Revolución Libertadora que derrocó a Perón se caracterizó por su aversión hacia la figura del líder popular y sus políticas estatales.
En este apartado nos proponemos abordar las películas producidas luego de 1955, cuyo denominador común es la imperiosa necesidad, por parte de los directores y de los guionistas, de representar el pasado inmediato, o bien el tiempo presente, plasmando su particular interpretación de los acontecimientos contem- poráneos, marcando una posición ideológica ante el conflicto político.

Publicado en Lusnich, Ana Laura; Pablo Piedras (eds.) Una historia del cine político y social en Argentina. Formas, estilos y registros (1896-1969). Buenos Aires, Nueva Librería, 2009. Pp, 269-295. ISBN 978-987-1104-73-4

Sinemanın söylem üretme ve bu söylemleri küresel bir kültüre dönüştürme kabiliyeti olduğu malumdur. Bilhassa popüler kültür unsuru haline gelen çeşitli figürler kullanılarak tesis edilen sinema filmleri, söylemlerini daha etkin bir şekilde iletme imkânı bulur. Bu hususta örnek gösterilebilecek en önemli figürlerden birinin Batman olduğu söylenebilir. 1939’da ortaya çıktığı çizgi romandan itibaren önemli bir popüler kültür unsuru haline gelen Batman sinemada da kendisine defaten yer bulur. Bu sinema filmleri içerisinde siyasal ve toplumsal alana dair ürettiği söylemler üzerinde durulması gerekenlerden biri Christopher Nolan’ın yönetmenliğini yaptığı 2005 yılında gösterime giren Batman Begins olur. Burjuva sınıfının müntesibi bir aileden gelen Bruce Wayne’in bu sınıfın varoluşsal kaynağı olan şehri yani Gotham’ı içinde bulunduğu yozlaşmadan kurtarmak için burjuva süper kahramanına dönüşmesinin hikayesini konu edinen film, siyasetin toplumsal cephesi ve medeniyetin mahiyet ve keyfiyeti üzerine çeşitli tartışmalar yürütür. İbn Haldûn’un bedavetle hadaret arasında intikal eden toplumsal yapıların bu süreçte ortaya koydukları yapısal dönüşümleri merkeze aldığı Mukaddime serlevhalı eseri bu tip anlatıların ortaya koyduğu unsurları tetkik etme hususunda işlevsel bir niteliğe bürünür. Bu doğrultuda söylem analizi yönteminin kullanılacağı çalışmanın amacı Batman Begins filmindeki bu tartışmaları İbn Haldûn’un zihniyet dünyası etrafında değerlendirmektir. Çalışmanın sonucu, Batman Begins’in toplum, siyaset ve medeniyet gibi hususlardaki söylemlerinin Haldûnî nazariye etrafında değerlendirilebileceği olmuştur.

Cinema has the ability of creating a discourse and turning it into a global culture with a narrative perspective is known by everyone. In this direction, especially the movies produced by using various figures that have become popular culture elements are find the opportunity to transfer of discourses that they have been produced, more effectively. In this regard, Batman may be one of the most significant figures. Since the first reveal of Batman in 1939, It has become an important popular culture element and find a place in cinema frequently. Among all of Batman movies, Batman Begins which directed by Christopher Nolan and was screened in 2005 is one of the movies that has importance due to its political and social discourses. The movie runs discussions on social side of politics, quality and state of civilization. It is about Bruce Wayne, who is a member of a family that follower of bourgeoisie and transforming a bourgeoisie super hero in order to save the city, Gotham which is actually the existential source of bourgeoisie class, from corruption and evil. Mukaddime titled book from Ibn Khaldun which points processes of social structures that moves from migrant settler to permanent settlement and structural transformations to the center has a functional quality in order to review those type of elements. In this direction, discourse analysis method will be used and the aim of the study is reviewing the discussions on Batman Begins around Ibn Khaldun’s mindset. As a result of the study, Batman Be- gins’ discourses on the topics such as society, politics and civilization can be reviewed around Ibn Khaldun’s theoretical approach.

Photo-Essay included in: Framework 62, No. 1, Spring 2021, pp. 107–133. Copyright © 2021 Wayne State University Press, Detroit, Michigan //
https://www.frameworknow.com/news/journal62-1

Special Issue:
DOCUMENTING THIRD CINEMA (1968–1979): OVERLOOKED AND
LITTLE-KNOWN DOCUMENTS AROUND THIRD CINEMA
GUEST EDITORS: Jonathan Buchsbaum and Mariano Mestman  //

INTRODUCTION
Jonathan Buchsbaum and Mariano Mestman  //

ESSAYS
Fernando Solanas and Octavio Getino
“Cine militante: una categoría interna del Tercer Cine” (1971)
“Militant Cinema: An Internal Category of Third Cinema” //

Group CinémAction
“L’impact du ‘troisième cinéma’ dans le monde” (1979)
“The Impact of ‘Third Cinema’ in the World” //

Octavio Getino
“Algunas observaciones sobre el concepto del ‘Tercer Cine’”(1979)
“Some Observations on the Concept of ‘Third Cinema’” //

PHOTO-ESSAY
Jonathan Buchsbaum and Mariano Mestman
Images of the Itinerary of the Group Cine Liberación and “Third Cinema” //

This special issue is dedicated to the memory of Octavio Getino (1935–2012), Fernando Pino Solanas (1936–2020) and Guy Hennebelle (1941–2003), artisans of Third Cinema and militant cinema across the world. -----------------------------------

Abstract:
The proposal of Third Cinema from the group Cine Liberación has had a broad impact on world political cinema since the end of the 1960s. The articles translated in this issue are three little-known but seminal documents that demonstrate how their thinking about radical filmmaking changed during the tumultuous years from the production of the film The hour of the furnaces (1968), beginning in 1966, through the years of clandestine distribution of the film and the escalation of the repression, to the violent coup d’état in 1976 installing the military dictatorship that forced Solanas, Getino, and so many others into exile. Anglophone readers have known the film and the manifesto “Towards a Third Cinema” (1969) since their completion through subtitled prints and translations of the manifesto. The documents translated in this Special Issue show that Solanas and Getino in fact were constantly revising their earlier ideas, especially in response to a rapidly changing political ferment in Argentina.
    First chronologically, the lengthy article by Getino and Solanas, “Cine militante: una categoría interna del Tercer Cine,” was completed in March 1971. This article shows the evolution of their thinking about political cinema that led them to this formulation of militant cinema, “the most advanced category” of Third Cinema. In 1979, Getino wrote the essay “Algunas observaciones sobre el concepto del ‘Tercer Cine,’” a meticulous retrospective analysis that explains the dialectic between the writings published by the group Cine Liberación and the process of clandestine distribution of the film in Argentina until the period following Perón’s return to Argentina in 1973. Also in 1979, a French collective devoted to political cinema, the newly founded French CinémAction group—created by Guy Hennebelle and Monique Martineau in 1978 in Paris— compiled a dossier of eleven responses to survey questions about the impact of the film and the manifesto in different countries during the decade since the explosive response to the first European screening of The Hour of the Furnaces at the Pesaro Film Festival (Italy) in 1968. That CinémAction dossier offers perhaps the most articulate and concentrated assessment of the significance of Third Cinema among committed film activists from all three continents.
    As we have written previously about these documents, we propose here a brief presentation highlighting several questions that remain pertinent to understanding better the history of Third Cinema. At the same time, in our Photo-Essay, the many images include more specific references to the history of the film and the manifesto since they first appeared in 1968/1969 to 1979.

Abstract:
Everyone acknowledges the fundamental transformation of the due to various media new and improved technology.  One only needs to read the daily headlines about a new media consumers or the latest content delivery channel for proof. But is it as fast as available to the consumers as advertisements are reached out? In this discussion, a research is taken where a group of selected different people are surveyed. The implications will be studied, which provides insight into the media consumption behaviors and preferences of generations around the world. What does today's consumer want, and how does that differ among different age groups? What is the impact of changing behaviors, or non-changing  behaviors and demands on future platforms? The debate will be vigorous as interpretation of the survey data highlights the weaknesses of some existing drawbacks on business platforms, and points to radical transformations in how to bring about the changes and what are the causes for the drawbacks?

This paper presents findings of the various media usage habits of different age group of people in Manipur. The study found that the various media technology has become a core part of everyday life for most users and that they have formed clear habits of usage, some of the elements that are forging the new media experience include pervasive access in homes, offices and public locations; broadband service that is always on and quickly available to the consumers, just as with  some people are still not privileged to be able to access to all this news technologies even today due to many reasons like lack of knowledge, government sanction problem with the signals or networks, non affordable problem etc. the social transformation of the media as an essential part of life and the increasing time that people are spending on the new technologies like internet, cell-phones, radio, television and newspapers to stay in touch with the world happenings and for entertainment.   

Keywords:
Media, Habits, Youths ( student and employed people ), usage, Manipur, Underground Outfits, Internet, Television, Radio, Cell-phones, Newspaper.

This is a legend embodying human consciousness:)

AT THE TIME WHEN BERTA FILAVA

At the time when Berta spun the inhabitants of Balestrino used to pass down from father to son the ancient legends that are part of what I like to define "fireplace culture" because it takes me back in time, the time when my uncle Gin, 'u beard Gin, fascinated us children with his stories after having gathered us around the fireplace of his house, that house that with the help of his brothers he had built in Balestrino in front of the castle that belonged to the Marquis del Carretto but that he had built in such a way that the castle remained “in awe of altitude” with respect to the Canà and that its house was higher than that of the Marquis.

And let's go back to the legends of the dark Middle Ages, but to tell you more precisely about these events, I am transcribing two pages of a book written by my brother Antonino, journalist, writer and profound connoisseur of the history of Liguria.

“Today it is difficult to say exactly which period these stories date back to, even if names such as Prè Pecunia, Cavigiotto, Don Trona are found both in popular stories and in documents of the fief.  The typical protagonist of Balestrinese legends is the agent of the Marquis, almost always bad.  This can validate the hypothesis that in some cases the lordship of the Marquesì del Carretto has gone down in history as unfair, more due to the fault of some employees than of the feudal lords themselves.

The agent, priest or not, represented in the eyes of his subjects the armed wing of tyranny, and in reality he was since it was his turn to enforce the laws that governed the life of the community.  So the peasants, not being able to roast it alive, as they wished, destined it, when dead, to the pains of hell, as can be guessed from this story, certainly prior to the nineteenth century.

In the castle he was late playing cards.  The agent interrupted the game and said to his friends: "That's enough, tomorrow morning I have to get up early;  I want to go to Bardineto to sow salt in several families. "  While he was walking towards the room with the light, a breath extinguished the flame and a voice in the dark whispered: "You will go and you will not return".  The agent rekindled the light: "I'll go and I'll be back," he replied.  Three times that night, the mysterious omen was repeated and when the next morning the agent appeared on the square where the stable boy was waiting for him with saddled mules, he was dark in the face and with an ugly look, as after a sleepless night.

They went and, on the way back, the agent seemed calm: nothing had happened.  Between the locality Terra Bianca and the Sambuco, a stream marks the boundary of the territory of Balestrino;  the mule track has a stone base for a while and is dominated by gray boulders.  Right there, suddenly, apparently for no reason, the agent's mule reared up and the rider fell to the ground, where he was left lifeless.  The groom ran to seek help: his body was collected and with a ladder, used as a stretcher, transported to the village and buried.  From that day on, however, mysterious apparitions began to fill the Balestrinian nights with fear.  Immediately after the sound of the Ave Maria, a huge bird appeared on the tower of the castle from where, with horrible screams, it flew to the bell tower of the cemetery church and from there to a large oak tree that stood next to the road to Villa.  Terrified people no longer left their homes at night, and also deserted evening services.

The parish priest (Don Trona) then decided to exorcise that fatal presence.  One evening he invited the sexton to the rectory and offered him a dinner with good wine.  Then, as midnight approached, he sent him to the sacristy to take the vestments for a requiem Mass.  They then went towards the Church of San Giorgio, but, approaching the cemetery, the mysterious bird multiplied its cries and its flights, in the dark sky.  Opening the gate of the cemetery, priest and acolyte, they found themselves in front of a monstrous beast that, appearing and disappearing, seemed, from time to time, to take on different aspects: now it was a dog, now a calf, now a goat.

With them he entered the ancient church and began to walk around the altar, rushing against the frescoed walls, almost to the entablature of the roof, with rigid figures of saints.  As the sacred function proceeded, the mysterious presence seemed to rage, its carousel became more whirling, while chilling, from the top of the bell tower, came the screams of the bird.  When, in the presence of the consecrated host, the provost turned to pronounce the words of the exorcism, the beast made a great leap in the middle of the nave and sank, shaking the stone slabs that closed the ossuary and releasing a horrible stench.  The priest and the sexton returned home but that terrible experience had marked their life forever.  The next day they found themselves with white hair.  From that day on, however, the mysterious phenomena ceased and the town regained its peace ”.

In the chapel the various religious functions could still be celebrated and speaking of religious functions, I like to recall that of the appeal of the deceased of the Confraternity of Disciplinants of San Carlo in Balestrino, which for centuries was celebrated on November 2 every year.

Even today the ritual is repeated throughout the night.  But given the large number of names to be read, one year only the names written on the even pages are read and the following year those written on the odd pages.

And of course without the intervention of evil beings.

We hope you enjoyed our story and we wish you a happy Easter, with much affection.
 
                                    Francesca and Lino

El artículo aborda la historia del Instituto de Cinematografiá de la UNL hacia 1973/1974. Se trata de la Escuela Documental de Santa Fe, creada por Fernando Birri en 1956, cuya dirección éste dejó al partir al exilio hacia 1963. En particular se abordan tres cuestiones que –junto a la identidad peronista de la nueva gestión de 1973- singularizan el proyecto de la nueva etapa: la recuperación del programa inicial del Instituto durante el período de Birri; los vínculos con imaginarios y experiencias nacionales e internacionales, de América Latina y del Tercer Mundo; los proyectos de intervención con el cine para interpelar a un espectador popular y el uso social del cine con fines didácticos y políticos. Asimismo se anexan Documentos inéditos.