"A successful man living in a great metropolis is increasing awareness of the unjust social reality that lives in the absurdity. This immerses him in a uneasiness that sinks into alcoholism and depression. In his wandering through the streets viewer gets to be the unfortunate suicide of another victim of the meaninglessness of life, which will produce a series of dreamlike hallucinations bordering on the madness. In a stroke of consciousness of his misfortune, he does run aimlessly without course. Devastated, to the dawn, with the light of the dawn he sees to be reborn the hope personified in an innocent girl who stretches the hand donating bread" Internet Archive.
“Zonguldak Çatalağzı isimli kömür çıkarma kuyusunu 26 eylül 1969 yılında su basmış. Bu kuyu o dönem en fazla kömür üretimi gerçekleştirilen kuyu imiş. TKİ bir proje kapsamında suyu boşaltmış [...].” Sinematek.tv: http://sinematek.tv/catalagzi-kuyusu-1975/ (20 November 2019).
“The coal mine in Zonguldak, named Çatalağzı, was overflowed on September 26, 1969. The coal mine was the most productive one in the country at the time. Turkey's Directorate General of Coal Enterprises (the abbreviation “TKİ” stands for the Directorate) designed a project to put the water out [...].” Sinematek.tv: http://sinematek.tv/catalagzi-kuyusu-1975/ (20 November 2019).
"Una cinta cargada de referencias a Jean-Luc Godard (Los Carabineros, 1963) pero sobre todo concentrada en la crítica mordaz al radicalismo de izquierda. Una vez más Marco Antonio Madrid hace el papel de protagonista, un joven de pelo largo, pantalón de mezclilla y saco, que se dedica a ligar en los cafés de la Zona Rosa adoctrinando a las mujeres. Lee a Marx después de hacer el amor, y se junta con sus amigos para brindar por "la muerte de la intelectualidad burguesa". Montero utiliza intertítulos como recurso irónico, una suerte de narrador externo que interpela la historia: "¿Qué es la intelectualidad burguesa?". La lucha revolucionaria del joven y sus amigos está teñida de sentido del humor. En una secuencia que recuerda mucho a Los Carabineros, suben al techo de una fábrica para iniciar la lucha armada (...) Por último un cartel proporciona una última burla: "Y si el sol es burgués detendremos al sol" " (Vázquez Mantecón, 2012).
"A film loaded with references to Jean-Luc Godard (The Carabineers, 1963), but above all focused on biting criticism to the radical left. Once again Marco Antonio Madrid plays the role of the lead character, a young man with long hair, jeans and coat, that dedicates his time to hook up in the coffee shops of the Zona Rosa indoctrinating women. He reads Marx after making love and he gets together with his friends to toast for the "death of the bourgeois intellectuality". Montero uses intertitles as a resource for irony, a sort of outside narrator that interpellates the story: "What is bourgeois intellectuality?". The revolutionary fight of the young man and his friends is filled with a sense of humor. In a sequence that reminds us of The Carabineers, they go to the rooftop of a factory to begin the armed fight. (...) Finally a sign shows one last derision "And if the sun is bourgeois, we will stop the sun" " (Vázquez Mantecón, 2012).
“O günlerde tam bir kültürel çöl olan İzmir’de sinema ile ilgili birşeyler yapabilmek (etkinlik, fim, yayın) çabası içindeyken, İstanbul öncesi kurucular arasında bulunduğum ve sinematek bölümünü yönettiğim İzmir Sinema ve Kültür Derneği’nin düzenlediği “Bağımsız Filmler’ temalı festivale filmleriyle davet ettiğim, tanıştığım Muammer Özer’le dostluğum ilerledi… Yıllar sonra İzmir’i ziyaret ettiği bir günde öğrencilerimden İbrahim Öğretmen ile (daha sonra Paris’e yerleşti, Gökşin Sipahioğlu ile uzun süre çalıştı) fotoğraf çalışmaları sırasında gözlediğim bir kenar semtteki artık camları değerlendiren işliklerden-işçilerden söz ettim. O günlerde Refik Durbaş’ın şiirinden, Livaneli’nin bir şarkısı da kulaklarımızdaydı.” Oğuz Makal, sinematek.tv: http://sinematek.tv/ciraklar-1980-2/ (9 November 2019).
“When I was trying to make something (a film, a publication, an event)—Izmir was like a ‘cultural desert,’ I started getting off with Muammer Özer whom I invited to the “Independent Film Festival” that İzmir Sinema ve Kültür Derneği [Izmir Cinema and Cultural Association which I established in Istanbul organized... After years, when one of my students—İbrahim Özen who moved to Paris and worked with Gökhan Sipahioğlu—came to Izmir, I talked to him about child workers trying to pick up waste glass in trash. During the course of these days, Refik Durbaş’s poem [Çırak Aranıyor/An Apprentice Wanted] and one song of Liveneli were ringing in our ears.” Oğuz Makal, sinematek.tv: http://sinematek.tv/ciraklar-1980-2/ (9 November 2019).
“1975 yılında yapılmıştır. İngiltere'nin İrlanda’daki sömürüsü, politik mahkumları, özgürlük mücadelesi hakkında 5 dakikalık bir filmdir. Dönemin görsel materyal azlığı koşullarında bol fotoğrafla ve az görüntülü bilgilendirme amaçlı bir filmdir.” Sinematek.tv: http://sinematek.tv/davut-ile-golyat/ (1 November 2019).
“It was made in 1975. This 5-minute-long film is about the British exploitation in Ireland, the political struggle [of the Irish people], and the fight for freedom. Because of the lack of visual material at the time of production, it purposefully benefits from the use of [the historical] photographs as counter-information.” Sinematek.tv: http://sinematek.tv/davut-ile-golyat/ (1 November 2019).
A husband and wife hold different opinions about who is to become Sheriff. The wife roots for the Democratic candidate "Preacher" Slaughter, while the husband wants to re-elect Republican candidate Sheriff Carver. Both parties bribe the husband and wife for their absentee ballot. notes from CFA
"A propaganda film, made in the early days of the Second World War. Opening with footage of a giant Empire Youth Rally at Brockton Point Oval, the film illustrates Canadian democratic values, institutions and ideals which are now threatened by fascism and war -- farming, industry, the home and family, education, racial tolerance, elections, and religious freedom. Also includes footage of First World War memorials in Vancouver and Victoria, cemeteries, Remembrance Day ceremonies and parades, and veterans. Canada's contribution to the war effort is shown through shots of recruiting stations, marching recruits, military parades, warships, etc. One lengthy sequence uses model airplanes, dramatizations, stock shots, photographs, and footage of local civil defence drills to simulate the impact of aerial attacks on British cities during the Blitz (including civilian casualties and damaged or burning buildings)" British Columbia Archives.
Documental sobre la política y ciudadanía euskalduna durante los años 70. El autor hace un recorrido por diferentes acontecimientos inscritos en los procesos de lucha y represión que tuvieron lugar durante el franquismo y primeros años de democracia.
Documentary about the Basque politics and citizens during the 70's. The filmmaker goes through different events inscribed in the struggle processes and the repression that took place during Franco's dictatorship and the first years of democracy.
“1978 yapımı Vedat Türkali’nin senaryosu yazdığı Süreyya Duru’nun yönettiği Güneşli Bataklık filminin kamera arkasında çekilen 1979 yapımı bir belgeseldir. İlk defa 1. Uluslararası İşçİ Filmleri Festivali kapsamında gösterilmiştir. Kaya Tanyeri tarafından festival komitesine verilen 8mm filmler, dijital hale getirilmiş 25 yıl sonra ilk defa gösterilmiştir.” Sinematek.tv: http://sinematek.tv/gunese-donuk-kamera-1979/ (9 November 2019).
“It is a behind-the-scenes documentary of Güneşli Bataklık (1978) [Sun over the Swamp] whose scenarist is Vedat Türkali and director is Süleyman Duru, made in 1979. For the first time, The 1st International Workers’ Films Festival screened the film. The 8mm film given by Kaya Tanyeri to the festival committee was digitized and screened 25 years after its production first.” Sinematek.tv: http://sinematek.tv/gunese-donuk-kamera-1979/ (9 November 2019).
"Norman McLaren and Helen Biggar’s urgent work of animated agit-prop utilises a mixture of film forms (from found footage to title cards and staged action) stitched together with rapid editing to create an incisive and disorienting polemic against government armament spending. Made in 1936 as fascism was on the rise throughout Europe, the film was the result of collaboration between animator McLaren and sculptor Biggar, made during their tenure at the Glasgow School of Art. The idea was to use a rapid succession of violent images to jolt the viewer into demonstrative action against a new war, decades before such Brechtian techniques were employed by artists like Jean-Luc Godard. The result is one of the most striking and memorable of all animated political films" British Film Institute.
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