“Kaya Tanyeri 1 Mayıs 1977 mitingine elinde 8 mm kamerası ile katıldı. Kızı Çağla Tanyeri de ses kayıtlarını alıyor ve babasına yardım ediyordu. Kaya Tanyeri miting öncesi Beşiktaş’taki coşkuyu ve Taksim’e yürüyüşü kaydetti. Taksim meydanına geldiğinde ve “malum” katliam başladığında ne yazık ki çekimi yapamadı. Öncesinde çektikleri ile sonradan yaşanan katliamın fotoğraflarını kullanarak ve “Görevimiz Tehlike” filmine gönderme yaparak kurguladı. Hiç gösterimi yapılmadı. Bu film yıllarca Kaya Tanyeri’nin kişisel arşivinde kaldı. Ta ki bize erişinceye kadar. Biz bu filmi ve Güneşli Bataklık filminin kamera arkası belgeseli olan ‘Güneşe Dönük Kamera’ isimli 8mm filmlerini dijitalleştirdik. ve işte sizlerle paylaşıyoruz.” Sinematek.tv: http://sinematek.tv/1-mayis-77-1977/ (1 November 2019).
“Kaya Tanyeri attended the meeting, 1 May 1977, with an 8mm camera in his hands. Her daughter, Çağla Tanyeri, was assisting the recording as well. Before the meeting, Kaya Tanyeri made a record of the "enthusiasm" in Beşiktaş and the march on Taksim. When they came to Taksim, the infamous massacre was just starting and he could not continue to record everything. Using the former shootings and the photographs of the massacre, he edited the multiple audiovisual resources in reference to the Mission: Impossible. The film has never been screened before and it was stored in Kaya Tanyeri’s archive until Çağla Tanyeri found the original material. The original 8 mm film was digitized to share with a larger audience by Sinematek.” Sinematek.tv: http://sinematek.tv/1-mayis-77-1977/ (1 November 2019).
"Columbia College student film about a young man receiving and responding to his Vietnam draft card." Chicago Film Archives
“Bu filmi ile Ümraniye 1 Mayıs mahallesindeki yoksul halkın barınma hakkı mücadelesi 1970’li yılların 2. yarısının atmosferinde veren bir film yapmış […]. 1977 senesinin 2 eylül günü 1 Mayıs Mahallesi’ne gecekondu yıkımı için gelen polisler ile mahalle halkı arasında çıkan ve 12 mahallelinin ölüp onlarcasının yaralandığı çatışmalar sırasında çeşitli sosyalist yapılar etrafında örgütlenmiş mahalle sakinlerinin gösterdiği direniş Türkiye’deki sosyalist mücadele tarihi içerisinde çok önemli bir yere sahiptir [...].” Sinematek.tv: http://sinematek.tv/2-gun-2-eylul-direnisi-1978/ (13 November 2019).
“The conflict between the District May 1 organized in various socialist collectives and the police that came to the district to demolish the shantytown, which resulted in 12 people living in the district killed on 2 September 1977 has an important place in the history of the socialist movement in Turkey [...]. [İshak Işıtan’s] film is about the poor people of Ürmaniye/District May 1’s a struggle for the housing right reflecting the atmosphere of the second half of the 1970s [...]. Sinematek.tv: http://sinematek.tv/2-gun-2-eylul-direnisi-1978/ (13 November 2019).
"University of Illinois Chicago (UICC) animated student film about being drafted to the Vietnam War." Chicago Film Archives
"This is a film Mr. Bowdery shot and edited into a form of home newsreel called THE SECOND WORLD WAR -- THE HAND OF TYRANNY. It is captioned with headlines from the 'People's Advocate' newspaper. The footage contains scenes of the exterior of the Vancouver Post Office at Hastings and Granville. Employees being checked at the entrance. Interior of building, protestors in sit-down strike. [Close-up of] trio of protestors, other good [close-ups]. Protestors singing 'The Red Flag', [with] banjo and accordion accompaniment. Unemployed march" (Browne).
The film is also known as Vancouver Post Office Sit-Down Strike.
"A German airman is boarding at a house in England. The landlady tells him about her daughter's death; she was killed in an air raid on her seventeenth birthday. As he hears the story, he remembers that day and that he was dropping bombs on the area. When he sees her portrait, he runs from the house and the landlady's son Rudolph runs after him. He chases him across the clifftops and the German sees a vision of the daughter. He tries to embrace her but stumbles and falls off the cliff. Rudolph also sees his sister, they laugh, embrace and he throws stones at the German who is clinging to a tree root. Rudolph's vision disappears and he runs down to rescue the German but he is already dead" (BFI online).
"Mr Terence L. Greenridge writes to tell me that the film “Afterwards”, for which he and his wife Nora [Pfeil] Greenridge, are jointly responsible, has been taken back for the sake of certain additions, previous for general release to amateur societies. Mr Terence Greenridge is better known in the amateur film movement as the first filmmaker in Oxford University, and as author of the recently published “Degenerate Oxford!” For some time he has been a leading light of the London A.C.A. Mr Terence Greenridge did the secondary jobs of “Afterwards”, such as scenarising, choosing locations, and working out camera angles. This film, which had a particularly successful premiere at the London A.C.A.’s public show, is not merely the London A.C.A.’s most ambitious production for 1930, but is also something rather new in cinematography, whether professional or amateur. It has something of that imaginative audacity for which I have already pleaded, and it is, very largely, the work of a woman."
"Telling Situations - In too many cases a film has to attempt to justify a conventional plot. In this case the plot makes the film. Nora Greenridge, who wrote the story, possesses a natural instinct for a telling situation: even when, as in this case, the theme came to her in a dream. In “Afterwards” there is nothing of the sentimental, conventional world of nine films out of ten, where the hero is never allowed to die unless it is obvious that life has not more to offer him. The good looking hero of “Afterwards” dies at the prime of life, full of vitality, and in “Afterwards” the dramatic conflict is between man’s muddle-headed kindliness and the precise retribution of the supernatural world: so precise that, on occasion, it can become cruelty. The film is not calculated to induce placid happiness in an audience, but rather to challenge them to think about the deeper problems of life. Treatment has been subordinated to theme. There is no stunting in this film. Camera-angles and backgrounds were selected in so far as they might elucidate the episode which was being pictured, and not for intrinsic excellences that they might posses in themselves. The beauty of the English countryside finds expression in “Afterwards”, but Nora Greenridge has utilised it in a purposeful manner, understanding how grim events become twice as grim, if they happen in beautiful surroundings."
“Happy Ever After - Nora Greenridge not only wrote the story and directed its production, but played a part, to quote one of the critics, “with sylph-like grace”. Mrs Greenridge, or Nora Pfeil as she used to be, is an attractive blonde and has played several leading roles in London A.C.A. productions. She has also won many awards in scenario competitions. She became engaged to Terence Greenridge a quarter of the way through the production, and halfway through the production their marriage took place. Now they have a house called “Afterwards”—a happy and true modern version of the age-old fairy-tale ending" (M.A.L.B. 1931, 9).
"One of the films being shown [as part of the All-English Amateur Film Week] has been referred to as the most ambitious production of 1930. Produced by Terence Greenridge, better known as an author, directed by Miss Nora Pfeil, who has since become Mrs Greenridge, “Afterwards” is certainly a film none should miss. Plots should not be given away in advance, so let it be said that a German Professor came to England in 1928 on a geological holiday. He settled down with an English family, the daughter of which had been killed in an air-raid over London ten years previously, and the son rendered neurotic. The family generally “took to” the German, who was a sociable enough fellow. They forgot the war, but as the tenth anniversary drew near—It is a film well worth seeing" (Anon 1931, 9).
" Ah, verda'? planteaba una extraña combinación entre la militancia política y la contracultural. Jugaba con el ataque a los símbolos del orden nacional y estatal (la bomba en el Monumento a la Revolución y en el PRI, los judiciales persecutores), la crítica a la sociedad de consumo representada por la huida de la pareja de jóvenes entre los espectaculares, la liberación sexual (la combi zarandeada porque dentro hacen el amor, o la urgente calentura de los monjes una vez que han probado el LSD y cruzado las puertas de la percepción), y la representación de la fantasía jipiteca de que el mundo sería más alivianado si todos probaran las drogas duras" (Vázquez Mantecón, 2012).
" Ah, verda' [Ah, right?] was a strange combination between political and countercultural militancy. It played with the attack to symbols of state and national order (a bomb in the Monument to the Revolution and in PRI offices [Revolutionary Institutional Party], the chasing police men), a critique to a consumer society represented by a young couple running away in between billboards, the sexual liberation (a truck shaken because someone is making love inside, the sex desire of monks once they have tried LSD and crossed the gates of perception), and the representation of the mexican hippies' fantasy in which the world would be cooler if everyone tried hard drugs" (Vázquez Mantecón, 2012).
"Era una película que desarrollaba un tema muy propio de la contracultura de la época: la posibilidad de regresar a la naturaleza para vivir una vida al margen de la contaminación y de la vida moderna. Se trataba de una cinta de menos de diez minutos de duración, que contaba una historia breve pero ilustrativa de la naturaleza de los debates entre los jóvenes mexicanos cercanos a la contracultura. [...] La historia de Sergio García hacía una crítica al escapismo hippie, esperanzado por la posibilidad de crear un mundo alterno al de la realidad del capitalismo industrial" (Vázquez Mantecón, 2012).
"It was a film that developed a topic very related to the counterculture of the time: the possibility of going back to nature to live a life away from pollution and the modern life. The film lasted less than 10 minutes, and it told a brief but illustrative story about the nature of the debates between the Mexican youth that was close to the counterculture. [...] The story by Sergio García was a critique of the hippie escapism, hopeful for the possibility of creating an alternate world to the reality of industrial capitalism" (Vázquez Mantecón, 2012).
“Samim Kocagöz’ün “Teneke” adlı eserinden uyarlanmıştır. İşgüzar bir bekçinin uzun ve yorucu bir kovalamacanın ardından, yoksulluğunun gerçek yüzüyle karşılaşmasının öyküsüdür.” Sinematek.tv: http://sinematek.tv/asayis-berkemal-1967-2/ (15 Oct 2019).
“Adapted from Samim Kocagöz’s short story, “Teneke.” It tells the story of a meddlesome watchman/night guard, who faces the reality of poverty after a long and tiring chase.” Sinematek.tv: http://sinematek.tv/asayis-berkemal-1967-2/ (15 Oct 2019).
“‘Ben Milyonlarca emekçiden birisiyim barışçıyım ve devrimciyim’ diye başlıyor 12 dakikalık film. Mehmet Özgentürk seslendirmiş. Finlandiyadaki iç savaş ve devrimciler hakkında bilmediğiniz birçok şeyi içinde Enternasyonalin de olduğu Fince marşlar eşliğinde anlatıyor. 1956 yılında gerçekleştirilen 3 hafta süren büyük grevden başlayarak Finlandiya’daki mücadeleyi Nazım şiiri eşliğinde izleyeceksiniz.” Sinematek.tv: http://sinematek.tv/baris-kavgasi/ (30 October 2019).
“The film begins with the sentence, ‘I am one of the millions of workers; I am a pacifist and revolutionist.’ It was narrated by Mehmet Özgentürk. It tells the unknown story of Civil War in Finland and that of Finn revolutionists, synchronized with the local marches. You will watch the Finn revolutionary struggle—since the Great Strike of 1956, lasted 3 weeks—which is accompanied by a Nazım [Hikmet] poem.” Sinematek.tv: http://sinematek.tv/baris-kavgasi/ (30 October 2019).
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