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Barış Kavgası [Fight For Peace]

Date produced: 1973

Filmmaker(s):

Muammer Özer

Description:

“‘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).


Çıraklar [Apprentices]

Date produced: 1980

Filmmaker(s):

Muammer Özer

Oğuz Makal

Description:

“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).


2 Eylül Direnişi [Resistance of September 2]

Date produced: 1978

Filmmaker(s):

İshak Işıtan

Description:

“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).


Even In This Day and Age

Date produced: 1939

Filmmaker(s):

Kenneth F. Space

Description:

"On the challenge of social problems facing the nation's churches. Illustrates poverty, gambling, alcoholism, and drug abuse among teenagers and adults in New York City slum areas." National Archives.


Guarida, La [The Lair]

Date produced:

Filmmaker(s):

José Ramón Aguirrezabal

Eloy González Gavilán

Description:

Un hombre vaga por las calles de un pueblo buscando tabaco en botes de basura o en el camino. Al entrar a un bar, un hombre nota que está buscando algo, por lo que lanza tabaco al suelo y cuando el primero se agacha a recogerlo, el otro lo tira al suelo mientras todos en el bar se ríen de él. Al regresar al cuarto en el que vive, otro hombre se encuentra ahí descansando. Los hombres tienen una breve conversación sobre cuándo se irá el otro, mientras que este da una excusa y le pide algo de tabaco al primer hombre. El primero se niega y le dice que el tabaco es muy difícil de conseguir, provocando la ira del segundo, quien decide asesinarlo apuñalándolo por la espalda. Después de enterrar su cuerpo, vuelve al cuarto donde se siente culpable y después de llorar por un rato, decide suicidarse.

A man wanders the streets of a town looking for tobacco in trash cans or the road, he enters a bar and a man notices that he is looking for something, he throws some tobacco on the floor and when the first man tries to reach it, he shoves him to the floor while the rest of the men in the bar laugh at him. When he goes back to the room he lives in, there is another man there resting. They have a small conversation about when the man lying down will leave, he gives an excuse and then asks the other for some tobacco. The first man refuses and tells him it is too hard to get, provoking the anger of the second one who then he chooses to kill him by stabbing him in the back. After burying his body he goes back and feels guilty, after crying for some time, he chooses to kill himself.


Nosotros sí existimos [We do exist]

Date produced: 1972

Description:

"El guión tenía una fuerte influencia de La hora de los hornos, y tendía a la explicación pedagógica de las condiciones de opresión, mostrando la diferencia entre la forma de vida de ricos y pobres y con una explicación sencilla de cómo el capitalismo sienta las bases de una explotación que finalmente es la base de las razones de la huelga [El filme muestra la huelga de Rivetex en Cuernavaca] . El título de la película (Nosotros sí existimos) jugaba con el término legal que había declarado la huelga inexistente" (Vázquez Mantecón, 2012). "The script had a strong influence of The hour of the furnaces , and it tended to a pedagogical explanation of the conditions of oppression, showing the difference between the way of life of the rich and the poor, along with a simple explanation of how capitalism sets the basis for exploitation, which is the origin of the strike [The film portrays the Rivetex strike in Cuernavaca]. The title of the film [We do exist] played with the legal term that had declared the strike non-existent" (Vázquez Mantecón, 2012).


Otro País [Another Country]

Date produced: 1972

Description:

"En este cortometraje se narra la resistencia al régimen en la ciudad de Monterrey, en el estado de Nuevo León, a través de varios frentes: la irrupción de un grupo de sindicalistas independientes en el desfile oficial del 20 de noviembre, con la presencia del gobernador Luis M. Farías; la invasión de tierras y la presencia de organizaciones vecinales en Topo Chico; los muertos por un accidente laboral en la Fundidora Monterrey; las huelgas de obreros de la CTM y de panaderos de la CROC (dos poderosos sindicatos oficiales), o la actividad vecinal del Grupo 2 de Octubre en la colonia Días Ordaz" (Vázquez Mantecón, 2012).

"This short film tells the story of the resistance against the regime in Monterrey city, in the state of Nuevo León, through several perspectives: the irruption of a group of independent union laborers in the official November 20th parade, with the presence of governor Luis M. Farías; the invasion of land and the presence of neighborhood organizations in Topo Chico; the dead by a working accident in Fundidora Monterrey [Monterrey Foundry]; the strikes of CTM workers and CROC bakers (two powerful official labor unions), or the activities of neighbors of the October 2 Group in Diaz Ordaz vicinity" (Vázquez Mantecón, 2012).


Patria libre [Free Country]

Date produced: 1979

Filmmaker(s):

Sergio García Michel

Description:

"En Patria Libre, Sergio García documentó los primeros logros de la revolución sandinista en Nicaragua. [...] Se trataba de un documental convencional, con una voz off (leída por Felio Eliel) sobre un momento de frescura y esperanza por el triunfo del Frente Sandinista de Liberación Nacional. El arranque del documental con una serie de imágenes de Sandino en alto contraste que culminan en la foto de un adolescente guerrillero (mientras que en la banda sonora se escucha a Pablo Milanés cantar "Los caminos") preludian el tono que se desarrollará sobre el caso de la revolución sandinista" (Vázquez Mantecón, 2012.)

"In Patria Libre [Free Country], Sergio García documented the first achievements of the Sandinista Revolution in Nicaragua. It was a conventional documentary, with an off voice (read by Felio Eliel) about a moment of freshness and hope because of the triumph of the Sandinista National Liberation Front. The documentary begins with a series of highly contrasted images of Sandino that end with the picture of a guerrilla teenager (while the soundtrack plays "Los caminos" [The roads] by Pablo Milanés), which is a prelude to the tone that will be used to describe the Sandinista Revolution" (Vázquez Mantecón, 2012).


Paletero, El [The popsicle man]

Date produced: 1970

Filmmaker(s):

Gabriel Retes

Description:

"El paletero cuenta la historia de un vendedor de helados y paletas (Héctor Suárez) que recorre las calles de la ciudad. Es simpático: juega volados con los niños, conversa amistosamente con una criada que ha salido a la calle para hacer el mandado (July Furlong). De pronto un grupo de policías judiciales, vestidos de civil, deciden acosarlo. Se acercan intimidantes a la pareja. Rompen los conos de galletas para helado. El paletero siente pánico y huye por las calles de la ciudad. Es perseguido por los judiciales. Intenta esconderse en las ruinas de una casa abandonada, donde es seguido por uno de los policías. Luchan y el paletero consigue quitarle la pistola. Amenaza al policía y reemprende la huída. Al final encuentra un nuevo escondite en una vecindad. Presa del pánico, el paletero dispara sobre sus perseguidores, hiriendo a dos. Los policías lo ejecutan, y de paso matan a un niño que jugaba en el patio de la vecindad y que había quedado situado en medio del tiroteo" (Vázquez Mantecón, 2012).

El paletero [The popsicle man] tells the story of an ice cream and popsicles seller that goes around the city streets. He is nice: he plays coin toss with children, talks kindly with a maid that has left the house to run some errands. Suddenly a group of policemen, dressed as civilians, decide to harass him. They approach the couple in an intimidating manner. They break the ice cream cones. The popsicle man feels panic and runs away through the city streets. He is chased by policemen. He tries to hide in the ruins of an abandoned house, where he is followed by one of the policemen. They fight and the popsicle man takes his gun. He threatens the policeman and starts running away again. At the end he finds a new hiding spot in a vicinity. Overcome by panic, the popsicle man shoots wounding his persecutors. The policemen execute him, and they also kill a child of the neighborhood that was caught up between the shooting" (Vázquez Mantecón, 2012).


Víctor Ibarra Cruz

Date produced: 1971

Filmmaker(s):

Eduardo Carrasco Zanini

Description:

"Era una película muy sencilla, filmada al estilo de cine directo, que seguía los pasos y la vida de un personaje urbano singular: un hombre que acompañado de su perro recorre las calles de la ciudad, las barriadas miserables. La cinta lograba momentos de una gran intimidad al mostrar la vida de este paria solitario y marginal, como aquel en que comparte con su perro un pastel para celebrar su cumpleaños en la soledad de su cuarto" (Vázquez Mantecón, 2012)


"It was a very simple film, made in the style of direct cinema, that followed the steps and the life of a singular urban character: a man that in the company of his dog walks through the city streets, the miserable neighborhoods. The film achieved moments of great intimacy by showing the life of this lonely and marginal pariah, like the moment when he shares a cake with his dog to celebrate his birthday in the loneliness of his room" (Vázquez Mantecón, 2012)


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