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Kördüğüm [Deadlock]

Date produced: 1969

Filmmaker(s):

Muammer Özer

Description:

“Ruhi Su ve Rahmi Saltuk türküleri eşliğinde yoksulluk ve emek sömürüsünü ve mücadeleyi, direnişi farklı, ilginç bir kurgu ile anlatmış. 13 dakikalık 1969 yılı koşullarını düşünerek izlemek gerekiyor.” Sinematek.tv: http://sinematek.tv/kordugum-1969-2/ (15 Oct 2019).

“Accompanied by Ruhi Su and Rahmi Saltuk’s folk songs, the film tells the story of poverty, struggle, and resistance in a different way, with an interesting montage. This 13-minute-long film requires audiences to acknowledge the contexts of the year 1969 in viewing.” Sinematek.tv: http://sinematek.tv/kordugum-1969-2/ (15 Oct 2019).


Asayiş Berkemal [All Quiet]

Date produced: 1967

Filmmaker(s):

Ahmet Soner

Description:

“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).


Gudariak [Soldiers]

Date produced: 1978

Filmmaker(s):

Miguel Ángel Quintana

Description:

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.


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.


Padre o Why?, El [The father or Why?]

Date produced: 1970

Filmmaker(s):

Enrique Escalona

Galo Carretero

Description:

"Hacía un alegato sobre lo que sucede al otro lado de la tranquilidad de la vida burguesa. Se alternaban imágenes de placidez doméstica de la clase media con escenas de la guerra de Vietnam y las rebeliones estudiantiles de la época. Al final de la cinta, sobre la fotografía de un mitin en Tlatelolco, una pregunta: "saber, darse cuenta, ¿cuándo?" "(Vázquez Mantecón, 2012).

"It was an allegation about what happens at the other side of the bourgeois life tranquility. Images of middle class house placidity were alternated with scenes from the Vietnam war and the students' rebellions of the time. At the end of the film, over the photography of a political rally in Tlatelolco, a question: "to know, to notice, when?" " (Vázquez Mantecón, 2012).


Sergio

Date produced:

Filmmaker(s):

Eloy González Gavilán

Description:

Un pequeño niño llamado Sergio hace una lista de regalos que desea, en la que incluye un traje de soldado, una metralleta y otras armas. Después Sergio tiene un sueño en el que es un soldado explorando el campo y divirtiéndose con sus armas; el sueño se transforma en pesadilla cuando ve a su familia muerta y cubierta de sangre. Sergio llora y besa a sus familiares muertos para después tirar su metralleta de juguete cubierta de sangre. Después despierta asustado y destruye su lista de deseos.

A little boy named Sergio makes a wish list of gifts that include a soldier suit, a machine gun and other weapons. He then has a dream of himself as a soldier exploring the country and having fun with his guns; the dream turns into a nightmare when he sees his family dead and covered in blood. He cries and kisses the dead members of his family and finally he throws away his toy machine gun covered in blood. Sergio wakes up scared and destroys his wish list.


Libe… [Freed…]

Date produced: 1972

Filmmaker(s):

Diego López Rivera

Description:

"El relato iniciaba con la presentación de un grupo de jóvenes que corren de manera desesperada por las calles de la ciudad, presumiblemente perseguidos por la policía. Inexplicablemente, dada la urgencia de la huída, uno se detiene a escribir en una barda la palabra "Libertad". No lo consigue, porque una bala lo derrumba cuando apenas va en "Libe...". (de ahí el título de la película). [...] La película apenas muestra una esperanza posible en la lucha por la libertad. Después del acoso y el acecho, todos los jóvenes que han protagonizado la historia mueren por una bala anónima de una fuerza represiva que no alcanza a tener un rostro definido" (Vázquez Mantecón, 2012).

"The story began with the presentation of a group of young people that run desperately throughout the city streets, presumably they are being chased by the police. Inexplicably, given the urgency of the escape, one of them stops to write the word "Freedom" on a wall. He fails, because a bullet overthrows him when he has barely written "Freed.." (hence the title of the film). [...] The film barely shows hope for the struggle for freedom. After the harassment and the siege, all the young people that starred the film are murdered by an anonymous bullet of a repressive force that does not have a defined face" (Vázquez Mantecón, 2012).


Aquí, allá, en todas partes [Here, there and everywhere]

Date produced: 1971

Filmmaker(s):

Sergio García Michel

Description:

"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).


Calles negras, Las [The black streets]

Date produced: 1971

Filmmaker(s):

Felipe Tirado

Description:

"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.


Jícama [Jicama]

Date produced: 1970

Filmmaker(s):

Sergio Díaz Zubieta

O. Santos

Description:

"La película realizaba un montaje lúdico al yuxtaponer los mensajes políticos oficiales escritos en las bardas de la ciudad con imágenes o textos que los ironizaban o alteraban su sentido. El título viene de un juego de palabras con el fraseo de las sílabas "Mé-xi-co" / jí-ca-ma", que solían usarse entonces como porra en los partidos de fútbol de la selección nacional" (Vázquez Mantecón, 2012).

"The movie had a playful montage by juxtaposing official political messages written in walls around the city with images or text that ironized them or altered their meaning. The title comes from a word game that played with the phrasing of the syllables "Me-xi-co / ji-ca-ma", a popular chant during the national team soccer games of the time" (Vázquez Mantecón, 2012).


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