Word: argintina
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...exploited labor, as well as police repression. It is an institution and is hence mystified by "normality." One particularly grotesque sequence connects the brutal daily immediacy of slaughtering cattle to the neo-colonial mechanism by intercutting commercials for Americanmade consumer products. The fact that beef is one of Argintina's greatest resources, plundered by the "developed" nations, raises the blood-letting to a figurative significance. A starving people exchanges its subsistence for the opportunity to buy American luxury items. Solanas presents images of imperialist ideological penetration as well, designed to de-nationalize and de-politicize the people with imported entertainment...
...Demystifying the Cinegraphic Image: La Hora de los Hornos explicitly disavows the role of presenting the whole Truth about the revolutionary situation of Argintina. The voice of Solanas comes on in Part II over sections of black leader to explain the intentions of the filmmakers, to remind us that this experience is their communication via celluloid, a projector, and a screen rather than some larger-than-life revelation, and finally that it is a form left open and fragmented-to be finished by the audience with their own debate and acts. He calls the film a collection of "Notes...
This difference reflects a larger discrepancy between the two versions. To show his state of congenital wretchedness, Voltaire makes Candide a bastard; Carbonnaux makes him an Alsatian. The countries Voltaire mentions only symbolize universal evils hike treachery and regicide. Carbonnaux specifically attacks Germany, Russia, Farouk, Argintina and imperialists. Voltaire describes imaginary places, like Eldorado; Carbonnaux invents nothing. Voltaire was inspired by the earthquake in Lisbon, a natural disaster; Carbonnaux announces that he was inspired by the bombing of Hiroshima...
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