Word: hora
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Dates: during 1970-1979
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...Images: Solanas develops social contradictions by means fundamentally different from those of the other major theorists of the militant cinema, Jean-Luc Godard, who phrases this problem as the necessity to build simple, anti-realist images in order to build a purely dialectical and coherent political analysis. La Hora de los Hornos builds its dialectic in the editing of "found" images, pre-existing appearances (documentary footage, his own and that of others, also stills, paintings, commercials, etc.) that expose contradiction by their relation to each other...
...Radical Separation of Elements: Solanas' total dialectical form consists of universal internal contradiction, with no element allowed to stand unchallenged, similar to the theatrical form Brecht often referred to as "the great struggle for supremacy between words, music, and production." La Hora de los Hornos builds its total analysis of class conflict from a heterogeneous mass of small "cells" or "acts," each of which invents its own peculiar camera-style in contrast to that of its brothers. And within each cell images and sounds struggle within themselves and with each other: dialectics within dialectics. Tracks of the countryside are intercut...
...conditions for analysis, leaving the re-composition incomplete. Further criticism, conclusions, and choices for action must be taken up by the audience; discussion becomes praxis determined by the people. There is no recourse to cinema-verite pretensions of proof, to demonstrating factual unity of sound and image, since La Hora de los Hornos does not purport to be a chunk of reality, a perfection, an end in itself, but rather a beginning...
...Conditions of Production: La Hora de los Hornos was made clandestinely in bits and pieces over a period of two years (1966-67) and owes much to the collaboration of subversive groups in various parts of the country. Solanas and Getino not only had to contend with the threat of political censorship and retribution-the film has not yet been allowed public exhibition in Argentina and private attempts are dangerous-they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy. They worked as cheaply...
...only an "intermission" between Parts II and III and to charge audiences twice for seeing the whole film. Splitting the experience over at least two days and including the slack and unimaginative "Interviews with My Lai Veterans" on the same bill cannot help but dilute the force of La Hora de los Hornos. Hopefully, many will voice their criticisms at the theatre and actively make sure that the level of discussion takes place that Solanas intended. Of course the Welles is trapped in the exigencies of the same system under which the film was produced, but these compromises should...