Word: hora
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...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...
...Cultural Dependence and Intellectual Lackeyism: The imperialist violence analyzed in La Hora de los Hornos is also visited on the people's attempts to create a national culture, with the help of a cadre of Argentina's intellectuals who hide their privileged class status behind various myths...
...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...