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...militant cinema involved ideologically and politically in and for the revolution," running 4 hours and 20 minutes on the concrete political and economic situation in Argentina, is entering its second week at the Orson Welles Cinema in an extended run. Directed by Fernando Solanas and Octavio Getino, La Hora de los Hornos is the first film of its kind, made with and for underground militant groups-students, workers, guerrillas-in a country where the liberation of revolutionary masses from a repressive military regime is in the making. Part I, Neo-colonialism and Violence (95 minutes) runs Wednesdays through Saturdays; Parts...

Author: By Fernando Solanas, | Title: A Film Essay on Violence and Liberation La Hora de los Hornos | 4/16/1971 | See Source »

...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...

Author: By Fernando Solanas, | Title: A Film Essay on Violence and Liberation La Hora de los Hornos | 4/16/1971 | See Source »

...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...

Author: By Fernando Solanas, | Title: A Film Essay on Violence and Liberation La Hora de los Hornos | 4/16/1971 | See Source »

...State Charles Meyer, for what was described as a "serious and friendly" chat. But Americans are not exactly popular in Chile. U.S. Ambassador Ed Korry, for example, has become a whipping boy of the far left. "When Korry returns to his own country," said the Socialist daily Ultima Hora, "it can be said with all justice and satisfaction, 'Yankee go home and don't come back again...

Author: /time Magazine | Title: Chile: Projecting the Common Touch | 11/16/1970 | See Source »

Bolivian journalists have more to fear than tricky decrees. Alfredo Alexander, publisher of La Paz's morning Hoy and evening Ultima Hora, was with his wife at his elegant estate when a man with a visor cap and large dark glasses delivered a shoe-box-size package. It contained a bomb, and minutes later the explosion killed the couple, sending shock waves through city rooms across the continent...

Author: /time Magazine | Title: The Press: Censorship and Fear | 4/13/1970 | See Source »

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