Word: oppressor
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Rocha explores these essential contradictions, which come closer to treating the surfaces of material life than any of those explored by Marxist-intellectuals in the oppressor culture. He stands at the center, the crossroads of neo-colonialist contradictions, and in Terra em Transe (Land in Angitish) he approaches them dialectically, attempting a mediation between Brazil's political realities and the poetic violence, the spiritual energies of an oppressed people. There are both concrete and at the same time surreal situations, like all the other sounds and images of the film. The hero Paulo Martins embodies all of the central dialectical...
...goals, of its official modernization effort. He goes about his work with no conception of its implications for Lao nationalism. Even when he has no part of it, he cannot undo the damage done by the American war effort nor can he even rectify the image of the American oppressor. And what if he could? He only serves to divert the enthusiasm of the people from their only realistic source of security...
...group associated with the Black Panthers, one black patrolman, Glenn Edward Smith, was killed in a shootout, and another, Marshall Emerson, caught a bullet fragment in one hand. "Black people put us all in one bag now," says Emerson. "I'm not out there to be an oppressor, but to the community I'm just a pig." Chicago's Octave Richard insists that some blacks "are against authority and against the police department, but I don't think they are against black policemen in general...
...solution is not tokenism-a woman here and a woman there for the moment and it is not the radical dogma that man is the oppressor or the boss and woman is the oppressed, or the worker," she concluded...
...auto-critique section of the movie, that concept is used like a dissecting needle to tease at our ideas about films and filmmakers. In such a schema the director is an oppressor, and actors are members of an oppressed class. An actor, especially a Hollywood actor, is a tool of his own exploitation because he willingly and professionally dons new selves dictated by the convictions (whims) of the director. It becomes impossible to make a movie about repression, for any movie is repression. The auto-critique, the attenuated scenes of actors applying make-up, the unmoving shots held for four...