Arena One: On Anarchist Cinema (Arena Journal)

Arena One: On Anarchist Cinema (Arena Journal)

Language: English

Pages: 280

ISBN: 1604860502

Format: PDF / Kindle (mobi) / ePub


In the wake of the end of the Cold War and worldwide protests against corporate globalization, anarchism continues to attract new adherents among both aging leftists and new generations of young radicals. Arena aims to tap into this revived interest in libertarian ideas, culture and practice by providing a dynamic focal point: a journal that brings together good, stimulating and provocative writing and scholarship on libertarian culture of all kinds.

Designed for a general, intelligent, popular readership as well as for scholars and aficionados working in the area, the first issue of Arena focuses on film and video—historical and modern—and future issues will cover the entire spectrum of the arts: film, theatre, and art criticism as well as political theory and practice, reportage, letters, reviews, and unpublished fiction and nonfiction.

Apple Pro Training Series: Final Cut Pro X Advanced Editing

The Poetics of Slumberland: Animated Spirits and the Animating Spirit

Coming Attractions: Reading American Movie Trailers (Texas Film and Media Series)

The American Counterculture

Ferocious Reality: Documentary According to Werner Herzog (Visible Evidence, Volume 27)

 

 

 

 

 

 

 

 

 

 

 

 

 

 

educationist Célestin Freinet who was to take up Cauvin’s ideas by producing his own films such as Yves Allégret’s film Prix et Profits or La Pomme de Terre en 1931-1932 (Process and Profits or The Potato) with his Coopérative de l’Enseignement Laïc (Secular Education Cooperative). Gustave Cauvin died on 1 November 1951, leaving behind a project which, to use his own words, could never have existed but for its anarchist roots. 30 ANARCHIST CINEMA DURING THE SPANISH REVOLUTION AND CIVIL WAR

pleasure, hedonism, vice, violence and a penchant for pornography — turning actresses into sexual commodities and directors into messengers of obsolete or outlandish mores such as the zarzuela, bullfighting, priests, gypsies, bandits, aping of Hollywood productions etc. In short, capital is poisonous, except, of course, when it is sourced from the government or, better yet, some workers’ organisation. Of course, there were those who looked upon socialisation as an act of theft pure and simple.

Ideological messages: Castilla se liberta (1937): bottom — Momentos de España (1937): ‘Managing a grenade launcher’) 53 on anarchist film and video (1936), Aragón trabaja y lucha (1936), La columna de hierro (hacia Teruel) (1937), El cerco de Huesca (1937), División héroica (En el frente de Huesca) (1937), and La silla vacia (1937). For its part, the film El entierro de Durruti (1936) was a tribute to that anarchist leader. Solidaridad del pueblo con las víctimas del fascismo (1936) covered a

months of food shortages, air raids and internecine squabbling, cinema folk, like the rest of the citizenry, had no stomach left for the fight, so that on 26 January 1939 the city fell to Francoist troops without a fight. Socialisation of cinema in Madrid In the Spanish capital, revolution also followed within days of the Uprising and here too it consisted of a take-over or workers' control of cinema companies. This take-over was justified in terms of the suspension of production or of the

Cauvin was the official speaker and I his willing assistant in making the actual arrangements for his illustrated talks. It was my role to fetch the gear from the nearest suburban railay station to the lecture room, gear consisting of - in addition to the projector - a large bottle of acetylene gas for projecting the films because electricity had yet to take over from town gas, and then, I turned the crank handle to advance the slides as Cauvin gave his talk. We had practically toured Paris like

Download sample

Download