Archive for vietnam

Late Summer – Autumn 2014 Program

Posted in EVENTS with tags , , , , , , on January 17, 2014 by Dean Mc

2nd February – 6th April

830pm – 11pm

AKA Studio
130c Nicholson St,
Brunswick East, 3057

at the end of the No.96 Tram diametrically opposite RRR

This season of screenings is a response to numerous requests to renew Timecapsules. This season is a return to some perennial areas of interest, Political film, Japanese post-war, experimental, black comedy, noir and horror. The screenings are free and food and mocktails will be available for purchase.

February 2nd

 emperorsnakedarmy 

Emperors Naked Army Marches On
 (ゆきゆきて、神  Yuki Yukite Shingun
1987. 122 mins; Colour
Dir: Kazuo Hara

A documentary that portrays one man’s “solitary war” against the entire edifice of Imperial Japan armed with a slingshot, photocopier and his fists.  Hara follows Kenzo Okuzaki, a military veteran, revenge killer, and attempted assassin of Emperor Hirohito, as he brutally harangues his own guilt stricken military superiors. A hierarchy that he claims executed and ate low ranking soldiers in those ugly final days of the Pacific War. Kenzo’s grip on his own humanity slides as he seeks retribution on these so-called war-heroes. A mirroring between Kenzo and his quarry emerges; a confusion between victim and victimiser, vengeance and self -mortification and a common refusal to accept defeat.

for further reference read http://libcom.org/files/OkuzakiKenzo%27sCrusade.pdf

February 9th


10

The Face of Another  
(他人の顔 Tanin no kao)
1966. 122mins ; B&W
Hiroshi Teshigahara
 
Tokyo 58
1958. 24mins; B&W
Hiroshi Teshigahara

Two wildly different works from Hiroshi Teshigahara the allegorical cine-poet responsible for “Woman of the Dunes”. “The Face of Another ” marks the last of three collaborations between writer Kobo Abe and experimental composer Toru Takemitsu. A bitter and twisted man, a disfigured victim of his own crimes, purchases the rights to share another mans face, but uses his new found beauty to indulge in psychological games with his unwitting loved ones. Analogous to Georges Franju’s “Eyes without a Face”, Teshigahara simultaneously explores the social persona embodied in the face, and the “face” of the nation in its trauma after the H-Bomb and its shameful miltary adventure.

Preceded by “Tokyo 58”, a whimsical and often surreal newsreel portrait of Tokyo during that year; a film that Teshigahara made with the help of a score of other directors.

February 16

Post Revolutionary Cuban Cinema

OLYMPUS DIGITAL CAMERA 

Now (1965, 5 mins)
LBJ (1968, 18 mins)
El Sueno del Pongo (1970, 11 mins.),
El Tigre Salto y Mato, Pero Morira… Morira… (1973, 16 mins.)
Dir: Santiago Alvarez

Santiago Alvarez was a polemicist, avowed Communist, and experimental film essayist who made searing agitprop, combining photography, newsreel and music. Each of these works combines Eisentsteinian montage, expressionist film effects, as well as a powerful use of sound and text to rail against injustice and to support his beleaguered nation. Alvarez’s work can be appreciated as political commentary, or as dazzling visual art.

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Death of a Bureaucrat.
1966; 84mins B&W
Dir: Tomás Gutiérrez Alea

A hilarious farce that anybody subjected to absurd bureaucracy can appreciate. An inventor and sculpture manufacturer is killed by his own machinery, and buried ceremoniously with his worker I.D. card. Rather than being able to grieve the death of her former husband, the widow and her son are caught in a double bind in the attempt to retrieve the I.D. card. Thus they fall into a series of bureaucratic chasms and the ensuing chaos is both surreal and slapstick in equal measure. Like Bunuel directing Buster Keaton, Gutiérrez Alea’s farce is serious, sympathetic, hilarious, and critical of tendencies within the regime without missing a beat.

February 23rd

In-The-Year-of-the-PigYearofPig4

In the Year of the Pig
1968; 103 mins B&W
Dir:Emile de Antonio

If there was ever a documentary to watch about the Vietnam War and ever a film statement from the student radicalism of the 1960’s this is the one. Painstakingly constructed without commentary from an exhaustive collection of newsreels. “Year of the Pig” makes it grimly clear regarding the criminal and deceptive nature of the US invasion of Indochina and its glaring racism. The film was simultaneously nominated for an Academy Award and subject to bomb threats and pickets from American patriots.

March 2nd

Murder-My-Sweet-1

Murder My Sweet
1944. 96 min; B&W
Dir: Edward Dmytryk

First of two nights of Film Noir directed by left leaning directors who’s careers were screwed by McCarthy’s H.U.A.C. “Murder My Sweet” is a reworking of the Raymond Chandler novel “Farewell My Lovely”. Starring Dick Powell, the schmaltzy crooner in Busby Berkely musicals, completely reinvented as Philip Marlowe, private eye, a charachter mostly associated with Humphrey Bogart in “The Maltese Falcon”. Dmytryk and Powell construct a unique departure from the hyper-masculine and invulnerable Marlowe, to a man often bearing the brunt and taking a fall. Sumptuous cinematography and crackling dialogue abound in this remorseless vision of America the “cynical”. Marlowe is hired by a dangerously stupid brute to search for his missing sweetheart. In true genre style, nothing is what it seems, and we are never any wiser than our protagonist. Of special note is the hallucinatory and subjective rendition of head injury and forced drugging that utilises the techniques of Expressionist and experimental film.

March 9th

force-of-evil-original[1]

Force of Evil
1948. 80 mins; B&W
Dir: Abraham Polonsky

A subversive and labyrinthine tale of a “numbers racket” in Greenwich Village at the onset of the Great Depression, and of a lawyer and gangster that work to fix and merge their rivals into a great syndicate. “Force of Evil” unlike any other film of the genre puts the entire capitalist system on trial, its protagonists merely cogs in a machine that cultivates their crimes. Stark realism and moral complexities are prioritised over emotional identification with charachters, in a rather Brechtian parable strewn with a fair few biblical references made in the process. Cited by Scorcese as the main influence for his early New York films, the script is poetic and the vision is highly artistic… what more can you ask for?

March and April Programs pending

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