Rocha que Voa
- Year:
- 2002
- 12 Views
"ST0NES IN THE SKY"
...during the 60's...
in the cultural colonization,
the cultural underdevelopment...
But, in fact,
Latin American intellectuals...
are still colonized because
they keep...
obeying to the colonizing
bourgeoisie...
as their own action instrument.
They weren't able to be revolutionary
in face of the colonizing action...
and that was clear through
a colonizing language.
Not because they learned
to read French and English...
they learned the European
and American thinking...
that they applied this thinking
to study their own reality...
they were in contradiction,
paralyzed.
Because there wasn't a political
practice, because there wasn't...
a social and political revolution,
they couldn't envisin...
a new language
nor detach themselves...
from all this rationality
by the bourgeois culture.
...broadcast from America...
HAVANA - CUBA
from Havana, Cuba...
the first free territory
in America.
...of America...
Let's raise our heads...
because there is a lot
we must fight for...
a lot to do!
S0ME DAY IN N0VEMBER 1971
...free in America...
Latin American cinema...
reflects the Latin American
political situation.
The first two main Latin American
movements were:
Cuban cinema, which emerged
with the revolution...
and Brazilian Cinema Novo,
which came after Cuban cinema...
in 1962, 1963.
Working under different
conditions...
because Cuba is a socialist country
and Brazil is a capitalist country...
in several aspects.
They had cultural independency...
from the imperialist system,
dealing...
directly with the social,
political and cultural problems...
in Latin America.
Also because...
they faced the same problems to gain
the market controlled by imperialism...
technical deficiency problems...
caused by technical
underdevelopment.
Both have problems,
but they are very organized.
A spontaneous organization,
because Latin American filmmakers...
are very united,
although with few differences...
aesthetical and ideological ones...
as to the situation of each country,
but they are united...
in the common ideal
to conquer...
Latin American market and free it
from the American occupation.
And this is related to the economical
liberation of the peoples...
and the substitution
of the imperialist language...
of the colonizer,
for a new language...
of Latin American cinema.
In the early 70's...
Cuba was diplomatically
isolated as a country.
But at the same time that
Cuba suffered...
these sanctions,
the country started to receive...
personalities from
the Latin American culture.
A Brazilian filmmaker,
Glauber Rocha...
To Latin Americans
it means that...
except for Cinema Novo,
which is extinct...
because it's filmmakers
are either in Brazil...
or out of Brazil,
secretly trying...
to keep fighting both
politically and in films...
and wanting this victory.
So, Latin American cinema...
will be in a few years,
a new phenomenon...
and a very important one,
politically speaking...
because it will be the first
cultural movement...
The first art movement
to unify culture and politics...
...in Latin America.
- Cinema?
Cinema.
As an artist,
he was a revolutionary...
CUBAN FILMMAKERS Because he
innovated the cinema language.
And he also was...
an essential revolutionary.
Glauber started his Cuban phase
just like one of us.
And his name was growing,
and Cuban cinema was surfacing.
"LATIN AMERICAN NEWSPAPER
ICAIC"
And we, from the start...
set our destiny together
with that of Latin America.
That is, we set our destiny...
more with Latin American cinema
than with socialist cinema.
Cuba, that is, Cuban cinema...
was the foundation...
of Latin American cinema,
economically speaking.
Latin American filmmakers
didn't have any money or support.
So, what they did was
they brought the film...
and edited it here,
because we had a lab...
a sound studio and so on.
All the post-production was done here.
NATl0NAL AND INTERNATl0NAL NEWS
It was like...
brothers helping each other.
And some of our films...
seem to have been influenced
by Cinema Novo.
They had a similar attitude...
You're asking me why I make films?
As a matter of fact, I make films
because of imperialism.
If there was no imperialism,
I wouldn't make films.
We weren't fighting just
to conquer socialism...
we were fighting
to conquer a system...
that was more independent from
the interests of the United States...
was it capitalist or socialist...
but what we really
wanted to achieve...
was the true independency
of our continent.
Stories of the revolution...
from which we have an epopee
of a whole people...
in the final days of the fight
against the long nights of pain.
Since the start
we were conscious...
that we couldn't compete
with a cinema...
that had all the resources
in the worid.
And we didn't have that.
We just had a very rich reality.
I have no problem with your business,
but we're trying to work...
We hoped we had enough creativity
and essential elements...
to make films that
were interesting...
and that were
in a different level...
...of the American cinema.
- It's hard to get him out of there!
I don't want anything with you!
So get lost! Get lost!
Don't make me lose my temper!
...nor the buses parked
here on the street. Nothing.
In 1968, Cuban cinema
was out in the worid.
It was discovered in many places.
There is a prestige,
a history and a tradition...
that I think we owe it
basically to documentaries.
IF:
THE BLACKS:
H0W? THE BLACKS? The disintegration
of American imperialism.
The vanguard rebellion,
the total revolution.
The political revolution,
the human revolution.
The Third Word revolution.
We all, in a certain way,
came from Italian neorealism...
thanks to the strength that,
in the 40's and 50's...
neorealism had in cinema
woridwide, specially...
in Latin America.
I think that, in that time...
we were looking...
our own authenticity,
our own way...
to express our feelings...
our thoughts and our reality.
Glauber filmed
"Black God, White Devil" in 1964.
That meant he was ahead of us...
in regard to...
to Italian neorealism.
And I can remember...
Glauber as one of the first
to exteriorize...
his disavowal and make
a moral contribution.
To meet Glauber was like...
to see the light
at the end of the tunnel.
He was a pioneer.
He was a storm, a cyclone.
He theorized, because it was not
just his films...
it was also his sense of aesthetics.
The "aesthetics of hunger" moved...
many filmmakers
and really contributed...
so that we saw cinema
in a more objective way...
in face of the
Latin American needs.
And Glauber was the one
who did that, in my opinion.
He was very important.
It was a wave of feelings...
and affirmation...
of the authenticity, of the
authenticity of each country...
of the authenticity
of each country's culture.
Each was looking
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