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DTSTART;TZID=America/New_York:20181108T193000
DTEND;TZID=America/New_York:20181108T210000
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CREATED:20181026T200639Z
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SUMMARY:Frozen Revolutions: El Grito
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]As part of Frozen Revolutions\, a series that revisits the documentation of social movements from the year 1968\,  we turn to the Olympics. To American eyes\, the defining image of the Mexico City Olympics is probably John Dominis’ photograph of Gold and Bronze Medal winners Tommie Smith and John Carlos standing at the world’s attention\, their fists raised from the podium. Yet for Mexicans it’s impossible to acknowledge the 1968 Summer Olympics without the Tlatelolco Massacre just days before the games began\, wherein a squabble between graffitists and cops escalated into a massive confrontation between student activists and the Mexican military. \nSmall-scale protests\, initially sparked by a feud between vocational schools in Mexico City\, escalated into multiple weeks of nonviolent occupation: students and faculty alike from the National Autonomous University of Mexico (UNAM) were unified in their protests against the repressive regime of then-president Díaz Ordaz. Specifically\, the student and his ruling Institutional Revolutionary Party (PRI)\, widely seen as corrupt for its accommodation of United States military and financial support ahead of the Games. The students issued statements alleging that the myth of Mexico as “a model for other underdeveloped countries to follow has been destroyed by the government forces themselves.” \nA cluster of students armed with 16mm cameras began to capture the unfolding action in the streets\, including a 24 year old film student named Leobardo López Arretche. Although its shooting was an open-ended and collaborative effort\, López took control of the editing process to shape what would become the finished film: EL GRITO (THE SCREAM). It tracks the escalation of the rallies into a full-bore standoff between demonstrators and anti-riot granderos\, allegedly paid in cash per arrest\, who put down an occupation of the nearby National Politechnical Institute. While the protests had grown to include all sections of progressive society (including middle-class citydwellers\, labor activists\, neighbors\, faculty and students alike) in the Plaza de las Tres Culturas\, the military ended up surrounding the protests in a “pincer movement” on October 2nd\, opening fire with Ordaz’ permission. In the end\, over 1300 people were arrested\, and 400 protesters were killed. \nBeyond the ensuing nationwide scandal\, Tlatelolco is a critical event in public memory in Mexico – but was not depicted onscreen for over 20 years until Jorge Fons’ dramatization ROJO AMANCER in 1991. EL GRITO is the only feature-length work credited to López\, who committed suicide two years later. (Also of interest is the contribution of journalist Oriana Fallaci\, then covering the student movement\, as “screenwriter”.) The film is considered the only primary-source documentary about the massacre\, equal parts riveting tactical journalism and a bleak indictment of the repression undertaken by the PRI (whose control of Mexico’s government went uninterrupted from 1929 to 2000.) After decades spent as a suppressed\, secret film\, UNAM is now distributing it in a clean digital restoration. This will be the first screening of the film in the United States and the New York City premiere\, fresh off a screening at the 2018 Viennale.[/vc_column_text][vc_empty_space height=”40px”][vc_video link=” \nThursday\, Nov 8 – El Grito with Steve Macfarlane from UnionDocs on Vimeo. \n“][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”El Grito” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Leobardo López Aretche\, 120 mins\, 1968″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A documentary on the 1968 student movement in Mexico created by the students themselves.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”120 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”75963″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Steve Macfarlane is a writer and filmmaker from Seattle\, Washington. A programmer at Spectacle in Williamsburg\, his writing has appeared in Cinema Scope\, The White Review\, Filmmaker Magazine\, and the Brooklyn Rail\, among others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”110021″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Historian of contemporary Mexico City and the problems of cultural change associated with urbanization. Research professor at the Historical Studies Center of the Colegio de México. Among his recent publications stand out Political history of the city of Mexico (from its foundation to the year 2000) \, coordinated by him (El Colegio de México\, 2012). History of the restlessness. The revolution in Mexico City\, 1911-1922 (El Colegio de México\, 2010) and in collaboration with Carlos Lira Mexican cities of the twentieth century. Seven historical studies ” (UAM / Colmex / Conacyt\, 2009). \nHe has taught courses in various universities in the country\, such as the Michoacán University of San Nicolas de Hidalgo\, the Mora Institute\, the Autonomous Metropolitan University\, the Political Science Faculty of the UNAM\, the Universidad Iberoamericana and the ITAM\, among others; He was a visiting professor at the University of California at San Diego. In 2010 he received the Medal of Cultural Merit “Carlos Monsiváis” in recognition of his academic career. It has also been awarded by the Mexican Committee of Historical Sciences in reference to the best review and the best article\, published in 2005 and 2003\, respectively. He has directed about twenty doctoral theses and has collaborated in various editorial committees of prestigious journals. He is currently preparing a book whose provisional title is Museum of the universe. Political history of the 1968 Olympic Games.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”110020″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Fran Ilich\, artist and writer based in New York City\, is the author of 3 award-winning novels\, a book-length essay and multiple works of narrative media. He was a fellow at Eyebeam and A Blade of Grass. He has produced work by comission of the New School’s Vera List Center for Art and Politics\, No Longer Empty and others. He was Visiting Lecturer at the Literature Department of the University of California San Diego and director of the Literature Department at Centro Cultural Tijuana. He participated in Berlinale Talent Campus\, Transmediale\, ARCO\, Documenta 12 and 13\, EZLN’s Festival Mundial de la Digna Rabia. Has shown at the Walker Art Center\, Creative Time’s Living as Form\, Instituto de Arte Gráfico de Oaxaca\, and other venues in The Americas\, Asia and Europe. Aridoamérica Winter Plan was a solo show commisioned by ISCP at El Museo de Los Sures in Brooklyn.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”40px”][vc_column_text] \nFrozen Revolutions\nIt’s no secret that protest rippled around the globe in 1968\, a year equally marked in the bourgeois memory by political upheaval and widespread paranoia. After five decades of tectonic capital shocks and never-ending privatization\, we’re experiencing another cascade of unrest – but what if it’s really the same one? FROZEN REVOLUTIONS\, a series co-organized with critic and programmer Steve Macfarlane\, looks to the archive to reexamine images and stories produced in the heat of this worldwide social movement beyond the broad strokes of “official history”. These documents of dissent ask us to assess the impact of their collective movements\, foregrounding the challenge of looking directly into the extinguished promises (and lingering romanticisms) in their wake.[/vc_column_text][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-11-08-el-grito/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Frozen Revolutions,Screenings & Events
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180727T193000
DTEND;TZID=America/New_York:20180727T210000
DTSTAMP:20260526T093100
CREATED:20180614T174757Z
LAST-MODIFIED:20180727T221054Z
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SUMMARY:Frozen Revolutions: Harlem Theatre
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]HARLEM\, USA: in the aftermath of Martin Luther King’s murder\, German filmmaker Klaus Wildenhahn turned his 16mm camera on the New Lafayette Theatre as its players rehearsed scenes\, ran public workshops and conducted exercises in uptown Manhattan. New Lafayette (or NLT) had been founded by actor-director Robert Macbeth the previous year\, with the aim of producing theater for black people\, by black people\, to reflect the experiences and vernacular of the Harlem community. Within the Black Arts Movement\, NLT would become a significant institution: it published the journal Black Theatre\, and employed a host of talents – including the Black Panthers’ Minister of Culture\, Ed Bullins\, and the great pianist Junior Mance\, both of whom appear in Wildenhahn’s film as resident collaborators. \nBracketed by quotes from Eldridge Cleaver (read aloud by its German makers\, a clue to the film’s distended gaze)\, HARLEM THEATRE is an extraordinary portrait of a neighborhood during a volcanic period of history. The film also doubles as a profile of Macbeth\, equal parts arts-therapist and radicalized salesman; his wry appearances and agonizing group-therapy exorcisms make HARLEM THEATRE an explicit interrogation of the artist’s ability to speak back to power\, a shriek of rage against an abusive system. \nNewly resurfaced after being considered lost or unexhibitable for decades\, HARLEM THEATRE is a startling and essential document. It captures Black Power in mid praxis\, a constant renegotiation of culture’s role against police harassment and government indifference\, and the contradictions of grassroots activism circa 1968 – including scenes from a Ford Foundation-backed Black Panther picnic\, capped by a riveting speech from Bobby Seale\, who delivers a list of demands still unanswered 50 years later. \nUnionDocs is proud to give HARLEM THEATRE its first-ever public screening in New York City\, with NLT actors Gary Bolling (who also appeared in Shirley Clarke’s THE COOL WORLD) and George Lee Miles (THE WARRRIORS\, THE EDUCATION OF SONNY CARSON) in person for a retrospective panel discussion. \n[/vc_column_text][vc_empty_space height=”40px”][vc_video link=”https://vimeo.com/279326329″][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”Harlem Theatre” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Klaus Wildenhahn\, 97 mins\, 1968″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]German TV documentary following the New Lafayette Theatre\, a radical Black Power troupe operating out of uptown workshops and community performances\, in the summer after Martin Luther King’s assassination.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”90 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”106501″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Rochelle Sara Miller is a cinephile\, PhD student\, and teaching fellow in the Cinema Studies Department at New York University. She is currently completing a dissertation in the field of media industry studies. She has taught undergraduate film courses at NYU\, Seton Hall University\, and CUNY Brooklyn College[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”75963″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Steve Macfarlane is a writer and filmmaker from Seattle\, Washington. A programmer at Spectacle in Williamsburg\, his writing has appeared in Cinema Scope\, The White Review\, Filmmaker Magazine\, and the Brooklyn Rail\, among others.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”106800″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Gary Bolling grew up in the Abraham Lincoln Projects\, in Harlem\, New York. His acting career began in 1962\, when he was 16 years old and cast by Shirley Clarke in “The Cool World.” In addition to being a professional member of the New Lafayette Theatre\, he toured with the Free Southern Theatre in the South during the Civil Rights era. He is a third degree black belt in Juijitsu and drummer (traps and djembe drums). He has a daughter and five grandchildren. Gary is proud that several of his films (The Cool World\, Losing Ground\, and The Taking of Pelham 123) have recently screened at repertory cinemas in NYC.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”106801″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]George Lee Miles has remained faithful to the creed of the New Lafayette Theatre’s Black Ritual Theatre process through drama therapy/creative expressions workshops in prisons\, most recently the “The Boat” Vernon C. Bain Correctional Center\, Hunts Point\, Bronx (the world’s largest prison ship). At schools through the Leadership Program\, Teachers and Writers Collaborative\, Attention Homes (Cheyenne\, Wyoming) and at the Addicts Rehabilitation Center\, Harlem. He regularly produces and directs dramatic readings of plays by Ed Bullins and others\, recently directing a work-in-progress reading of “THE ANTHEM SUITE: Celebrating James Weldon Johnson’s ‘Lift Ev’ry Voice and Sing’\, a collection of songs\, poetry and speeches conceived and written by Robert Macbeth. This Fall he will produce and direct a series of readings of ancient and forgotten texts to be aired on the MNN Cable Network. As an actor he has appeared most recently on “Adult Swim” (Cartoon Network) and in the feature film “PURGE: The Election Year.” He is an ordained Universal Life minister and a licensed member of the New York State Chaplain Task Force.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”40px”][vc_column_text] \nFrozen Revolutions\nIt’s no secret that protest rippled around the globe in 1968\, a year equally marked in the bourgeois memory by political upheaval and widespread paranoia. After five decades of tectonic capital shocks and never-ending privatization\, we’re experiencing another cascade of unrest – but what if it’s really the same one? FROZEN REVOLUTIONS\, a series co-organized with critic and programmer Steve Macfarlane\, looks to the archive to reexamine images and stories produced in the heat of this worldwide social movement beyond the broad strokes of “official history”. These documents of dissent ask us to assess the impact of their collective movements\, foregrounding the challenge of looking directly into the extinguished promises (and lingering romanticisms) in their wake.[/vc_column_text][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”40px”][vc_column_text]Special thanks to archivist/collector Ira Gallen for saving and preserving the film Harlem Theatre. Extended thanks to Jack Hardy at Grapevine Video for digitizing the print from the Ira H. Gallen Archives[/vc_column_text][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-07-27-frozen-revolutions-harlem-theatre/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Frozen Revolutions,Screenings & Events
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GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180603T193000
DTEND;TZID=America/New_York:20180603T223000
DTSTAMP:20260526T093100
CREATED:20180514T162224Z
LAST-MODIFIED:20180601T231116Z
UID:10002301-1528054200-1528065000@uniondocs.org
SUMMARY:Frozen Revolutions: The White Game
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]BÅSTAD\, SWEDEN: While Ian Smith’s apartheid regime in Rhodesia (now modern-day Zimbabwe) was steadily growing in worldwide unpopularity\, its tennis team was paired against Sweden’s for a Davis Cup qualifying match in May of 1968. After Smith executed three Zimbabwean freedom fighters the preceding winter\, calls to boycott Rhodesia surged among Sweden’s university students. Well aware of the stigma surrounding Smith’s regime\, Sweden’s Police Commissioner advised the National Tennis Authority to host the match in the sleepy tourist town of Båstad. Anti-apartheid activists surrounded the Tennis Stadium in an astonishing direct action\, resulting in the first street battles between nonviolent demonstrators and the police in decades. (Some newspapers likened the events to the Great Strike of 1909\, while historian Tor Sellström points out that the demos were “as much\, if not more\, directed against the established Swedish political order as in favour of the struggle in Zimbabwe.”) While the shutdown was an unqualified victory for the students\, the authorities would end up holding the match at a secret tennis club months later\, in France\, where Sweden won 4-1. \nA collective of antiwar students took to Båstad with 16mm cameras\, and the result is the still-controversial Den Vita Sporten (The White Game)\, officially credited to “Grupp 13”. The crew included the great leftist filmmaker Bo Widerberg\, whose career was stifled by the preeminence of the Vietnam War-supporting Ingmar Bergman (then chair of the Swedish Film Institute); also along was Roy Andersson\, then a mere 25 years old. Another member\, Ingela Romare\, had just finished Revolutions Speak\, a five-minute rumination between a mother and her daughter on the leftist slogans on old posters hanging in Stockholm’s Museum of Modern Art. \nThe White Game chronicles the protest in nail-biting detail: the sloganeering (which included “RHODESIA GO HOME” and “KILL IAN SMITH”)\, the intersection with other struggles (Mao’s little red books are ubiquitous) and the crackdown on students who jumped a loose gate outside the stadium\, beaten by police and sprayed with hoses supplied by Båstad’s firefighters – further proof that the authorities were utterly unprepared for the anti-Rhodesian “hooligans”. It’s also a riveting cross-examination of a so-called “First World” nation determining what it will and won’t stand for: Grupp 13 took pains to document the attitudes of the protesters\, the racist Rhodesians who had traveled for the match\, the blandishments of official functionaries who had fancied themselves liberal-enough and\, probably most crucially\, of the Afro-Swedish demonstrators in Båstad. It’s a fascinating look into an anti-apartheid movement eclipsed by that of South Africa in the ensuing decades\, and an essential rumination on the overlap between sport and national identity – two items kept separate by power\, then and now\, when politically convenient. \nSpecial thanks to Johan Ericsson (Swedish Film Institute) and Josh Siegel (Museum of Modern Art).[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”The White Game” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”Grupp 13\, 108 min.\, 1968″ font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]Collective documentary about the riots at Sweden’s Davis Cup tennis match against Rhodesia in Båstad\, 1968.\n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”108 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”75963″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Steve Macfarlane is a writer and filmmaker from Seattle\, Washington. A programmer at Spectacle in Williamsburg\, his writing has appeared in Cinema Scope\, The White Review\, Filmmaker Magazine\, and the Brooklyn Rail\, among others. \n[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”105846″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Chloé Cooper Jones is a philosophy professor\, writer\, and journalist. She is GQ Magazine’s tennis correspondent.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column][vc_empty_space height=”40px”][vc_separator][vc_empty_space height=”40px”][vc_column_text] \nFrozen Revolutions\nIt’s no secret that protest rippled around the globe in 1968\, a year equally marked in the bourgeois memory by political upheaval and widespread paranoia. After five decades of tectonic capital shocks and never-ending privatization\, we’re experiencing another cascade of unrest – but what if it’s really the same one? FROZEN REVOLUTIONS\, a series co-organized with critic and programmer Steve Macfarlane\, looks to the archive to reexamine images and stories produced in the heat of this worldwide social movement beyond the broad strokes of “official history”. These documents of dissent ask us to assess the impact of their collective movements\, foregrounding the challenge of looking directly into the extinguished promises (and lingering romanticisms) in their wake.[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-06-03-frozen-revolutions-the-white-game/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Frozen Revolutions,Screenings & Events
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GEO:40.7099952;-73.9507576
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END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/New_York:20180427T193000
DTEND;TZID=America/New_York:20180427T220000
DTSTAMP:20260526T093100
CREATED:20180410T180318Z
LAST-MODIFIED:20180424T161156Z
UID:10002274-1524857400-1524866400@uniondocs.org
SUMMARY:May Made Me: An Oral History of the 1968 Uprising in France
DESCRIPTION:[vc_row][vc_column][vc_empty_space height=”40px”][vc_separator color=”custom” accent_color=”#ffffff”][vc_empty_space height=”40px”][vc_column_text]UnionDocs is thrilled to present FROZEN REVOLUTIONS\, a series co-organized with critic and programmer Steve Macfarlane\, that looks to the archive to reexamine images and stories produced in the heat of the 1968 worldwide political and social upheaval beyond the broad strokes of “official history”. These documents of dissent ask us to assess the impact of their collective movements\, foregrounding the challenge of looking directly into the extinguished promises (and lingering romanticisms) in their wake. Frozen Revolutions opens with an examination of the French labor movement with author Mitchell Abidor’s May Made Me: An Oral History of the 1968 Uprising in France. \nFRANCE\, 1968: Amid nationwide strikes and the student uprising in the Latin Quarter\, a collective of filmmakers – including Jean-Luc Godard\, Jackie Raynal\, Alain Resnais\, Philippe Garrel and painter Gérard Fromanger – teamed up to make a series of silent tracts\, each length determined by the availability of affordable length of film. On average\, each tract used 100 feet of film\, evening out to two minutes and forty-seven seconds. \nThe majority of these were edited in-camera and printed in Brussels – where film processing plants were not on strike – then brought back to France\, intended to be screened mid-occupation in both the academy and the factory. While the tracts have been shown few times outside their moment of inception\, they represent a groundswell of formal creativity\, a fervid moment of impossible juxtapositions: between still and moving images\, words and actions\, between the Communist Party and the New Left or indeed between Godard’s own cult of personality and his newfound militancy. Tract no. 21 includes an anti-slogan speaking to the moment’s propulsive uncertainty: “I have nothing to say\, but I must say it.” \nAlongside clips from the protests and a new digitization of Cinétracts\, UnionDocs will show The Return to Work at the Wonder Factory\, a ten-minute piece of film from the aborted International Communist Organization film Who Can Save Trotsky?\, showing an enraged worker refusing to return to work in June 1968 under newly compromised union stipulations. \nWriter Mitchell Abidor will be “annotating” the tracts in real time\, discussing the repurposed news photos\, the clashes between activists and police\, the graffiti-ed détournements and the Eclair-armed filmmakers of that tumultuous month\, drawing on the wealth of research conducted for his new book\, “May Made Me: An Oral History of the 1968 Uprising in France”\, out now from A.K. Press. \nThis program is made possible with support from Amélie Garin-Davet of the Cultural Services of the French Embassy A big thank you to them for helping make it happen! \n\n\n\n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][vc_text_separator title=”Program” color=”white” el_class=”h1″][vc_custom_heading text=”The Return to Work at the Wonder Factory” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”10 min.\, 1968 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]In May of 1968 work starts again\, unions pretend to claim victory. At the Wonder factory everything is also back to normal. Suddenly a woman dares to rebel\, she says that she does not want to return to work.[/vc_column_text][vc_custom_heading text=”Cinétracts” font_container=”tag:h1|text_align:left” use_theme_fonts=”yes”][vc_custom_heading text=”90 min.\, 1968 ” font_container=”tag:p|text_align:left” use_theme_fonts=”yes”][vc_column_text]A series of 41 documentary shorts\, directed by several famous French filmmakers and each running between two and four minutes. Each “tract” espouses a leftist political viewpoint through the filmed depiction of real-life events\, including workers’ strikes and the events of Paris in May 1968.[/vc_column_text][vc_empty_space height=”40px”][vc_text_separator title=”100 min” color=”white” el_class=”h1″][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”103550″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Mitchell Abidor is a writer and translator living in Brooklyn. His previous books are ‘The Great Anger: Ultra-Revolutionary Writing in France from the Atheist Priest to the Bonnot Gang’ and ‘Communards: The Paris Commune of 1871 as Told by Those Who Fought It’.[/vc_column_text][/vc_column][/vc_row][vc_row][vc_column width=”1/3″][vc_single_image image=”75963″ img_size=”full”][/vc_column][vc_column width=”2/3″][vc_column_text]Steve Macfarlane is a writer and filmmaker from Seattle\, Washington. A programmer at Spectacle in Williamsburg\, his writing has appeared in Cinema Scope\, The White Review\, Filmmaker Magazine\, and the Brooklyn Rail\, among others.[/vc_column_text][vc_empty_space height=”40px”][/vc_column][/vc_row][vc_row][vc_column][vc_text_separator title=”” color=”white” el_class=”h1″][vc_column_text] \nFrozen Revolutions\nIt’s no secret that protest rippled around the globe in 1968\, a year equally marked in the bourgeois memory by political upheaval and widespread paranoia. After five decades of tectonic capital shocks and never-ending privatization\, we’re experiencing another cascade of unrest – but what if it’s really the same one? FROZEN REVOLUTIONS\, a series co-organized with critic and programmer Steve Macfarlane\, looks to the archive to reexamine images and stories produced in the heat of this worldwide social movement beyond the broad strokes of “official history”. These documents of dissent ask us to assess the impact of their collective movements\, foregrounding the challenge of looking directly into the extinguished promises (and lingering romanticisms) in their wake. \n  \n[/vc_column_text][vc_empty_space height=”40px”][vc_empty_space height=”40px”][/vc_column][/vc_row]
URL:https://uniondocs.org/event/2018-04-27-frozen-revolutions/
LOCATION:UnionDocs\, 352 Onderdonk Avenue\, 352 Onderdonk Avenue\, Ridgewood\, NY\, 11385\, United States
CATEGORIES:Frozen Revolutions,Screenings & Events
ATTACH;FMTTYPE=image/png:https://uniondocs.org/wp-content/uploads/2018/04/CTRACT_06.png
GEO:40.7099952;-73.9507576
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=UnionDocs 352 Onderdonk Avenue 352 Onderdonk Avenue Ridgewood NY 11385 United States;X-APPLE-RADIUS=500;X-TITLE=352 Onderdonk Avenue:geo:-73.9507576,40.7099952
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