A double loss
The death in Buenos Aires of Argentine filmmaker and theorist Octavio Getino was reported on the same day as that of the historian Eric Hobsbawm in London. Worlds apart and different spheres of activity, perhaps, but both contributed in major ways to the broad current of independent and international critical culture that grew up after 1968, even though Hobsbawm remained a Communist and Getino was always a Peronist.
For myself, I was lucky to have interviewed both of them on camera, Getino in 1982, and Hobsbawm more recently, in 2007. Hobsbawm was generous in contributing to a film I made about a relative of mine, whom he’d known (The American Who Electrified Russia)—which makes it difficult to extract. Getino we filmed in Mexico, for a documentary on the New Latin American Cinema for Channel Four (in its early days, when it was really innovatory and progressive). He explained for us the concept of Third Cinema, which he launched with Fernando Solanas in 1969, in an essay based on their experience making the extraordinary piece of political cinema that goes under the name La hora de los hornos – Hour of the Furnaces. Here by way of tribute is that interview.
[youtube]http://www.youtube.com/watch?v=CVohdIUNuGk[/youtube]
‘Secret City’
It’s almost a year since anti-capitalist protestors, intending to set up camp in front of the London Stock Exchange in Paternoster Square under the banner of Occupy LSX, were ejected from the square and parked themselves instead in front of St Paul’s Cathedral. The result was one of the starting points for this film: a highly public debate about capitalism and the Church.
But there was also another power acting in the shadows to eventually eject the Occupiers – the City of London Corporation. An ancient body which dates back before William the Conqueror, before there was a parliament in Westminster, which zealously guards its autonomy and privileges to this day.
This is the subject of Secret City: a state within a state, with deleterious effects on democracy, politics and economics in London, the country, and the world, for the City is joint headquarters with Wall Street of global finance capital. In short, ‘Secret City’ isn’t just a film for Londoners – especially in these times of crisis, the role of the City concerns everyone everywhere.
Here’s the trailer:
[youtube]http://www.youtube.com/watch?v=7HJGLqMAQbk[/youtube]
‘Secret City‘ is a minimal budget film by Michael Chanan and Lee Salter, supported by the University of Roehampton. We tell the story though interviews with politicians, academics, writers, activists and campaigners, counterpointed with unfamiliar archive footage and a musical score by Simon Zagorski-Thomas taken from the nursery rhyme ‘Oranges and Lemons’.
A Short Film About Money
Won’t solve your money problems, but it might make you think about why you’ve got them. ‘A Short Film About Money’ is a spin-off from a longer film I’ve been making with Lee Salter, ‘Secret City’, which launches soon.
[youtube]http://www.youtube.com/watch?v=YFcoelfewXc&feature=plcp[/youtube]
‘Secret City’ is an investigation into the Corporation of the City of London which governs the famous square mile that serves as joint-HQ with Wall Street for global finance capital. We originally thought we might include a sequence about the illusions of money, but in the end left it out, so instead we fashioned the footage we’d collected into the satirical short you can see here.
9 Notes on Digital Cinema
A new online journal from Colombia, Corónica, has posted a short interview with me on video, made by Juan Soto, called ‘9 Notes on Digital Cinema’. It accompanies my film on the students protests in Chile, Three Short Films about Chile.
Here is Juan’s video (in Spanish and English, with subtitles).
[vimeo]http://vimeo.com/48867239#[/vimeo]
Lake Garda, Summer 2012
Just a trifle, an exercise in kitsch.
[vimeo]http://vimeo.com/47962913[/vimeo]
Shot on a Sony HDR-CX 250, handheld throughout.
A Documentary Festival in Cyprus
A long time, I know, since the last post. That’s because I’ve been hard at work on a new film, to be unveiled soon. Back in August, however, I had a welcome break with a visit to Cyprus for the Lemesos documentary festival, one of the numerous such events that have have flowered in so many places over recent years (Lemesos is seven years old). Demonstrating the existence of real audiences, these festivals give heart to the independent film-maker.
What you get in small festivals like Lemesos is not just the enthusiasm of a local community, who include aspiring film-makers, but also a bunch of invited directors, producers and speakers (here including myself, talking ‘In defence of documentary’) who share the event — with the help of some splendid hospitality. Here is pretty much everyone speaking their bit:
[youtube]http://www.youtube.com/watch?v=HIkwc54TYJM[/youtube]
“I Like Students’
or ‘Me gustan los estudiantes’: Mario Handler at St Andrews
The Uruguayan documentarist Mario Handler came to St Andrews recently for a symposium revisiting New Latin American Cinema of the 60s through the Uruguayan case. The event was able organised by Beatriz Tadeo Fuica, included a prety cogent overview of Documentary and Activism by Leshu Torshin, and a Q&A with Mario Handler by Gustavo San Román. This was my own contribution. Continue reading
Changes in Cuba; independent video thriving
In 2002 the Cuban filmmaker Fernando Pérez made a compelling documentary called Suite Habana which portrayed the melancholic mood of the Cuban capital at the start of the 21st century. Ten years later the mood is rather different, as I discovered on my first visit to Cuba for three years, for a Seminar on Cuban Cinema in the department of history at the University of Havana. Reforms introduced over recent months which allow people to open small businesses, buy and sell their homes (instead of swapping them) and various other measures, have begun to alleviate the sense of hopelessness of the past two decades, at any rate among the students I met, who nevertheless remain critical of a regime they all consider thoroughly paternalistic. Continue reading
Soundscapes in Maastricht
Maastricht provided a suitably quiet setting for an international workshop on ‘Soundscapes of the urban past’, which covered the behaviour of audition across different forms — radio, film, theatre, plus new audio phenomena like car stereos and audio museum guides — from a range of perspectives, including social history, history of technology, sociology, music, media and cultural studies, etc. The idea, with Karin Bijsterveld at the helm, was to bring together a group of about a dozen people to discuss the drafts for a volume of essays to be published next year. Continue reading