CINEMA, SOUL IN THE EYES
organization Art Promotion

WORKING CLASS HEROES – Walking and singing the May Day song

 

Italia – color e b&n – 40/45’

 

Direction: Giandomenico Curi

Screenplay: Giandomenico Curi

Editing: Milena Fiore

Voice-Over: Donatella Allegro, Giandomenico Curi

Production: AAMOD (Archivio Audiovisivo del Movimento Operaio e Democratico)

 

SYNOPSIS

A journey (highly unorthodox) into the working and the May Day topics, accompanied by the presence, cross-eyed and sporadic, of the camera, starting with Exiting the Factory by the Lumière brothers, on which Harun Farocki has then built his own theory, concerning precisely the relationship between the factory (i.e. the exploitation and alienation) and the cinema (entertainment, consumption, show business). And it is the cinema, together with the song, that has created its working class heroes, the heroes of the working class, of which Lennon speaks, but also Springsteen, Cocker, Strummer, Bragg, the Gang and so on. At the center of the film remains however the hard-core of the documentary film, the images that, thanks to the documentation work of AAMOD, for many years have accompanied the great stream of the May Day people, walking, singing and claiming another possible world.

 

DIRECTOR’S STATEMENT

“It is a documentary film realized exclusively with editing work, which does not use even a frame of the footage. Thus, first of all an ecological movie (in the sense of an ecology of the field of view), which works only on archive images (“the world is already a film, it is only a matter of transforming it”, said Débord). And at the same time a recycling film, according to the formula now widely experienced of the found footage film. That is “the use of footage as a found object”. On the one hand, the materials deriving from disparate audiovisual practices (from the newsreels to the Hollywood films); on the other side, the specific ways in which these images are revisited, overlaid and layered. In other words, it is the possibility of creating a new cinema, starting from the archive materials of the past, and acting in the direction of a semantic repositioning able to raise up new visions. Talking about documentary, this means that, first of all, the cinema is the world and not its representation; and that every time it is necessary to reverse the logic of the dominant images, to reveal its illusory, stigmatized and commercialized context”.