Monday, February 13, 2012

Octavio Getino and Fernando Solanas, La Hora De Los Hornos: Notas y Testimonios Sobre el Neocolonialismo, la Violencia y la Liberación


  1. "Cine-semiologists define the cinema as a system of signification rather than communication, arguing that the gap between the reception and the production of an answering message, allows only for deferred communication. LA HORA DE LOS HORNOS, by opening itself up to person-to-person debate, tests and 'stretches' this definition to its very limits. In a provocative amalgam of cinema/theater/political rally, it joins the space of representation to the space of the spectator, thus making 'real' and immediate communication possible. The passive cinematic experience, that rendez-vous manque between exhibitionist and voyeur, is transformed into a 'theatrical' encounter between human beings present in the flesh. The two-dimensional space of the screen gives way to the three-dimensional space of theater and politics. The film mobilizes, fostering motor and mental activity rather than self-indulgent fantasy. Rather than vibrate to the sensibility of an Auteur, the spectators become the authors of their own destiny. Rather than a mass hero on the screen, the protagonists of history are in the audience. Rather than a woman to regress in, the cinema becomes a political stage on which to act."

    Robert Stam, "The Hour of the Furnaces and the Two Avant-Gardes" (1980)