Monday, 26 April 2010

MAY's SCREENING: The All Round Reduced Personality

The All Round Reduced Personality (Reduper), Helke Sander 1978.

Sunday May 30th at 5PM
At 56a Infoshop

Great article here from JUMP CUT: here

Tuesday, 13 April 2010



Sunday 23 May 5 – 11pm

195 Mare Street Social Centre

Full Unemployment Cinema presents a new documentary film on workers struggles in Faridabad, Gurgaon and other areas of Delhi's industrial belt.

6 - 8pm
Developing Unrest: Workers' Struggle in Gurgaon - One of India's Miserable Boom Cities
Film screening and discussion with speaker from Gurgaon Workers News

8 – 11pm
Music from Full Unemployment Cinema DJs
Bashment, dubstep, mbalax, dancehall and more

This is a benefit for Short Fuse Press and Full Unemployment Cinema for more about these London based self-organised and autonomous projects follow the links below

Entrance free but donations welcome

Film Screening and Debate

Developing Unrest: Workers' Struggle in Gurgaon - One of India's Miserable Boom Cities

Gurgaon, a satellite town in the south of Delhi became the symbol of 'Shining India'. In the industrial areas of Gurgaon a very particular class composition emerged. Hundred of thousands migrant garment workers work next to the assembly lines of India's biggest automobile hub and next to hundred thousand young workers sweating under the head-sets of Gurgaon's call centres.

Due to the real estate boom which catapulted local farmers out of their fields into land-lordism and business a specific coalition of local political class, land-lords, labour contractors, police and company-hired local goons became a repressive front ready to quell expressions of workers' unrest. This local front of ruling class is complemented by a faceless front of multi-national investment and central government policies.

Many traditional strikes of the minoritarian permanent work-force end up in mass lock-outs. A new generation of casual workers is forced to take direct action: during recent years wildcat strikes and factory occupations shook the major auto plants and garment factories.

Since the early 1980s small group of unorthodox communists publish a monthly workers' newspaper 'Faridabad Majdoor Samachar' in nearby Faridabad, documenting workers' experiences and asking questions of how to build non-hierarchical collectivities of mutual aid and subversion against the machine. Currently they try to open meeting spaces with workers in Faridabad, Gurgaon and other areas of Delhi's industrial belt.

We want to screen a recently finished documentary on proletarian experiences in Gurgaon. A comrade involved in GurgaonWorkersNews will share his impressions after several longer stays in the region. We hope to contribute to the debate about how 'international proletarian support' could look like, what kind of role can a 'workers' newspaper' or a 'form of organisation' play today.

Monday, 5 April 2010

APRIL's SCREENING: Office Killer

SUNDAY APRIL 25th at 5pm
At 56a Infoshop

Office Killer, Cindy Sherman 1997 (82 mins)

Setting up a group of people of the most uninteresting kind - office
workers - at first the plot seems bland and commonplace. Dorine, an
innocuous-looking young woman with owlish eyes hiding behind thick glasses
and wearing outdated dresses, gives the impression of both innocence and
ineptitude, especially of the kind that results from being trampled under.

The weekly magazine she works for is currently downsizing, meaning Dorine from now on will have to do part of her work at home, on a laptop computer she barely knows how to handle. The only denizens of her furniture-bare apartment are a grouchy invalid mother and a mouse-hunting cat, both diabolical. Dorine is seen dropping a dead mouse down a garbage disposer.

She pronounces her words as a robot first learning to speak English would,elongating the vowels and crisply spitting out the consonants. She is the joke at the office, considered no less than retarded, useful but disposable, barely a female and only borderline human.

Her co-workers, elegant women with boyfriends, tempers, and super-charged ambitions, include Norah Reed (Jeanne Trippleton), Kim Poole (Molly Ringwald), and Vriginia Wingate (Barbara Sukowa), whose asthma condition compels her to
constantly breathe into a tube. In this competitive woman's world, the last will become first, and it is Dorine, the one trampled under, who will eventually dominate.

(SPOILER ALERT!!! skip the next paragraph if you are concerned with plot and narrative!)

Dorine's metamorphosis occurs without warning, with the suddenness of an eruption. One night at the office, she is called upon to do late work, her computer breaks down and she asks the help of a co-worker, Gary Michaels (David Thornton), who is electrocuted while trying to fix the wires. Dorine dials 911, but hangs up when the call is answered. She places the corpse on a cart, rolls it down to her car, loads it in her trunk, and takes it home, placing it in her furnished basement (we don't see the body until later).

Then, seemingly without reason, she goes into a murder spree. (...)

The movie does not analyze Dorine directly but it gets a bit heavy-handed when it tries to establish cause and effect by showing flashbacks of Dorine's relationship to her parents, especially her father, a domineering tyrant and child molester. Dorine had murdered her father, pulling at his hand while he was driving and trying to fondle her knee. Her mother was paralyzed because of that incident. These scenes, which show a young vindictive, intelligent, and vicious Dorine (Rachel Aviva), connect poorly with the overall flow of the story - seeming intrusions rather than explanations of insanity.

That Dorine is mad is evident in her hallucinatory visions of corpses-of those she murdered-come to life and perform a macabre dance in her furnished basement, her necrophiliac's paradise. Her murders are not motivated by revenge-for why would she kill the girl scouts? They are rather the necessary conditions for a new state of being for Dorine, of a life with the dead, who provide a companionship unmolested by pettiness and frustration. With this film, Cindy Sherman heralds a promising career, offering a feat of imagination practically unheard of since the days of Robert Browning ("Porphyria's Lover") and Edgar Allan Poe ("Lygeia"), two nineteenth century writers who understood intuitively the inner workings of a mad mind.

by Constantine Santas
From Sense of Cinema