1968 and Global Cinema

and Global Cinema CONTEMPORARY APPROACHES TO FILM AND MEDIA SERIES A complete listing of the books in this series can be found online at wsupress.wayne.edu GENERAL EDITOR Barry Keith Grant Brock University ADVISORY EDITORS Robert J. Burgoyne University of St. Andrews Caren J. Deming University of Arizona Patricia B. Erens School of the Art Institute of Chicago Peter X. Feng University of Delaware Lucy Fischer University of Pittsburgh Frances Gateward California State University, Northridge Tom Gunning University of Chicago Thomas Leitch University of Delaware Walter Metz Southern Illinois University 1968 and Global Cinema Edited by Christina Gerhardt and Sara Saljoughi WAYNE STATE UNIVERSITY PRESS DETROIT © 2018 by Wayne State University Press, Detroit, Michigan 48201. All rights reserved. No part of this book may be reproduced without formal permission. Manufactured in the United States of America. Library of Congress Cataloging Number: 9780814342930 ISBN 978- 0- 8143- 4293- 0 (paperback) ISBN 978- 0- 8143- 4542- 9 (printed case) ISBN 978- 0- 8143- 4294- 7 (ebook) Wayne State University Press Leonard N. Simons Building 4809 Woodward Avenue Detroit, Michigan 48201– 1309 Visit us online at wsupress.wayne.edu CONTENTS Acknowledgments vi Introduction. Looking Back: Global Cinema and the Legacy of New Waves around 1968 1 Christina Gerhardt and Sara Saljoughi I. The Long Sixties: Cinematic New Waves 1. The “Long 1968” and Radical Film Aesthetics 23 Robert Stam 2. “What Am I Doing in the Middle of the Revolution?”: Ennio Morricone and The Battle of Algiers 43 Lily Saint 3. Before the Revolution: The Radical Anxiety of Paulo Rocha’s Cinema 61 Rocco Giansante 4. The Czechoslovak New Wave Revisited 77 Peter Hames 5. Internationalism and the Early Student Films of the German Film and Television Academy Berlin (dffb) 95 Christina Gerhardt 6. The Hour of the Furnaces: A Film “Happening” 117 Rita de Grandis 7. Toward a New Mode of Study: The New Student Left and the Occupation of Cinema in Columbia Revolt and The Battlefront for the Liberation of Japan— Summer in Sanrizuka 145 Morgan Adamson 8. Oshima, Korea, and 1968: Death by Hanging and Three Resurrected Drunkards 165 David Desser 9. The Hypothetical and the Experimental: Reading Lindsay Anderson’s If . Alongside Pier Paolo Pasolini’s Teorema 183 Graeme Stout 10. Obscurity, Anthologized: Non- Relation and Enjoyment in Love and Anger (1969) 199 Mauro Resmini II. Aftershocks 11. Re- presenting the “Just Image”: Godard- Gorin’s Vent d’est and the Radical Thwartedness of Maoist Solidarity after May 1968 219 Man- tat Terence Leung 12. Medium UnCool: Women Shoot Back; Feminism, Film, and 1968— A Curious Documentary 241 Paula Rabinowitz 13. Third Cinema in the First World: L.A. Rebellion and the Aesthetics of Confrontation 273 Allyson Nadia Field 14. The Politics of (In)Action: Humanism, Violence, and Revolution in Satyajit Ray’s Pratidwandi/The Adversary 289 Sarah Hamblin 15. Maysles Films: Some Paradoxes of Direct Cinema in the 1960s and 1970s 311 J. M. Tyree 16. The Rhetoric of Parapraxis: The 1967 Riots and Hong Kong Film Theory 329 Victor Fan vi - Contents 17. Cultural Revolution Models on Film: The Third World Politics of Self- Reflexivity in On the Docks (1972) 345 Laurence Coderre 18. Workers Interrupting the Factory: Helena Lumbreras’s Militant Factory Films between Italy and Spain (1968– 78) 363 Pablo La Parra- Pérez 19. Political Cinema, Revolution, and Failure: The Iranian New Wave, 1962– 79 385 Sara Saljoughi List of Contributors 405 Index 409 Contents - vii ACKNOWLEDGMENTS Annie Martin, our editor at Wayne State University Press, understood the importance of the book from our first conversation. We thank her for her vision, support, and flexibility as the book grew from idea to a fully realized manuscript. We thank Barry Keith Grant, editor of the Contemporary Approaches to Film and Media Series, for his enthusiasm and support for the project. We would like to thank the anonymous readers for their generous feedback, which helped shape the volume into the book it is today. We thank Dawn Hall, copy- editor, for working so diligently and precisely. Many thanks to Rachel Ross, the designer of the book, for understanding our vision and exceeding our expec- tations. We thank the promotions, marketing, and advertising team for their stellar work: Kristina Stonehill, Emily Nowak, and Jamie Jones. Last but not least, we thank Kristin Harpster, Editorial, Design, and Production Manager, for her excellent work. The book benefited from several conference panels devoted to the topic of 1968 and global cinema at the 2016 and 2017 meetings of SCMS, the 2016 and 2017 ACLA conference, and the 2017 MLA. We thank the MLA executive committee on Screen Arts and Culture for sponsoring the panel on this topic. The papers and audiences at these conferences confirmed our suspicion that there is much, much more to say about the long 1968. Our deepest gratitude goes to our contributors, whose work has shaped the book into something far beyond what we initially imagined. As 1968 and Global Cinema developed, we were fortunate to have the involvement of exist- ing friends and colleagues, as well as the formation of new intellectual com- munities, some of which have already produced new collaborations. We look forward to future conversations and projects generated by this volume. INTRODUCTION Looking Back Global Cinema and the Legacy of New Waves around 1968 Christina Gerhardt and Sara Saljoughi The year 1968 was a watershed that brought about radical political and social changes internationally. These changes are both reflected in and constitutive of new cinemas around 1968. Throughout the 1950s and 1960s, anticolonial wars of self- liberation and self- determination were being waged throughout Africa, Southeast Asia, and Latin America. A vibrant discourse critical of imperial- ism formed a key node of the social and student movements of the 1960s, with particular attention paid to the transition from the Indochina Wars to the US- Vietnam War. The conditions that these movements sought to change varied from country to country, but their lasting impact and their dialogue is undeniable. On its fiftieth anniversary, the year 1968 continues to signify predomi- nantly the massive demonstrations by students in France and in the United States. In cinema, too, 1968 is primarily associated with the French or US traditions. The aesthetics and politics of the cinemas of 1968 intersect with new waves, national cinema traditions, political cinemas, debates on realism and modernism, and significant changes in the study of film. 1968 and Global Cin- ema takes the occasion of the anniversary of May 1968 to explore the interplay of political and aesthetic affiliations that make up this historical moment, to examine lesser known film cultures engaged in the politics of 1968, and to pro- vide new readings of canonical film texts of what, following Fredric Jameson, we will call the long sixties and the long 1968.1 As Jameson put it: “Here . the ‘period’ in question is understood not as some omnipresent and uniform shared style or way of thinking and acting, but rather as the sharing of a common objective situation, to which a whole range of varied responses and creative innovations is then possible, but always within that situation’s struc- tural limits.”2 The notion of a long 1968 opens the cipher of “1968” to consider how the politics and aesthetics preceding and following this date inform 1968. In order to think of 1968 as “long,” a longer, more processual periodization and one that emphasizes a wide- ranging set of artistic, political, social, and economic practices and forces must be taken into consideration. The influence of both anticolonial discourse and international solidarity movements on film cultures around 1968 forms a key focus of the book. This volume reexamines the complex ways in which the politics and the image of the 1960s were undertaken differently in varied national, linguistic, cultural, and political contexts. As we move into a new century of political cinema, it is ever more vital to write new genealogies and histories of radical cinema. In part, this attempt to write new histories of 1968 and of global, political cinemas attends to the rather belated discussion of the global and non- Western in the disciplines of film, media, and visual studies. In writing this new history of 1968, our emphasis in this volume is on the political and aesthetic affinities across film cultures, the influence of anticolonial discourse, of international solidarity, of discourses of modernism and realism, and of radical documentary traditions. Following Sylvia Harvey, we are analyzing this crucial historical moment “moved by the need to view it and review it in the hopes of con- structing a future as well as a past.”3 Given the wide range of scholarship on May ’68 in France, one question that emerges is how to revisit this topic today using a new approach. Our per- spective in this book is that although scholarship exists on the late 1950s and 1960s new waves, little research puts cinemas of and on 1968 into dialogue across national boundaries. Most of the published scholarship focuses on the celebrated films of the French New Wave,4 especially those of François Truffaut and Jean- Luc Godard,5 and of the Left Bank cinema of Chris Marker.6 Sig- nificant studies consider the legacies of Third Cinema, such as Mike Wayne’s Political Cinema: The Dialectics of Third Cinema, as well as on individual movements such as Brazilian Cinema Novo.7 Research on movements such as the British New Wave,8 and the so- called Angry Young Men,9 as well as the Czech New Wave has expanded understandings of cinematic new waves during this period.10 The cinema of the global 1960s has also maintained its 2 - Christina Gerhardt and Sara Saljoughi various afterlives in part through screenings at film festivals or as special film programming.

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