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        <title>How Yukong Moved the Mountains: 02 -A Barracks  (China, 1976, Joris Ivens &amp; Marceline Loridan-Ivens)</title>
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        <description>'Comment Yukong Déplaça les Montagnes' / 'How Yukong Moved the Mountains' China, 1976, Joris Ivens &amp; Marceline Loridan-Ivens Language Audio: ENG dub, Subs: N/A "Shoulder to the Wheel In order to form their own image of the actual situation, Ivens and Loridan set out on a three month tour of the immense country. They visited schools, factories and workshops, among them a primary school in Beijing, a ping pong factory, and ‘Engineering Works July 21st’, named after Mao’s appeal to the people on July 21st 1968 to take his thoughts as a guide for life. According to Ivens’ notes, he and Loridan found themselves in the room in front of a large white table at which the workers committee were seated: a very serious looking female engineer, a blue-shirted female worker with huge hands and lock of black hair hanging over her face, and the party secretary to their right. The wall was decorated with slogans and quotations from Chairman Mao, portraits of Marx, Engels, Lenin, Stalin and Mao and a huge blackboard that read: ‘Welcome to comrade Ivens and comrade Loridan’.[6] Via an interpreter, both filmmakers confronted the ‘reception committee’ with an constant string of questions about the political awareness of the workers and reported back to the film studio on their findings, conscious that they had to serve as the basis of a film plan. To do justice to the Cultural Revolution’s most important slogan ‘Serve the People’, Ivens and Loridan did not limit themselves to talking alone. ‘Last week Marceline and I spent some time working at a massive factory 25 kilometres from Peking where they manufacture diesel locomotives. We stayed with the labourers and worked on a couple of engine parts in the factory. It was a good opportunity to learn something about the daily lives of the people, their work, their thoughts, their ambitions. It was particularly useful, because short visits to factories, universities, and communes provide nothing more than surface impressions. [...] I would like to make a film here next year. There’s something important happening here, a critical event in the history of the moment. And as you know, I have always tried to keep pace with history in my documentary film work,’ Ivens wrote to Jan de Vaal, director of the Dutch Film Museum, with whom he corresponded regularly.[7]" -https://www.ivens.nl/ (https://www.ivens.nl/en/163-yukong-on-cannes-classics-2014)</description>
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