https://tankie.tube/videos/watch/71f3ad11-2849-4fb2-beee-cc1ac4184b72 'Lotte in Italia' / 'Struggle in Italy' France, 1971, Groupe Dziga Vertov Language Audio: French, Subtitles: Spanish & English "In the four parts that make up the film, Paola Taviani, a young activist in an extra-parliamentary political movement, traces the stages of her transformation. In the first phase, the different moments of her existence (family life, studies, social relations of consumption, political activism) are experienced by her in an atomized way. On the iconographic level, this fragmentation of her perception of reality is represented by the use of entirely black frames to separate the different episodes of the story: discussions with her father, physics lessons to a working student, buying a dress, distributing leaflets followed by an arrest. At the beginning of the second part, looking at herself in a mirror, she unmasks the falsity of this kaleidoscopic image of herself. She can only unmask this falsity after making certain choices: working in a factory, the decision to build a revolutionary couple with her boyfriend, the overcoming of the previous individualistic emotional relationship. The new practice allows her to identify the ideological element (in the Marxian, therefore negative, sense of the term) of her previous fragmented perception of her own existence, its functionality in the reproduction of the conditions of existence of capitalism. The black spaces are replaced by color images with the words 'Class Struggle'. Continuing the journey from a new practice to a new theory, Paola identifies the political element, and more precisely capitalist domination, as the unifying element of the different spheres of existence. The awareness she has acquired of the prevalence of social relations of production is visually translated by the superposition of images of workers, factories, work on the previous fixed shots. And back to praxis: Paola uses the instrument of television by participating in a program on a Rai channel to denounce from the screen the mystification of an apparently tolerant and liberal program. In particular, she denounces the responsibility of the communication system, as an ideological apparatus of the bourgeois system, in the creation of a representation of culture as an autonomous and independent sphere, detached from the material processes of production. ... The basic project is written by Jean-Pierre Gorin and the “scenario” is limited to about ten sentences in his handwriting: 'Paola arrives late for dinner. Paola takes care of her mother. Paola argues with her brother about the bathroom. Paola yells at the maid. Paola talks about the rent with her boyfriend, then they make love. Paola gives her first and last name to the cop who arrests her for handing out a leaflet. Paola at the university restaurant. Paola takes her exams. The worker asks a question about the masses. Paola listens instead of reprimanding him. Paola explains critical mass to him.' Gorin conceives of the Struggles in Italy project as 'a revolutionary card game' based on the theoretical framework of the texts of the Marxist philosopher Louis Althusser, who, attending a screening of the film, is said to have wept with joy." -https://fr.wikipedia.org/wiki/Luttes_en_Italie (machine translation) "The Dziga Vertov Group is a film collective founded in 1968 by Jean-Luc Godard and Jean-Pierre Gorin to produce militant films of a Maoist orientation. The collective's name refers to the Soviet director Dziga Vertov (1896-1954), his cine-oeil (Kino-Glaz or Ciné-Eye) and his cinéma-vérité, but it is also influenced by the ideas of Bertolt Brecht (1898-1956). All the films are signed collectively. ... The films produced by the group were described by critics of the time as abstract, intellectualist, formally ugly and unbearably heavy compared to Godard's previous films. For almost two decades, they literally disappeared from biographies of the Franco-Swiss director until they were rediscovered, thanks to the distance of time (and the restoration of prints); today, critics see in them a continuous aesthetic vertigo, a rigorous formal experimentation and an investigation into the language of cinema. ... The collective acronym appears rather in conferences, interviews and written texts. Its slogan is the intention 'not to make political films, but to make films politically', which is obviously the culmination of a Godardian evolution going from "Brechtian" films ('Les Carabiniers') to investigative films ('Two or Three Things I Know About Her' or 'Masculin Féminin') and up to political didactic films ('La Chinoise' and 'Le Gai Savoir'). Concretely, its slogan means that if a film is not 'politically thought out' from its production, it cannot play an effective political role; at most, it can have a consoling function, for example galvanizing activists or shocking democratic spectators with police brutality." -https://fr.wikipedia.org/wiki/Groupe_Dziga_Vertov (machine translation) Thu, 09 Apr 2026 11:52:41 GMT https://validator.w3.org/feed/docs/rss2.html PeerTube - https://tankie.tube https://tankie.tube/lazy-static/avatars/3ba3ff73-a8b6-49c9-add8-9653ef090c7f.webp https://tankie.tube/videos/watch/71f3ad11-2849-4fb2-beee-cc1ac4184b72 All rights reserved, unless otherwise specified in the terms specified at https://tankie.tube/about and potential licenses granted by each content's rightholder.