the hour of the furnaces ( spanish : la hora de los hornos ) is a 1968 film directed by octavio getino and fernando solanas .

' the paradigm of revolutionary activist cinema ' , it addresses the politics of the ' third worldist ' films and latin-american manifesto of the late 1960s .

the hour of the furnaces

now is the hour of the furnaces , and only light should be seen .
la hora de los hornos / hour of the furnaces by fernando solanas and octavio getino ( 1968 ) . online at : urltoken
thanks . . love your intertextual video essay ! by the way , your link to len lye ' s film gives the url to hour of the furnaces ( as if free radicals is now absorbed - merged in hour of the furnaces . . . . interesting idea ! )
cemas has fi̇ni̇shed i̇nstalli̇ng 2 new i̇nducti̇on furnaces each wi̇th 6 tons / hour melt abi̇li̇ty whi̇ch wi̇ll i̇ncrease the melt capaci̇ty % 75 and fi̇rst li̇qui̇d metal has been obtai̇ned .
sound counts down to the september issue’s once - a - decade poll to find the greatest film of all time , french critic nicole brenez makes the case for one of the key revolutionary activist films of the 1960s , the hour of the furnaces .
robert stam , ‘ the hour of the furnaces and the two avant - gardes’ , in julianne burton , ed . , the social documentary in latin america ( pittsburgh : university of pittsburgh press , 1990 ) , pp . 251 - 66 .
coming up on august 3rd , rivers of steel national heritage area and the young preservationists association will be co - hosting happy hour with carrie – a one hour tour of the carrie furnaces followed by beer and socializing at voodoo brewery homestead . ypa members receive a discount on tour tickets with the code ypa2016 . this is a great opportunity to network with others who share a passion for preservation while checking out the incredible carrie furnaces site ( and the awesome craft beer at voodoo ) .
rivers of steel arts ( rosa ) is excited to welcome the pittsburgh community to our first annual community day at the carrie furnaces on july 15th , 2017 from 3 - 7pm ! bring the kids and meet your neighbors at the national historic landmark carrie furnaces for a day filled with creative projects , outdoor fun , raffle prizes , local food and entertainment . visitors get behind - the - scenes look at the exciting programming rosa offers throughout the season including hands - on workshops , photo safaris , graffiti art projects , foundry work and much more . create your own unique piece of aerosol art or cyanotype . explore the massive furnaces through one of our inspirational tours . or simply come down and enjoy dinner with the family outdoors amidst the serene and awesome carrie furnaces !
the film’s elegant radicalism inspired many later visual essayists such as chris marker , the dziga vertov group , the cinéthique group , patricio guzmán , alexander kluge and films such as the spiral ( 1975 ) made by armand mattelart , jacqueline meppiel and valérie mayoux ( with the help of chris marker ) . in fact the analysis of conditions in chile found in the spiral and guzmán’s the battle of chile ( 1977 ) can be considered fourth and fifth chapters of the hour of the furnaces .
having proved its power to inspire , the hour of the furnaces remains incendiary because it affirms its thesis as if it were throwing grenades , accepting that the wind of history drives some of the flames back towards the thrower . among its arguments urging armed struggle there is one slogan , however , that’s proving false in these times of lethal neoliberalism : “no social order commits suicide . ” let’s hope that some collective , somewhere in the world , is preparing the tinder .
the film la hora de los hornos ( the hour of the furnaces , 1968 ) , a third cinema manifesto against neocolonialism , has a brilliant installation specification . 1 a banner was to be hung at every screening with text reading : “every spectator is either a coward or a traitor . ” 2 it was intended to break down the distinctions between filmmaker and audience , author and producer , and thus create a sphere of political action . and where was this film shown ? in factories , of course . now , . . .
the chronicle of the political tension in chile in 1973 and of the violent counter revolution against the democratically elected government of salvador allende .
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the hour of the furnaces : notes and testimonies on neocolonialism , violence and liberation is a didactic essay organised into 14 chapters : ‘introduction’ ; 1 ) ‘the history’ ; 2 ) ‘the country’ ; 3 ) ‘daily violence’ ; 4 ) ‘the port city’ ; 5 ) ‘the oligarchy’ ; 6 ) ‘the system’ ; 7 ) ‘political violence’ ; 8 ) ‘neoracism’ ; 9 ) ‘dependence’ ; 10 ) ‘cultural violence’ ; 11 ) ‘models’ ; 12 ) ‘ideological welfare’ ; 13 ) ‘the choice’ . in other words , the film conducts a comprehensive analysis of the history , geography , economy , sociology , ideology , culture , religion and daily life of latin america . each dimension and source of oppression is documented and pondered , as is each link between determinations and their consequences .
because no movie genre makes quite as personal de mands on the viewer as the political documentary , or plays on his prejudices with such accuracy , perhaps i should explain something of my own experiences , which , of course , i took with me when i entered the theater to see “the hour of the fur naces . ” i ' m no student of either argentina or latin america , and just about everything i know of them is the more or less chance result of several short visits to argentina in the early 1960 ' s .
one of the key films of the 1960s , don’t miss this extremely rare chance to see on the big screen the film that established the paradigm of revolutionary activist cinema .
while chronicle of peronism drew on a reservoir of familiar images forming part of the audiovisual memory of argentinian popular classes , ‘chronicle of resistance’ incorporated a fresco of reports and testimonies about argentine popular struggles during a long period of proscription .
not only is farocki’s workers leaving the factory , on the level of content , a wonderful archaeology of the ( non ) representation of labor ; on the level of form it points to the spilling over of the factory into the art space . workers who left the factory have ended up inside another one : the museum .
the former director of the austrian film museum on the preservation of film heritage & what it means to preserve cinema in the 21st century .
the seminar will consider how film can be used to explore changes in the architectural understanding of space that were central to emergence of the new architecture after world war i . starting with the explanation of architectural space offered by sigfried giedion ' s hugely popular space time and architecture , the first half of the session will contrast the spatial composition of charles garnier ' s opera house , paris , one of the heroic celebrations of the beaux arts approach , with le corbusier ' s villa savoye , one of the best - known paradigms of the new architecture of the 1920s .
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a quote from frantz fanon’s the wretched of the earth . the film was of course banne d and had to be shown clandestinely .
as its title implies , the film is a series of interviews with five enlisted men who participated in the mylai ac tion and all of whom are now out of the army . the effect of the testimony—rueful , matter‐of‐fact , unsentimen tal , a lot of it smiling ( at the interviewer and at the fact of being interviewed , rather than at the subject ) —is ter rifying , and almost indescrib ably sad .
arl schmitt , groys assigns the role of sovereign to the artist who—in a state of exception—violently establishes his own law by “arresting” a space in the form of an installation . the artist then assumes a role as sovereign founder of the exhibition’s public sphere .
in october 1969 jean - luc godard interviewed solanas and getino in paris , and then published the following pronouncement in the maoist magazine cinéthique : “during the screening of an imperialist film , the screen sells the voice of the boss to the viewer ; the voice flatters , represses or bludgeons . during the screening of a revisionist film , the screen is only the loudspeaker of a voice delegated by the people but which is no longer the voice of the people , for the people watch their own disfigured face in silence . during the screening of an activist film , the screen is just a blackboard or the wall of a school providing a concrete analysis of a concrete situation . ”
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from what i have seen , taekwondo is labyrinth of bodies . the male body in the film transforms into a generalized spectre , a site of struggle of sexuality . what i liked about the film is that it withdraws from the penetrative approach of contemporary gay films by exhuming the liminal power of the body to question the politics of visibility of lgbtq cinema . in withdrawing from penetrative paradigm of gay identity politics , the film reconstructs a ‘minotaurian dilemma’ of bodies and orientations . in the end , theseus , in parallel to the character of german ( played by gabriel epstein ) , will slay the minotaur , in parallel to the character of fer ( played by lucas papa ) , at the center of labyrinth with a kiss .
this production transcends the usual run of shakespearean presentations in taste , beauty and imagination . many of the misgivings one is
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to mark the centenary of the russian revolution and its cultural impact we present a season of films which were born from the revolutionary spirit and influence .
completed two years after the battle of chile : part i ( 1975 ) and the battle of chile : part ii ( 1976 ) , this film deals with the creation of thousands of local groups of
popular power
by . . . see full summary »
the second part of la hora de los hornos caused the greatest degree of controversy internationally . the recovery of peronism as a revolutionary popular movement , and particularly of perón as a charismatic leader , was called into question . however , other critics rescued the new treatment of peronism which the film came to offer , as well as the more complex reading of a phenomenon which most of the european traditional left had wrongly and hastily associated with fascism .
we’ll have a complete list of prizes at the ballot box . please see the bottom of the article for some ( totally reasonable ! ) terms and conditions for the prizes .
founded in 1999 , senses of cinema is one of the first online film journals of its kind and has set the standard for professional , high quality film - related content on the internet .
, which is one of the oldest building in one of pittsburgh’s most revered and notable historic districts , the mexican war streets .
taking the marxist concept of praxis seriously , the hours of the furnaces wages its battle not only on the argentinian political front but also on the aesthetic and theoretical fronts . considering its modest underground provenance and its growing historical influence , the film seems to have fought victoriously because it attacked all three areas with equal energy and ingenuity . as jean - luc godard once said about solzhenitsyn : “we already knew all about what he wrote , but he was listened to because he had style . ” the film’s renewal of the economic - political treatise as cinematic form can be traced in many subsequent films whose activism operates through similarly diverse experimental energies : godard’s le rapport darty ( 1989 ) , raoul peck’s profit
jürgen habermas , the structural transformation of the public sphere : an inquiry into a category of bourgeois society , trans . thomas burger with the assistance of frederick lawrence ( cambridge , ma : the mit press , [ 1962
ranjana khanna , ‘the battle of algiers and the nouba of the women of mont chenoua : from third to fourth cinema’ in third text , 12 : 43 ( 1998 ) , 13 - 32 .
cinema , which integrated the logic of taylorist production and the conveyor belt , now spreads the factory wherever it travels . but this type of production is much more intensive than the industrial one . the senses are drafted into production , the media capitalize upon the aesthetic faculties and imaginary practices of viewers .
in an interview in cahiers du cinéma , solanas rescued the historical meaning of peronism and the place of nationalism in liberation processes , and maintained that many had failed to understand the film’s theses : the limits of bourgeois nationalism ; the impossibility of a democratic bourgeois revolution if it was not continued as a socialist revolution ; the latin american horizon of national struggles .
over the course of the last century , the us has silently encircled the world with a web of military bases unlike any other in history . no continent is spared . they have shaped the lives of millions , yet remain a mystery to most .
one of the most popular attractions last year were the suits of armour we had set up . people loved to pose with them .
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it is quite curious that the first films ever made by louis lumière show workers leaving the factory . at the beginning of cinema , workers leave the industrial workplace . the invention of cinema thus symbolically marks the start of the exodus of workers from industrial modes of production . but even if they leave the factory building , it doesn’t mean that they have left labor behind . rather , they take it along with them and disperse it into every sector of life .
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rivers of steel arts ( rosa ) supports artistic place - based projects that further the interpretation of local history and re - imagine the future of familiar places . . . learn more
they are shown in the museum , or the gallery—the art space . that is , in any sort of white cube .
. ] the workers who left the factory in 1895 have today been recaptured on the screen of the cinema within the same space . they only left the factory to reemerge as a spectacle inside it .
an impassioned three - part documentary of the liberation struggle waged throughout latin america , the film uses argentina as an historical example of the imperialist exploitation of the continent . the first part , neo - colonialism and violence , is an historical , geographic , and economic analysis of argentina and part two , an act for liberation , examines the ten - year reign of juan perón ( 1945 - 55 ) and the activities of the peronist movement after his fall from power . the final part , violence and liberation , studies the role of violence in the national liberation process and constitutes a call for action .
protective custody is no simple arrest . it refers to a state of exception or ( at least ) a temporal suspension of legality that allows the suspension of the law itself . this state of exception is also addressed in boris groys
16 thinkers gathered together to discuss the political issues in japan , such as reuse of nuclear plants , accepting right of collective self defense , tpp , the secrecy law and the revision of constitution by abe regime .
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we’ve invited corinne betchel , director of tourism of rivers of steel national heritage area , to contribute to the ypa blog as our first guest blogger . check out what’s happening with rivers of steel this summer !
styles of substance : the extraordinary image : orson welles , alfred hitchcock , stanley kubrick , and the reimagining of cinema , by robert p . kolker
the last part of the film is presented as a study supported by testimonies ( letters from fighters , interviews , reports ) relating to the meaning of violence in the process of national liberation . from the beginning of this part , there is an insistence on the open nature of the film , related to its disposition to encouraging open dialogue . there is also a specific explanation of its ‘unfinishedness’ , as it intends to incorporate new materials which might arise from the process of liberation itself in which the film seeks to be inserted . the film ends with footage of latin american and third world struggles , accompanying a discourse questioning the possibility of pacific coexistence , as well as a song on violence and liberation , written by solanas himself .
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there is however one interesting difference between cinema and factory : in the rebuilt scenery of the lumière museum , the opening of the former gate is now blocked by a transparent glass pane to indicate the framing of the early film . leaving spectators have to go around this obstacle , and leave through the former location of the gate itself , which no longer exists . thus , the current situation is like a negative of the former one : people are blocked by the former opening , which has now turned into a glass screen ; they have to exit through the former walls of the factory , which have now partly vanished . see photographs at ibid .
divided into three segments , namely 1 neocolonialism , 2 act for liberation , 3 violence and liberation , the documentary lasts more than 4 hours this deals with the defense of the revolution and the revolution of the third world such as the revolt of the students in the united states and western europe , czech citizens protest against the soviet union ' s state bureaucracy and also the revolution that ( probably ) is unprecedented in argentina .
at this point , a decisive difference emerges between classical cinema and the museum . while the classical space of cinema resembles the space of the industrial factory , the museum corresponds to the dispersed space of the social factory . both cinema and fordist factory are organized as locations of confinement , arrest , and temporal control . imagine : workers leaving the factory . spectators leaving the cinema—a similar mass , disciplined and controlled in time , assembled and released at regular intervals . as the traditional factory arrests its workers , the cinema arrests the spectator . both are disciplinary spaces and spaces of confinement .
one example of a development that capitalized on a historic pittsburgh building was a recent ypa happy hour destination . the ace hotel on s . whitfield street in the east liberty neighborhood was once a ymca . built in the early 1900’s , the ace hotel franchise purchased the building in 2006 and completed an extensive renovation . the building has been restored to its original glory , with a few minor adaptations : a bar and restaurant now occupy the entrance and the gym now holds dance parties as opposed to high school basketball games . an over $ 20 million dollar investment , the ace hotel leveraged tax credits , grant money , and private money to restore the boutique hotel . while a valid argument can be made about the benefit of the ace hotel for the existing east liberty residents , i know i would much rather see a historic building repurposed rather than bleak new construction erected or another building left to deteriorate .
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beginning in the mid - 1990s , young directors , the majority of whom had graduated from one of many film schools in argentina , began producing low - budget , independent films in a style that earned this group the classification of the new independent argentine cinema .
the second half of the seminar will concentrate on architectures d ' aujourd ' hui ( 1930 ) , a collaboration between film - maker pierre chenal and le corbusier . it constitutes le corbusier ' s most tangible foray into film - making and highlights the crucial contribution he made to the field of cinema and architecture as one of the first examples of ' narrative expressive space ' . this will be illustrated by the analysis of the ' promenade architecturale ' scene in the villa savoye .
one of my book finds in lav diaz’s library - kubler’s the shape of time . i wonder if he ever read this .
some of solanas ' s juxtapo sitions are so obvious they are unworthy of the quality of the passion of the film that contains them . mostly , however , the images , the edit ing and the sound track are fine , even witty , as in the section on the argentine aristocracy , defined by its grandiose cemetery that looks like washington ' s resurrec tion city , sculptured in mar ble . the aristocrats , he notes , “take the past as [ if it were ] a future . ”
diaz’s eurocentric audience also poses a problematic politics of reception . one of my cinephile friends from italy , renato loriga , expressed his distaste on european cinephilia’s instant positive appraisal on diaz’s cinema after winning three successive major awards from the top european film festivals of locarno , berlin and venice in the span of three years . renato told me that the italian critics , especially those who have ignored some of his early long - form works in the 2000s , were suddenly appreciative of his cinema because of the awards he won . diaz was almost suddenly under the radar of critics , scholars , producers , distributors and the media , earning him a title as one of the world’s most renowned filmmakers .
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grupo cine liberación ( fernando e . solanas , octavio getino ) , argentina , 1968 . the work is one of the most important films of third cinema .
a film about the true reasons for the 1989 us invasion of panama and big media complicity in these activities .
souriau developed his idea of the agogic as an explicit reaction to the ‘rather banal description [ of ] arts of space in contrast to the phonetic and cinematic arts’ . [ of ] interest is popper’s use of the term to describe the quality of temporal pattern that he identifies in a range of works . at one extreme [ . . ] . ] is the velocity and dramatic choreography of a len lye installation . the term agogic conflates speed , acceleration and duration and would appear to be a significant aspect of kinetic form . [ jules moloney , designing kinetics for architectural facades : state change ( new york : taylor and francis , 2011 ) , p . 64 . ]
in continuing this written monologue about conversation , i am becoming aware of the sheer weirdness of thinking in this way about something that behaves so differently than writing “for the record . ” but if , as maurice blanchot demonstrates , conversation can be defined as a series of interruptions—perhaps the most powerful of which being the neutrality of silence—then writing , which is a kind of silent speech , may itself constitute an interruption to the way conversation is imagined . 1 . . .
anhui xinke new materials stock co . ltd . , the chinese copper strip manufacturer based in wuhu city , anhui province , had signed a contract for the supply of two induction furnace systems with induga in october 2012 . as part of a drive to expand production capacity , the equipment is intended to provide copper - iron alloy stock for the production of leadframe strip of high electrical conductivity . for melting down copper cathodes and return scrap , a 10 - tonne medium - frequency coreless furnace with a rated power of 3 , 000 kw at 250 hz is to be provided by otto junker gmbh . the system can achieve a maximum melting rate of 7 . 5 tonnes / hour . the furnace will be equipped with a stepless tilting feature allowing the vessel to be tipped backwards by up to 20º to facilitate de - slagging . from the melting furnace the liquid metal will be transferred directly to a mobile sidewell - type pouring furnace equipped with a 300 kw coreless inductor . both furnace systems are to be fitted with power converter and switchgear equipment based on igbt technology , apart from receiving the most advanced process control technology . our scope of delivery will likewise comprise the water recooling systems as well as the charging equipment for the melting furnace . delivery of these furnace installations is slated for october 2013 . the customer aims to commission the production line in april 2014 .
paul a . schroeder is author of tomás gutiérrez alea : the dialectics of a filmmaker ( routledge , 2002 ) , and is currently working on a general history of latin american cinema .
the processes of the factory have entered the museum in ways that warhol and duchamp could never have dreamed : the amount of art production now by far exceeds what can be processed or understood , and this often creates a degree of mistrust and an absence of common points of reference with which to not only discuss , but also to gain anything from the sheer volume of artworks placed on display today . the time to engage and digest work is often replaced by additional work—it just keeps coming . . .
prior to this , the filmmakers’ voice addressed compañeros ( comrades – a privileged kind of spectator ) , those ‘protagonists of the process which the film somehow attempts to bear witness to and deepen’ , reaffirming the idea of openness ( and even collective authorship ) contained in the concept of film act : ‘the film is a pretext for dialogue , for the search and the meeting of wills . this is a report we place before you for your consideration to be debated after the screening . what counts is the conclusions you can draw as the real authors and protagonists of this story… above all , what counts is the action that might spring from these conclusions… that’s why the film stops here and opens up for you to continue it . ’
lotte eisner , ' the beginnings of the expressionist film ' , in the haunted screen : expressionism in the german cinema and the influence of max reinhardt [ 1952 ] , transl . r . greaves ( berkeley and los angeles 1973 ) , pp . 17 - 27
how did this happen ? first of all , the traditional fordist factory is , for the most part , gone .
every week until the show we’ll be giving away a pair of free tickets to the show on our facebook page .
manuel castells , “the space of flows” , in the rise of the network society , 2nd edn . ( chichester ; malden , ma : wiley - blackwell , 2010 ) , pp . 407 - 59
tom gunning , '
now you see it , now you don ' t
: the temporality of the cinema of attractions ' ( pp . 41 - 50 )
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while questions of creative sovereignty ( hurriyat al - ibda‛ ) tend to loom large in egyptian academic writings , the artistic trajectory of the annual juried competition known as the youth salon has been marked , historically , by structural inertia . established in 1989 by the ministry of culture , the exhibition was meant to encourage a new generation of egyptian artists and increase their international visibility . 1 jessica winegar has explored the salon as a “tournament of values” that is . . .
the period of the 1960s in latin american cinema was revolutionary . third cinema emerged during this period as collective effort to decolonize latin american culture and resist the cultural imperialism of the united states . how’s the third cinema project in your respective regions now ? is the tradition of militant filmmaking , as inaugurated by getino and solanas , still practiced among militant filmmakers ?
without notice , the question of political cinema has been inverted . what began as a discussion of political cinema in the museum has turned into a question of cinematic politics in a factory . traditionally , political cinema was meant to educate—it was an instrumental effort at “representation” in order to achieve its effects in “reality . ” it was measured in terms of efficiency , of revolutionary revelation , of gains in consciousness , or as potential triggers of action .
go behind the scenes of the mission : impossible movies , check out the latest videos and trailers , and see which spy movies topped the box office in our mission : impossible guide .
rosenstone , robert , ' introduction ' , in visions of the past : the challenge of film to our idea of history ( cambridge , ma ; london : harvard university press , 1995 ) , pp . 1 - 19 .
this extreme control over visibility sits rather uncomfortably alongside the perception of the museum as a public space . what does this invisibility then say about the contemporary museum as a public space ? and how does the inclusion of cinematic works complicate this picture ?
“photography and video filming are not normally allowed at tate” ( → ) . however , filming there is welcomed on a commercial basis , with location fees starting at £200 an hour ( → ) . policy at the centre pompidou is more confusing : “you may film or photograph works from permanent collections ( which you will find on levels 4 and 5 and in the atelier brancusi ) for your own personal use . you may not , however , photograph or film works that have a red dot , and you may not use a flash or stand . ” ( → ) .
are considered to be a great american triumph . two of his plays , “fences” and “the piano lesson” , have won pulitzer prizes . the august wilson house is also listed on the national register of historic places .
tom gunning , d . w . griffith and the origins of american narrative film : the early years at biograph ( urbana , il : univerisity of illinois press , 1994 ) .
david harvey , ' time - space compression and the rise of modernism as a cultural force ' and ' time - space compression and the postmodern condition ' , in the condition of postmodernity : an enquiry into the origins of cultural change ( oxford : blackwell , 1990 ) , pp . 260 - 307 .
the current discussion of cinema and the museum as public sphere is an animated one . thomas elsaesser , for example , asks whether cinema in the museum might constitute the last remaining bourgeois public sphere .
conditions of production : la hora de los hornos was made clandestinely in bits and pieces over a period of two years ( 1966 - 67 ) and owes much to the collaboration of subversive groups in various parts of the country . solanas and getino not only had to contend with the threat of political censorship and retribution - the film has not yet been allowed public exhibition in argentina and private attempts are dangerous - they also had to deal with the high production costs of using film as the medium of their essay in the situation of a capitalist economy . they worked as cheaply as possible , using the most crude 16mm bolex available , without sinc - sound or motorized drive ( making their longest possible takes about 30 seconds ) . and to raise the money they worked in the daytime making commercials ( many of which are exploited contemptuously in the film ) , an appropriate - and inescapable - contradiction .
' agogics ' is a musical term that designates the use of agogic accents , that is accents consisting in a lengthening of the time - value of the note . the philosopher étienne souriau extended the use of the term to include all the arts existing in time . he defined ' agogics ' as \ what characterizes an artwork that takes place in time , through movement , and specifically through the creation of a fast or slow pace , or the use of different rhythms . ' for musicians , the notion is related to gesture , to physical movements , to a bodily interaction with their instrument , to a sense of speed , an energy , a precise handling of a piece . [ christian jacquemin et al , ' emergence of new institutions for art - science collaboration . . . ' [ date unknown ] , online at : urltoken . hyperlinks added by fsff ]
for a more sober description of the generally quite idealized condition of multitude , see paolo virno a grammar of the multitude , trans . isabella bertoletti , james cascaito , and andrea casson ( new york and los angeles : semiotexte , 2004 ) .
mike wayne , chapter on ‘ third cinema as critical practice : a case study of the battle of algiers ’ , in political film : the dialectics of third cinema ( london : pluto press , 2001 ) , pp . 5 - 24 .
the formal organisation of la hora de los hornos is inextricably linked to these objectives . its total running time of four hours 15 minutes is structured into three parts , each with a different formal treatment , theme and even objective . the first section , ‘neocolonialism and violence’ , was conceived as an essay film , which discusses the neocolonial nature of argentine and latin american dependency through 13 chapters . the second part , ‘act for liberation’ , is divided in two , reflecting specific time periods : chronicle of peronism and chronicle of resistance . conceived as a film act and dedicated to the ‘peronist proletarians’ , these two chronicles respectively deal with an analysis of the ten years of peronism in power ( 1946–55 ) and a critical reconstruction of the ensuing struggles ( 1956–66 ) . the third part , ‘violence and liberation’ , dedicated to ‘the new man who is being born out of this liberation war’ , presents itself as a study on the meaning of violence .
cinema , as jean - louis comolli notes , began as documentary and documentary as cinema . nevertheless , documentary remains a slippery , marginal filmic mode that pertains to the non - fictional world of knowledge and information while drawing on the resources of fiction , its roots identifiable in both scientific photographic inscription and modernist avant - garde filmmaking . from the vantage of point of contemporary documentary filmmaking – seen as a continuation of a cinematic renaissance in the form reaching back to the 1990s – this session will explore the ways in which documentary film’s complex relation to reality may be understood , addressing in particular how today’s “golden age” of documentary may be thought in relation to the genealogy of the mode and its theorizations .
today , cinematic politics are post - representational . they do not educate the crowd , but produce it . they articulate the crowd in space and in time . they submerge it in partial invisibility and then orchestrate their dispersion , movement , and reconfiguration . they organize the crowd without preaching to it . they replace the gaze of the bourgeois sovereign spectator of the white cube with the incomplete , obscured , fractured , and overwhelmed vision of the spectator - as - laborer .
mariano mestman is a lecturer at the university of buenos aires . this piece is translated from the spanish by libertad borda and is an edited version of an essay from 24 frames : the cinema of latin america , edited by alberto elena and marina díaz lópez and published by wallflower press .
drazin , c . in search of the third man ( london : methuen , 1999 ) .
a brilliant installation by harun farocki makes clear where the workers leaving the factory are headed . farocki collected and installed different cinematic versions of
rivers of steel arts would like to thank the pittsburgh foundation as well as the following sponsors for helping to make this event possible .
he connects images to illuminate social contradictions not apparent when they are perceived in isolation . one particularly moving sequence links the upturned face of a hungry child in the back country with the exploitative neo - colonial system by intercepting it with a dazzling skyscraper in bucnos aires , the port city where foreigners siphon off the country ' s natural wealth . instead of pretending a special or temporal literalness ( like hollywood montage ) , this connection is based on a mediation of concrete images with the assessment of argentine social structure as a class structure . the ambiguous apparent nature of the images by a construct of contradiction is transformed into their essential nature based in material conditions .
by considering a range of critical attempts to define or describe the documentary alongside the work of two contemporary filmmakers , gianfranco rosi and nicholas philibert , we will consider how cinematic documentary continues to make its historical “truth claim” while employing experimental techniques that complicate the kinds of knowledge promised by the mode . in doing so , this session will attend to issues central to the study of documentary and to that of film more broadly – realism and formalism , indexicality and the digital , spectatorship and subjectivity , narrative and temporality – as well as reflecting on how the increasingly hybrid forms of contemporary documentary both reprise and reinvent earlier cinematic traditions .
in any case , this revision was there to be discussed by the audience . in this sense , the most interesting aspect was the fact that the film’s very structure incorporated an explicit call for the spectator to continue it through a collective discussion and a transforming praxis . thus , after chronicle of peronism was over , a legend announced : ‘space open for dialogue’ . that was the point when a member of the militant group hosting the exhibition had to coordinate the act , as a unique communication moment among the viewers , a tool to make the spectator ( in traditional filmic terms ) into a protagonist of the exhibition and actor ( militant ) in the political process .
it might even be the same factory . because the former lumière factory , whose gates are portrayed in the original
the closing sequence , with a sacrificed che lying in state , is set up as the example of that invention , the new man theorised by che himself . the narrative function of this extended closing shot is to establish a visceral and tacit approval of violence against the system as the only viable act of liberation . it will be up to part 2 to develop the necessary historical and theoretical justification for this conclusion , and to part 3 to give more examples ( besides che’s ) on how to proceed .
i find difficult ( and de pressing ) solanas ' s conclu sions in favor of perenism , which he describes as the first popular expression of argentina ' s national con sciousness , and suspect that , in the style of other con temporary revolutionaries , he may well feel that the past can be rewritten , through re‐evaluation , according to the needs of the present . solanas ' s conclusions thus escape me ; his arguments do not .
amongst the many definitions of art , national identity is not a category used very often . and yet , when it comes to cinema , the tendency to define films by their national origin is a default position . why is that ? what makes cinematic art more readily identified by its “nationality” ? one of the most immediate answers to this question is the narrative nature of film as an art form that is closely connected to specific places and times that have specific identities . this session will address some of the connections between films and the societies and cultures they depict . by focusing on the small and manifestly ideological cinema of israel the session will examine some of the elements that make up so - called national cinemas .
in ‘ideological war’ , the voice - over heard above background music stresses how ‘ideological war in latin america is mostly waged in men’s minds’ , while a hand - held camera shows crowded downtown pedestrian streets by night . a long and remarkable montage of images and sounds opens up a wide range of issues to be denounced , unveiling mechanisms of ‘cultural penetration’ . the last section presents ‘the option’ . a sequence about the burial of a man from the marginal classes in the north of argentina , an ‘ordinary man’ , is followed by images of che guevara ’s corpse : his lifeless body laid out on a concrete table , followed by a static shot of his face , which lingers on screen for the last five minutes of this section , accompanied only by percussion sounds . the image presents a christ - like che , whose example could function as an icon of liberation .
this seminar will examine the symbiosis between film and space , with a particular focus on the urban , taken as part of a broader problematic concerned with representations of space and spaces of representation ( to use the terms coined by lefebvre ) . we will look at theories of urban and global / geopolitical space , from david harvey and ed soja to fredric jameson , and consider some key moments in which the mutual constitution of cinema and city is manifest , with a major film from the silent era , a 1950s film noir parody set in mexico , and a key example of cyberpunk from the 1980s .
harun farocki , workers leaving the factory in eleven decades , 2006 . video still . courtesy of the leonard & bina ellen art gallery .
frantz fanon , ‘on violence’ , in the wretched of the earth , trans . richard philcox . new york : grove press , 2004 .
a literary and artistic movement that flourished between the two world wars . defined by andré breton , surrealism endeavored to express the
real
workings of the human mind by liberating it from the influence of conventional value systems , whether aesthetic , moral , or logical . automatic expression of the mind by exploring dreams , the subconscious , and hypnotic trances , an artistic movement that displayed vivid dream worlds and fantastic unreal images
braddock sits just outside the city of pittsburgh in the mon valley . while mon valley towns like braddock have not seen the kind of renaissance that has occurred in places like east liberty , there is much potential for a resurgence . businesses like the brew gentleman and studebaker metals have chosen to locate their business along the main corridor , braddock avenue . there are many champions in the braddock neighborhood , from the local block watch members up to the mayor , who are working to bring investment to braddock while improving the lives of current residents .
while legitimizing his position as one of the forminable asian auteurs that penetrated the european cinephile culture , the limited turnout of filipino audience in most of his screenings in the philippines proved contradictory . diaz’s high cultural capital and idiosyncratic approach to filmmaking opened debates , critical appraisal and critiques in his home country . during the onset of his popularity , diaz’s long duration was dismissed as anti - people and anti - audience for its demand for long endurance and extreme durative work from its audience . diaz’s duration can be seen as a totalitarian conditioning of opticity . this and other problematiques would constitute the core problems of my thesis .


cold eyes ( hangul : 감시자들 ; rr : gamsijadeul ; lit . " stakeout " or " surveillance " ) is a 2013 south korean film starring sol kyung-gu , jung woo-sung , han hyo-joo , jin kyung and lee junho .

a remake of 2007 hong kong film eye in the sky , the film is about detectives from the surveillance team of a special crime unit who work together to take down a bank robbing organization .

it made its north american premiere at the 2013 toronto international film festival , and also screened at the 2013 busan international film festival in the open cinema section .

cold eyes

cold eyes ( feat . emma acs ) by gents | free listening on soundcloud
cold - eyes is a khajiit patron of the five claws inn in woodhearth .
talented and kind . delivers fast with excellent quality . i would recommend cold eyes production
[ news ] 130718 ‘cold eyes’ dominates the box office… . about to hit 4 million
al , top notch quality and above all a pleasure to work with . cold eyes production
cold eyes does excellent work at a great price . their 3d lyric videos are top notch and communicat
looking for movie tickets ? enter your location to see which movie theaters are playing cold eyes near you .
cold eyes is a nicely told story with solid characters to tell it . it matches well to eye in the sky . simon yam anyone ?
south korean movie ‘cold eyes’ led by jung woo sung and han hyo joo continues to show its dominance at the local box office despite facing a formidable rival in ‘mr . go’ .
it was no easy feat for ‘cold eyes’ to top the box office chart , and was achieved despite strong competition from ‘mr . go’ which attracted 94 , 916 admissions to place second .
the awards for best supporting actor and actress went to lee jung - jae for “the face - reader ( 2013 ) ” and jin kyung for “cold eyes ( 2013 ) , ” respectively .
in
cold eyes ,
jung plays a supporting role as a cold - hearted but meticulous gang leader . the movie , which is scheduled to be released next thursday , involves a game of cat - and - mouse with a gang of detectives who form a surveillance team to catch high - profile criminals .
cold eyes is a remake of the 2007 hong kong film eye in the sky and features yam , who played the head sergeant . he makes an appearance in the film in a brilliant nod to the original .
‘mr . go’ was aired 4 , 151 times at 840 cinema screens on its opening day , while ‘cold eyes’ was shown 3 , 109 times at 597 cinema screens , but the latter was still able to outlast its rival by 19 , 467 admissions . ‘mr . go’ had a big - scale preview screening , while costs for the creation of its gorilla character came up to 120 billion korean won , but ‘cold eyes’ still came out on top in the end .
zip cinema chief executive eugene lee yu - jin , the producer of cold eyes , originally watched eye in the sky as a reference for an original script about surveillance she was developing with directors jo ui - seok and kim byeong - seo .
‘cold eyes’ might have come out on top in the first sparring match with ‘mr . go’ , but with the weekend coming up where families come in droves to watch movies , it remains to be seen on who will be the final victor .
remake of eye in the sky ( 2007 ) redressed in korean clothing , cold eyes concerns undercover cops who blend in with the armed robbers they ' re pursuing , & organised criminals who are indistinguishable from crooked politicians and ' fat - ass executives ' .
korean thriller film “cold eyes” attracted 4 million viewers in just 17 days , becoming the fifth domestic film to hit the record this year ― following box office hits “the berlin file , ” “secretly greatly , ” “new world” and “miracle in cell no . 7 . ”
for 2 hours of screen time , the plot details behind the story keep things interesting by focusing on the non - tactical area of the crime stoppers division . never moving too fast nor too slow , cold eyes maintains focus from the opening to the closing credits with its cat and mouse like demeanor .
while remakes don ' t necessarily capitalise on the name recognition of the original - eye in the sky , the hong kong film , was not even released in south korea - cold eyes contains an unexpected cameo by simon yam tat - wah , who gave a memorable performance as the police chief in eye in the sky .
toronto , ontario and seoul , korea - - ( marketwired - july 9 , 2013 ) - spackman equities group inc . (
segi
) ( tsx venture : sqg ) announced today that cold eyes , the highly anticipated summer blockbuster produced by its korean movie production subsidiary , zip cinema co . , ltd . (
zip
) , finished # 1 at the korean box office this past weekend . cold eyes surpassed hollywood blockbuster , world war z , knocking it from the top spot . the movie posted the best opening weekend performance to date by any film this year in korea . according to official data provided by the korea box office information system , cold eyes sold an estimated 1 . 97 million tickets since its opening day on july 3 , 2013 , grossing krw 14 . 3 billion ( cad 13 . 2 million ) over its first 6 days , and capturing over 52 % of the nation ' s box office gross revenues during the period .
cold eyes is also set for a dream start on the international circuit as it makes its north american premiere at the toronto international film festival in the gala presentations section , giving the film the exposure it richly deserves and potentially attracting buyers who are after a solid and sophisticated south korean thriller that will generate revenue on ancillary markets .
according to statistics released by the korean film council ( kofic ) today , ‘cold eyes’ had 114 , 383 ticket admissions for july 17th , which saw it topped the box office chart for 3 weeks in a row . it’s total accumulated admissions now stands at 3 , 900 , 251 as they look to break the 4 million mark .
a high - octane south korean remake of the 2007 hong kong crime thriller “eye in the sky , ” “cold eyes” sustains its nervy tension all the way . for a work that hews so close to its source in dramatizing a police surveillance operation against a sophisticated robbery ring , it’s to the credit of co - helmers cho ui - seok and [ … ]
much like the 2007 original film , cold eyes centers on a special crime division that specialises in surveillance activities on high profile criminals as it follows the members of this team , most notably ha yoon - ju ( han hyo - joo ) who is the newest member of this group who possesses a number of observation skills including the ability to remember almost anything .
cast members from the runaway hit movie “ cold eyes “ , jung woo sung , han hyo joo , 2pm ‘s lee junho , and director cho ui seok was in singapore on august 30 to promote their latest action thriller . the movie’s first international gala premiere was held at the marina bay sands where the cast walked the red carpet and received warm greetings from fans .
despite all the flaws , this is a great thriller that should appeal to any fan of the genre . finally there is main female character , which is independent and strong , which should appeal to ladies . i hope that my prophecy will not come true in the future we will get more thrillers at level of cold eyes ( but i would like them to be the original korean creations ) .
a cold - pressed juice company has moved its headquarters to greater philadelphia , a central location its ceo and founder said allows the company to experience a growth spurt with more consumers , clients and hires .
its box office performance has also been strong . since its domestic release on july 3rd , more than 5 million viewers have seen cold eyes . the film was pre - sold at the cannes film market to major film countries in asia including japan , hong kong , macao , singapore , malaysia and brunei . korean cinema today met kim and joh , names you will want to remember for the korean popular film scene .
joh ui - seok and kim byeong - seo , the co - directors of cold eyes , were once classmates at the school of film , tv and multimedia in the korea national university of arts , where both majored in cinematography . they have long been best buddies , or seonhubae ( a korean word for a close senior and junior at work , school , etc ) , but joh made his film debut long before kim did . his film debut make it big ( 2002 ) was an action comedy , featuring the mishaps that three high school boys went through , when they accidently earned a big sum of money on the street . in 2006 , he made the world of silence which was a mystery introducing a duel between a detective and criminal , taking place over across the serial murders of young girls . cold eyes is his third feature .
lumi joins local cold - pressed juice companies sip - n - glo juicery , which has three locations , stripp ' d juice in old city , and p . s . & co . in rittenhouse square .
the ink factory’s simon cornwall said “ the spy who came in from the cold is one of the greatest espionage stories ever told . simon beaufoy is one of the most brilliant screenwriters of our generation ,
”
‘cold eyes’ revolves around a hidden criminal organization that leaves no traces of its activities behind and the surveillance team of a special crime unit that seeks to hunt them down . the movie is described as a big budget action flick that offers viewers a rare glimpse on how surveillance teams work behind the scenes and the criminals who elude them with smart and nifty tricks . their face - off from start to finish serves as the biggest highlight of the entire movie .
i am lucky enough to attend a premiere of cold eyes . without any expectation or prior knowledge of the movie , i was drawn into the movie within 10 minutes . i do not want to spoil the movie for anyone but if you are into terrific korean thrillers like man from nowhere , the chaser etc . , cold eyes is definitely for you . the characters are vivid , the action is exciting and heart pounding , the fight scenes are well choreographed and believable , the cat and mouse tracking between the detectives and the villains will keep you on the edge of your seat . the jokes are natural and laughable too , which are inserted at the correct points of the movie to create a tense and loosen effect , catching hold of the audience and letting go a while when necessary . go and watch it , it is well worth your time . hollywood productions , better buck up as korea movies are coming strong .
cold eyes is a remake of a hong kong film titled eye in the sky from 2007 . the set up of the plot is the same of a suave and meticulous master criminal who plans the crime but watches from rooftops . the fat man lookout who runs interference but whose debit card - like charge in a convenience store betrays his identity and those of his crew . the rookie who is initiated into a some kind of special unit of anti - crime unit .
based on the 2007 hong kong crime thriller eye in the sky , the south korean remake closely follows the original’s compelling premise of a surveillance unit tracking down a leader of an armed criminal organisation in the heart of a large city , but it’s also technically superior in its use of dazzling cinematography topped with a good eye for exploiting seoul’s urban landscape along with a smartly chosen cast that arms cold eyes with a great deal of caliber and vibrance making it a highly accomplished thriller .
transposed to the city of seoul , cold eyes easily topped the south korean box office in its first week of release ( july 3 ) , taking in us $ 13 . 8 million . it had taken in us $ 34 . 4 million as of august 1 . it has fared equally well among the critics , with at least one praising it as
refreshingly new
and for successfully retaining the spirit of the original , while smoothly incorporating elements of south korean culture .
remaking hong kong films for the domestic market has created fresh opportunities for the country ' s filmmakers . a better tomorrow ( 2010 ) , a remake of john woo yu - sum ' s 1986
heroic bloodshed
classic of the same title that featured stars joo jin - mo , kim kang - woo and song sung - hyun was not nearly as well received as cold eyes . b ut the song hae - sung ( failan ) directed film still grossed us $ 10 . 2 million .
enter james ( jung woo - sung , who co - starred with michelle yeoh in the tony costumer reign of assassins ) standing straight - backed on the roof of tall buildings armed with a good deal of technology himself . he stages a huge explosion in a parking lot to decoy the cops while his men rob a bank . refreshingly , there are idiots among the crooks , but james puts them out of their misery quickly with a twist of the knife and a glare . the cold eyes don’t belong just to the spy cameras .
in korea , as the production company generally takes 40 % of the net profit from a film ' s box office performance and ancillary revenues , the potential box office success of cold eyes is expected to contribute significantly to the future bottom line of zip , and ultimately , to the profits of segi , which indirectly owns 68 % of zip through its entertainment holding subsidiary , spackman entertainment group limited . the film has already recouped its production budget and the marketing costs , reaching the breakeven point ( estimated at 2 million tickets ) in its first 6 days .
editor shin min - kyung is a major player here with lightning fast cross - cutting that keeps the eyes bouncing around the screen like a tennis ball . the music , credited to dalpalan and jang young - gyu , is unforgiving in pumping up the tension and keeping it at just the right pitch .
a high - octane south korean remake of the 2007 hong kong crime thriller “eye in the sky , ” “ cold eyes ” sustains its nervy tension all the way . for a work that hews so close to its source in dramatizing a police surveillance operation against a sophisticated robbery ring , it’s to the credit of co - helmers cho ui - seok and kim byung - seo that the film has forged its own identity , rooted in the seamy seoul cityscape and a sterling cast that rivals “eye’s” thesps for dynamism . already sold to a handful of territories , the pic deserves a serious look from genre fans at its toronto preem .
[ intro ] you know what i ' m talkin ' bout a real mutha fucking pharmacist [ i don ' t wanna die , wanna die tonight ] go get you a xan two bucks a pop , but don ' t pop them shits flip them quick , five bucks a hit but then find you a real plug . . [ hook ] xan me down ' til i ' m ice cold xan me down ' til my eyes closed xan me down ' til i ' m ice cold xan me down ' til my eyes closed please don ' t let me drive , i ' ll catch fed time please don ' t let me drive , i ' ll catch fed time head lights streaking by , that ' s that xan right ? head lights streaking by , that ' s that xan right ? [ verse ] your bitch is a cheetah i never call her , she be moving too fast i dress like a loser , to you cause you ' re stupid i said fuck all that flexing and told her the future while you still lie to her , that ' s why she switches she lost in this pimpin ' i go nuts , bananas go gibbons i throw tennis balls and these bitches go get ' em freddy got magic and talent i ' m gifted my life is a movie , y - you just a critic so sit down and listen , you missing it g - gone like the wind this ain ' t scripted gone like prescriptions , i ' m lifted , i feel it cause fuck my life i ' ll get high if i want to sing if i want to rap how i want to do what i want pop a xan , i ' m a champion and i ' m a phantom , to all the bullshit ( do what i want ) pop a xan , i ' m a champion [ hook ] xan me down ' til my eyes closed xan me down ' til i ' m ice cold xan me down ' til my eyes closed please don ' t let me drive , i ' ll catch fed time please don ' t let me drive , i ' ll catch fed time head lights streaking by , that ' s that xan right ? head lights streaking by , that ' s that xan right ?
“secret in their eyes” rarely offers the thrill of finding new clues because they’re plopped down before us so gracelessly . the film’s villain , a punk named marzin ( joe cole ) , is an impossible bundle of contrivances : a snitch inside a terrorist cell who loves baseball , horse racing and comic books , yet yearns to be a cop .
the night manager broke records at the bbc for being the broadcaster’s most expensive drama – at around £3m per episode – however it excelled critically and in ratings in the uk and abroad . the spy who came in from the cold is understood to have not yet been shopped to buyers so the bbc interest has not been confirmed .
with a total budget of approximately krw 4 . 5 billion ( cad 4 million ) , cold eyes is a crime thriller directed by jo eui - seok and kim byeong - seo , and features top korean stars , seol kyeong - gu , jung woo - sung , han hyo - joo , and junho , of the k - pop group 2pm . han plays ha yoon - ju , a rookie member of the special forces unit of the korean police specializing in covert surveillance of high profile criminal targets , who teams up with veteran team leader hwang sang - jun ( played by seol ) to track down james ( played by jung ) , an elusive and merciless leader of a dangerous criminal organization . urltoken
rookie detective ha yoon ju becomes the newest member of a unit within the korean police forces special crime department that specializes in surveillance activities on high profile criminals . she teams up with chief detective hwang sang jun , the veteran leader of the unit , and tries to track down james who is the cold - hearted leader of an armed criminal organization .
what’s not to like in this mile - a - minute remake of the 2007 hong kong thriller eye in the sky , in which a crack police team challenges a brilliant , invincible criminal mastermind ? it may be the oldest cop plot in the world , but the sheer display of technique on screen transmutes the familiar lump of coal to gold . with filmmaking this good and tech work this innovative , the only question is when asian genre films are going to take over the rest of the world . this is one title that could have a shot at advancing out of korean language markets and film festivals . co - produced with canada’s spackman entertainment , cold eyes has had over 5 million admissions since its domestic release in july .
c old eyes , one of the hottest films at the south korean box office this summer , may strike fans of hong kong cinema as oddly familiar . that ' s because it is an official remake of eye in the sky , the gripping 2007 milkyway image feature about a police surveillance unit that is scriptwriter yau nai - hoi ' s sole directorial outing to date .
korean thrillers have earned them self certain reputation over the years , a reputation due to their consistent high level . only a handful of them is outstanding , but the rest is solidly constructed and does not deviate in the level from foreign production . unfortunately , this consistency in the level is also some kind of curse , because overtime the viewer starts to feel familiar with all the schemes and because of that most of the new thrillers will feel similar to the older and it will be hard to find something fresh . cold eyes is a great example that there is still room for innovation and a new way of using old ideas . this is an excellent remake of the hong kong movie eye in the sky ( 2007 ) and is a remake , which in my opinion has surpassed the original .
helmed and co - written ( with au kin - yee ) by yau nai - hoi and produced by johnnie to , “eye in the sky ” ( 2007 ) was so seamlessly plotted and nimbly orchestrated that it was a smart move not to tinker with it . instead , cho and kim have upped their game in action and special effects , particularly the car stunts and explosions that korean crews excel in . with its healthy budget on proud display , the production is less hard - boiled and quirky than “eye , ” but what it loses in the original’s inimitable stylistic tics , it makes up for in a high - end tech package with enhanced international appeal . like “the thieves” ( 2012 ) , another blockbuster that references hong kong crimers , “ cold eyes ” has drawn more than 5 million admissions , making it one of south korea ’s biggest hits of this year .
jung , who remains at the top of korea ' s a - list after 19 years in the industry , had never strayed too far from sweet , kind , heroic roles . ( exhibit a : he was literally ' the good ' in the good , the bad , the weird . ) his turn as james , a cold - blooded ring leader who never hesitates to kill if needed , is a must - watch .
outside of an oscar ceremony , you’ll rarely find a gathering of actors better than the cast of “secret in their eyes . ” the los angeles - set thriller stars chiwetel ejiofor ( “12 years a slave” ) as former fbi investigator ray kasten , who is trying to solve a crime that’s been haunting him for years . julia roberts plays his colleague jess cobb , whose teenage daughter was murdered by a slippery suspect , and nicole kidman is claire sloan , an ambitious deputy district attorney who failed to prosecute the case . with these three leading a movie , what could go wrong ?
seol kyung - gu , famous for portraying an unorthodox police detective in the popular public enemy films , plays a more gentle and fatherlike lead in the leadership role while han hyo - joo renowned for her roles as a romantic lead has never been so attractive as the fiercely intelligent rookie . jung woo - sung meanwhile plays the villain for the first time and yet still brings much of his charm as a cold hearted - killer . k - pop star lee jun - ho also leaves a lasting impression in his first significant role in a feature film as one of the younger team members .
joh in the hong kong original , hwang had a cold persona . however , seol kyung - gu turned him into a more human and warm character . when i was writing his lines in the script , i mimicked his voice and read them out loud . he is an analogue person , as opposed to the modern , digital person , if you like . for ha , i wanted to make a female character that female spectators would love - an independent and righteous cop . james was a petty criminal in the original , but i wanted to turn the character into a more charismatic figure .
yoon - joo , at some point , is going through a kind of break and floods in tears , but it is rather because of her impotence to use her talent to catch james , than being a
weak
woman . han hyo - joo very convincingly presents a sympathetic cop , along with her ? ? annoying tics and flaws , who in fact is defined by her skill and not a pretty face or character . in turn , sol kyung - gu somewhat toned down his character , so that han hyo - joo and supporting cast could shine more . detective hwang is not simply eccentric , he is a complex person who manipulates the relationships and emotions of others . however , the biggest surprise is the excellently created james . jang woo - sung in recent years stuck in the role of suffering romatic . in cold eyes he is finally able to show that he is better than that . portrayed by him james , is calm and methodical , and his only pleasure is seeing how his elaborately constructed plan is executed . hwang at some point defines him as
omniscient author
which perfectly describes his character . however , despite all this reserve and distance , james is still a hard and ruthless criminal who will not leave any loos ends , and his favored weapon is a fountain pen .
as it turns out , nearly everything . written and directed by billy ray from the 2009 argentinian film that won a foreign - language oscar , “secret in their eyes” traps three great actors in what feels and looks like a second - rate television cop show . the problem isn’t just the convoluted narrative and overall tone of morose self - flagellation . nearly every detail feels incorrect , from the squeaky - clean body of the brutalized victim to the crisp new case files that are supposed to be 12 years old . in this movie , when cops finally find the abandoned van that’s been eluding them for days , it’s parked sideways in the middle of a major street . on fire .
as the sloppy - looking but actually sharp - as - a - tack hwang , sol gives the character a more butch and authoritative spin than simon yam did in the original . about as warm as an icicle and sporting an aggressively asymmetrical haircut , jung brings his usual reserve to a role that’s the very embodiment of cold efficiency . as ha , han offsets her greenhorn goofiness with flashes of ingenuity , making one especially root for her in the climactic puzzle - solving scenes . the rest of the ensemble cast gels , but not in a hugely animated way ; yam makes a cameo appearance that reps a playful nod to the film’s source while also upping the star wattage .
the pre - title sequence is a complete story in itself , a cops - and - robbers stakeout on the subway and streets that forces the viewer to decide who’s shadowing who . it offers a fast intro to the main characters : police chief hwang ( sol kyung - gu ) and his team , a pretty , tom - boyish young rookie whose code name is piglet ( han hyo - joo ) , the happy young cop squirrel ( lee jun - ho ) and the smooth jacket - and - tie criminal james ( jung woo - sung ) who happens to be passing by . he will be the center of attention for the rest of the film , but at the moment it’s just a drill to see how observant piglet is . her round eyes fix on the chief as she recalls almost everything she saw in precise police jargon . “remember everything , ” hwang advises her .
you ' re hired .
headquarters of the special crime unit specialized in surveillance is csi : miami on steroids , with enough futuristic electronic tracking devices to run a large spaceship . yet co - directors cho ui - seok and kim byung - seo never linger on the fancy production design and it will take a quick - eyed viewer to even estimate how many police work in the open office space . attention will be distracted by lee , the chief of chiefs , played by the beautiful jin kyung as an elegant , cold - as - ice decision maker . refreshingly , there are no idiots on the team ( the one apparent goof - off turns out to be a geek genius ) and no personal animosities ; no one has family problems or even a family . they work as one extraordinarily efficient team that has all of seoul under its control via those omnipresent surveillance cameras that have cropped up on every street corner . they also control every police car , streetlight and train in gotham , making criminal activity very tough indeed .
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for this latest work , kim came up with the initial idea and joh laid the groundwork for the script while they both handled pre - production and finally , co - directed the film . “we did our dose of fighting during the pre - production , so there was little to disagree on once the actual shooting began . no more fights , ” confessed the two , implying the pre - production was a very careful and thorough job . as a result , we have had one very appealing film this summer .
joh yes , what i liked about the original film was that it was about a rookie , a young woman detective , and how she changes and grows up . i liked the theme of ‘watching people’ as well . kim is the one who saw the film first and told me about it . he has always been a camera director but i knew he was interested in directing too . so as i talked with the production company , i introduced him and convinced them that he should work on directing as well as shooting for this film .
kim i have always been a great fan on hong kong movies . i happened to see eye in the sky and thought it was an interesting film . like joh , i appreciated the fact that it was focused on the maturing of a rookie female detective , but what i liked also was that it looked into the world of professionals . the plot itself was not big in terms of scale , but very carefully and intensively structured , never letting go of tension throughout the film . so it occurred to me , ok , that film features hong kong , then what if i translate it in the korean landscape ? eye in the sky focuses on destiny and emotions . i thought it would be very interesting if we re - organize it with culture - specific personas in seoul .
kim / joh absolutely . we wanted to feature seoul as a megalopolis , and also introduce the culture specific landmarks . in other words , the city of seoul itself is among the main characters of the film . the first thing we did when we were working on the script was to buy a map of seoul . we drew the outline of the city and tried to look for the stand out features of each administrative region in seoul . in doing so , we realized that every distinctive region has its own style , including the generation and fashion of the mainstream people who inhabit there and the local architecture .
we wanted to feature the downtown streets like cheonggyecheon , seosomun and tehran boulevard as the center of action scenes , adding reality to the film . as a result , in the film , major landmarks of the city are featured and particularly the human traffic between the landmarks . it was our ongoing focus to expand the small and intensive atmosphere of hong kong into a larger landscape of seoul .
- human traffic and perspectives are very important in the film . how did you design them ?
joh we focused on the concept of creating certain layers between groups of people . what i am saying is , in the film , there are those who watch and those who are watched . i was thinking of presenting them as two different groups , in two different layers , so to speak .
for james , i wanted to feature him as a watcher looking over from the rooftop , and for hwang sang - jun , to be a commander on the ground . i employed a certain visual difference between the two groups . for james , bird’s eye view was dominantly used , while for the people on the ground like hwang and ha yoon - ju , eye level shooting was consistently maintained . what is interesting is that at the climax of the movie , their positions kind of switch , placing james , who has always been watching down from the rooftop , below the watchers on the ground . the overall tempo and psychological close - ups were also among the things i worked hard on .
kim for me , lively human traffic was very important . a lot of the time , the camera was freely placed so that it was in fluid communication with the relationships of the characters , such as the chaser and the chased , and their tension . as a camera director , i believed the rhythm was most important in this film . as a result , i wanted to create many different points even in one single take , making them overlap with each other . i tried to create the rhythm through a collision of shots , their different sizes , different movements , and so on .
joh as a joke , i would say that it could be my last work . that’s how desperately i worked on this film , and as such it is all the more dear to me . however , i was not quite expecting this kind of passionate reception from the audience . i am still somewhat puzzled .
- kim , you have now made your debut as a film director . are you planning to work on both directing and shooting in the future ?
kim yes . i’ve always felt some kind of thirst as i worked as a camera director . i wanted a bigger involvement in films . so this film is in a way a reflection of my own growing up in filmmaking . directing was a totally different world than what i used to imagine , but it was so much more fun and rewarding . i would love to work on both if i possibly could .
joh i have a costume drama in mind . actually , i am attracted to every genre , including melodrama and horror . for a while , i want to make the kinds of films that the audience would want to see , rather than what i wanted to see .
kim i will be working on a film as a camera director later this year . it is going to be something that brilliantly steals the audience’s mind , so to speak . i would love to experiment in different genres , within their formulaic structures . let me put it this way : i want to be a pitcher with his own killer ball .
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the 38th toronto film festival runs september 5 - 15 2013 . this article will be updated as official announcements detailing the full line - up are released .
walesa . man of hope ( walesa . czlowiek z nadziei ) , dir : andrzej wajda , poland
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jung woo - sung , considered the top teen idol of the 1990s , remains popular among young fans at the age of 40 and is set to appear for the first time in his career as a villain , in what is being hyped as korea ' s biggest summer blockbuster .
to add to his character ' s mystique , the gangster ' s name is never revealed , except for a billing as
james
in the final credits , and he is taciturn throughout , meaning jung had few lines to memorize .
i was worried at first [ about portraying a character with so few lines ] . but when i read the script , i was able to instinctively imagine the character ' s way of speaking and the look on the face . i tried to portray the character as i saw him , ” said jung during an interview with the chosun ilbo on wednesday .
also , i didn ' t want to try to make his part in the movie bigger than it was supposed to be , just because it ' s me playing him . that would have diluted what i saw as the unique quality of the character , when reading the script .
jung said he acted in an understated way .
i think this better exposed the character as being solitary and mysterious ,
he added .
it ' s been 20 years since jung made his debut in the movies in 1994 .
i should have made more action and romantic dramas . focusing on those genres would probably have been enough for me to establish my name . but i guess i wanted to try different things as i saw what other actors were doing , especially their performances portraying realistic , down - to - earth characters . now i think it wasn ' t worth it . what people want to see from me is my own unique style of acting ,
he said .
when i reflect on the past 20 years , one of my great regrets is that i didn ' t appear in more films . i only chose those that suited my personal tastes . moreover , because i was quite a big star , my former agency refused many scenarios on my behalf without even letting me look at them ,
he said .
asked what the future holds in store , he joked that he still has time as
people now live longer , so they can work in their respective fields till they grow very old .
as my peers have played a key role in boosting korean popular culture , i think there ' s still plenty of work for us to do ,
he said .
actor song gang - ho and actress jun ji - hyun won the grand prizes in the film and television segments , respectively , at the 50th lf baeksang arts awards , held in the grand peace hall of kyung hee university in northeast seoul on tuesday .
song and jun starred in the film “the attorney ( 2013 ) ” and sbs romantic drama “my love from the star , ” respectively .
clockwise from top left : song gang - ho , lee jung - jae , kim soo - hyun , shim eun - kyung , jin kyung and jun ji - hyun . ( jtbc )
the best acting in film awards were given to actor seol gyeong - gu and actress shim eun - kyung , who starred in “wish ( 2013 ) ” and “miss granny ( 2013 ) , ” respectively . the best acting in television awards went to actor cho jae - hyun of kbs 1tv drama “jeong do - jeon” and actress lee bo - young of sbs drama “i hear your voice . ”
the best film award was presented to “the attorney ( 2013 ) , ” directed by yang woo - seok , and the best television drama award to kbs 2tv’s “good doctor . ”
the best entertainment show award was presented to tvn variety show “grandpas over flowers , ” while the best educational program award went to sbs investigative documentary “i would like to know . ”
the best director award went to bong joon - ho for “snowpiercer ( 2013 ) , ” and the best producer award to ahn pan - seok for jtbc’s “secret love affair . ”
actor kim soo - hyun , who starred in the sbs drama “my love from the star” and film “secretly , greatly ( 2013 ) , ” earned triple awards , being named the best new actor in the film segment , and the most popular actor in both the television and the film segments .
the star - studded film , which stars actors sol kyung - gu , jung woo - sung , and actress han hyo - joo , tells the story of a group of detectives specializing in surveillance activities on high profile criminals . in the film , they together try to arrest the members of a bank - robbing organization .
han hyo - joo , whose previous roles include the visually impaired woman in song il - gon’s 2011 tearjerker romance “always , ” and the unhappy queen consort in last year’s box office hit period drama “gwanghae : the man who became the king” ( masquerade ) , delivers a plausible and nuanced performance as ha yoon - ju , a young , driven woman who becomes the newest member of the special surveillance unit of the police force . soon after she joins the team , the unit is assigned to monitor the elusive james ( played by jung woo - sung ) , who in fact is the ruthless leader of an international crime ring .
jung ( “a good rain knows , ” “a moment to remember” ) , who has long been regarded a national heartthrob , presents an engrossing portrait of the lonely and complex villain . the role is jung’s first villain in his acting career of some 20 years .
heavyweight actor sol kyung - gu ( “the tower , ” “peppermint candy” ) brings a lot of humor to the movie , by playing ha yoon - ju’s considerate boss , who is both caring and hilarious .
popular boy band 2pm member lee jun - ho makes his appearance as the confident , likable youngest member of the surveillance team , and surprisingly pulls off the role with ease . this is lee’s second film appearance as an actor . his first was directors kim gok and kim sun’s 2011 horror “white : the melody of the curse . ”
the film hit local theaters on july 3 , and dominated the local box office ever since . it ranked no . 2 on korean film council’s box office chart on friday , beating hollywood blockbusters “world war z” and “pacific rim , ” and local 3 - d gorilla film “mr . go , ” which came out on wednesday . it garnered around 19 billion won ( $ 17 million ) at the local box office as of july 12 , according to the korean film council .
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gam - si - ja - deul is a movie starring kyung - gu sol , woo - sung jung , and hyo - joo han . a high - tech police surveillance team attempts to take down a gang of ruthless bank robbers .
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a high - tech police surveillance team attempts to take down a gang of ruthless bank robbers , in this sizzling south korean action - thriller . urltoken
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detective hwang ( sol kyung - gu ) leads a specialized surveillance team in the police department . yoon - joo ( han hyo - joo ) takes a test to join the team . she ' s tested on her observation skills and memorization . she passes her test and becomes the newest member of the surveillance team .
while , yoon - joo takes her test , james ( jung woo - sung ) and his crime group robs a bank . he stands on the rooftop of a nearby building and directs his team ' s movements . he doesn ' t tolerate any mistakes .
as soon as yoon - joo joins the surveillance team , they are tasked to take down james ' criminal group . the surveillance team immediately runs into trouble when they can ' t identify any of the robbers due to their masks and their efficiency in robbing the bank . detective hwang finds one man caught on cctv near the bank .
james gets a new order from a mysterious broker ( kim byung - ok ) and once again completes a heist . while , the surveillance team goes after james , the mysterious broker also looks to take out james .
production takes place from august , 2012 - february , 2013 with filming beginning late october , 2012 .
actor jung woo - sung plays a villain for the first time in his acting career and han hyo - joo plays a cop for the first time in her acting career .
2013 ( 33rd ) hawaii international film festival - october 10 - 20 , 2013 - spotlight on korea * u . s . premiere
very beautiful , like it super ! ! ! when also the playing of the role as an detective girl / woman , who ' s detective ha yoon - joo . . idolize it . .
this movie was only great because of sol kyung gu . the rest of the cast were just so - so . maybe it ' s because of their roles in the movie which were too stagnant . the story plot was a little bit subdued .
crazy different . . . . . jws omg ! ! love your work absolutely ! . . . ( thats about it folks . . ) , got lost and confused along the way , but finished it ! . . . always great to see jws on screen , doesnt matter what role he plays , good work jws , kamsa absolutely !
good movie , i recommended this movie for people who like action and suspense . really good .
where ' s korean cinema here ? boring , standardized , music playing almost constantly , characters unreal , no human touch . even the great actors in it don ' t shine . shame
fortunately , this korean remake is not shot - for - shot . the basic premise and story set - up are the same .
watched this movie a few days ago , and still can ' t believe that she ' s go the biggest role in this film , despite being cast along side with veteran top - notch actors like sol kyung gu and jung woo sung . her presence in this movie really brighten up the intensive atmosphere at appropriate moments . i ' m so proud of her achievement in this film . really enjoyed it .