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1-18 of 18
- How do we learn? What do we know? Night after night, not long before dawn, two young adults, Patricia and Emile, meet on a sound stage to discuss learning, discourse, and the path to revolution. Scenes of Paris's student revolt, the Vietnam War, and other events of the late 1960s, along with posters, photographs, and cartoons, are backdrops to their words. Words themselves are often Patricia and Emile's subject, as are images, sounds, and juxtapositions. In addition to the two characters' musings, the soundtrack includes narration, music, news clips, and noise. The result is a montage, a meditation, a reflection on ideas and how words and images mix - and how filmmaking is a path.
- From 1907 to 1914, the lives of numerous inhabitants of Dublin, still under British rule, impact on each other: the young wife of a factory worker, a country girl new to the big city, and her husband, a staunch supporter of the unions; the mighty union leader Jim Larkin; the older priest, who drinks more than is good for him, and his young curate; the delightful tramp Rashers Tierney and his dog Rusty, and several members of the Anglo-Irish gentry, some of them sympathetic to those dependent on them, others less so. The working-class struggle through the nightmare of the Dublin Lockout, when the Catholic Church sided with the industrialists to smash Irish labor's first substantive steps towards unionizing.
- Paul Robeson narrates a mix of dramatizations and archival footage about the bill of rights being under attack during the 1930s by union busting corporations, their spies and contractors. In dramatizations, we see a Michigan farmer beaten for speaking up at a meeting, a union man murdered in an apartment in Cleveland, two sharecroppers near Fort Smith Arkansas shot by men deputized by the local sheriff, a spy stealing the names of union members, and a dead Chicago union man eulogized. In archival footage we witness police and goons beating lawfully assembled union organizers, and we see men at work and union families at play. The narration celebrates patriotism and democracy.
- A large middle class family from the capital goes on a cheap holiday to a beach on the south coast. There, small problems start fast, from the beach not being so clean as expected to the men drinking too much, and the young men and girls trying to flirt unseen in such an open ground. Then, a brutal armed robbery leaves them without papers, money, and jewelry. A local contact provides them shelter, and takes them to the police station to present their complaint. The real troubles only start then, as everybody they meet are in a corruption racket or another.
- Shortly after his death, friends, colleagues, and an historian speak about Juan Antonio Bardem (1922-2002). Sixteen talking heads describe his personality, working style, his studies and his becoming a director, early success and later difficulties finding work, and his work with film trade unions in the Franco era. They discuss his Communist Party membership and his ideological and didactic approach to filmmaking. He is described as charming, brusque, difficult to work with, demanding, and courtly. His importance as a director and his seminal contribution to New Spanish Cinema are givens for the participants in these monologues.
- Emma was born and raised in a working-class family, but she's long had bourgeois ambitions and has risen through the ranks to become a white-collar employee with the Fiat automobile company.
- Australian documentary about the New South Wales Builders' Labourers' Federation, 1940-1975.
- On 10 October 1868, the slave bell at the La Demajagua sugar mill in Cuba was rung by the mill's owner Carlos Manuel de Céspedes to announce to the enslaved workers that they were free and to invite them to join the fight for independence from Spain. However, as Fernando Ortiz points out in his 'Cuban Counterpoint', the bell was later on "replaced by the steam or electric whistle that now stridently calls the workers to duty in the batey, like the whistle of a monstrous foreman made of steel." On the background of slavery and (de)colonisaion, this film, shot in Colombia and Cuba, explores sugarcane production and railways as the machinery necessary for exploitation. With 'piecework' referring to employment forms, in which workers are paid for each unit produced or action performed, regardless of time, the film is, more than anything, meant as a tribute to land and iron workers, to sugarcane harvesters and railway workers.
- Centers around an Irish family and and their lives during the early days of the American Industrial Revolution.
- Students activists at the University of Montana decided to hold a sit-in inside their president's office and were joined by activists around the country.
- In 1929 one of the darkest chapters in Australian industrial history was written in blood and bitterness on the Northern Coalfields of NSW, a tale that will echo across our landscape in story, song and legacy.
- Income inequality has become a big issue in the modern day political spectrum. While these economic and class divides seem more pronounced than ever before, this documentary film Plutocracy: Political Repression in the USA reveals the main reasons of these struggles pre-date the beginnings of the industrialized labor force.
- This candid documentary opens the door on the riskiest labour negotiations in the history of the Canadian Auto Workers (now UNIFOR), Canada's largest private sector union. For veteran negotiator Buzz Hargrove, president of the union, the de Havilland/Bombardier talks turn out to be the toughest of his career. Hargrove finds himself doing battle not only with the company, but with his own union locals. Everything goes wrong. Hargrove has to choose between solidarity with his workers or saving thousands of jobs. His decision, the battle that led up to it, and the outcome make for high drama in this no-holds-barred portrait of organized labour in the 1990s. Played on the shifting ground of a globalized economy, "The Negotiator" is a revealing look at democracy, leadership and its price in a high stakes fight for jobs and power.
- One thousand power workers went on strike against the South East Queensland Electrical Board (SEQEB)in February 1985 in protest against the introduction of contract worker hire. This documentary details the industrial relations dispute between the ensuing Joh Bjelke Peterson coalition government and the Electrical Trades Union in Queensland, Australia during 1985.
- Being women in a factory in strike.