film diperankan marc karlin
The film is about aftermaths and...Scenes For A Revolution 1991
The film is about aftermaths and reckonings. Revisiting material for his earlier 4-part series, Karlin returns to Nicaragua to examine the history of the Sandinista government, consider its achievements, and assess the prospects for democracy following its defeat in the general election of 1990.
Charts a journey through various memory...For Memory 1986
Charts a journey through various `memory' productions such as murals, monuments, TV histories, commemorations etc, and in so doing questions the role that historical memory plays in our society.
Through the eyes of journalists and...Nicaragua Part 3: In Their Time 1985
Through the eyes of journalists and photographers working at Barricada, the official publication of the FSLN, the film observes the problems of putting socialism into practice, with reports on the war, the economy, the prison system and the political process leading up to the 1984 elections.
Shot in 198384 and focusing on the...Nicaragua Part 2: The Making of a Nation 1985
Shot in 1983–84 and focusing on the work of the Historical Institute, this film witnesses how Nicaraguans are recovering their history, the memory of Sandino’s struggle, to transform their sense of identity.
Composed of stills by renowned Magnum...Nicaragua Part 1: Voyages 1985
Composed of stills by renowned Magnum photographer Susan Meiselas taken in 1978 and 1979 during the overthrow of the fifty-year dictatorship of the Somoza family. Written in the form of a letter from Meiselas to Karlin, it is a ruminative and often profound exploration of the ethics of witnessing, the responsibilities of war photography and the politics of the still image.
The Nightcleaners is set in the...The Nightcleaners 1975
“The Nightcleaners” is set in the context of the campaign (1970-1972) to unionize the women who cleaned office blocks at night and were being victimized and underpaid. Intending at the outset to make a campaign film, the Collective was forced to turn to new forms in order to represent the forces at work between the cleaners, the Cleaner's Action Group and the Unions - and the complex nature of the campaign itself.
