Critic and writer John Berger and photographer Sebastião Salgado.…
Tina In Mexico
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- Citation
- Cataloging
- Transcript
A new independent feature documentary by acclaimed Canadian director Brenda Longfellow, TINA IN MEXICO, follows the tumultuous and epic story of Tina Modotti, revolutionary, bohemian spirit and renowned photographer, acclaimed for her innovative and impassioned depiction of social issues.
Longfellow's film weaves archival footage, the luminous photographs of Tina Modotti and Edward Weston, the murals of Diego Rivera, and lyrical re-enactments, to conjure up the political, artistic and intimate spaces of their lives in Mexico during the 1920s. Drawing on Edward Weston's daybooks, the collected letters of Tina Modotti and imaginative recreations, TINA IN MEXICO is told through the voices of Tina, Edward, and their contemporaries.
'For pure aesthetic allure and the kind of eroticism that's about life energy, nothing comes close to Brenda Longfellow's graceful and elegiac TINA IN MEXICO - impeccable work, a reminder of how the resonances of artfulness and mortality pervade black-and-white photography and film.' Liam Lacey, Toronto Globe and Mail
'Longfellow seamlessly weaves together archival footage, phenomenal photographs and dramatic reenactments (most in black and white, a few in shockingly lush color) which recreate famous photos, in motion. Others dwell on her life and surroundings, the camera gliding lazily over gorgeous still lifes: Modotti smoking pensively, the walls of a convent, dining tables groaning with fruit, the camera constantly moving, framing objects and figures with a refreshing obliqueness...one is left with a succession of images that sear the soul.' Jason McBride, Toronto Life
'Longfellow's access to Modotti's diary and Weston's original photos gives her a close-up view of what these two Bohemian souls were experiencing during the devastating revolution that's hardly ever spoken of outside Mexico.' Now Toronto
'A beautifully intimate portrait that reveals not only the images, but the thoughts and words of these two great artists.' Gregorio Luke, Director of the Museum of Latin American Art
'Tina in Mexico splices together new and old documents, archival and recreated footage, personal and public experiences and events, to breathe even more life into Modotti's story... Longfellow achieves a good balance in presenting Edward Weston and Modotti's artistic and personal life together. Much too often, in order to preserve Weston's value in art history, some go to great lengths to construct an uneven relationship between him and Modotti, with the latter's role relegated to that of assistant and lover. Never denying Tina's apprenticeship with Weston, and his obvious influence on her work, Longfellow's documentary marks Tina her own woman... Much as Modotti saw 'maps of a history of exploitation' in the faces of the Mexican people she photographed so, in this documentary, we can discern, on the face of Longfellow's Modotti, the map for a history of exemplary cultural activism.' Prof. Pasquale Verdicchio, Dept. of Literature, University of California, San Diego Organizer of the 1996 International Conference on Tina Modotti, UCSD, in conjuction with the exhibition Dear Vocio
'More than being merely beautiful, this film is intensely interesting. It gives us an intimate view of what life was like in Mexico during the Mexican revolution from the point of view of a passionate political activist and artist. [Tina in Mexico] is highly recommended for college students and other adult audiences.' Susan Boatright, Educational Media Reviews Online
'This unusual documentary is true to the creative soul of its subject... Anything but a standard, linear biography, Tina in Mexico does draw from a timeline of Modotti's life, but is more interested in understanding her as an artist, a woman, and an activist, and in looking at how these facets often clashed and overlapped... Longfellow does a fine job of measuring Modotti's influence on Mexican art and politics, as well as the reasons for her eventual expulsion from the country and departure from photography. Recommended.' Video Librarian
'By blending Modotti's words and images with those of her colleagues and contemporaries, Longfellow captures the spirit of both the woman and the time and place in which she worked. [Tina in Mexico] deserves a place in any library. Highly recommended.' Library Journal
Citation
Main credits
Longfellow, Brenda (screenwriter)
Longfellow, Brenda (film director)
Longfellow, Brenda (film producer)
Longfellow, Brenda (editor of moving image work)
McIntosh, David (film producer)
Castañares-López, Normahilda (film producer)
Other credits
Director of photography, Chris Romeike; editors, Glen Richards and Brenda Longfellow; music, Bob Derksch.
Distributor subjects
Anthropology; Art/Architecture; Biography; Film Studies; History; Humanities; Latin American Studies; Latino and Chicano Studies; Mexico; Multicultural Studies; Philosophy; Photography; Photography; Political Science; SociologyKeywords
WEBVTT
00:00:30.610 --> 00:00:33.934
Tonight is my last night in Mexico.
00:00:33.935 --> 00:00:38.838
How can I sleep tomorrow
they will put me on
00:00:38.839 --> 00:00:40.819
a boat bound for fascist Europe
00:00:40.820 --> 00:00:44.999
wrenching me from the only place
that\'s ever felt like home.
00:00:50.560 --> 00:00:53.854
I\'ve given away most of my belongings.
00:00:53.855 --> 00:00:56.193
I\'ll keep only what\'s most precious to me
00:00:56.194 --> 00:00:59.479
my camera and the memory
stored in these journals and
00:00:59.480 --> 00:01:07.309
letters Mexico will always
00:01:07.310 --> 00:01:12.154
claim me no matter where I go
lie here and wait for the sun.
00:01:12.155 --> 00:01:18.270
With my eyes closed the past searches
up like the ashram to.. the petal
00:01:55.500 --> 00:02:00.099
I\'m 22 a part-time seamstress an actress.
00:02:00.100 --> 00:02:05.379
But my mind is ravenous I seek
out the poets and painters.
00:02:05.380 --> 00:02:09.999
The writers and visionaries
Bohemian soirees with oysters and
00:02:10.000 --> 00:02:15.039
saggy I\'m at a party giddy from talk and
00:02:15.040 --> 00:02:20.873
bootleg liquor when I feel his
look graze my back Edward Western
00:02:20.874 --> 00:02:28.309
the famous photographer and one\'s
ever looked at me so intensely before
00:02:43.050 --> 00:02:45.759
These are negatives that I will store in
00:02:45.760 --> 00:02:48.848
a black envelope and and
bottom drawer in my desk.
00:02:48.849 --> 00:02:54.518
There between Tina and die to the outer
world that would only signal my betrayal
00:02:54.519 --> 00:03:00.338
of wife and children but my marriage
is killing me and if I stay.
00:03:00.339 --> 00:03:04.883
I will mentally poison all
around me destroy them I work.
00:03:04.884 --> 00:03:06.619
Her
00:03:16.900 --> 00:03:18.529
You could say
00:03:18.530 --> 00:03:23.703
we were drawn by fate or serendipity
or by a love of adventure.
00:03:23.704 --> 00:03:29.790
You could say we were looking for a place
that matched our own capacity for reinvention
00:03:41.200 --> 00:03:48.859
Avenida de libo drama trace Ghilani Annapolis
that Guba as short trolley rides from
00:03:48.860 --> 00:03:56.860
the city Our house is borrowed
heavily shattered as if waiting
00:03:56.919 --> 00:04:00.939
attack the very first night
we were awakened by gunfire
00:04:00.940 --> 00:04:05.484
under our windows and then silence
not even audible footsteps.
00:04:05.485 --> 00:04:09.919
Are cook tells us the ghost
of Zapata still rides.
00:04:12.930 --> 00:04:16.478
Today I\'ve learned to
bargain at the Mikado like
00:04:16.479 --> 00:04:21.249
the most venerable sin yotta and we are
now equipped with Pueblo where for
00:04:21.250 --> 00:04:24.758
food and flowers to brass candle sticks for
00:04:24.759 --> 00:04:28.794
three pesos each and though we
can hardly afford luxuries.
00:04:28.795 --> 00:04:33.489
A string of 18 amber beads
cheat but to pesos.
00:04:33.490 --> 00:04:37.350
Even on an empty stomach We need beauty.
00:04:40.090 --> 00:04:45.694
Here is life vital intense
black and white never Gray.
00:04:45.695 --> 00:04:50.464
I was tempted to go tourist with my
camera making snaps of street scenes.
00:04:50.465 --> 00:04:54.964
All seemed like a stage setting
unreal and hopelessly picturesque.
00:04:54.965 --> 00:05:00.870
But my work in Mexico will be a fight
to avoid its natural picturesque Nas
00:05:47.440 --> 00:05:50.269
The sun is so hot at
00:05:50.270 --> 00:05:57.814
noon 15 minutes and you lose boundaries
melt into the dust and Adobe.
00:05:57.815 --> 00:06:01.620
Just like Italy And child.
00:06:07.390 --> 00:06:15.390
He doesn\'t know how much I\'m giving him now
the arch of my back my head turn to the light
00:06:17.149 --> 00:06:25.149
withheld while he takes off the seconds
I never tire of watching her with
00:06:26.090 --> 00:06:30.078
all my other nudes I only wanted the
curve of a burst the light falling on
00:06:30.079 --> 00:06:35.434
her belly and aesthetically
stimulating form but with Tina.
00:06:35.435 --> 00:06:40.369
I can\'t separate her body from her face
I shoot a dozen negatives and long
00:06:40.370 --> 00:06:48.370
sharp I held my breath while developing
the shadows are sharp and well-defined.
00:06:49.075 --> 00:06:52.114
Good contrast between
the flesh and blanket.
00:06:52.115 --> 00:06:54.798
The platinum paper makes printing slow and
00:06:54.799 --> 00:06:58.639
tedious but it gives the
final print very rich tones.
00:06:58.640 --> 00:07:02.969
Have to finish all printing
before our first public show
00:07:12.580 --> 00:07:17.163
I have done what I expect it
to do created a sensation.
00:07:17.164 --> 00:07:20.839
The attendance has been phenomenal including
many of the most important man in
00:07:20.840 --> 00:07:26.749
the city the intensity of the appreciation
has keyed me to a high pitch.
00:07:26.750 --> 00:07:30.679
Yet viewing my work day after day
on the walls as depressed me
00:07:30.680 --> 00:07:35.419
greatly to much pictorial
riparian obvious staging.
00:07:35.420 --> 00:07:41.268
Too much under the influence of Stieglitz
the Prince of Tina in any case I approved
00:07:41.269 --> 00:07:44.929
a profitable investment we\'ve created
00:07:44.930 --> 00:07:49.788
a scandal with the nudes half of Mexico
City claims to have been my lover.
00:07:49.789 --> 00:07:53.933
To the other half I am the Chicka prestige
00:07:53.934 --> 00:07:59.809
The bumpy Raisa the church
trembles lockup your men Mexico.
00:07:59.810 --> 00:08:07.810
I might devour all of them the
phone has not stopped ringing in
00:08:08.930 --> 00:08:14.628
our studio invitations for dinners
drinks but most importantly dozens of
00:08:14.629 --> 00:08:22.623
new appointments for portrait
settings we were all there.
00:08:22.624 --> 00:08:29.809
Now we owe and model painter
Feminist Sexual adventurous lover
00:08:29.810 --> 00:08:33.229
of Dr. acyl Godfather the Mexican
00:08:33.230 --> 00:08:36.393
folk art movement muralist agitator
00:08:36.394 --> 00:08:41.628
Mystic Joel Charlotte French
painting the first first goes to
00:08:41.629 --> 00:08:47.449
the National preparatory school Francis
tour American anthropologist editor of
00:08:47.450 --> 00:08:52.819
Mexican folk ways Lu Bei
Rivera Guadalupe and
00:08:52.820 --> 00:08:59.389
madwoman well who wouldn\'t be married
to Alexander from also Diego Rivera.
00:08:59.390 --> 00:09:05.374
At me Anita Brenner aspiring
Mexican art critic and journalist.
00:09:05.375 --> 00:09:09.889
This was the core of our familia
germinated out of weekly fiestas at
00:09:09.890 --> 00:09:14.749
Tina and Edwards and evangelical
believe an art and a love of
00:09:14.750 --> 00:09:15.919
dancing and talk to
00:09:15.920 --> 00:09:17.820
your Dawn
00:09:35.230 --> 00:09:36.858
Maestro
00:09:36.859 --> 00:09:37.070
has
00:09:37.071 --> 00:09:39.228
been the talk of the town all week
00:09:39.229 --> 00:09:44.313
Monday Stephen stormed into the
courtyard and to face the murals
00:09:44.314 --> 00:09:48.498
shouting done with
rebellious monkeys death to
00:09:48.499 --> 00:09:53.764
the arbiter of ugliness determined
to lynch the man himself.
00:09:53.765 --> 00:10:00.719
Now we watch as the painters clan the
scaffolds with large pistols in their pockets
00:10:16.330 --> 00:10:20.224
Here we love art so much
the government pays us
00:10:20.225 --> 00:10:24.288
eight bases a day like any
operator and this is how we
00:10:24.289 --> 00:10:27.649
will remember our revolution
here on the walls of
00:10:27.650 --> 00:10:31.368
every public building in Mexico.
Do you know why we
00:10:31.369 --> 00:10:36.528
worked 20 hours a day because we Mexicans
are forgetting already and the fighting
00:10:36.529 --> 00:10:44.104
early start three years ago Worker.
00:10:44.105 --> 00:10:45.529
But these are the workers of
00:10:45.530 --> 00:10:50.219
LeBlanc Buchanan who led the first
strikes against the dictatorship.
00:10:51.790 --> 00:10:56.058
Here are the 15 thousand who joined
Red battalions and to see to
00:10:56.059 --> 00:11:00.078
fight for labor rights rights
enshrined in our Constitution.
00:11:00.079 --> 00:11:04.879
Without them not general or politician could
win the revolution or keep themselves in
00:11:04.880 --> 00:11:12.798
power diego says Zapata and via should
never have handed over their arms.
00:11:12.799 --> 00:11:16.638
He says President Reagan is a fox who will
00:11:16.639 --> 00:11:20.328
be trained the people as they
all have the Revolution is
00:11:20.329 --> 00:11:28.329
a sneak which has swallowed its tail he says
Recoils and twists in unpredictable turns
00:11:37.870 --> 00:11:42.079
September 21st Edward denied to six o\'clock
00:11:42.080 --> 00:11:45.934
chocolate with Diego and loop
every better and heavier ghetto
00:11:45.935 --> 00:11:49.518
Diego\'s assistant a passionate
discussion broke out
00:11:49.519 --> 00:11:53.509
with heavier accusing the ego
of romanticizing the Indian.
00:11:53.510 --> 00:11:57.964
The countryside is in thrall
to Catholicism Javier cries.
00:11:57.965 --> 00:12:02.358
It is the bastion of
reaction You are denying
00:12:02.359 --> 00:12:08.059
your own blood says Diego The Future of
Mexico lies with those whose faces are
00:12:08.060 --> 00:12:15.303
as Brown as the Earth and whose souls are
as pagan as quote leak way we are all
00:12:15.304 --> 00:12:23.304
Indian whether we admit it or not November
first completed four of Edwards negatives.
00:12:23.614 --> 00:12:27.799
The best results so far have been
through fine-grained development.
00:12:27.800 --> 00:12:31.354
Using Amador with excess sodium sulfate.
00:12:31.355 --> 00:12:36.874
The details of the lights are just hinted
at and the darks are still differentiated.
00:12:36.875 --> 00:12:40.638
Will be up all night a dozen
studio portraits to print by
00:12:40.639 --> 00:12:48.048
Monday Days pass monotonously
00:12:48.049 --> 00:12:52.203
trying to make an ancient American
woman look like a Spanish than eureka.
00:12:52.204 --> 00:12:54.288
I suffer and my body is
00:12:54.289 --> 00:12:59.569
cramped with the advertisement
00:12:59.570 --> 00:13:04.803
in a newspaper or a 100
sins atomos rent 800 paper.
00:13:04.804 --> 00:13:09.438
Develop her and mixer another 400 we
00:13:09.439 --> 00:13:14.148
have eight sittings this month yesterday
are three o\'clock sitting discovered
00:13:14.149 --> 00:13:18.918
that sin yard waste and send..the
Athena or not married and
00:13:18.919 --> 00:13:23.749
cancel the sitting outrageous
moralism but we can hardly afford
00:13:23.750 --> 00:13:31.750
it What are the roots that clatch what
00:13:33.670 --> 00:13:38.408
branch has grow out of this
stony rubbish Son of Man you
00:13:38.409 --> 00:13:43.794
cannot say or guess for you know
only a heap of broken images
00:13:43.795 --> 00:13:48.788
where the sun beats and the dead
tree gives no shelter the cricket no
00:13:48.789 --> 00:13:56.663
relief the dry stone no sound of water
only there is shadow under this red rock.
00:13:56.664 --> 00:13:58.538
Come in under the shadow of
00:13:58.539 --> 00:14:06.368
this red rock Edward and I have long
planned a series with me reciting poetry.
00:14:06.369 --> 00:14:14.369
A treasured past-time for both of us We
go through 203040 graphlets negatives.
00:14:15.670 --> 00:14:19.419
It\'s as if he will never
stop as if there was always
00:14:19.420 --> 00:14:24.409
something a caprice of face
and light put a new Tim.
00:14:27.870 --> 00:14:31.328
When you start looking
closely at the world.
00:14:31.329 --> 00:14:35.498
Everything around you seems
alive and dance with meeting.
00:14:35.499 --> 00:14:40.868
Observe interpret dreams and
philosophies and a spike
00:14:40.869 --> 00:14:46.639
of cactus delirious passions in
the petals of a lowly flower
00:14:56.820 --> 00:15:01.268
I borrow Edwards camera while he\'s
supervising the final bath in
00:15:01.269 --> 00:15:08.609
the darkroom I put the plate in and
looked down through the ground glass.
00:15:08.610 --> 00:15:15.350
A strange upside down world comes into
focus I press the shutter and count.
00:15:31.230 --> 00:15:35.928
Developing these in the dark room
later I suddenly realized that
00:15:35.929 --> 00:15:40.638
the bellows cutoff the left corner of
every image each completely ruined.
00:15:40.639 --> 00:15:45.528
I am so easily distracted when working
out of doors and frustrated by
00:15:45.529 --> 00:15:53.529
my failure Edward is
00:15:54.980 --> 00:15:59.239
showing six photographs under
the auspices of movie mental S3
00:15:59.240 --> 00:16:03.904
than dista the S3 dentist
does believe in a New Mexico.
00:16:03.905 --> 00:16:09.439
Of turbines and Pistons electric
pylons and motorcycles.
00:16:09.440 --> 00:16:14.659
We drink wine and smoke in their cafe
till the air is so hese who can\'t see
00:16:14.660 --> 00:16:19.773
the poets Edward was not very impressed.
00:16:19.774 --> 00:16:27.199
He abhors retouching and Artistic Effects
photography he says has its purity.
00:16:27.200 --> 00:16:31.098
But I was fascinated by
their experiments and
00:16:31.099 --> 00:16:34.219
I\'m eager to explore the
possibilities of double exposure.
00:16:34.220 --> 00:16:38.550
Using the cameras and
Mechanical Industrial i
00:17:18.610 --> 00:17:21.649
At last the revolution has caught up with
00:17:21.650 --> 00:17:25.159
us wires are caught between
here and very cuz trains
00:17:25.160 --> 00:17:27.769
are halted except those two
El Paso which are filled with
00:17:27.770 --> 00:17:31.084
fleeing American\'s food prices are soaring.
00:17:31.085 --> 00:17:34.158
Something must happen soon we will be
00:17:34.159 --> 00:17:40.894
stranded February third a dear friend
00:17:40.895 --> 00:17:45.888
a general in the Federal army commandeers a
car and we asked to be taken on his rounds.
00:17:45.889 --> 00:17:50.219
I wanted to see for myself what
is happening in the countryside
00:18:01.150 --> 00:18:06.498
arriving at a village we found
it barricaded awaiting arrayed
00:18:06.499 --> 00:18:11.869
two days before de la huerta had
attacked and taken away some 30 horses.
00:18:11.870 --> 00:18:13.413
Now on the roof.
00:18:13.414 --> 00:18:18.019
Behind sand bags soldiers
leaned on their rifles.
00:18:18.020 --> 00:18:20.209
We wished them courage and left
00:18:20.210 --> 00:18:27.210
quickly We only stop to set up our
cameras by the side of the road.
00:18:29.560 --> 00:18:34.849
I managed a quick composition
of the Nepal I believe I am
00:18:34.850 --> 00:18:40.890
starting to see in monochrome and not be
blinded by the colors which surround us
00:18:52.330 --> 00:18:57.018
McCurry though Edward leader
it is the greatest of
00:18:57.019 --> 00:19:01.534
all gifts he could have given
me my very own four by five
00:19:01.535 --> 00:19:07.794
Corona April third 18-24
00:19:07.795 --> 00:19:14.719
today I set up my precious corona on the
Acetaia focus the lens and press the shutter.
00:19:21.270 --> 00:19:24.890
It was a picture of myself
00:19:46.900 --> 00:19:50.494
Edward and the others
move off into the desert.
00:19:50.495 --> 00:19:54.019
But I prefer to stay inside the
walls of the convent where
00:19:54.020 --> 00:19:57.409
it\'s cool a still world of lightness and
00:19:57.410 --> 00:19:59.070
dark
00:20:17.590 --> 00:20:18.963
Tina
00:20:18.964 --> 00:20:21.348
printed her most interesting abstraction.
00:20:21.349 --> 00:20:24.918
She printed from an enlarged
positive so she has a negative Brent
00:20:24.919 --> 00:20:28.384
and shows it upside down All
of which sounds Faki and
00:20:28.385 --> 00:20:32.538
may not be the best use of photography
but it really is very genuine
00:20:32.539 --> 00:20:38.039
and one feels no striving no sweat
as in The Man Ray experiments
00:21:22.450 --> 00:21:26.869
We celebrated our first year
in Mexico with me holding
00:21:26.870 --> 00:21:31.248
a dusty bunch of roses while
husband Edward endeavored to keep
00:21:31.249 --> 00:21:35.959
a straight face incredible to think
it\'s been a year already and
00:21:35.960 --> 00:21:41.089
how I\'ve come to a door this city with
its Aztec Ruins and sinking buildings.
00:21:41.090 --> 00:21:47.688
It\'s passionate politics and indescribable
light all now as familiar as the haunts of
00:21:47.689 --> 00:21:55.689
my childhood The newsmen
00:21:57.580 --> 00:22:02.393
Italy is not good mom mice terrified
for the family back in Houdini.
00:22:02.394 --> 00:22:06.739
All known to the black shirts
as anarchists and reds.
00:22:07.530 --> 00:22:11.379
There are a few of us
Italian exiles here we\'re
00:22:11.380 --> 00:22:14.634
organizing an anti-fascist
rally on Saturday.
00:22:14.635 --> 00:22:22.635
Leave unless solidarity that
Internacional October 19-21
00:22:24.759 --> 00:22:27.578
for clouds have been tempting me
00:22:27.579 --> 00:22:32.978
again next to the recording of a fugitive
expression is there anything more elusive to
00:22:32.979 --> 00:22:36.588
capture them Cloud Forms The trouble
00:22:36.589 --> 00:22:40.308
is this the slight tone of
the stock is just enough to
00:22:40.309 --> 00:22:43.758
destroy the more subtle
gradations now admitted
00:22:43.759 --> 00:22:46.008
one peculiarity of the
summer clouds here is
00:22:46.009 --> 00:22:48.738
the way in which they are
cut out against the sky.
00:22:48.739 --> 00:22:54.870
Still there is an exaggeration in
my print that is not satisfactory.
00:23:07.450 --> 00:23:12.409
He catches me on my way up to my
little room of the Acetaia it\'s
00:23:12.410 --> 00:23:17.153
seven AM and I\'ve just come down
for cigarettes and coffee paper
00:23:17.154 --> 00:23:21.769
A young art and never is waiting
for me in bed but Edward claims
00:23:21.770 --> 00:23:27.509
the lightest perfect holds me here while
he moves the tripod one more time
00:23:36.010 --> 00:23:41.119
I see them staring at her the
handshakes they embraces that last
00:23:41.120 --> 00:23:45.049
a beat two long damage he
can\'t walk across the room
00:23:45.050 --> 00:23:49.713
light a cigarette lean over to serve
pasta and it becomes a sexual display.
00:23:49.714 --> 00:23:52.789
They sniff and she papers.
00:23:52.790 --> 00:23:55.188
Next time I\'ll pick a mistress as ugly as
00:23:55.189 --> 00:24:03.189
hell Did I tell
00:24:04.579 --> 00:24:10.458
you I was 13 when I worked in the
silk factory in 3S in Italy.
00:24:10.459 --> 00:24:17.929
I boiled off the saracens melting cocoon
glues off threads made my fingers red and
00:24:17.930 --> 00:24:22.039
swollen and I reached the silk was used
00:24:22.040 --> 00:24:27.689
enrich women\'s kimono has is fine
and delicate as a second skin.
00:24:37.030 --> 00:24:45.030
He\'s watching me today and is look
rooms like a knife I know he has
00:24:45.249 --> 00:24:49.388
his own flirtation even with are
made and makes no attempt to
00:24:49.389 --> 00:24:55.190
hide her adoration I don\'t
understand his coldness.
00:24:56.580 --> 00:25:01.688
I wanted to give him something
he\'s never seen before his face in
00:25:01.689 --> 00:25:07.028
the morning light the flash of his
back as he sits in his cold bath.
00:25:07.029 --> 00:25:11.828
But Edward refused he won\'t
let me catch him unawares.
00:25:11.829 --> 00:25:16.494
So I dress him up pose and
was the great artist.
00:25:16.495 --> 00:25:22.268
Do I look like Stieglitz he laughs
gesturing for me to lower the tripod.
00:25:22.269 --> 00:25:30.269
Yes Master I joke He gazes into the
distance it\'s the direction he\'s going
00:25:55.630 --> 00:25:59.688
in a day the flower will turn yellow.
00:25:59.689 --> 00:26:01.383
The stems droop.
00:26:01.384 --> 00:26:03.394
The curl fade.
00:26:03.395 --> 00:26:11.395
I press my shatter against time Against decay
against life which changes continuously.
00:26:12.820 --> 00:26:20.574
I should want no more than there\'s a moment
out of time when a form become sublime.
00:26:20.575 --> 00:26:24.543
But I\'m restless I paste the floor.
00:26:24.544 --> 00:26:27.738
I smoked too much I go to visit
00:26:27.739 --> 00:26:35.673
Diego he invites me to a screening
at the Russian embassy.
00:26:35.674 --> 00:26:39.319
It\'s like nothing I\'ve ever seen a film
00:26:39.320 --> 00:26:43.129
bursting with the intensity of
life and with characters who have
00:26:43.130 --> 00:26:44.659
real history etched on
00:26:44.660 --> 00:26:52.660
their faces I woke this morning with
those images still haunting my dreams.
00:26:59.200 --> 00:27:07.200
Right there B that I work with
Diego\'s educators and how heavy
00:27:07.769 --> 00:27:12.108
it is seeing the cathode the
entity Steph\'s life is short
00:27:12.109 --> 00:27:16.804
and art is long Edward always
said but he really Mexico.
00:27:16.805 --> 00:27:20.898
One has only to step into the street
to be caught in a moving stream of
00:27:20.899 --> 00:27:25.309
history I felt the presence
of life around me for
00:27:25.310 --> 00:27:30.919
a moment I thought I would be crashed and
threw my arms around the camera Every time
00:27:30.920 --> 00:27:36.948
I looked up the crowd swelled before me
another regiment of colors and banners.
00:27:36.949 --> 00:27:40.950
Have yet it took the
tripod and it walked on
00:27:45.730 --> 00:27:51.903
September 15th well I willed myself
back in Mexico again and here I am
00:27:51.904 --> 00:27:54.529
Tina is more and more
occupied these days with
00:27:54.530 --> 00:27:58.713
anti-imperialist social work but
I\'m becoming a reactionary.
00:27:58.714 --> 00:28:01.278
Too much sentimentality
over the proletariat.
00:28:01.279 --> 00:28:03.948
Too much deification of the Indian.
00:28:03.949 --> 00:28:07.698
What incentive is there
to excel in justice as
00:28:07.699 --> 00:28:13.799
a stronger way a weaklings
or weeded out Fifth survive.
00:28:16.120 --> 00:28:20.688
I had so long to have Edward
back but now that he is
00:28:20.689 --> 00:28:25.579
finally here he seems withdrawn distance we
00:28:25.580 --> 00:28:28.878
throw ourselves into our
work I\'ve been doing
00:28:28.879 --> 00:28:32.719
a series lately on industrial
images of Mexico and have been
00:28:32.720 --> 00:28:35.118
traveling through all
corners of the city and
00:28:35.119 --> 00:28:40.729
environs Mexico is a country
of such extreme contrasts.
00:28:40.730 --> 00:28:43.849
One day you can see it Campesino plowing by
00:28:43.850 --> 00:28:48.528
hand and then arrive at a factory
which springs up out of nowhere.
00:28:48.529 --> 00:28:52.204
I\'m trying to capture some
of that modernizing impulse.
00:28:52.205 --> 00:28:57.929
Through my angles And through the framing
of dynamic lines and two outlines.
00:29:04.540 --> 00:29:07.838
I\'ve been photographing our toilet.
00:29:07.839 --> 00:29:12.004
Like glossy and enameled receptacle
of extraordinary beauty.
00:29:12.005 --> 00:29:15.679
My excitement was absolute
aesthetic response to form
00:29:15.680 --> 00:29:19.699
here was the sensuous curve
of the human form divine.
00:29:19.700 --> 00:29:21.723
But minus imperfections.
00:29:21.724 --> 00:29:26.329
Never did the Greeks reach a more significant
conservation to their culture and it\'s
00:29:26.330 --> 00:29:31.279
somehow reminded me in the glory of its
swelling sweeping forward movement
00:29:31.280 --> 00:29:34.139
of the Victory of Samothrace
00:29:39.700 --> 00:29:43.398
I smoke the last of tennis
cigarettes although I\'d vote to
00:29:43.399 --> 00:29:49.758
quit the streets are full of rumors of a new
and possibly the worst outbreak of violence.
00:29:49.759 --> 00:29:53.118
If this is so I would turn to California at
00:29:53.119 --> 00:29:57.634
once it\'s six AM
00:29:57.635 --> 00:30:02.969
and I hear the lock on the door and Tina
coming in but the downstairs patio.
00:30:04.420 --> 00:30:07.889
Life isn\'t ministry to me now
00:30:19.810 --> 00:30:23.433
Morning came clear and brilliant.
00:30:23.434 --> 00:30:28.909
I will do some heads of you today Tina
Mexican son will reveal everything.
00:30:28.910 --> 00:30:32.719
Nothing can be hidden under
this cloudless cruel sky.
00:30:32.720 --> 00:30:36.243
Let me see if 161 tenth of a second.
00:30:36.244 --> 00:30:39.618
How calculated it sounds it
really how spontaneous and
00:30:39.619 --> 00:30:43.999
genuine For have so overcome the mechanics
of my camera that I feel it responding
00:30:44.000 --> 00:30:46.559
intuitively to my desires.
00:30:46.570 --> 00:30:52.968
She leaned against a whitewashed
wall and drew close And kissed
00:30:52.969 --> 00:31:00.029
her tear rolled down her cheek and
then I captured the moment forever
00:31:36.880 --> 00:31:40.039
February first 19-26.
00:31:40.040 --> 00:31:45.798
Today the radical Central Union the CGT
marched against President Gaius and
00:31:45.799 --> 00:31:48.528
his reactionary version of unionism
00:31:48.529 --> 00:31:53.434
more and more people are joining the
opposition to graft and corruption.
00:31:53.435 --> 00:31:58.079
These days you mark your politics
with your body in the street.
00:32:01.420 --> 00:32:07.234
For 25 pesos I purchased a rapid
lens and our cheaply made shutter.
00:32:07.235 --> 00:32:12.394
The graph Lex and tripod up to the
Acetaia ready to face life afresh.
00:32:12.395 --> 00:32:17.429
For you from fog and flair. She is there
00:32:25.560 --> 00:32:31.069
He hasn\'t touched me for months but
he will watch me through the camera.
00:32:33.300 --> 00:32:40.509
He doesn\'t want my face gestures for me
to turn in an arch my back freeze He
00:32:40.510 --> 00:32:48.510
says The Stones are cutting into my
knees but I hold for 203040 seconds.
00:32:50.850 --> 00:32:55.569
I\'ve wanted to give him
so much is this all we
00:32:55.570 --> 00:33:00.739
share a thin skin of emulsion
as ephemeral as light
00:33:08.830 --> 00:33:12.918
I was shaving when Anita Brenner
came hardly expecting her on
00:33:12.919 --> 00:33:15.979
such a gloomy drizzling
day I told her she would
00:33:15.980 --> 00:33:20.088
shiver and the unneeded
room but she took no hints.
00:33:20.089 --> 00:33:23.268
The session lasted nearly a
day and I convinced West and
00:33:23.269 --> 00:33:26.178
to do the photo illustrations from
my book though I gather Tina will
00:33:26.179 --> 00:33:29.028
be assisting I can\'t
easily put Tina down as
00:33:29.029 --> 00:33:32.329
a friend but do look on her
numerous and easy liaisons with
00:33:32.330 --> 00:33:34.758
grudging envy Tina deems
00:33:34.759 --> 00:33:36.888
my work perfect publicity and paints me a
00:33:36.889 --> 00:33:39.888
vulgar scheming adventurous who
knows nothing of painting.
00:33:39.889 --> 00:33:41.419
More and more she is turning into
00:33:41.420 --> 00:33:46.380
a grand Don Diego\'s little megaphone
Vail important having an enemy.
00:33:53.300 --> 00:33:58.188
We now what happens when they\'re
wet though we\'re off for
00:33:58.189 --> 00:34:02.853
four months taking photographs for our neat
his book on Mexican art and artifacts.
00:34:02.854 --> 00:34:08.269
We sleep and rickety beds with bugs or corner
of ourselves serving as our dark room we
00:34:08.270 --> 00:34:11.118
scrap the camera to the
backs of manuals setting up
00:34:11.119 --> 00:34:15.169
the graph flex in ancient
sites in forlorn villages.
00:34:15.170 --> 00:34:19.848
I\'ve never been this far into
the anterior past the slopes of
00:34:19.849 --> 00:34:25.069
the Sierra Madre we meet daily with the
Incontrovertible truths that the deepest
00:34:25.070 --> 00:34:32.673
enriches Mexico is Indian Edward get\'s
flustered when people crowd his frame
00:34:32.674 --> 00:34:36.649
fumbles over the language turns
his camera the other way but I
00:34:36.650 --> 00:34:41.909
loved the street with its vibrant
rash of music and everyday life
00:34:52.720 --> 00:34:56.644
the countryside is like
a great dark tidal wave
00:34:56.645 --> 00:35:01.353
President gaze has closed all Catholic
schools and deported hundreds of priests.
00:35:01.354 --> 00:35:03.679
The forces of reaction are armed and
00:35:03.680 --> 00:35:08.014
massing ironic that so many are
desperately poor campesinos
00:35:08.015 --> 00:35:10.608
Prepared to die in defense
of a church that wield
00:35:10.609 --> 00:35:15.483
such tyrannical power over them
while the harder was not gay.
00:35:15.484 --> 00:35:19.968
What city could be during this crisis
street fighting between soldiers and
00:35:19.969 --> 00:35:25.159
Catholics the majority women armed
with bricks clubs machetes ended in
00:35:25.160 --> 00:35:31.188
bloodshed and death the secrecy
was closed locked them sealed by
00:35:31.189 --> 00:35:34.669
the government if we enter the
church some fanatical old hag
00:35:34.670 --> 00:35:39.300
would follow where a crowd of solid
phases would I or activities
00:35:50.170 --> 00:35:53.058
In order to up and we\'d start for
00:35:53.059 --> 00:35:56.253
cafecon Nietzsche and there
were the newspaper headlines.
00:35:56.254 --> 00:36:00.588
To Mexican engineer\'s suspected
of being government informers
00:36:00.589 --> 00:36:05.069
were lynched in on-camera Edward is
afraid the same fate may be fall
00:36:05.070 --> 00:36:12.738
us Mexico breaks one\'s
heart mixed with Love was
00:36:12.739 --> 00:36:16.098
a growing bitterness hatred I tried hard to
00:36:16.099 --> 00:36:20.589
resist travel weary we
00:36:20.590 --> 00:36:25.009
are finally back in Mexico City and
working furiously in the dark room.
00:36:25.010 --> 00:36:28.770
This trip has worn out something between us
00:36:40.570 --> 00:36:46.294
Have delivered for a 150 prints from the
negative is done on the last leg of our journey.
00:36:46.295 --> 00:36:49.339
Adding those from Pueblo and
what haka have yet to finish and
00:36:49.340 --> 00:36:52.218
other 200 I\'m now anxious to
00:36:52.219 --> 00:37:00.219
leave November second Day of the Dead finished
printing Edward series from bots quadro.
00:37:01.549 --> 00:37:04.849
I\'ve always loved that quality
of haunting emptiness and
00:37:04.850 --> 00:37:08.764
Edwards work but here it feels erian cold.
00:37:08.765 --> 00:37:16.765
As if he\'s already left Mexico This time has
going was not heartbreaking but bittersweet.
00:37:19.309 --> 00:37:24.690
What Datalab is 12 remains
the rest is dress
00:37:40.300 --> 00:37:43.293
Maria Aurasma comes over.
00:37:43.294 --> 00:37:47.148
She brings a gallon of wine and
gramophone recordings that
00:37:47.149 --> 00:37:52.009
the latest consonant is we
are soon gloriously cheat
00:37:52.010 --> 00:37:58.879
this I take her in my arms and we dance
00:37:58.880 --> 00:38:06.243
and dance until the sun comes up
of what the pattern is beautiful.
00:38:06.244 --> 00:38:13.769
It\'s strung dramatic features and amass as
wide and generous as a ripe patois Kathy
00:38:46.420 --> 00:38:49.819
I\'ve not been very creative lately.
00:38:49.820 --> 00:38:53.088
I am convinced that as far
as creation is concerned.
00:38:53.089 --> 00:38:55.849
Women lack the power of concentration and
00:38:55.850 --> 00:38:59.658
the facility to be wholly
absorbed by one thing.
00:38:59.659 --> 00:39:05.388
Am I being too rash perhaps posing for
Diego has given me too much time to
00:39:05.389 --> 00:39:13.389
reflect Diego\'s assistant Javier
00:39:14.690 --> 00:39:17.479
is always watching in
the background grinding
00:39:17.480 --> 00:39:22.350
the pigment Snaking the
lime melting the resin.
00:39:22.570 --> 00:39:27.498
Have yet disapproves of Diego
these two promiscuous.
00:39:27.499 --> 00:39:30.708
Too full of appetite and ego for the party.
00:39:30.709 --> 00:39:33.694
Only last week Diego chipped out to
00:39:33.695 --> 00:39:37.458
habeas murals at the Secretary
of Education to make room for
00:39:37.459 --> 00:39:45.459
his own Tina did you know that over a million
people died for the revolution and Mexico.
00:39:46.159 --> 00:39:51.963
Only half by the bullet arrest by typhus
starvation and the greed of the generals.
00:39:51.964 --> 00:39:56.508
Every political heavy scenes will tell
you the revolution is over we have
00:39:56.509 --> 00:40:01.219
one Put down your arms We will
look after you but in Mexico.
00:40:01.220 --> 00:40:04.578
That revolution is only a beautiful dream.
00:40:04.579 --> 00:40:09.558
Go into the countryside the barrios
the land is dry or children are
00:40:09.559 --> 00:40:15.454
dying and we are all ghosts and
Phantoms that evolution is our future.
00:40:15.455 --> 00:40:17.610
Not our past
00:40:25.630 --> 00:40:27.888
February first
00:40:27.889 --> 00:40:32.370
1927 Bolonia balsa two in the afternoon.
00:40:32.710 --> 00:40:37.399
There doesn\'t children following
Javier and I barefoot and
00:40:37.400 --> 00:40:42.483
hungry begging for syntax
I emptied my pockets.
00:40:42.484 --> 00:40:47.280
I\'m dusty and hot and my
tears won\'t stop flowing.
00:40:49.870 --> 00:40:57.870
Work this
00:40:59.539 --> 00:41:01.759
is a new challenge for photography.
00:41:01.760 --> 00:41:06.048
How to see a face not just in
relation to the inner world of
00:41:06.049 --> 00:41:10.429
the individual but as a map for
a history of exploitation.
00:41:10.430 --> 00:41:15.558
It\'s all there the promise
is broken the 400 years of
00:41:15.559 --> 00:41:23.559
servitude I\'ve talked with
00:41:23.600 --> 00:41:27.558
Diego and have yet all day I
wanted to be clear to all
00:41:27.559 --> 00:41:31.728
that my joining the party is not the
result of my loving a revolutionary.
00:41:31.729 --> 00:41:36.079
Something external but is the result
of a very deep commitment inside
00:41:36.080 --> 00:41:41.059
myself I asked if I could join
the brigades organizing and
00:41:41.060 --> 00:41:49.060
colonia borsa but they said no it was
no place for a woman peanut speaks at
00:41:49.730 --> 00:41:52.774
the anti-fascist Rally
before thousands and we are
00:41:52.775 --> 00:41:59.508
riveted she is not like Mexican women
oppressed by the church bound by convention.
00:41:59.509 --> 00:42:05.974
I\'m an enemy of tyranny deny Christ and
we rise to our feet Our fists in the air.
00:42:05.975 --> 00:42:11.029
She\'s fearless than
magnetic iWatch and already
00:42:11.030 --> 00:42:16.639
she\'s changing her hair pulled
back very close modest.
00:42:16.640 --> 00:42:20.099
Or eyes flashing with passion.
00:42:37.120 --> 00:42:41.524
I like to think of these as
poems to the revolution.
00:42:41.525 --> 00:42:44.688
Maybe these are two obvious
as a needed Brenner
00:42:44.689 --> 00:42:49.128
says Bound a slogan earring and
the rhetoric of simple truths.
00:42:49.129 --> 00:42:54.033
But what can a photographer do
Javier and diego have their walls
00:42:54.034 --> 00:42:59.179
but I have only a small rectangular
frame I took hours in the studio with
00:42:59.180 --> 00:43:03.078
these arranging alight so
precisely there is just a hint of
00:43:03.079 --> 00:43:08.850
a shadow which lends the objects
are very powerful symbolic feeling
00:43:14.320 --> 00:43:18.903
Francis tour and I are off
for a week to wonder Beck
00:43:18.904 --> 00:43:23.449
shooting photos for her journal
Mexican folk ways I close
00:43:23.450 --> 00:43:26.404
my eyes and move backwards into time
00:43:26.405 --> 00:43:32.628
Cortez back to the heart of
Diego\'s mythic Mexico the land of
00:43:32.629 --> 00:43:36.048
sceptic makes take chichi make
00:43:36.049 --> 00:43:44.049
us Francis
00:43:45.980 --> 00:43:46.279
and I
00:43:46.280 --> 00:43:48.558
change into Cauchy pants and shirts for
00:43:48.559 --> 00:43:52.729
our fieldwork and Joe could how
invigorating it would be to defect to
00:43:52.730 --> 00:43:58.398
the matriarchy here and they wanted to pick
God knows I need to simplify my life with
00:43:58.399 --> 00:44:06.399
men here are the famous women of
philanthropic beautiful and strong.
00:44:06.635 --> 00:44:14.635
As graceful as dancers I\'ve never seen women
as proud and sure of their movements as
00:44:16.399 --> 00:44:23.869
Frank and tender in there
look I\'ve been thinking
00:44:23.870 --> 00:44:26.794
lately that my ideal is a perfect snapshot
00:44:26.795 --> 00:44:32.298
the moving quality of life rather than still
studies but nothing could be more difficult.
00:44:32.299 --> 00:44:35.913
Each time I have to rush to
find my frame and exposure.
00:44:35.914 --> 00:44:39.934
No times do a calculation
I\'ll just average at F11.
00:44:39.935 --> 00:44:43.189
Suddenly they spot me a
strange creature under
00:44:43.190 --> 00:44:47.730
a dark cloth and the speed
by like birds in flight.
00:44:48.070 --> 00:44:55.263
Only with much friendlier persuasion
Pause I promise them prints.
00:44:55.264 --> 00:45:01.638
They promise to make me into a real woman
I joined the long line of my sisters
00:45:01.639 --> 00:45:03.889
here with Indigo Cotton against
00:45:03.890 --> 00:45:09.419
my breasts and the delicious brash
of a full skirt against my legs.
00:45:09.730 --> 00:45:13.878
Here I am in longshot holding
the cable release behind
00:45:13.879 --> 00:45:21.079
my back back in
00:45:21.080 --> 00:45:22.999
the city in a flurry of meetings and
00:45:23.000 --> 00:45:27.468
party activities with a host of new
photo assignments for L machete.
00:45:27.469 --> 00:45:32.509
M now absolutely determined to work in a
different way and have resolved to sell
00:45:32.510 --> 00:45:39.060
the corona It breaks my heart to part with
it but I need the money to buy a graphics.
00:45:40.420 --> 00:45:44.538
I\'ve always been two restrained
in my work with a three by four
00:45:44.539 --> 00:45:48.348
reflex I\'ll be able to loosen
up it\'s a lighter camera and
00:45:48.349 --> 00:45:49.699
much more useful for work in
00:45:49.700 --> 00:45:57.700
the field have yet and I to party
congress in kalapa Chihuahuas
00:45:58.129 --> 00:46:02.509
to meet with radical rural groups become
00:46:02.510 --> 00:46:07.204
busy knows have organized literacy brigades
and categories here since the revolution
00:46:07.205 --> 00:46:10.278
16 years ago they took over
a haciendo to run it as
00:46:10.279 --> 00:46:18.279
a cooperative I frame them from a low
angle against the sky heroic and proud.
00:46:20.224 --> 00:46:24.109
They are more curious than
Shai a lady photographer
00:46:24.110 --> 00:46:28.278
wearing pants smoking
like a fiend I crouch in
00:46:28.279 --> 00:46:32.029
the shadows while they arrange their
setup is and look directly into
00:46:32.030 --> 00:46:40.030
the camera I move tighter on the boy.
00:46:40.190 --> 00:46:44.448
Using the band of the Sombrero
was a strong formal accent.
00:46:44.449 --> 00:46:47.358
At the end of the day they are my brothers.
00:46:47.359 --> 00:46:50.019
We class pans and toasts up at
00:46:50.020 --> 00:46:55.039
that Our return the Central Committee
00:46:55.040 --> 00:46:57.529
informed us that heavy edit
will be sent to Moscow for
00:46:57.530 --> 00:46:59.239
three years for cavalry training at
00:46:59.240 --> 00:47:04.140
the London School I will miss them
terribly but will say nothing
00:47:08.650 --> 00:47:13.128
I fill my loneliness with
work there is always
00:47:13.129 --> 00:47:18.109
work finishing article and photo
layout for n much athe I take
00:47:18.110 --> 00:47:22.729
a photograph a man his
clothes ragged sits on
00:47:22.730 --> 00:47:27.738
the edge of a city street and buries his
face in his hands I take another of
00:47:27.739 --> 00:47:31.249
a billboard for elegant men\'s
clothing and print them together as
00:47:31.250 --> 00:47:37.159
a collage rich and poor Indian
and Blanco Intransigent divide
00:47:37.160 --> 00:47:40.909
of classes in Mexico the
contrast is obvious of
00:47:40.910 --> 00:47:45.199
course but it is effective propaganda
and I do believe photography
00:47:45.200 --> 00:47:48.228
has the most radical potential precisely
00:47:48.229 --> 00:47:51.799
because it can only be produced
in the present and because it is
00:47:51.800 --> 00:47:54.888
based on what exists before
the camera photography
00:47:54.889 --> 00:47:59.699
cannot avoid life in all
its harshness and chaos.
00:48:00.220 --> 00:48:02.748
I remember asking.
00:48:02.749 --> 00:48:04.834
But Tina What about beauty.
00:48:04.835 --> 00:48:08.913
Shouldn\'t your proletariat had the right
to elegant flowers and landscapes
00:48:08.914 --> 00:48:13.338
Anita She said I prefer
truth to beauty but for her
00:48:13.339 --> 00:48:16.939
that was beauty in the struggle and in
the faces and gestures of the people she
00:48:16.940 --> 00:48:19.239
loved She started printing on
00:48:19.240 --> 00:48:22.973
the less expensive gelatin paper
and refused wealthy collectors.
00:48:22.974 --> 00:48:26.559
But for me she would always be an idealist.
00:48:26.560 --> 00:48:34.560
Not a stalwart Sundays meant
again at cyclic diarrhea.
00:48:36.624 --> 00:48:42.458
More fragments of the new frescoes Diego
is so enthusiastic about my copies that he
00:48:42.459 --> 00:48:45.399
would like me to even repeat
the ones look bursa had done
00:48:45.400 --> 00:48:49.044
already too big a job
however and I said No.
00:48:49.045 --> 00:48:52.778
I\'ve made a series of postcards
of the murals and I\'m selling
00:48:52.779 --> 00:48:56.138
them 50 Cent Davos the lately
I have my doubts about
00:48:56.139 --> 00:49:00.068
Diego\'s work he comments too much lately he
00:49:00.069 --> 00:49:05.434
paints Irritating precision you
leaves nothing for one\'s imagination.
00:49:05.435 --> 00:49:08.224
I prefer R-squares murals.
00:49:08.225 --> 00:49:11.688
His things overflow with
an inner potentiality.
00:49:11.689 --> 00:49:14.700
Which whenever feels in Diego
00:49:20.800 --> 00:49:24.003
suddenly we found ourselves before
00:49:24.004 --> 00:49:28.938
a beautiful unkind suffragette that among
suffragettes may be the only one that is
00:49:28.939 --> 00:49:32.769
beautiful and kind Miss although
the distressed and adopt
00:49:32.770 --> 00:49:35.209
the ellipse soup hi next sip blouse
00:49:35.210 --> 00:49:38.119
and smokes one of her favorite
at when donuts cigarettes.
00:49:38.120 --> 00:49:40.699
The enigmatic and suggestive eyes of
00:49:40.700 --> 00:49:44.209
the great artist flesh with
brilliance She tells us she hates
00:49:44.210 --> 00:49:47.088
really touching likes big
cities and loves all things
00:49:47.089 --> 00:49:50.583
Mexican Jia She also sort of
marvelous and reproductions.
00:49:50.584 --> 00:49:53.269
Frankly we do not know
which the tools we are
00:49:53.270 --> 00:49:56.148
enthused by the composition
of heads which filed before
00:49:56.149 --> 00:50:02.730
our eyes lacking those ridiculous poses so
manipulated by fault that photographers.
00:50:05.920 --> 00:50:10.369
All modo de notice of photography
she attributes the word teacher
00:50:10.370 --> 00:50:14.269
Edward Western but for
me she\'s more abstract.
00:50:14.270 --> 00:50:16.728
More intellectual more thoroughly online
00:50:16.729 --> 00:50:21.873
western Western was always worried you\'re
surrendering himself to the picturesque.
00:50:21.874 --> 00:50:24.319
But we\'d modality this
problem did not present
00:50:24.320 --> 00:50:28.039
itself She was able to enter a
more quickly into the essence of
00:50:28.040 --> 00:50:30.499
Mexico or 2-3 beneath its crude or
00:50:30.500 --> 00:50:37.489
external He speaks in
00:50:37.490 --> 00:50:42.543
the Zuccarello and we swoon
Julio Antonio mania.
00:50:42.544 --> 00:50:48.604
He of the green eyes and skin Golden
is the Cuban beaches he comes from.
00:50:48.605 --> 00:50:52.069
He has a zealous passion
about everything and that
00:50:52.070 --> 00:50:55.938
frightens me Just when I had
worked so hard to arrange
00:50:55.939 --> 00:50:59.029
my life he sweeps by with all the force of
00:50:59.030 --> 00:51:07.030
a tornado Julio writes a dozen articles
for a machete that will save the world.
00:51:08.720 --> 00:51:12.903
He talks of literacy programs
and the power of the word.
00:51:12.904 --> 00:51:18.154
He believes in the word that he\'s
typewriter is as powerful as a gun.
00:51:18.155 --> 00:51:24.449
He plays it all day staccato fortissimo.
Comes to bed
00:51:59.460 --> 00:52:05.048
In the morning we walk into the soft
light as the metadata has just opened.
00:52:05.049 --> 00:52:10.854
Every day there is a new wave of campesinos
driven off their land who arrive in the city.
00:52:10.855 --> 00:52:14.108
Looking for work willing
to do or sell anything to
00:52:14.109 --> 00:52:19.638
survive Julio carries my
tripod Joking that he is
00:52:19.639 --> 00:52:26.579
my assistant and protege we walk on
seeing the city change before us
00:52:29.080 --> 00:52:33.633
today the government brought up
troops against a demonstration
00:52:33.634 --> 00:52:37.579
we march we write we go to meetings how
00:52:37.580 --> 00:52:41.418
feeble it sometimes seems
how diluted we are to
00:52:41.419 --> 00:52:46.889
think that passionate expression and
BUT could shield a body from a bullet.
00:52:48.820 --> 00:52:53.778
We always imagine that we would fight
to the death that violence would be
00:52:53.779 --> 00:52:59.449
the final cathartic orgasm of our revolution
for most of us our remainder fantasy.
00:52:59.450 --> 00:53:07.450
But not for me September fifteenth
00:53:07.730 --> 00:53:12.123
nineteen twenty eight Julio despite
all my arguments and pleading
00:53:12.124 --> 00:53:17.059
has left this morning for veteran crews
to organize a gorilla expedition to Cuba.
00:53:17.060 --> 00:53:23.089
Got nums of I will ever see him
alive again Denise sigma you can
00:53:23.090 --> 00:53:25.008
imagine that your face never left me during
00:53:25.009 --> 00:53:29.118
the entire journey but you know
nothing do you understand.
00:53:29.119 --> 00:53:33.078
Nothing if any of the Party cadre
knew what we were doing they would
00:53:33.079 --> 00:53:37.168
explain our YOU we have
an hour before we smuggle
00:53:37.169 --> 00:53:40.878
the weapons or bought this sad
one chance one mother was out
00:53:40.879 --> 00:53:47.879
of Vienna I can\'t spend my life being
a well-behaved Gombei than Mexico.
00:53:48.430 --> 00:53:50.479
I love you
00:53:50.480 --> 00:53:58.480
Julio Thursday January
00:54:00.680 --> 00:54:05.328
tenth 19298 p.m. julio when I leave
00:54:05.329 --> 00:54:10.008
a meeting at International Red
aid Julio enters a cafe to meet
00:54:10.009 --> 00:54:12.889
a Cuban exile who promised
information on much either
00:54:12.890 --> 00:54:16.009
but Cuban dictator Julio learns that
00:54:16.010 --> 00:54:22.833
to Cuban gunman had come to town
with orders to kill him 09:28 PM.
00:54:22.834 --> 00:54:26.268
We enter independency a
street Turn left on bugged
00:54:26.269 --> 00:54:34.269
us 940 p.m. we round the
corner to Abraham\'s Gonzales.
00:54:35.254 --> 00:54:43.254
I hear two shots and
feel him fall at 140 AM.
00:54:44.930 --> 00:54:48.739
After two hours of emergency
surgery Julio dies and
00:54:48.740 --> 00:54:55.909
my arms Francis brings
my camera to the morgue.
00:54:55.910 --> 00:54:59.898
I have 15 minutes before they take
me back to the police station.
00:54:59.899 --> 00:55:02.824
My hands take on a life of their own.
00:55:02.825 --> 00:55:05.823
They put in the negative Find the aperture.
00:55:05.824 --> 00:55:10.099
Press the shutter They do
this against time against
00:55:10.100 --> 00:55:15.420
death against the ferocity
of a loss I will never bear.
00:55:17.170 --> 00:55:20.748
I haven\'t slept for days
and they won\'t let me go
00:55:20.749 --> 00:55:25.459
home I walk them through the
murder scene again and again
00:55:25.460 --> 00:55:29.328
they tear my apartment apart
seizing all my letters and
00:55:29.329 --> 00:55:34.144
photographs the nudes Western took
of me and the ones I did have mania.
00:55:34.145 --> 00:55:38.089
All leaked to reporters
the gif of belief seems
00:55:38.090 --> 00:55:42.258
intent on pinning the murder
on me the passion motive.
00:55:42.259 --> 00:55:43.609
He says to the press.
00:55:43.610 --> 00:55:48.588
Where I\'m displayed as a scarlet
woman a forerunner a dirty
00:55:48.589 --> 00:55:53.558
communist Tina was cleared
finally but makes it come
00:55:53.559 --> 00:55:58.263
polities were becoming increasingly
paranoid and Machiavellian and
00:55:58.264 --> 00:56:03.338
February 11th 1930 in a crackdown
on Communist activities Tina was
00:56:03.339 --> 00:56:07.299
arrested on the ludicrous charge
of conspiring to assassinate
00:56:07.300 --> 00:56:15.300
the precedent in all of these tribulations I
often thought it that phrase of Nietzsche.
00:56:16.314 --> 00:56:21.369
What doesn\'t kill me strengthens me
only thanks to an enormous amount of
00:56:21.370 --> 00:56:24.249
willpower Have I kept from
going crazy at moments
00:56:24.250 --> 00:56:27.414
when they threw me into an
iron cell without a mattress.
00:56:27.415 --> 00:56:31.358
And they\'ll smelling toilet and I\'m in
the middle of it all wondering if it was
00:56:31.359 --> 00:56:35.163
all a bad dream I cannot
afford the luxury of
00:56:35.164 --> 00:56:40.549
even my sorrows today I well no
this is no time for tiers the
00:56:40.550 --> 00:56:46.128
most is expected from us and we must
not slack and neither are conferences.
00:56:46.129 --> 00:56:51.769
Nor the memory of the dead would allow
us that they are deporting me tomorrow
00:56:51.770 --> 00:56:53.280
morning
00:57:00.850 --> 00:57:03.049
After making Coretina
00:57:03.050 --> 00:57:05.868
put photography aside issue wrote me that
00:57:05.869 --> 00:57:09.648
the light was wrong in Berlin and
the demands of life to urgent.
00:57:09.649 --> 00:57:12.738
If she worked for the Communist
Party in Moscow and with
00:57:12.739 --> 00:57:16.699
the international trade date in Paris
and Spain during the Spanish Civil War.
00:57:16.700 --> 00:57:21.810
At the end of the war she came back
to Mexico City and her false passport
00:57:42.630 --> 00:57:45.968
In Mexico we say she\'s the mother of
00:57:45.969 --> 00:57:50.229
modern photography for shoes and
Mexican photographer above all.
00:57:50.230 --> 00:57:55.974
She gave us a new way to look at ourselves
on the street at Warwick in the fields.
00:57:55.975 --> 00:58:00.908
She showed us the faces the
bodies the vistas of New Mexico.
00:58:00.909 --> 00:58:06.799
One founded on the dignity and
humanity of Indian woman and worker.
00:58:10.890 --> 00:58:14.708
This was not the Mexico
that existed in reality.
00:58:14.709 --> 00:58:19.859
It was the Mexico that she dreamed
up that we all dreamed on
00:58:33.190 --> 00:58:35.579
Mm-hm
00:59:16.810 --> 00:59:19.639
The firm gets
00:59:19.640 --> 00:59:27.484
reveal the memory you read
00:59:27.485 --> 00:59:35.485
that we bring the Idle No More
Distributor: Bullfrog Films
Length: 60 minutes
Date: 2004
Genre: Expository
Language: English
Grade: College, Adult
Color/BW:
Closed Captioning: Available
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