Tuesday, March 25

๐—ง๐—ต๐—ฒ ๐—›๐—ผ๐˜‚๐—ฟ ๐—ผ๐—ณ ๐˜๐—ต๐—ฒ ๐—™๐˜‚๐—ฟ๐—ป๐—ฎ๐—ฐ๐—ฒ๐˜€: ๐—ฃ๐—ฎ๐—ฟ๐˜ ๐Ÿญ - ๐—ก๐—ฒ๐—ผ๐—ฐ๐—ผ๐—น๐—ผ๐—ป๐—ถ๐—ฎ๐—น๐—ถ๐˜€๐—บ ๐—ฎ๐—ป๐—ฑ ๐—ฉ๐—ถ๐—ผ๐—น๐—ฒ๐—ป๐—ฐ๐—ฒ (๐Ÿญ๐Ÿต๐Ÿฒ๐Ÿด)

๐—ข๐—ฐ๐˜๐—ฎ๐˜ƒ๐—ถ๐—ผ ๐—š๐—ฒ๐˜๐—ถ๐—ป๐—ผ, ๐—™๐—ฒ๐—ฟ๐—ป๐—ฎ๐—ป๐—ฑ๐—ผ ๐—ฆ๐—ผ๐—น๐—ฎ๐—ป๐—ฎ๐˜€, ๐Ÿญ๐Ÿฎ๐Ÿฐ ๐—บ๐—ถ๐—ป.

Presented by graduate student Agustรญn Rugiero Bader, this first part of the film, Neocolonialism and Violence, presents a historical, economic, and geographical analysis of Argentina in the 60s, and makes a case for worker organization and resistance. This presentation included an explanation of the exhibition practices of these cinemas and the history of Concordia's print.

Co-sponsored by the GEM Lab.