The Hour of the Furnaces
From The Art and Popular Culture Encyclopedia
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- | '''''The Hour of the Furnaces''''' (La hora de los hornos) is a four-hour 1968 documentary film directed by [[Octavio Getino]] and [[Fernando Solanas]], a documentary on [[neo-colonialism]] and violence in [[Latin America]]. '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''''' (1968, La hora de los hornos: Notas y testimonios sobre el neocolonialismo, la violencia y la liberación) is a four-hour 1968 documentary film directed by [[Octavio Getino]] and [[Fernando Solanas]], a documentary on [[neo-colonialism]] and violence in [[Latin America]]. 'The paradigm of revolutionary activist cinema', it addresses the politics of the 'Third worldist' films and Latin-American manifesto of the late 1960s. |
In the 1960s and 1970s, documentary film was often conceived as a political weapon against neocolonialism and [[capitalism]] in general, especially in [[Latin America]]. ''La Hora de los hornos'' influenced a whole generation of filmmakers. | In the 1960s and 1970s, documentary film was often conceived as a political weapon against neocolonialism and [[capitalism]] in general, especially in [[Latin America]]. ''La Hora de los hornos'' influenced a whole generation of filmmakers. |
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The Hour of the Furnaces (1968, La hora de los hornos: Notas y testimonios sobre el neocolonialismo, la violencia y la liberación) is a four-hour 1968 documentary film directed by Octavio Getino and Fernando Solanas, a documentary on neo-colonialism and violence in Latin America. 'The paradigm of revolutionary activist cinema', it addresses the politics of the 'Third worldist' films and Latin-American manifesto of the late 1960s.
In the 1960s and 1970s, documentary film was often conceived as a political weapon against neocolonialism and capitalism in general, especially in Latin America. La Hora de los hornos influenced a whole generation of filmmakers.
Reception
Writing in the New York Times, critic Vincent Canby described the movie as "a unique film exploration of a nation's soul."
Prizes
- Mostra Internazionale del Cinema Nuovo (Pesaro, Italy, 1968): Gran Premio de la Crítica
- Festival Internacional de Manheim (West Germany, 1968): Premio del Publico; Premio FIPRESCI, Cines de Arte y Ensayo; Premio Ecuménico.
- British Film Institute: Best Foreign Film (1974)
- Crítica de Los Angeles: One of the Ten Best Films of the 1970s
- Festival de Mérida (Venezuela, 1968): Best Film Prize
- Semana de la crítica del Festival de Cannes (1969)