In “1 + 8” the filmmakers show the living conditions of the people in the eight border regions of Turkey. A documentary that reveals which differences and similarities separate and connect people from 16 different places. Observing the border from both sides offers a dual perspective. These people are separated by a simple line but they are somehow related. The film shows that fear is a daily companion of many people in the Turkish border areas. This issue is especially true for Kurds in Iraq and Iran. The whole time artists try to show how difficult and unfair their living conditions are and how they desire to establish their own country without being honest about what these people do to the other ethnicities in those countries. There have been many times that they did terrorist attacks in cities in Iran and killed innocent people. They tried so hard to start wars and tear up the country. There were some parts that the subtitles weren’t the exact translation of what has been said, while if they were some statements would be proven to be false.
As an Iranian person who also understands Turkish and Arabic, I believe the film was biased in many parts while at the same time revealed some deep and dark truths in daily lives of those people. The honest and frank depiction of women’s situation and how their state of mind is changing was really powerful. But there could be some differences to dig deeper in some certain issues instead of covering so many different parts of their struggles. There are mostly women, children and old men in remote mountain villages and little-known cities along the Turkish borders, which can be seen in the film. One can understand that apparently everyone who can afford leaves the border areas. But this is more difficult for women. Again their freedom depends on their men as caregivers.
The Battle of Algiers is a powerful movie in the way that it illustrates an inspirational revolution where freedom and independence triumphs over oppression and colonialism. The film shows how FLN tries to achieve independence from France, by demonstrating guerilla tactics. FLN militants were planting bombs in restaurants, shooting police officers and soldiers at point-blank range. In other words, it was not a peaceful protest. The French government in Algiers couldn’t handle the situation on their own so the army got involved to restore an order.
The cause of the conflict in the film is the persistent injustice experienced by the native Arab Algerians through colonialism and occupation. While this injustice is not always made explicit to the viewer, its reality is apparent in different ways. Be it Arabs inhabitant situation, the difference between what Arabs and French do (labor), the attitude of French toward Arabs and the whole justice system and how it implies on Arabs through torture.
European quarters were upscale, clean and developed. Houses and streets were similar to one in France. In opposite, Muslim quarters were poor, dirty and old fashioned. While watching the movie, I observed that whenever camera shots episodes in Muslim quarters, there’s a feeling that they still live in dark ages. Not only were the neighborhoods different but also people, especially women.
In conclusion, it’s important to point out that power and intergroup conflict was part of everyday life both for French and Algerians in the movie. Powerless and being abused, colonized Algerians couldn’t take it anymore and the ongoing conflict between these two groups led to revolution and independence of Algeria.
László Moholy-Nagy (1895–1946) was one of the most internationally influential teachers at the Bauhaus.The great Hungarian-born artist, who brought many of the teachings of the European avant-garde to the United States with his 1937 emigration from Germany to Chicago, used the materials of photography in much the same way he used those of painting. One of the most repeated objects in his photograms is his hand which can be read as a sign of his painting background.
Moholy-Nagy’s photograms recall those of the Russian artist Alexander Rodchenko, whose scenes are abstracted into dynamic, visually disorienting compositions. Moholy-Nagy explored endless variation on the theme of repetition, twice collaging a figure holding out both hands, fingers spread wide.
His’s keen interest in space, time and light shows throughout his career and travelled through all of the different types of media which he used whether he was painting or creating photograms.