Roma Ore 11.00 + shorts by Coronet Instructional Films
Roma Ore 11 / Rome 11:00 (1952)
Directed by Giuseppe De Santis
Based on a real incident, this is the story of five girls who are among the 200 women who answer an ad for a modest secretarial position one rainy morning in Rome in 1951. They crowd and push their way into the old building and fight their way up the stairs to await an interview, only to be told there is not enough time to interview all candidates. A scuffle breaks out and the stairway collapses sending many of them hurtling down in a mass of bodies amid brick and mortar. Among them are the well-born wife of a poor artist; a streetwalker making an attempt to change her life; an unhappy servant girl; and the desperate wife of an unemployed factory worker. How the event changes or fails to change their lives is told.
I Want to Be a Secretary (1941)
Coronet Instructional Films
Follows a young woman through her clerical training and job search. Shows pre-World War II offices and office workers, primarily women. One of Coronet’s earliest educational films.
The Secretary’s Day (1947)
Coronet Instructional Films
The daily activities of a secretary are compared with those of a stenographer to show the added responsibilities and duties of the secretary.
The Common House
Unit 5E Pundersons Gardens
London E2 9QGT
*Sunday 27 April | 7pm | The Common House | Free* We present Leviathan, Lucien Castaing-Taylor and Véréna Paravel (2012) + shorts
‘With the fish-eye cameras strapped to their heads, the film-makers and crew recorded the raging midnight seas from
which are hauled the fish and scallops that will end up on china plates and linen tablecloths in smart restaurants. Remorselessly,
they expose every aspect of this visceral business – often conducted in the dark, out of sight of land, on trips lasting up to 18 days.
It is a weird otherworld, filled with bug-eyed fish slathering over the decks, clanking rusty chains and hooded figures like medieval
torturers, all perpetually doused by the rising Atlantic.
Shrieking gulls plunge up from the dawn-slashed sky in vertiginous, inverted scenes as the cameras tumble upside-down.
Starfish float beneath the surface like coral-coloured confetti. On deck, scarred, tattooed men eviscerate fish dragged up
from the depths. In one shocking sequence, a skate dangles from a chain as its wings, the only edible parts, are excised –
a scene not far from the notorious trade in definned sharks. Meanwhile, an indeterminate heavy-metal track grinds out
from a radio, sounding more like the knell of an aquatic apocalypse.
These saturated, sublime images bear little comparison to any other film; rather, they evoke the work of artists such as
Winslow Homer and JMW Turner. In fact, by attaching 21st-century cameras to themselves and the crew of the Athena,
the directors were re-enacting Turner’s legendary feat, when he had his body lashed to the mast of a Harwich boat for
four hours to experience a storm at sea face-to-face and thus render it in oil. […]
Our pamphlet for this screening can be downloaded here: Full Unemployment Cinema_ Leviathan – Full Unemployment Cinema et al
Like Moby-Dick, Leviathan reflects an industrial reality more than a maritime romance. Just as Ahab’s ship was crewed
from around the world, so New Bedford’s whaling ships brought Azoreans and Portuguese, black Cape Verdeans and others
to its port; amazingly, 64% of the population of the eastern seaboard of Massachusetts have Azorean or Portuguese blood.
But as whaling declined, fishing took over – an equally deadly occupation, suffering the highest fatalities of any industry in the US.’
At The Common House Unit 5E 5 Pundersons Gardens Bethnal Green E2 9QG