“In 1969, a group of black and Puerto Rican students occupied City College demanding the integration of CUNY, which at the time had an overwhelmingly white student body. The occupation spread to other CUNY campuses, forcing the Board of Trustees to implement a ground-breaking new admissions policy.”
Such occupations also occurred in the 1980s and 2000s.
It’s that time again.
As Graduate Film students at Hunter College in New York, we’re very excited to see how the spreading Occupy Wall Street movement is giving new momentum to the militant protest culture of Cuny (City University, NYC).
We filmed the second General Assembly at Hunter College, and the first “Occupy Cuny” teach-in at Washington Square Park on October 21st, 2011. During the last weeks, we learned how quickly small protest gatherings can turn into new social movements. This is a document about the struggle of students and adjunct faculty at Cuny. This local struggle is part of an international student movement against neoliberal dictatorship.
This is only the beginning. The time for action is now.
Find out how to support, participate, take action:
resistandmultiply.wordpress.com (at Hunter College)
nycga.net (Occupy Wall Street)
Being in the midst of events, as they are manifesting is exciting. I was recently reminded of some brilliant films like Harlan County and Primary,
there is something very special in capturing moments that are of historical significance, even more so participating in them.
And the latest inspiration is Jean Rouch and Edgar Morin’s experiment Chronique d’un été (Chronicle of A Summer). One of first introductions to Cinéma Vérité, it illustrates the problems of film reality, how it’s depicted, portrayed and relayed to the audience. The film poses questions “Are you happy?” and “How do you live?” in an attempt to comment on the state of affairs in 1960 Paris. What I was most impressed by is the concept itself; the idea of approaching a theme/situation/topic from the point of view of social engagement and conversation, a study, a research in real time “authenticity of life as it is lived”. The film’s outcome was not what the parties had anticipated but rather it was a revelation of the many layers of representation…the subjects assuming a role on the camera, their awareness of assuming the role, the creation of a “socio-drama to permit each person to play out his life role before the camera.”
(read : “Chronicle of a Film,” by Edgar Morin in Ciné-Ethnography: Jean Rouch ed. by Steven Feld)