A meditation on the random and fleeting nature of life and love, as seen…
[CENSORED]
- Description
- Reviews
- Citation
- Cataloging
- Transcript
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Deep in the vaults of the Australian National Archives lie thousands upon thousands of celluloid scraps: scenes that were cut by government censors from films imported into the country between the years of 1958-1971. Peppered through this collection are banned scenes from some of the most influential directors in history, including Godard, Polanski, Bergman, Varda and Fellini. But censorship extended to hundreds of forgotten films—from avant-garde and documentary films to Hollywood B-movies.
When Sari Braithwaite gained unprecedented access to this mysterious collection, she though she could create a work to liberate this censored archive, to honour these displaced frames, and condemn censorship. But, after years of bearing witness to these fragments of film, this archive became challenging and unnerving. It felt almost impossible to celebrate or reconcile.
[CENSORED] is a work stitched entirely from these never-before-seen artefacts of censorship: it is the story of how one filmmaker confronted an archive to reckon with film, censorship, and the power of the gaze.
Featuring an acclaimed soundtrack by Munro Melano and the End, [CENSORED] is an entertaining and provacative polemic, challenging audiences with questions that defy easy answers. Just as the censor and the filmmaker are made complicit, so is the audience, who bear witness to this ambitious work.
“[CENSORED] was meant to celebrate freedom. Instead, it exposes something darker.” —The Guardian
"If you like to think about how we look, who we look at, and the power dynamics involved, do not miss this film." —New Zealand International Film Festival
"Spotlights movie scenes censored by the Australian government." —Chicago Tribune
"Pack[s] quite a punch, ultimately asking audiences to reflect on our own expectations of art, narrative and reality and just what we do—and don't—want to see on screen." —Third Coast Review
“Top 10 film to see at the Chicago Film Festival.” —Chicago Sun-Times
“Must-see! Sari Braithwaite's [CENSORED] is bound to open your eyes. Expect to be challenged and entertained, and to explore the role of censorship, as you step through a movie compiled from parts of other movies that you really weren't meant to see." —Concrete Playground
“Braithwaite begins to interrogate the idea that a more powerful form of censorship was operating [and] throws our attention to the present where we ask ourselves: 50 years later, how much have things actually changed?” —The Spinoff
Citation
Main credits
Braithwaite, Sari (film director)
Braithwaite, Sari (film producer)
Braithwaite, Sari (screenwriter)
Braithwaite, Sari (narrator)
Brugalé, Chloé (film producer)
Other credits
Edited by James Arneman; music composed by Munro Melano; music, The End.
Distributor subjects
Australian History; Cinema Studies; Communication; Cultural Studies; Ethics; Film History; Gay & Lesbian Studies; Gender Studies; Human Rights; Human Sexuality; LGBTQ+ Studies; Racism; Sociology; Violence; Women's StudiesKeywords
WEBVTT
00:00:02.920 --> 00:00:07.680
(soft mechanical whir,
clunk of projector engaging)
00:00:07.680 --> 00:00:17.920
♪
00:00:18.200 --> 00:00:20.600
This story started years ago,
00:00:20.600 --> 00:00:23.520
when I discovered
a precious reel of film
00:00:23.520 --> 00:00:25.360
in the National Archives.
00:00:25.360 --> 00:00:29.240
It belonged to a never
before seen collection
00:00:29.240 --> 00:00:31.800
of sensitive movie clippings.
00:00:31.800 --> 00:00:34.640
♪
00:00:34.640 --> 00:00:36.840
Once upon a time
in Australia
00:00:36.840 --> 00:00:38.600
in the mid-20th century,
00:00:38.600 --> 00:00:41.400
the censors would delete
violence and sex
00:00:41.400 --> 00:00:43.040
from imported films,
00:00:43.040 --> 00:00:47.880
then meticulously file
these cut frames by title,
00:00:47.880 --> 00:00:49.800
A through to Z.
00:00:49.800 --> 00:00:54.120
♪
00:00:54.120 --> 00:00:56.520
The first reel
I pulled from the vaults
00:00:56.520 --> 00:01:00.240
was all the Ps
slung together.
00:01:00.240 --> 00:01:01.720
Phantom Planet.
00:01:01.720 --> 00:01:06.040
♪
00:01:06.040 --> 00:01:07.480
Pleasure Girls.
00:01:07.480 --> 00:01:10.080
♪
00:01:10.080 --> 00:01:11.320
The Peacemaker.
00:01:11.320 --> 00:01:14.680
♪
00:01:14.680 --> 00:01:16.280
Paris By Night.
00:01:16.280 --> 00:01:21.880
♪
00:01:21.880 --> 00:01:23.920
These stray fragments,
00:01:23.920 --> 00:01:25.800
these displaced frames,
00:01:25.800 --> 00:01:28.440
captured my imagination.
00:01:28.440 --> 00:01:32.320
They were amusing,
compelling,
00:01:32.320 --> 00:01:35.120
full of beauty and mystery.
00:01:35.120 --> 00:01:36.160
♪
00:01:36.160 --> 00:01:37.720
This film is
stitched together
00:01:37.720 --> 00:01:42.160
from hundreds of these
stolen celluloid relics.
00:01:42.160 --> 00:01:52.400
♪
00:01:54.320 --> 00:01:55.200
When I began,
00:01:55.200 --> 00:01:58.320
I imagined I would
liberate these films,
00:01:58.320 --> 00:02:02.560
liberate us from
the tyranny of censorship.
00:02:02.560 --> 00:02:10.080
♪
00:02:11.200 --> 00:02:14.160
That\'s not what happened.
00:02:15.800 --> 00:02:26.080
♪
00:02:33.680 --> 00:02:39.480
This archive holds
1,991 titles
00:02:39.480 --> 00:02:44.000
dated from 1958 to 1971.
00:02:44.000 --> 00:02:46.000
♪
00:02:46.000 --> 00:02:47.840
On my first day
in the archives,
00:02:47.840 --> 00:02:50.080
I was sent
to a private viewing room
00:02:50.080 --> 00:02:53.800
so not to offend
other researchers.
00:02:53.800 --> 00:02:57.200
Not suitable for
public exhibition then,
00:02:57.200 --> 00:02:58.760
and 50 years later,
00:02:58.760 --> 00:03:01.920
not suitable for
public exhibition now--
00:03:01.920 --> 00:03:05.520
at least, not in
the government building.
00:03:05.520 --> 00:03:08.760
(film projector whirs)
00:03:08.760 --> 00:03:19.040
♪
00:04:03.000 --> 00:04:05.880
As a historian,
there is a discipline,
00:04:05.880 --> 00:04:09.000
a method in working
through a vast archive
00:04:09.000 --> 00:04:11.840
of reel after reel.
00:04:11.840 --> 00:04:14.800
These clips are
historical sources,
00:04:14.800 --> 00:04:17.920
to be picked apart
and studied.
00:04:17.920 --> 00:04:19.920
♪
00:04:19.920 --> 00:04:20.800
Meanwhile,
00:04:20.800 --> 00:04:22.880
the filmmaker in me
is seduced
00:04:22.880 --> 00:04:25.800
by the splendor
of celluloid,
00:04:25.800 --> 00:04:31.840
that romance of light
to image to story.
00:04:32.040 --> 00:04:35.680
But all this action
is devoid of story.
00:04:35.680 --> 00:04:40.200
How do I tell a story
with all these scraps?
00:04:40.200 --> 00:04:50.440
♪
00:05:38.240 --> 00:05:48.480
♪
00:05:53.160 --> 00:05:55.840
Hey, don\'t tell me
you\'re pissed, man.
00:05:55.840 --> 00:05:57.040
Don\'t tell me you\'re pissed,
00:05:57.040 --> 00:05:58.240
I don\'t even wanna hear
you\'re pissed.
00:05:58.240 --> 00:05:59.640
Who threw the glass
in the street?
00:05:59.640 --> 00:06:01.320
-I don\'t know the person--
-Well, who did?
00:06:01.320 --> 00:06:03.920
Tell me, you were there,
who threw it?
00:06:03.920 --> 00:06:05.040
Nobody.
00:06:05.040 --> 00:06:06.040
Do you know who?
00:06:06.040 --> 00:06:08.440
No, I think
we were both at dinner...
00:06:08.440 --> 00:06:09.160
All right.
00:06:09.160 --> 00:06:10.560
Hey, I don\'t care
who did it.
00:06:10.560 --> 00:06:11.400
If you know who did it,
00:06:11.400 --> 00:06:12.680
you just better tell
whoever did it
00:06:12.680 --> 00:06:14.040
to get out there,
and tell the cats
00:06:14.040 --> 00:06:15.920
that come up here
to ask who did it,
00:06:15.920 --> 00:06:17.480
tell them who it was.
00:06:17.480 --> 00:06:19.760
I\'m not takin\'
no fuckin\' responsibility
00:06:19.760 --> 00:06:21.320
for cats I don\'t know, man.
00:06:21.320 --> 00:06:23.640
I got enough responsibility
with my friends
00:06:23.640 --> 00:06:25.720
and my own people.
00:06:25.720 --> 00:06:27.160
No, no, come on.
00:06:27.160 --> 00:06:28.120
I was out there--
00:06:28.120 --> 00:06:29.400
I don\'t care
who was out--hey,
00:06:29.400 --> 00:06:32.000
I don\'t want
none of your shit, man.
00:06:32.000 --> 00:06:33.760
I don\'t want
glass in the street.
00:06:33.760 --> 00:06:34.840
I\'m not giving you shit--
00:06:34.840 --> 00:06:35.920
What\'d you do it for, man,
00:06:35.920 --> 00:06:37.520
what\'d you throw
a glass in the street for?
00:06:37.520 --> 00:06:38.840
I didn\'t throw a glass
in the street.
00:06:38.840 --> 00:06:40.440
Well, show me
the person that did.
00:06:40.440 --> 00:06:42.000
If you don\'t have him here
by my count of ten,
00:06:42.000 --> 00:06:43.880
you better take
responsibility for it.
00:06:43.880 --> 00:06:44.520
All right.
00:06:44.520 --> 00:06:46.200
All right, one, two, three,
four, five, six, seven,
00:06:46.200 --> 00:06:48.360
eight, nine, ten,
you got him here?
00:06:48.360 --> 00:06:49.680
No.
00:06:49.680 --> 00:06:50.680
I wouldn\'t know.
00:06:50.680 --> 00:06:52.600
Hey, man,
I\'m not kidding you.
00:06:52.600 --> 00:06:53.920
You think I\'m kidding?
00:06:53.920 --> 00:06:56.160
Who\'s gonna clean up
that glass, man?
00:06:56.160 --> 00:06:57.400
I\'ll clean it up.
00:06:57.400 --> 00:06:59.120
I\'ll clean up
your glass, man.
00:06:59.120 --> 00:07:02.120
Hey, I\'ll help you, man.
00:07:02.120 --> 00:07:03.080
I wouldn\'t clean your--
00:07:03.080 --> 00:07:04.800
Yeah, I believe
he\'s all right, man,
00:07:04.800 --> 00:07:06.120
I believe he\'s all right.
00:07:06.120 --> 00:07:08.640
Okay, I believe--
listen.
00:07:08.640 --> 00:07:09.640
Come on, man, listen.
00:07:09.640 --> 00:07:11.360
Oh, I\'ve heard it
a thousand times, man.
00:07:11.360 --> 00:07:14.800
I know a thousand cats
that look just like you, man,
00:07:14.800 --> 00:07:16.320
talk just like you.
00:07:16.320 --> 00:07:17.800
Aw, fuck off.
00:07:17.800 --> 00:07:20.200
You\'re a big noise,
you know?
00:07:20.200 --> 00:07:21.280
I know it, man.
00:07:21.280 --> 00:07:22.640
I know I\'m a big noise.
00:07:22.640 --> 00:07:24.040
I\'m a bigger noise
than you, man.
00:07:24.040 --> 00:07:25.640
-I\'m a small noise.
-Right.
00:07:25.640 --> 00:07:28.440
-I\'m a small cat.
-That\'s right.
00:07:28.440 --> 00:07:30.600
If I\'d have thrown
a fucking glass--
00:07:30.600 --> 00:07:32.720
You\'re anything
you say you are, man.
00:07:32.720 --> 00:07:35.160
I\'m nothing,
I\'m nothing.
00:07:35.160 --> 00:07:36.000
I believe you.
00:07:36.000 --> 00:07:37.200
-Nothing!
-I believe you, man.
00:07:37.200 --> 00:07:40.040
-Boys, boys...
-Listen, Bobby Dylan.
00:07:40.040 --> 00:07:42.800
Could we have a drink
over here?
00:07:42.800 --> 00:07:44.000
Boys?
00:07:44.000 --> 00:07:45.120
I\'m nothing.
00:07:45.120 --> 00:07:46.880
I didn\'t throw
any fucking glass
00:07:46.880 --> 00:07:47.720
in the street, man!
00:07:47.720 --> 00:07:51.600
You know, if I have,
and I wanted to believe it.
00:07:51.600 --> 00:07:52.600
Well, who did, man?
00:07:52.600 --> 00:07:56.320
And if you\'d have
wanted to come at me
00:07:56.320 --> 00:07:59.920
for fucking glasses,
you know...
00:07:59.920 --> 00:08:03.160
I\'d have had a go at you.
00:08:05.360 --> 00:08:08.040
This scene was removed
for several
00:08:08.040 --> 00:08:10.200
regulatory failures.
00:08:10.200 --> 00:08:12.200
The \"fucks\" and the \"shits,\"
00:08:12.200 --> 00:08:14.360
the intoxication,
00:08:14.360 --> 00:08:17.000
that threat of violence.
00:08:17.000 --> 00:08:19.600
Faced with one or two
of these infringements,
00:08:19.600 --> 00:08:22.480
the censor would have
executed a number of
00:08:22.480 --> 00:08:25.560
brief, sharp cuts.
00:08:25.560 --> 00:08:26.720
When unable to clean up
00:08:26.720 --> 00:08:29.480
all this countercultural
deviance,
00:08:29.480 --> 00:08:33.360
the censor deleted
the entire altercation,
00:08:33.360 --> 00:08:37.440
even when they make peace
at the end.
00:08:37.440 --> 00:08:39.520
-It\'s okay.
-I\'ll go down,
00:08:39.520 --> 00:08:41.240
I will go down.
00:08:41.240 --> 00:08:42.840
No, you don\'t have to,
just tell \'em
00:08:42.840 --> 00:08:44.560
we\'ll come down and do it.
00:08:44.560 --> 00:08:45.360
Be groovy, right?
00:08:45.360 --> 00:08:47.040
Yeah, either be groovy
or leave, man.
00:08:47.040 --> 00:08:48.320
You don\'t have to be
groovy for me,
00:08:48.320 --> 00:08:51.440
just be groovy for anybody
who you wanna be groovy for.
00:08:51.440 --> 00:08:54.160
♪
00:08:54.160 --> 00:08:57.240
Government censors
weren\'t able to silence
00:08:57.240 --> 00:08:58.400
lyrics from a song
00:08:58.400 --> 00:09:01.880
or rip a page from
every imported book.
00:09:01.880 --> 00:09:04.840
But celluloid could be
quietly altered
00:09:04.840 --> 00:09:09.280
when there were limited
prints to sanitize.
00:09:09.280 --> 00:09:10.480
Jean-Luc Godard declared,
00:09:10.480 --> 00:09:15.520
\"Cinema is truth
24 times per second.\"
00:09:15.520 --> 00:09:16.520
If he was right,
00:09:16.520 --> 00:09:20.000
it was a truth
easily tampered with.
00:09:20.000 --> 00:09:30.240
♪
00:11:40.480 --> 00:11:50.720
♪
00:12:14.040 --> 00:12:18.360
Censorship functioned
in absolute secret.
00:12:18.360 --> 00:12:20.280
For decades,
government editors
00:12:20.280 --> 00:12:22.160
sliced up
and reconstructed
00:12:22.160 --> 00:12:25.720
foreign stories
for Australian eyes.
00:12:25.720 --> 00:12:29.520
Some editors took pride in
making the cuts invisible,
00:12:29.520 --> 00:12:34.080
whereas others just hacked
the film back together.
00:12:34.080 --> 00:12:39.600
The public were never told
anything had been carved out.
00:12:39.600 --> 00:12:42.920
But what was there
to be afraid of?
00:12:42.920 --> 00:12:47.000
Which little man
with his little knife
00:12:47.000 --> 00:12:49.560
was the real threat?
00:12:49.560 --> 00:12:55.200
♪
00:12:55.200 --> 00:12:57.080
Easy, JoJo.
00:12:57.080 --> 00:12:58.120
You\'re crazy.
00:12:58.120 --> 00:13:00.160
Don\'t try it,
drop that bottle.
00:13:00.160 --> 00:13:01.160
You filthy skunk!
00:13:01.160 --> 00:13:03.120
You lousy
punch-drunk baboon!
00:13:03.120 --> 00:13:05.640
You\'re not feeling
so tough now, are you?
00:13:05.640 --> 00:13:07.360
Easy now, huh, JoJo?
00:13:07.360 --> 00:13:08.440
We\'re pals, aren\'t we?
00:13:08.440 --> 00:13:10.600
For a bright boy,
you didn\'t learn nothin\'.
00:13:10.600 --> 00:13:11.440
Well, take me down.
00:13:11.440 --> 00:13:13.920
Come on, step right up
and taste a little of this,
00:13:13.920 --> 00:13:15.560
daddy-o.
00:13:15.560 --> 00:13:17.680
♪
00:13:17.680 --> 00:13:19.720
Give me that knife, Wes.
00:13:19.720 --> 00:13:20.720
♪
00:13:20.720 --> 00:13:21.840
Where do you want it?
00:13:21.840 --> 00:13:23.080
You want it
in the belly?
00:13:23.080 --> 00:13:25.160
How \'bout in the face, huh?
00:13:25.160 --> 00:13:26.560
♪
00:13:26.560 --> 00:13:27.640
Gimme that knife.
00:13:27.640 --> 00:13:29.120
Here it is, all you gotta
do is take it.
00:13:29.120 --> 00:13:31.800
Now, come on, come on,
take it, come on.
00:13:31.800 --> 00:13:35.480
(shouting)
00:13:35.480 --> 00:13:36.680
(crash)
00:13:36.680 --> 00:13:46.920
♪
00:14:28.320 --> 00:14:36.720
♪
00:14:49.720 --> 00:14:54.000
(clock ticking)
00:14:58.480 --> 00:15:01.640
(orgasmic murmuring)
00:15:32.440 --> 00:15:36.080
How and where we watch
is just as meaningful
00:15:36.080 --> 00:15:38.520
as what we watch.
00:15:38.520 --> 00:15:41.640
I witnessed
many a sex scene alone,
00:15:41.640 --> 00:15:43.040
in the middle of the day,
00:15:43.040 --> 00:15:46.080
in a room
just like a censor.
00:15:46.080 --> 00:15:49.920
But these intimacies
were made for the cinema,
00:15:49.920 --> 00:15:51.840
warm bodies
thrust together
00:15:51.840 --> 00:15:54.360
to be entertained.
00:15:54.360 --> 00:15:58.320
What feels
more pornographic:
00:15:58.320 --> 00:16:01.080
watching sex alone
for work
00:16:01.080 --> 00:16:04.920
or with a group
of strangers for fun?
00:16:07.840 --> 00:16:10.800
(moaning)
00:16:37.800 --> 00:16:39.160
(whispering)
00:16:39.160 --> 00:16:41.280
(giggling)
00:17:06.480 --> 00:17:09.600
(panting, moaning)
00:17:48.760 --> 00:17:51.280
Censors weren\'t concerned
with whether a film
00:17:51.280 --> 00:17:55.160
was good or bad,
worthy or unworthy.
00:17:55.160 --> 00:17:59.760
It didn\'t take long for me
to understand the censor.
00:18:00.200 --> 00:18:02.360
They were following
procedure,
00:18:02.360 --> 00:18:04.240
wielding power
by enforcing
00:18:04.240 --> 00:18:08.120
simple, moralizing rules.
00:18:09.160 --> 00:18:11.080
♪
00:18:11.080 --> 00:18:14.320
But something else felt
more elusive.
00:18:14.320 --> 00:18:15.600
♪
00:18:15.600 --> 00:18:19.120
Why did these clips
make me feel so uneasy?
00:18:19.120 --> 00:18:29.360
♪
00:18:46.720 --> 00:18:48.920
Oh!
00:18:48.920 --> 00:18:49.560
Oh, wow!
00:18:49.560 --> 00:18:54.000
You know how to slap
a girl, don\'t you?
00:18:54.000 --> 00:19:04.240
♪
00:20:16.280 --> 00:20:20.440
(weeping, muttering)
00:20:20.440 --> 00:20:30.760
♪
00:20:34.120 --> 00:20:36.320
...or yourself.
00:20:36.320 --> 00:20:38.800
You\'re no good to anyone.
00:20:38.800 --> 00:20:49.080
♪
00:21:00.520 --> 00:21:01.680
(slamming)
00:21:01.680 --> 00:21:04.240
You\'re hurting me.
00:21:04.240 --> 00:21:06.320
No!
00:21:06.320 --> 00:21:08.360
♪
00:21:08.360 --> 00:21:10.320
Oh...
00:21:10.320 --> 00:21:16.000
♪
00:21:16.000 --> 00:21:17.640
Because I realize
the score\'s even now
00:21:17.640 --> 00:21:19.640
and I wanna know the story.
00:21:19.640 --> 00:21:20.280
No!
00:21:20.280 --> 00:21:21.160
Why won\'t you tell me?
00:21:21.160 --> 00:21:22.400
Afraid of
the consequences?
00:21:22.400 --> 00:21:25.000
Now, you\'re gonna tell me
exactly what happened to ya.
00:21:25.000 --> 00:21:25.640
You better talk.
00:21:25.640 --> 00:21:28.920
I wanna know exactly
why you became so sweet
00:21:28.920 --> 00:21:29.720
and gentle.
00:21:29.720 --> 00:21:31.600
How come you\'re so
affectionate now?
00:21:31.600 --> 00:21:34.720
Huh? Something happened,
something changed you inside
00:21:34.720 --> 00:21:35.720
and I wanna know what!
00:21:35.720 --> 00:21:38.000
You\'re gonna tell me
exactly what happened to you
00:21:38.000 --> 00:21:39.760
in those two days.
00:21:39.760 --> 00:21:50.040
♪
00:22:08.400 --> 00:22:11.000
(screams)
00:22:11.000 --> 00:22:18.800
♪
00:22:18.800 --> 00:22:20.880
I want you to obey me.
00:22:20.880 --> 00:22:22.600
Do you understand,
you hear me?
00:22:22.600 --> 00:22:25.520
I want obedience!
00:22:25.520 --> 00:22:35.760
♪
00:22:41.800 --> 00:22:45.000
-(she gasps)
-Want anymore?
00:22:45.000 --> 00:22:55.240
♪
00:23:09.760 --> 00:23:11.240
My edit was disciplining
00:23:11.240 --> 00:23:13.920
the chaos
of this collection,
00:23:13.920 --> 00:23:16.640
fusing clips together
that were never intended
00:23:16.640 --> 00:23:19.240
to be seen
in such a way.
00:23:19.240 --> 00:23:23.680
The work was to expose the
violence of censorship,
00:23:23.680 --> 00:23:26.000
but I was swerving
into the violence
00:23:26.000 --> 00:23:28.360
of these films,
00:23:28.360 --> 00:23:31.840
the sheer unoriginality
of these clips
00:23:31.840 --> 00:23:34.480
side by side.
00:23:34.480 --> 00:23:36.440
With every passing week,
00:23:36.440 --> 00:23:40.200
I could feel myself
hating this archive.
00:23:40.200 --> 00:23:50.440
♪
00:25:04.240 --> 00:25:05.080
I had been so intent
00:25:05.080 --> 00:25:08.560
on resuscitating these
clips from censorship,
00:25:08.560 --> 00:25:13.520
I never thought about what
I was breathing life into.
00:25:13.520 --> 00:25:15.440
I didn\'t see the obvious:
00:25:15.440 --> 00:25:18.800
that all these films
were directed by men,
00:25:18.800 --> 00:25:20.520
that this was
a distilled collection
00:25:20.520 --> 00:25:26.240
of male fantasies,
imaginings, and desire.
00:25:26.240 --> 00:25:27.040
I was liberating
00:25:27.040 --> 00:25:30.600
a state-sanctioned
spank bank.
00:25:32.160 --> 00:25:42.320
♪
00:26:47.560 --> 00:26:49.840
The African female
has learned to be
00:26:49.840 --> 00:26:50.840
a modern woman.
00:26:50.840 --> 00:26:52.320
In the past,
when she walked nude,
00:26:52.320 --> 00:26:54.200
she was bought and sold
like cattle.
00:26:54.200 --> 00:26:56.360
That past she knows
works against her.
00:26:56.360 --> 00:26:58.440
Now she will be
wooed and courted,
00:26:58.440 --> 00:26:59.680
wondered at
and sought out.
00:26:59.680 --> 00:27:02.640
Now she hides herself
not from shame
00:27:02.640 --> 00:27:04.000
but from strategy.
00:27:04.000 --> 00:27:05.560
Bare, she was fair game.
00:27:05.560 --> 00:27:07.240
Covered, she\'s a mystery.
00:27:07.240 --> 00:27:08.080
Bare, she was bartered.
00:27:08.080 --> 00:27:10.280
Dressed, she can
decide for herself,
00:27:10.280 --> 00:27:12.840
aggressively,
like a tyrant,
00:27:12.840 --> 00:27:14.600
like the white woman.
00:27:14.600 --> 00:27:16.120
So, knowingly,
00:27:16.120 --> 00:27:18.760
the old Africa
covers itself
00:27:18.760 --> 00:27:20.640
and disappears.
00:27:20.640 --> 00:27:26.840
♪
00:27:27.880 --> 00:27:38.160
♪
00:27:54.760 --> 00:27:56.200
The law is quite clear.
00:27:56.200 --> 00:27:59.120
Any attempt at abortion
is a criminal offense,
00:27:59.120 --> 00:28:01.400
except in cases where
the mother\'s life
00:28:01.400 --> 00:28:02.120
is at stake.
00:28:02.120 --> 00:28:04.160
This is why the woman
who places herself
00:28:04.160 --> 00:28:07.080
in the hands of
an unqualified person
00:28:07.080 --> 00:28:10.600
endangers her health
and her life.
00:28:10.600 --> 00:28:12.240
With the help
of these illustrations,
00:28:12.240 --> 00:28:15.320
you will see the different
methods of abortion
00:28:15.320 --> 00:28:17.720
and their disastrous
consequences.
00:28:17.720 --> 00:28:20.600
The first is to introduce
a foreign body
00:28:20.600 --> 00:28:23.280
into the opening
of the uterus.
00:28:23.280 --> 00:28:25.080
When this is done
without taking
00:28:25.080 --> 00:28:27.680
the greatest
hygienic precautions,
00:28:27.680 --> 00:28:31.680
infection almost
inevitably results.
00:28:31.680 --> 00:28:35.040
This infection does not
remain localized.
00:28:35.040 --> 00:28:38.680
It spreads rapidly
into the fallopian tubes,
00:28:38.680 --> 00:28:39.360
the ovaries,
00:28:39.360 --> 00:28:41.320
and it can even reach
the peritoneum,
00:28:41.320 --> 00:28:43.320
the membrane enclosing
the intestines
00:28:43.320 --> 00:28:45.760
and vital organs.
00:28:45.760 --> 00:28:48.040
Another even more
dangerous way
00:28:48.040 --> 00:28:50.720
is to attempt to dislodge
the embryo
00:28:50.720 --> 00:28:53.200
by the use
of a sharp instrument,
00:28:53.200 --> 00:28:55.800
such as a knitting needle.
00:28:55.800 --> 00:28:57.640
This runs the risk
of piercing
00:28:57.640 --> 00:29:00.840
the intestinal wall...
00:29:04.840 --> 00:29:09.720
...or damaging the soft
membrane of the uterus...
00:29:11.760 --> 00:29:12.720
...and sometimes,
00:29:12.720 --> 00:29:14.760
puncturing the uterus wall
itself,
00:29:14.760 --> 00:29:17.520
injuring
the large intestine.
00:29:17.520 --> 00:29:21.840
The consequences
are terrible.
00:29:22.600 --> 00:29:32.840
♪
00:29:42.400 --> 00:29:45.680
When the birth passage
is fully expanded,
00:29:45.680 --> 00:29:47.040
the amniotic sac bursts
00:29:47.040 --> 00:29:50.840
and the amniotic fluid
is released.
00:29:50.840 --> 00:29:51.880
Occasionally,
it is necessary
00:29:51.880 --> 00:29:56.520
for the doctor himself to
rupture the amniotic sac.
00:29:56.520 --> 00:29:59.000
Now, breathe out.
00:29:59.000 --> 00:30:01.240
The actual birth
now begins,
00:30:01.240 --> 00:30:02.280
and the nurse
tells the mother
00:30:02.280 --> 00:30:06.160
how to breathe
during the contractions.
00:30:06.160 --> 00:30:07.240
Out...
00:30:07.240 --> 00:30:08.560
I questioned what to do
00:30:08.560 --> 00:30:11.200
with an educational film.
00:30:11.200 --> 00:30:14.680
Can I show this without
the woman\'s consent?
00:30:14.680 --> 00:30:17.720
Was it more ethical
to blur out her face?
00:30:17.720 --> 00:30:21.720
She can\'t be identified
by her vagina.
00:30:21.720 --> 00:30:24.400
But isn\'t it more
important to reveal
00:30:24.400 --> 00:30:26.360
what was denied?
00:30:26.360 --> 00:30:28.160
Abortion and childbirth
were both deemed
00:30:28.160 --> 00:30:32.160
so offensive that women\'s
reproductive bodies
00:30:32.160 --> 00:30:35.320
just vanished.
00:30:36.760 --> 00:30:38.560
This is the second stage
of childbirth
00:30:38.560 --> 00:30:41.040
and the pains are of
a different character.
00:30:41.040 --> 00:30:43.680
The pains caused by
dilation of the uterus
00:30:43.680 --> 00:30:45.160
are replaced
by the pains
00:30:45.160 --> 00:30:46.920
of expelling the baby.
00:30:46.920 --> 00:30:47.760
With her knees drawn up,
00:30:47.760 --> 00:30:51.400
the mother pushes the baby
toward the pelvis.
00:30:51.400 --> 00:30:52.800
Once more.
00:30:52.800 --> 00:30:53.520
That\'s it, good.
00:30:53.520 --> 00:30:54.880
I believe she\'s ready now,
doctor.
00:30:54.880 --> 00:30:57.600
She\'s very close, you can
prepare for the birth now.
00:30:57.600 --> 00:31:00.440
Breathe deeply, please.
00:31:00.440 --> 00:31:03.440
(straining)
00:31:09.520 --> 00:31:12.640
(deep exhalation)
00:31:16.240 --> 00:31:16.760
Good.
00:31:16.760 --> 00:31:18.360
Check the heartbeats,
please.
00:31:18.360 --> 00:31:20.360
When the nurse checks
the baby\'s heartbeat,
00:31:20.360 --> 00:31:22.720
she feels the mother\'s
pulse at the same time
00:31:22.720 --> 00:31:25.160
to avoid confusing
the two rhythms.
00:31:25.160 --> 00:31:28.120
The baby\'s heartbeats are
around 140 per minute,
00:31:28.120 --> 00:31:30.320
whereas the mother\'s pulse
is about
00:31:30.320 --> 00:31:32.040
80 beats per minute.
00:31:32.640 --> 00:31:35.560
The baby\'s head moves down
toward the floor
00:31:35.560 --> 00:31:36.280
of the pelvis
00:31:36.280 --> 00:31:39.000
and begins to emerge
from the vaginal opening.
00:31:39.000 --> 00:31:40.720
This movement
turns the head slightly
00:31:40.720 --> 00:31:44.160
so that it comes out
sideways.
00:31:44.160 --> 00:31:45.400
The head is forced through,
00:31:45.400 --> 00:31:46.760
pressing back
the pelvic muscles,
00:31:46.760 --> 00:31:49.080
which can no longer
hold back the baby,
00:31:49.080 --> 00:31:51.600
so strong are
the mother\'s contractions.
00:31:51.600 --> 00:31:53.720
Once the head is free,
the rest of the body
00:31:53.720 --> 00:31:57.160
will slip out
relatively easily.
00:31:57.160 --> 00:31:58.320
Bear down.
00:31:58.320 --> 00:32:02.320
This phase can be
a very dangerous one.
00:32:02.320 --> 00:32:05.520
The slower the baby\'s
head comes through,
00:32:05.520 --> 00:32:08.280
the less chance
of tearing.
00:32:08.280 --> 00:32:10.520
That\'s it,
it\'s coming.
00:32:10.520 --> 00:32:13.400
The nurse protects
the baby\'s head
00:32:13.400 --> 00:32:16.120
by directing it so that
it can pass through
00:32:16.120 --> 00:32:19.040
with the least resistance.
00:32:19.040 --> 00:32:21.120
Once the head\'s
outside the vagina,
00:32:21.120 --> 00:32:22.600
the baby\'s head
turns toward
00:32:22.600 --> 00:32:24.680
one of the mother\'s
thighs.
00:32:24.680 --> 00:32:27.000
Then the shoulders turn
and move through
00:32:27.000 --> 00:32:29.560
the birth canal.
00:32:34.040 --> 00:32:36.560
All right,
its head is out.
00:32:37.720 --> 00:32:39.720
The nurse disengages
the first shoulder
00:32:39.720 --> 00:32:42.080
so the baby
can pass through.
00:32:42.080 --> 00:32:46.840
She now draws the baby
out of the birth canal.
00:32:48.680 --> 00:32:51.240
There, come on.
00:32:51.240 --> 00:32:53.640
Now...now.
00:32:53.640 --> 00:32:55.440
It\'s over.
00:32:58.200 --> 00:33:01.200
(baby cries)
00:33:09.200 --> 00:33:12.320
I searched for information
about this film,
00:33:12.320 --> 00:33:14.800
but the only clues
were other scenes
00:33:14.800 --> 00:33:17.920
cut from the same title,
00:33:17.920 --> 00:33:19.760
which was this...
00:33:19.760 --> 00:33:24.880
♪
00:33:24.880 --> 00:33:26.720
Look, she\'s naked.
00:33:26.720 --> 00:33:29.120
(laughing)
00:33:29.120 --> 00:33:33.320
♪
00:33:33.320 --> 00:33:35.200
...and this.
00:33:41.200 --> 00:33:43.240
And this.
00:33:43.240 --> 00:33:44.600
♪
00:33:44.600 --> 00:33:46.800
People say I\'m a lesbian.
00:33:46.800 --> 00:33:48.840
Well, what of it?
00:33:48.840 --> 00:33:52.480
♪
00:33:52.480 --> 00:33:55.080
Now I\'m happy.
00:33:56.640 --> 00:33:57.360
The truth is,
00:33:57.360 --> 00:33:59.160
this birth belongs
to a film that,
00:33:59.160 --> 00:34:02.840
in other, less restrictive
parts of the world,
00:34:02.840 --> 00:34:05.400
would have played at
skeezy red-light cinemas
00:34:05.400 --> 00:34:09.360
to male audiences,
to titillate.
00:34:09.360 --> 00:34:11.200
(projector snaps off)
00:34:11.200 --> 00:34:13.520
Putting a scene
back in its context
00:34:13.520 --> 00:34:17.520
had made a clip that
I thought was miraculous,
00:34:17.520 --> 00:34:21.080
something I wanted
to be seen,
00:34:21.080 --> 00:34:24.680
into something grubby.
00:34:26.280 --> 00:34:36.520
♪
00:34:46.920 --> 00:34:57.200
♪
00:36:04.840 --> 00:36:07.840
Whaddya want to look at
a couple of flat birds
00:36:07.840 --> 00:36:09.200
like that for?
00:36:09.200 --> 00:36:11.520
If you want a strip,
I\'ll give you one
00:36:11.520 --> 00:36:14.800
you\'ll never forget.
00:36:17.160 --> 00:36:20.760
(crowd chanting \"Strip!\")
00:36:20.760 --> 00:36:31.040
♪
00:37:33.280 --> 00:37:37.480
The onscreen spectator
lurks in so many of
00:37:37.480 --> 00:37:40.280
these deleted frames.
00:37:40.280 --> 00:37:44.200
These captivated
men and women are staring,
00:37:44.200 --> 00:37:48.600
jeering,
applauding participants.
00:37:48.600 --> 00:37:50.400
♪
00:37:50.400 --> 00:37:52.080
There is no performance,
00:37:52.080 --> 00:37:54.640
no theater
without a crowd.
00:37:54.640 --> 00:37:56.400
♪
00:37:56.400 --> 00:38:00.320
They are the mirror
being held up to us.
00:38:00.320 --> 00:38:01.880
♪
00:38:01.880 --> 00:38:04.080
What is their pleasure,
00:38:04.080 --> 00:38:06.200
our pleasure,
00:38:06.200 --> 00:38:08.480
to watch?
00:38:08.480 --> 00:38:18.720
♪
00:38:34.320 --> 00:38:38.080
(whistles, catcalls)
00:38:38.080 --> 00:38:40.240
♪
00:38:40.240 --> 00:38:42.280
Good to see you, Greg.
00:38:42.280 --> 00:38:43.480
Where\'d you find her?
00:38:43.480 --> 00:38:46.640
Gladding picked her up
in a laundromat,
00:38:46.640 --> 00:38:48.520
do you believe it?
00:38:48.520 --> 00:38:51.720
(cheers, catcalls)
00:38:51.720 --> 00:38:53.720
♪
00:38:53.720 --> 00:38:56.560
Do you see Ambrose
over in the corner?
00:38:56.560 --> 00:38:58.440
He\'s stoned.
00:38:58.440 --> 00:39:00.040
See?
00:39:00.040 --> 00:39:02.760
♪
00:39:02.760 --> 00:39:05.200
(thud)
00:39:09.640 --> 00:39:12.760
I christen thee
Queen Pig.
00:39:12.760 --> 00:39:15.920
(laughter)
00:39:15.920 --> 00:39:16.880
Don\'t do that.
00:39:16.880 --> 00:39:19.080
-Take off, man.
-Don\'t do that!
00:39:19.080 --> 00:39:20.640
Hey!
00:39:20.640 --> 00:39:21.640
If you were
a brother, man,
00:39:21.640 --> 00:39:24.280
I coulda cleaned you
for that.
00:39:24.280 --> 00:39:25.840
You all right?
00:39:25.840 --> 00:39:27.640
(derisive shouting)
00:39:27.640 --> 00:39:29.160
Come on, man,
she could have
00:39:29.160 --> 00:39:31.040
busted something!
00:39:31.440 --> 00:39:34.400
-Are you all right?
-Give him a ride!
00:39:34.400 --> 00:39:37.560
(shouting, laughter)
00:39:41.280 --> 00:39:43.040
♪
00:39:43.040 --> 00:39:44.080
Where you going, Greg?
00:39:44.080 --> 00:39:46.200
Come on back, Greg!
00:39:46.200 --> 00:39:52.240
♪
00:39:52.240 --> 00:39:54.880
Am I no different
to the filmmakers
00:39:54.880 --> 00:39:57.120
in this archive?
00:39:57.120 --> 00:39:58.560
Repeating an onslaught,
00:39:58.560 --> 00:40:03.600
an assault of butchered,
brutal images?
00:40:03.600 --> 00:40:05.080
To what end?
00:40:05.080 --> 00:40:08.000
To what purpose
does this serve?
00:40:08.000 --> 00:40:09.240
♪
00:40:09.240 --> 00:40:13.520
There are hundreds of
clips in this collection.
00:40:13.520 --> 00:40:16.000
Most were dull
and unmemorable,
00:40:16.000 --> 00:40:17.240
instantly forgotten
00:40:17.240 --> 00:40:20.520
unless I played them
over and over again.
00:40:20.520 --> 00:40:25.640
Some clips felt so
intolerably vile to watch,
00:40:25.640 --> 00:40:29.160
so dark and ugly
that I don\'t dare
00:40:29.160 --> 00:40:32.240
grant them exhibition.
00:40:32.440 --> 00:40:34.120
If I had the opportunity,
00:40:34.120 --> 00:40:37.840
I think I would have
destroyed those clips.
00:40:37.840 --> 00:40:39.560
♪
00:40:39.560 --> 00:40:42.360
Are these the actions
of a filmmaker
00:40:42.360 --> 00:40:44.280
or a censor?
00:40:44.280 --> 00:40:45.800
♪
00:40:45.800 --> 00:40:48.120
But maybe they aren\'t
so different,
00:40:48.120 --> 00:40:52.240
these forces that we
imagine in opposition.
00:40:52.240 --> 00:40:53.600
♪
00:40:53.600 --> 00:40:55.480
Both filmmaking
and censoring
00:40:55.480 --> 00:40:57.920
are expressions of power.
00:40:57.920 --> 00:41:01.760
Both dictate what is seen.
00:41:01.760 --> 00:41:03.680
(projector switches off)
00:41:04.600 --> 00:41:08.600
Right now,
I hold the power.
00:41:08.600 --> 00:41:11.360
I control the image.
00:41:11.360 --> 00:41:16.080
I will tell you what you
can and can\'t look at.
00:41:16.080 --> 00:41:26.320
♪
00:41:28.000 --> 00:41:28.680
In the archive,
00:41:28.680 --> 00:41:32.600
this is the only scene
directed by a woman.
00:41:32.600 --> 00:41:34.920
♪
00:41:34.920 --> 00:41:39.480
Welcome, Agnès Varda,
to censorship.
00:41:39.480 --> 00:41:43.560
♪
00:43:04.560 --> 00:43:10.000
♪
00:43:10.000 --> 00:43:13.200
Only people who are given
permission to make films
00:43:13.200 --> 00:43:17.080
can be victims of
government censorship.
00:43:17.080 --> 00:43:20.760
Most are censored by
the powers that determine
00:43:20.760 --> 00:43:23.840
what story is
worth telling.
00:43:23.840 --> 00:43:27.320
This is a kind
of censorship,
00:43:27.320 --> 00:43:28.840
a negation,
00:43:28.840 --> 00:43:30.840
that the Australian
government
00:43:30.840 --> 00:43:33.280
played no part in.
00:43:33.280 --> 00:43:34.560
♪
00:43:34.560 --> 00:43:37.080
This archive is
only the artifacts
00:43:37.080 --> 00:43:40.680
of what had
the privilege to be made,
00:43:40.680 --> 00:43:44.440
the artifacts that expose
how men have always
00:43:44.440 --> 00:43:46.880
told their stories.
00:43:46.880 --> 00:43:57.160
♪
00:44:06.600 --> 00:44:16.840
♪
00:44:31.360 --> 00:44:34.840
Well, come on,
you zombies, kill him!
00:44:34.840 --> 00:44:45.120
♪
00:45:23.320 --> 00:45:27.640
To be a man is reduced
to one of two things:
00:45:27.640 --> 00:45:32.440
either take a beating
or deliver one.
00:45:32.440 --> 00:45:33.920
The censors would write,
00:45:33.920 --> 00:45:37.320
\"Delete scene
of held man.\"
00:45:37.320 --> 00:45:38.920
Such a tender
turn of phrase
00:45:38.920 --> 00:45:42.080
for beating the shit
out of each other.
00:45:42.080 --> 00:45:43.640
♪
00:45:43.640 --> 00:45:47.240
All these rituals
to make contact.
00:45:47.240 --> 00:45:51.440
♪
00:45:51.440 --> 00:45:54.120
Go on, hit him already,
hit him.
00:45:54.120 --> 00:45:55.240
♪
00:45:55.240 --> 00:45:58.480
Maybe all they need
is a group hug.
00:45:58.480 --> 00:46:01.760
♪
00:46:01.760 --> 00:46:03.880
Masculinity is
a performance
00:46:03.880 --> 00:46:08.600
which created by men
diminishes them.
00:46:08.600 --> 00:46:18.840
♪
00:47:52.280 --> 00:47:54.240
(projector clicks off)
00:47:55.520 --> 00:48:00.000
When does the voyeur
finally turn away?
00:48:00.000 --> 00:48:03.920
Can you know
when you\'ve had enough?
00:48:04.520 --> 00:48:06.520
Sometimes,
I wanted to pretend
00:48:06.520 --> 00:48:09.360
this archive never existed,
00:48:09.360 --> 00:48:12.200
that it shouldn\'t
have been censored,
00:48:12.200 --> 00:48:16.840
that I would not be
its only witness.
00:48:19.880 --> 00:48:21.440
♪
00:48:21.440 --> 00:48:24.720
And when I felt
there were no surprises,
00:48:24.720 --> 00:48:26.640
no respite from this work,
00:48:26.640 --> 00:48:32.680
something remarkable
would catch my weary eye.
00:48:32.680 --> 00:48:35.600
A sex scene with no sex,
00:48:35.600 --> 00:48:37.440
a sex scene with no men,
00:48:37.440 --> 00:48:40.000
directed by a man.
00:48:40.000 --> 00:48:44.600
Cinema is no monolith,
no one thing.
00:48:44.600 --> 00:48:54.000
♪
00:51:47.880 --> 00:51:53.680
♪
00:51:53.680 --> 00:51:58.320
No one in Australia saw
sex and violence on screen
00:51:58.320 --> 00:52:00.640
before 1971.
00:52:00.640 --> 00:52:03.520
Censors may have thought
that they were protecting
00:52:03.520 --> 00:52:06.400
the nation
from the outside world,
00:52:06.400 --> 00:52:08.240
ensuring Australia
would thrive
00:52:08.240 --> 00:52:13.240
as a friendly island
of harmonious virgins.
00:52:13.240 --> 00:52:16.080
But weren\'t they
just in denial?
00:52:16.080 --> 00:52:19.400
Purging the screen
didn\'t purge it
00:52:19.400 --> 00:52:21.800
from people\'s lives.
00:52:21.800 --> 00:52:32.080
♪
00:52:40.080 --> 00:52:41.280
Nope.
00:52:41.280 --> 00:52:42.840
Please.
00:52:42.840 --> 00:52:44.840
There\'s nobody but you,
there never was.
00:52:44.840 --> 00:52:46.800
No.
00:52:46.800 --> 00:52:47.440
No, no!
00:52:47.440 --> 00:52:49.640
I love you.
Don\'t you love me?
00:52:49.640 --> 00:52:52.360
I hate you, you bastard!
00:52:52.360 --> 00:53:02.600
♪
00:54:06.920 --> 00:54:09.240
Now, you listen to me.
00:54:09.240 --> 00:54:10.480
You listen to me.
00:54:10.480 --> 00:54:12.720
I can get rough with you
if I have to.
00:54:12.720 --> 00:54:14.360
Where\'s Eddie?
00:54:14.360 --> 00:54:16.040
Let me go!
00:54:16.040 --> 00:54:20.800
♪
00:54:20.800 --> 00:54:23.360
Why, you little wildcat,
you...
00:54:23.360 --> 00:54:33.600
♪
00:54:34.840 --> 00:54:36.520
Let go!
00:54:36.520 --> 00:54:46.760
♪
00:55:24.560 --> 00:55:26.520
(projector clicks off)
00:55:27.160 --> 00:55:28.320
Everywhere I looked,
00:55:28.320 --> 00:55:31.840
men producing,
directing, filming,
00:55:31.840 --> 00:55:34.200
and performing rape.
00:55:34.200 --> 00:55:38.480
Hours of footage
from hundreds of films.
00:55:38.480 --> 00:55:41.280
The archive is stained
with gorgeous,
00:55:41.280 --> 00:55:44.240
terrified women.
00:55:44.240 --> 00:55:46.200
The malevolent eye leers,
00:55:46.200 --> 00:55:48.680
hovering over
women\'s flesh,
00:55:48.680 --> 00:55:54.040
signaling rape as a taboo,
as a transgression,
00:55:54.040 --> 00:55:57.720
but also gratifying,
enticing,
00:55:57.720 --> 00:56:03.720
a spectacle of cruelty
fueling men\'s arousal.
00:56:07.720 --> 00:56:18.000
♪
00:57:06.400 --> 00:57:10.480
(gunshots, screaming)
00:57:10.480 --> 00:57:20.720
♪
00:57:36.680 --> 00:57:38.680
Just relax, \'cause
you\'re gonna thank me.
00:57:38.680 --> 00:57:41.240
You gonna thank me
when it\'s all over, honey.
00:57:41.240 --> 00:57:43.840
It\'s gonna be different,
you hear me?
00:57:43.840 --> 00:57:47.600
(woman whimpering)
00:57:47.600 --> 00:57:57.840
♪
00:58:05.600 --> 00:58:07.200
Tell me.
00:58:07.200 --> 00:58:08.600
Tell me!
00:58:08.600 --> 00:58:10.800
No, pig!
00:58:10.800 --> 00:58:12.640
Tell me!
00:58:12.640 --> 00:58:16.000
Tell me, tell me.
00:58:16.000 --> 00:58:17.800
♪
00:58:17.800 --> 00:58:19.200
Let her go.
00:58:19.200 --> 00:58:20.520
Let her go!
00:58:20.520 --> 00:58:21.840
Let her go!
00:58:21.840 --> 00:58:22.840
Tell me, tell me!
00:58:22.840 --> 00:58:26.280
I show you,
I show you!
00:58:26.280 --> 00:58:32.480
I show you what I do
with (unintelligible)
00:58:32.480 --> 00:58:34.080
in my house.
00:58:34.080 --> 00:58:36.600
♪
00:58:36.600 --> 00:58:41.560
Aw, you\'re getting
cold on me.
00:58:41.560 --> 00:58:44.280
What are you crying for?
00:58:44.280 --> 00:58:49.080
Don\'t tell me you don\'t
feel anything?
00:59:08.240 --> 00:59:18.480
♪
00:59:20.480 --> 00:59:22.840
I battled this collection.
00:59:22.840 --> 00:59:25.640
I despaired
and raged through it
00:59:25.640 --> 00:59:28.040
year after year.
00:59:28.040 --> 00:59:31.760
There is no natural ending
for this film.
00:59:31.760 --> 00:59:36.280
No single clip could reveal
the archive\'s complexities,
00:59:36.280 --> 00:59:42.320
and no combination of scraps
delivered catharsis.
00:59:42.320 --> 00:59:45.840
Even death offered
no resolution.
00:59:45.840 --> 00:59:47.160
♪
00:59:47.160 --> 00:59:50.000
This archive is
a never-ending loop
00:59:50.000 --> 00:59:54.120
of more and more
of the same.
00:59:54.120 --> 01:00:04.360
♪
01:01:02.040 --> 01:01:03.480
I did not show these clips
01:01:03.480 --> 01:01:06.880
as the censors
collected their archive,
01:01:06.880 --> 01:01:08.880
A through to Z.
01:01:08.880 --> 01:01:11.240
I did not restore these clips,
01:01:11.240 --> 01:01:14.280
returning these orphan frames
to the films
01:01:14.280 --> 01:01:17.600
where they once belonged.
01:01:17.600 --> 01:01:20.800
I revived these
hidden relics,
01:01:20.800 --> 01:01:21.720
and in doing so,
01:01:21.720 --> 01:01:26.280
I became complicit in
problems I could not solve
01:01:26.280 --> 01:01:30.080
and questions that
I still cannot answer.
01:01:30.080 --> 01:01:31.200
♪
01:01:31.200 --> 01:01:35.920
Despite all my intentions
all those years ago,
01:01:35.920 --> 01:01:41.640
I could not liberate these
films from censorship.
01:01:41.640 --> 01:01:43.320
Tear down one power
01:01:43.320 --> 01:01:47.160
and another power
reveals itself.
01:01:47.160 --> 01:01:48.520
♪
01:01:48.520 --> 01:01:51.560
This archive,
once denied,
01:01:51.560 --> 01:01:54.000
now lives on the screen.
01:01:54.000 --> 01:01:58.040
We have permission
to look, to watch,
01:01:58.040 --> 01:01:59.920
to observe.
01:01:59.920 --> 01:02:03.000
We can see
what was unseen,
01:02:03.000 --> 01:02:08.280
but then, we can\'t unsee
all of this.
01:02:08.280 --> 01:02:11.160
We can only ask ourselves,
01:02:11.160 --> 01:02:16.040
what is it
that we are spectators to?
01:02:16.040 --> 01:02:26.280
♪
01:03:34.360 --> 01:03:36.520
(projector clicks off)
01:03:36.520 --> 01:03:46.760
♪
Distributor: Icarus Films
Length: 66 minutes
Date: 2018
Genre: Expository
Language: English
Color/BW: /
Closed Captioning: Available
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