No cast information available.
In 1971, Bahrain, Qatar and the UAE ceased to be part of Britain’s empire in the Middle East and became fully independent states. BBC News Persia and BBC Arabic collaborate in this gripping film, to uncover the secrets and shady deals that underpinned the decolonization process. From eye-witness accounts of a British-organised coup to Iran being left in control of disputed islands, it's a fascinating insight to a murky history.
Every December to January, almost a hundred squid fishing boats from Ch'ien-chen Fishing Harbor in Kaohsiung will sail from East 120 to West 60 to work at Falkland Islands in the South West Atlantic. The sailing takes 35-40 days and crew members named it "waterway." January 1st, 2015, a 65 meter long, 11 meter wide fishing boat began its journey to Falkland island. This is a documentary about 60 crew members from south-east Asia to work far away from Taiwan.
In response to the Detroit riots of 1967, where racial tensions in the city reached a breaking point, the city decided that the way to resolve these tensions would be to put more resources into employing Black people. Namely, chronically unemployed Black men who they refer to as "the hardcore." And predominantly, employing them on the line in auto assembly plants. But in the words of Lloyd Love, a young Detroiter interviewed in the film, this PBS documentary poses the question, "Do you think a job is the answer?" The film explores this question in 1968, by speaking with workers, unemployed people, union activists, students, people who implement city-run employment programs, members of DRUM (Dodge Revolutionary Union Movement), and the Detroit Industrial Mission.
Shedding light on the current debate over immigration reform and the use of "guest workers" in American agriculture, this historical documentary, "Harvest Of Loneliness: The Bracero Program," examines what was known as the Bracero Program-a system put in place from 1942 to 1964 to recruit Mexican farm laborers for temporary work in the United States.
The National Iranian Oil Company (NIOC), formed upon nationalization of the British Anglo-Iranian Oil Company, employed film systematically, producing many films on oil and petrochemical subjects. It also made films depicting Iran's progress and modernization, highlighting the role of the Shah and NIOC in that direction. Under its auspices, Ebrahim Golestan directed A FIRE (1961), a highly visual treatment of a seventy-day oil well fire in the Khuzestan region of southwestern Iran. This film was edited by the Iranian poet Forough Farrokhzad and won two awards at the Venice Film Festival in 1961.
A more experimental aproach to labor protection films. In the line of Săucan's style, the soundtrack is as important as the image, the threatening music, full of shrillness, composed by Ion Dumitrescu potentiating the visual construction that mixes - in a montage reminiscent of the Soviet avant-garde school of the 1920s - all kinds of shooting techniques and frame combinations.
Through the testimony of Manuel Taborda, a pioneer of labor organizing in Venezuela’s oil fields, this documentary revisits the experiences of oil workers between 1920 and 1936. Their memories reveal a world marked by corporal punishment, exploitation, racial segregation, and disease, alongside the emergence of collective resistance against the American and British oil companies that controlled the industry and the government that enabled them.
World War II created a huge demand for American farm products. But the war also caused vast numbers of farm workers to abandon the fields, either to join the military or to seek work in the cities. The solution would be a unique contract-worker agreement between the United States and Mexico -- The Bracero Program.
In the late 1960s and early 1970s, girls aged 12 to 16 began working at Pyeonghwa Market. Running sewing machines, they also study the Labor Standards Act under the tutelage of Jeon Taeil. On September 9, 1977, they were imprisoned fighting against the government that closed labor classes, shouting, “The next Jeon Taeil will be a woman!” Now the middle-aged girls recall the memories of the life of female workers, social contempt, and stigma. Watching the sunrise in the East Sea, they admire, ‘How fair it is because everybody can see it.’ Sewing Sisters rewrites the history of maledominated Korean labor struggles in the 1970s with news interviews of female workers belonging to the Cheonggye Clothes Union.
