Spanish cinema has impressed us with its artistic richness and its thinking, through images, of political questions (Bunuel, Saura, Erice, Berlanga, Aranda). This artistic wealth continued at the end of the dictatorship with political questions about recent Spanish history, such as the civil war and the Franco regime. The book Memoire du espagnol movies (1975-2007) (Memory of Spanish cinema, Corlet CinémAction Editions, 2009), organized by Pietsie Feenstra, proposes a typology of Spanish cinema memory during three periods, accompanied by transnational visions. The status of “memorial images” confirms this dialogue between society and politics: cinema is effectively the art of memory par excellence.

The survival of the capitalist system has a very high, growing and unacceptable social cost. It manifests itself in the devastation and environmental degradation, in the decline of the quality of life for the working class inside and outside the work environment (in the streets and neighborhoods, for example), and especially in social indicators. However, there is an incessant and well-paid ideological effort on the part of a legion of statisticians, technocrats, economists, professors, journalists and ideologues of the order in general, in the sense of trying to “prove” that things are almost always improving , Or to use one index or another to “show” that things will be good for the worker or that capitalism, besides being the only possible world, can be humanized and even reformed.
The book The statistics of poverty and misery of statistics , organized by Gilson Dantas and Helio Rodrigues texts, Osvaldo Coggiola and Juan Chingo, was mostly written before the outbreak of the current global capitalist crisis arises, Therefore, in a critical perspective on the political and ideological misery of the discourse of statistics and the econometrics of order and their reactionary utopias of “improving” capitalism.


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