Director: National Labor Committee
Synopsis: A delegation of U.S. students and workers with the National Labor Committee visit sweatshops in El Salvador.
Contact: See the film here: http://www.youtube.com/watch?v=w3tT45Q6uKM
Director: National Labor Committee
Synopsis: A delegation of U.S. students and workers with the National Labor Committee visit sweatshops in El Salvador.
Contact: See the film here: http://www.youtube.com/watch?v=w3tT45Q6uKM
104m; Poland/Germany
Director: Volker Schlöndorff
Cast: Katharina Thalbach, Andrzej Chyra and Dominique Horwitz
Synopsis: Shows the beginnings of Poland’s Solidarity movement through the little-known figure of Anna Walentynowicz. The latest film from the director of The Tin Drum tells the true story of an ordinary woman who helped spark a revolution in Poland. Shipyard welder Agnieszka (Katharina Thalbach), concerned about dangerous working conditions, speaks up to no avail. After an accident kills several employees and their families are denied pension benefits, she steps up her activities, becoming a union leader and powerful adviser to Lech Walesa, laying the foundation for the Solidarity movement.
Contact: http://www.e.bell.ca/filmfest/2006/home/default.asp
4m
Director: John Lett
GoIAM.org – Whether it’s a strike or factory floor, former union organizer Ralph Fasanella devoted his life to painting working men and women. The man who is considered America’s best self taught artist, would eventually complete hundreds of pieces of work dedicated to jobs and justice.
Available online
82m; China/Canada
Director: Lixin Fan
Synopsis: Every spring, China’s cities are plunged into chaos, as all at once, a tidal wave of humanity attempts to return home by train. It is the Chinese New Year. The wave is made up of millions of migrant factory workers. The homes they seek are the rural villages and families they left behind to seek work in the booming coastal cities. It is an epic spectacle that tells us much about China, a country discarding traditional ways as it hurtles towards modernity and global economic dominance. Last Train Home, an emotionally engaging and visually beautiful debut film from Chinese-Canadian director Lixin Fan, draws us into the fractured lives of a single migrant family caught up in this desperate annual migration.
Contact: http://www.eyesteelfilm.com/?page_id=60 info@eyesteelfilm.com 4475 St. Laurent, suite #202 Montreal, Quebec CANADA H2W 1z8 Phone directory: phone: +1 (514) 937-4893
83m; Argentina
Director: Jorge Gaggero
Cast: Norma Aleandro, Norma Argentina and Marcos Mundstock
Synopsis (IMDB): A wealthy woman and her live-in housekeeper must adjust their entrenched routine and relationship when Buenos Aires is plunged into economic crisis.,
25m; U.S.
Director: Georgetown Solidarity Committee
Synopsis: Documentary chronicling the 5 year campaign of Georgetown campus workers and students to win a living wage for many campus workers, including the 2005 10-day hunger strike which won a historic living wage policy. Documentary is intended in part to help inspire and educate other students to organize similar campaigns on their campuses.
Contact: View the film here: http://www.youtube.com/watch?v=uQRaJvyDzo0

During the depression in England, a young woman from Lancashire is forced to become a rich bookmaker’s mistress just to help the rest of her family who are unemployed.
It’s a dramatic, shocking and violent film. Some 200 uniformed policemen armed with billy clubs, revolvers and tear gas angrily charge an unarmed crowd of several hundred striking steelworkers and their wives and children who are desperately running away. The police club those they can reach, shoving them to the ground and ignoring their pleas as they batter them with further blows. They stand above the fallen to fire at the backs of those who’ve outraced them.
Police drag the injured along the ground and into patrol wagons, where they are jammed in with dozens of others who were also arrested. Four are already dead from police bullets, six others are to die shortly. Eighty are wounded, two dozen others so badly beaten that they, too, must be hospitalized.
The close-ups are particularly brutal. As one newspaper reviewer noted, “In several instances from two to four policemen are seen beating one man. One strikes him horizontally across the face, using his club as he would a baseball bat. Another crashes it down on top of his head and still another is whipping him across the back.”
The film ends with a sweaty, fatigued policeman looking into the camera, grinning, and motioning as if dusting off his hands.
The film was made in 1937. It was not, however, one of those popular cops and robbers features of the thirties. It was not fictional. It was an on-the-scene report of what historians call “The Memorial Day Massacre,” a newsreel segment filmed by Paramount Pictures as it was happening on the south side of Chicago on May 30, 1937.
We’re accustomed these days to the use of videotaped evidence to show wrongdoing by abusive law enforcement officers. Video technology was unknown in 1937, of course, and though film was available, it had rarely – if ever – been used for that purpose.
The 1937 film, in fact, was initially kept from the general public by Paramount’s executives. Fearful of “inciting riots,” they refused to include it in any of their newsreels that were shown regularly in movie theaters nationwide.
But the film was shown to a closed session of a Senate investigating committee chaired by Robert LaFollette Jr. of Wisconsin. The committee, concerned primarily with civil liberties, was outraged — particularly since the Chicago police had acted in violation of the two-year-old federal law that guaranteed workers the right to strike and engage in other peaceful union activities.
The committee found that strikers and their families, while noisily demanding collective bargaining rights as they massed in front of the South Chicago plant operated by Republic Steel, had indeed been generally peaceful. But that was beside the point to the police in Chicago and other cities with plants operated by Republic and two other members of the “Little Steel” alliance that also were struck. For as the committee concluded, the police had been “loosed … to shoot down citizens on the streets and highways” at the companies’ behest. The companies even supplied them with weapons and ammunition from their own stockpiles.
The committee said the companies had spent more than $40,000 on machine guns, rifles, shotguns, revolvers, tear gas canisters and launchers and 10,000 rounds of ammunition to use against strikers. Republic alone had more supplies than any law enforcement agency in the entire country.
The companies were prepared to go to any extreme to remain non-union. Two closed their plants temporarily, anticipating that most of the 85,000 strikers would soon be forced to return to work because they had little – if any – savings. But though Republic Steel closed most of its plants, it continued to operate the Chicago plant and a few others.
Republic fired union members at the plants that remained open and, with police help, cleared out union sympathizers and brought in strikebreakers to replace them. The strikebreakers, guarded by police day and night, ate and slept in the plants to avoid confronting the pickets outside.
Municipal police, company police and National Guardsmen harassed and often arrested pickets for doing little more than lawfully picketing. Six strikers were killed outside Republic’s Ohio plants in Cleveland, Youngstown, Canton and Massillon.
The killings and other violence, the steadily increasing financial pressures on strikers, unceasing anti-union propaganda – all that and more combined to end the strike in mid-July, two months after it had begun.
But the steelworkers didn’t give up. Determined to not have made such great sacrifices in vain, they turned to the labor-friendly administration of President Franklin Roosevelt for help. They got it in 1941, when heavy pressures from the administration finally forced the steel companies to recognize their employees’ legal right to unionization and the many benefits, financial and otherwise, that it brought them and the many other industrial union members who followed their lead.
NOTE: A videotape of the uncut newsreel segment, “Memorial Day Massacre of 1937,” is available from the Illinois Labor History Society (ilhs@prodigy.net).
U.S.
Director: National Labor Committee
Synopsis: An exposé on how Disney treats its workers in Haiti.
Contact: View the documentary here: http://www.youtube.com/watch?v=6_OXhtgHBxk
Available on YouTube
7:43m (includes intro by Kiefer Sutherland, Tommy Douglas’ grandson)
The Story of Mouseland was a story told first by Clarence Gillis, and later and most famously by Tommy Douglas, leader of the Saskatchewan Co-operative
Commonwealth Federation and, later, the New Democratic Party of Canada, both social democraticparties. It was a political fable expressing the CCF’s view that the Canadian political system was flawed in offering voters a false dilemma: the choice of two parties, neither of which represented their interests.
The mice voted in black cats, which represented the Progressive Conservative Party, and then they found out how hard life was. Then they voted in the white cats, which symbolized the Liberal Party. The story goes on, and a mouse gets an idea that mice should run their government, not the cats. This mouse was accused of being a Bolshevik, and imprisoned. However, the speech concludes by saying you can lock up a mouse or a person, but you cannot lock up an idea.