All language subtitles for Struggle.In.Italy.1971.1080p.BluRay.x264-[YTS.AM].mp4-English

STRUGGLE IN ITALY

Who is it?
What's happening?

In the history of human knowledge

the laws of development
have always been viewed in two ways.

One is metaphysical
and the other dialectical.

So there are two ways of viewing
the world - idealism and Marxism.

I am Marxist. I am part
of the revolutionary movement.

Militancy.

After the meeting organised
by comrades from Monte Mario

the police arrested
three ML activists

who were handing out leaflets

in support of the just cause
of the Palestinian people

against Israel,
the lackey of imperialism.

Now these three comrades

are accused of conspiring
against state security.

But who is conspiring
and against whom?

The state is conspiring
against the Italian people.

To be attacked by the enemy

is a good thing.

Let's popularise the popular struggle

against imperialism.

Let foreigners act as nationals.

When revolutionaries analyse
the war of the people

the bourgeoisie takes fright.

It realises that analysing
the war of the people

will serve to turn
their weapons against it,

against its state apparatus
its police and its army.

I know the Communist Party
has held meetings on Lenin before

but the revisionists need
stirring up sometimes.

Gas is very important for the Russians.
It replaces petrol.

They've signed an agreement with Eni,
a state-run firm.

For Soviet revisionists
it's an economic struggle

to get established in Europe.

The class struggle will be forgotten.

The failure of spontaneity at Fiat.

Agreement in the steel industry.
We hope for a calm winter.

Politics governs the economy.
The revolution governs production.

A real victory for the steelworkers.

A mild winter, a real victory.

A mild winter, a real victory.

Between Marxism and revisionism
there is a continual hard struggle

where political and economic ties
are concerned.

The university.

The same old story.

The real crux of the matter.

Science.

I ask you for practical explanations
but you refuse to give them to me.

A king decides
to appoint a prime minister

and appeals for applicants.

Do you see the problem?
Why a king appointing a prime minister?

Why not militants
appointing a shop steward?

It's not as simple as that.

I've got to go.
Let's discuss it on Tuesday.

Society.

A sweater.

No, I think I need a shirt.

It's a best seller.

30,000 lire for a peasant blouse?

Look at the work.

- Are you interested in this book?
- Yes.

I know the people who wrote it.

If you like, we can go
and discuss it with them.

No talking to the customers!

Society.

Society.

Family.

You should be studying
instead of talking to your friends.

They're comrades.

While you wait for your revolution
you're happy sleeping and eating here.

You're taking advantage
of me and your mother.

All right, Mum.
I'll keep quiet.

Health.

When you argue with your father,
it makes me anxious and ill.

There are doctors for that.

I can ask my university friends
for the address of a psychoanalyst.

Housing.

Leave me in peace.

If you want a bathroom
then get a job to pay for a flat.

A true Communist has to put
the revolution first,

before their own interests.

You don't know
what you're talking about, you old fool.

Character.

I've told you time and again
not to touch my things.

Sex.

It's the 15th and we've run out
of money already.

I promise we'll make an effort
next month.

I'm sick of living with other people.

Listen, we'll talk about it tomorrow.
I'm too tired tonight.

Identity.

Violence in the factories.

Workers in the streets.

Identity papers!

Identity papers!

Identity.

Identity.

M-7-2-4-6-4.

That's me.

Are you Paola Taviani?
Then it's your turn.

One ticket for a student, please.

Do you have a student card?

Well? What happened?

That wasn't really me you just saw.

It was just bits of me.

It wasn't the real me,
just a reflection.

Reflection.

Reality.

Reflection.

Reality.

What's happening?
Your life divided under headings,

like a university subject,
all part of a whole.

You realise the whole is imaginary.
You wonder how it works.

Reflection.

Reality.

The imaginary whole,
the conditions of your existence,

the relationship between them,
what does it mean?

What did I say at the start?

I said, "There is, there is."

There is Marxism, there is idealism.

But I didn't say that Marxism
was fighting idealism.

What else did I say?

A metaphysical conception
and a dialectical conception

have given rise to two opposing
conceptions of the world.

Opposing conceptions.

They were opposing.
That's what I had forgotten.

So I called myself a Marxist
but in fact I was still an idealist.

There are two conceptions
of the world.

To find out why they are opposing
you need to know how they work.

Yes, the first part worked
with reflections of you

separated by black screens.

Black screens.

Black screens.

Who produced these black screens?

Black screens.

What is this black screen replacing?

What links your reflections
to these black screens?

You discover that the first part
was an organised whole

centred under the heading: society.

The relationship
between the black screens

and the images of you
stems from there.

That relationship has a name - ideology.

Ideology.

Relationship.

Necessarily.

Imaginary.

Weighty.

The real conditions of your existence.

Reflections.

Reflections.

Reflections.

Black screen.

Reality.

Reality.

Reality.

Reality.

Ideology.

Relationship.

Necessarily imaginary.

Weighty.

The real conditions of your existence.

Necessarily imaginary relationship

with the real conditions

of your existence.

Ideology.

Function of ideology.

Daily, uninterrupted reproduction

of the relations of production
in the consciousness

In other words...

In other words,
adjusting, organising,

your practical behaviour

in society.

Today in Italy,

the function of bourgeois ideology.

Every day ensuring

the uninterrupted reproduction

of the relations of production
in the consciousness.

In other words,

organising your practical behaviour

in Italian capitalist society.

People's social existence
determines their thoughts.

You know Marxism is not
about explaining the world

but about actively transforming it.

Practice, theory, practice.

Here are the books you asked for.

Practice. Practice.

Theory.

Everyone experiences
the work of organising.

It's easy for you.
You don't work.

Practice.

Practice.

You give maths lessons
to a young worker.

He asks you a question.

Attempt at a theory.

You listen to the question
instead of telling him to be quiet.

But return to practice.

You don't know
what to say to him.

Practice.

You live with a boy.
You ask one another questions.

Theory. You look to Engels
for the answers.

"The first division of labour
is between men and women

"at the time of procreation."

Failure of practice.

You talk about sex
as something in itself.

You haven't understood
or examined Freud

and in an attempt to make love better
you do it in the afternoon.

Practice.

When you have nothing to do
you make love in the afternoon.

Theory.

We have time
to make love in the afternoon.

We should ask ourselves why
and when we ask ourselves why

we should also ask against what?

In fact it's a privilege,

because factory workers can't do it.

If they can
it's because they work nights

and it's much less good
during the day.

It's a privilege of class.

We should fight that too.

Practice.

Criticism of your practice.

You no longer talk
about sex in itself.

Transformation.

Changing one's thinking.
Changing one's social existence.

You decide to make
your militant practice

the centre of your transformation.

Practice.

Practice.

You decide to go to the factory.
A step forward or a leap in the dark.

Practice.

You're in the factory
to bond with the working class.

Theory. Theory comes from practice.

You think the factory will help you
understand the class struggle in Italy.

What's happening?

You're part of the production process

so you think you're going
to produce a fair political line.

But how did you become part of it?

By chance.

Perhaps politically,
but to what extent?

Practical result:

theory becomes impossible.

Practice.

Instead of bonding with the masses
you distanced yourself further.

Function of ideology.

Black screen.

People's social existence

determines their thinking.

Practice.

The foreman tells you to go faster.

"Faster.

"Paola, you've been given a job to do.
Please keep up the pace."

Your colleagues ask you to think
of their bonuses and not just of yourself.

Theory.

Produce.

Produce an understanding.

Produce an understanding
of the concrete situation.

Your concrete situation.

Practice.

Practice.

You think being in the factory gives you
a more righteous political line.

But it's not that simple.

Consider your concrete situation.

Consider that in your struggle
there comes a time

when theory becomes the main task.

Here today in Italy

carry out a concrete analysis
of your concrete situation.

Practice.

We are a couple,
the unity of two opposites.

A couple struggling against
the bourgeois notion of couples

which develops spontaneously.

So a couple fighting itself.

Theory.

The struggle of a bourgeois couple
to become a revolutionary couple.

A long struggle

between two political lines

between two political practices.

In this struggle there are stages.

The unity of opposites
can break down at any one of them

and lead to antagonism.

For example, I'm leaving you.

Moving to the next stage for us
could be having a baby, for example.

The bourgeoisie
is waiting for us to do that.

As long as it's just the two of us
it will tolerate us.

With a baby
it will tolerate us even more

because we will form a family

and so become part
of the bourgeoisie again.

Practice.

To become a revolutionary couple

we need to move onto the next stage.

Practice transformed.

Lead an active struggle against
the bourgeois ideology of the family.

The struggle begins
when we conceive.

It continues when I'm pregnant.

It transforms first
when the child arrives

and then again after it is born.

It's a problem of political education

for you,

for me,

for the child and for us.

It's true that we're in a class society

and it's true
that the bourgeoisie is in power

and so it's true that our struggle
by that fact has its limits

and that it needs to be part
of a much wider struggle.

It's only through revolutionary action
that this struggle will develop.

Revolutionary practice.

When I say I love you

I'm deferring a concrete analysis

to transform our concrete situation.

There comes a time
when theory becomes a practical task.

This moment is reached

through knowledge
of revolutionary struggles.

Revolutionary theory.

Produce knowledge
of revolutionary struggles.

Produce.

Produce.

You discuss the masses and criticism.
So did we yesterday in a tract.

But is it the same?

Revolutionary practice.

I've been thinking.
Let me explain.

Explain.

Explain the world to understand it?

No, to actively transform it.

Now the practice is transformed.

In the first part of the film I said,
"Forget it. We'll talk about it tomorrow."

In the second part of the film
I saw that I was on the wrong track

and that I had nothing to say to him.

I thought my going to the factory
like he does would bring us closer.

It wasn't that simple.

I can answer him now because
I understand my own situation.

Realising people's social existence
determines their thoughts

means discovering the contradictions
of my social existence.

Ideology.

Ideological struggle.

Discovering that a unity
is made up of contradictions.

Discovering with Marx
that when the contradictions stop

life stops and you die.

Discovering that contradictions
are both universal and specific.

In maths, the contradiction
between plus and minus.

Positive and negative electricity.

The combining
and dissociation of atoms.

The contradiction
between the poor and the rich,

the oppressed and the oppressors,
the intellectuals and the workers.

Any divergence in human conceptions

must be considered as reflections,

reflections, objective contradictions.

Objective contradictions reflected...

reflected in subjective thought

form the contradictory
movement of concepts

stimulate the development of ideas

and resolve the problems
facing human thought.

Third part of the film.

Reflections like the images
from the first part of the film?

No.

Having criticised the notion of reflections
at the start of the second part

I later realised that notion didn't come
from bourgeois ideology

but that it was the mechanism
central to all ideologies.

The problem is not the problem
of reflections in itself

but of the struggle between a reflection
which denies objective contradictions

and a reflection which expresses them.

The struggle
between bourgeois ideology

which wants the world to remain as it is

and revolutionary ideology
which wants to transform it.

Third part of the film.

With elements from the second part

reconsidered through the mechanism
of the ideology which is at work

in the first and second parts of the film.

Third part of the film.

To repeat what I've just said

but, since it's a film,
to say it with images and sound.

Third part of the film.

Research, work, struggle.

Programme for the struggle.

Third part of the film.

Research.

Something has changed.

Something has changed for me
since the first part of the film

and because of the second part.

Measure this change.

Start from what I said
in the second part.

I said, "People's social existence
determines their thoughts."

And I said,

"The objective contradictions
form the contradictory movement

"of the concepts."

Start again from there.

Consider how my thoughts relate
to the conditions of my social existence

and what defines it.

Today in Italy that means
capitalist relations of production.

So now I must situate my discourse

between two shots
of relations of production.

Relations of production.

Situate my discourse.

Capitalist relations of production.

Situate my discourse between two shots
of capitalist relations of production.

Why this black screen
in this series of images?

Where does my discourse come from?

It comes from my relationship
with what preceded the blackness

and also with what will come afterwards.

So from considering my relationship
with the relations of production

today in Italy.

Now, with that in mind,
let's reconsider part one of the film.

In the first part of the film
there was a black screen.

Now a workshop, an image
of the relations of production.

In the first part of the film
after this black screen

there was a shot of me
buying a sweater.

And then another black screen.

But now it's a factory that we see,
showing the relations of production.

In part one, for example,

instead of a factory
there was blackness

and a voice saying "family".

And now we see a factory,
so a production relationship

and me eating with my family.

What meaning does this image
from the first part take on

now that it's set between two shots
of relations of production?

To answer that,

to question the mechanism of ideology
in the first part of the film,

we're going to take another example.

The university.

In part one there was a black screen

and a voice announcing,
"The university."

That voice,
the one you can hear now,

gives a lesson
on the history of science.

It's the voice
which calls me into the exam.

It's the voice of the teacher or porter,
of the university apparatus,

the voice of the state
in the university sector.

An ideology is always expressed
within an ideological, material apparatus

which organises things materially

according to a practical ritual.

Here I am at university.

I listen to a lecture,
then I take an exam.

For that to work I must admit

that I belong
to this ideological apparatus.

I'm a student

so I acknowledge
that I am a university subject.

When the voice calls me
into an exam, I will obey.

My name was called.
I recognised it. I obeyed.

That's how things worked.

That's how I worked.

But let's listen to that voice.

Let's listen to the language.

It talks of right and wrong ideas,
ideas in themselves

without saying where they come from.

This voice doesn't talk
about the real conditions of existence

and scientific practice.

This voice confirms
that people's thoughts

are not determined
by their social existence.

It's the voice of idealism. It's fake.
It lies. It leaves you in the dark.

I challenged that voice.

But in relation to what?

In relation to my militant practice.

In the first part of the film
my life was a conflict.

Here I oppose the teacher,

the agent of the ideological
state apparatus of the university.

Here I oppose my father,

also an agent of the ideological
state apparatus of the family.

And here the police, the most obvious
agent of the state apparatus.

So, a conflict
between various practices.

A conflict between me
sitting an exam,

thus obeying bourgeois ideology,

and me seeking to fight against it.

The result of that conflict.

Me in the first part of the film
teaching a lesson to a young worker.

But what am I actually doing?

I repeat to a comrade

what our common enemy
at the university said.

We experience the victory
of bourgeois ideology,

him in his place,
me in mine,

him a worker,
me an intellectual.

There you have it.

In my practice I maintain non-stop
the reproduction on a daily basis

of capitalist relations of production.

Today in Italy,
how the bourgeois ideology works.

Maintain

the reproduction

on a daily basis,

non-stop,

of relations of production

in the consciousness.

That means,

organising the material behaviour

of all the agents
of the various functions

of capitalist social production.

Part three of the film.

Now that we've understood
what happened in part one of the film

we take from part two an example
of the beginnings of a victory

over the bourgeois ideology.

Instead of a black screen
show relations of production

which didn't feature in part two.

In spite of this black screen
my discourse has started to change.

For example,
as far as sex is concerned.

The long petit-bourgeois struggle
to become a revolutionary couple.

What I'm saying now is quite different
to what I said and did in part one.

Then I said, "I'm tired. Kiss me.
We'll talk about this tomorrow."

Now I talk about two political lines,

two political practices.

In part two of the film
I changed a bit.

Part three of the film.

Part three of the film.

Measure change and, in measuring it,
change some more.

More relations of production,
still in the same sequence of images.

Me, between two shots
of relations of production.

Think about it.

My image, still between
two shots relations of production,

shows that this change is relative.

Explain this relativism.
Start with these relations of production.

Capitalist relations of production.

Relations which establish society

as a capitalist society.

Bourgeois ideologies

which organise
people's behaviour,

my behaviour,

in a capitalist society.

Ideologies vary according to areas.

These areas are mostly autonomous
but interlinked.

There is one which is definitely
the most important,

one which determines the life
and history of the other areas.

All areas of bourgeois ideology

maintain the permanence
of capitalist relations of production

but under the direction,

the direction,

of this decisive juridico-political area.

Decisive area.

Juridico-political state ideology.

Change of decisive area.

Political activity.

Revolutionary political activity.

Justified revolutionary political activity.

Destruction of the state apparatus
and its juridico-political ideology.

How can we resume all that?

In the first part of the film
there were contradictions

between bourgeois ideology
and my militant practice.

The bourgeois ideology
amounted to more

and my militant practice to less.

In short, the more
had an impact on the less.

In the second part of the film
there are still contradictions

between bourgeois ideologies
and my militant practice.

But what was less,
my militant practice,

became more.

My militant practice attacks
the decisive areas of the ideology.

And with that attack
it shakes all the foundations

of the ideological edifice
that makes me who I am

with repercussions that vary
according to the area.

Here there was
a bourgeois discourse

when I told him
I wasn't able to reply.

Here the discourse is more righteous.

It is a discourse which fights
and transforms itself.

I talk about joining a wider struggle.

I talk about campaigning
in a more righteous way.

To conclude, what does
a change in my ideas depend on?

To conclude, what does
a change in my ideas depend on?

It depends on a change
in the determining area

of bourgeois ideology

and so of my revolutionary
militant practice.

Changing my life
and transforming myself

means deepening the contradictions
between my militant practice

and this dominant area
of bourgeois ideology.

Bring the class struggle
into my life.

The class struggle.

Programme.

Consider subjectivity
in terms of class.

Programme.

Become militant.

Fourth part of the film.

Today in Italy

militant action

by me, an actress,

on Italian television screens.

How to talk on Italian television.

Against whom?

On behalf of whom?

Who was on this screen before me
and who will come on afterwards?

In a word, who does
Italian television belong to?

Italian television belongs to the state.

Today that state
is Avola, Battipaglia.

Christian Democracy.

Tomorrow it might be
the Social Democrats

and after that...

Yesterday and today
the state is Agnelli, Costa, Pirelli.

So, every day a state representative
must talk to the Italian people

and denounce farm workers,
factory workers and their allies

who are joining the struggle to respond
to the daily violence imposed on them.

Deciding to change that
means joining the revolution.

It means thinking differently
to join the revolution.

For me, taking a small step forward
means, for example, on Italian TV

speaking for four or five minutes
in a different way.

I was told I could choose
a drama or a documentary

to tell my story

and I had that right
because we live in a democracy.

My story is like every story
told here every day,

the story of a boss,
the story of Fiat,

the story of a factory worker.

So I've told my story.

Or rather, it was told for me.

That was the first part of the film.

The bourgeois story of a bourgeois girl
that events have transformed.

A bourgeois girl grappling
with her militancy,

a bourgeois girl contradicting herself,

a bourgeois girl who can't tell
where right and wrong ideas come from,

who can't resolve her contradictions
and who does not know what to do.

Then I had to stop and start
the second part of the film.

I realised I had to stop
talking about myself.

I realised I had to stop
talking about myself

and start analysing things.

I needed to work out
why I wanted to talk about myself.

And then what came into my discourse
was the reality of my ideas,

the reality that produces my ideas.

In other words, the reality of Italy.

But what is to be done with that?
Something transformative or nothing?

I said, "People's social existence
determines their thoughts."

But for that righteous idea
to become a material force

I know I need to take
another step forwards.

I indicated the direction
in the third part of the film

but it's a difficult path.

What I said is at best
an indication of the work,

of the struggle, of the work,

of the struggle, of the work,

of the struggle, of the work,

of the struggle,

of the work and of the struggle.