The It Factor Saison 1 Épisode 7

Who invented time, who invented the clock? Why 1 hour, why 60 minutes, why 60 seconds? Since prehistoric times, man has sought to measure time, to organize social and religious life, to plan food supply... Today we can surf the Internet, geolocate, pay by credit card… All our daily lives depend on time and the synchronization of clocks. The history of the invention of time and of the ways and instruments to measure it is a long story…

A large number of workers, mostly young women, leave by the front door of their work place at lunch time. The building has an impressive colonnaded facade, and is located at 181, Santa Catarine St., Porto - one of the city's main streets. A passengers' horse cart crosses from right to left of the screen, and a few seconds after an ox cart carrying merchandise crosses in the opposite direction. All the while, workers keep leaving the factory, giving a sense of a large work force.

The Ursus factory once covered 170 hectares and employed 20,000 workers, producing 100 tractors a day. Now, its buildings stand derelict and empty; half have already been demolished by investors with new plans. The symphony of mechanical sounds and gestures that is gradually built up throughout the film is produced by former factory employees. Proud of their factory, they reminisce about the huge numbers of people and the parties they had. They were a community, passionate about supporting agriculture through their factory. The Ursus tractor was well-known, not only in Poland but throughout the world.

In this reportage, film professionals offer the viewers a peek behind the scenes at the Barrandov studios. We see how sets are constructed and we find out what sorts of things are stored in the prop department. The friendly commentary describes the journey from camera negatives to a film on the big screen. We learn about film technology and take a glance into film laboratories and editing rooms. The film also presents unique footage from the filming of The White Disease, namely the dramatic scene with five hundred extras in which the Marshal announces his declaration of war.

At technical colleges across France, several classes of teenage boys train to become foundry workers and mechanics in the hope of securing a better future. Revealing their hopes and dreams, as well as their romantic endeavors, they explore the question: what does it mean to be a man?

A documentary directed by Hori Teiichi who was a production assistant on the 1994 documentary Otentousama ga Hoshii and has worked in a wide variety of genres from pink films to ordinary theatrical releases. The lifestyle and scenery of Osawa, a village situated 740 meters up on the mountainous slopes of Hamamatsu city's northern region in Shizuoka Prefecture, are the focus of this first installment to the "Tenryu-ku" series. It straightforwardly captures the tea harvest in late May and the tea processing conducted in a factory while showcasing mist shrouded tea fields drummed by rain as well as the beauty of the glistening green of the tea leaf shoots.

When a musical composer suffers from writer’s block, what can he do? So Joon (Lee Hee Joon) blames his creative block on his romantic dry spell in recent years. So he decides to buy a machine known as the “Cupid Factory.” By using his new machine, he meets up with Shi Yoon (Park Soo Jin), his former girlfriend who is now a popular singer. But is there a side effect to the Cupid Factory that So Joon doesn’t know about? “Cupid Factory” is a 2011 drama special directed by Kim Hyung Suk.

A variety show where the hosts explore charming town factories, workshops, and the surrounding areas. They engage in factory tours, showcasing advanced technology, craftsmanship, and even uncovering interesting employees and iconic company presidents.

Feeling unfair about the power's portrayal of all its opponents, at the dawn of the '68 protests a young man decided to become a photographer to set things right. "Taking a good picture is a great act of faith". Tano D'Amico thus began a journey that would lead him to be at the forefront of the social battles of the 1970s: the birth of new movements, "the appearance on the threshold of history of a people who had never entered history", the hopes, illusions and betrayals. Tano still continues to photograph workers, the homeless, migrants, the last people and all those who take protest to the streets.

Wong Boon-kap has recently returned from his studies abroad. Following the orders of his father Tai-ming, Boon-kap goes undercover as a mechanic apprentice in the father's factory to spy on their staff while keeping an eye out for talents. The boot-licking the factory manager Fung Hon-wing and his secretary Cheung Pat-fu respectively enlist their goddaughter Lam Hap-ping and niece Cheung Yuk-lin to join the ranks of the female workers to unveil the identity of the young boss. Ho Chui-wan lands a job at the factory through Lam's connection. Ho's disapproval of the practice of fawning and sycophancy rampant in the factory gains Boon-kap's respect which develops into romance. Tai-ming shatters the heated rumour that the young and promising Hung Yuet-keung is the young boss by announcing the wedding of his son, Boon-kap, to Ho to the huge disappointment of Fung and Cheung.

A tanner, swamped with debts, must abandon his trade and go work in the local factory.

Short silent film.

Cukrarna, an old building where the poets Murn and Kette once lived, is an important place in Ljubljana. For a long time this building has been the refuge for different people of all occupations and age, a small gallery of tragic human destinies.

Helpless and confused, Andrea goes back to the factory where she used to work. Clinging on her past, she tries to survive. But, the violence of reality will shatter all of her illusions

The drastic economic development in South Korea once surprised the rest of the world. However, behind of it was an oppression the marginalized female laborers had to endure. The film invites us to the lives of the working class women engaged in the textile industry of the 1960s, all the way through the stories of flight attendants, cashiers, and non-regular workers of today. As we encounter the vista of female factory workers in Cambodia that poignantly resembles the labor history of Korea, the form of labor changes its appearance but the essence of the bread-and-butter question remains still.

Katharina Gruzei combines a sociopolitical issue and a precise formal concept, which is rare in experimental film. Inspired by the Lumière brothers’ first film, La sortie de l’usine Lumière à Lyon, which shows a large number of workers leaving their factory’s gate, Gruzei begins in the interior, in a passageway (made to seem incredibly long by the editing) that emerges from the darkness. Solely portions of the corridor — a production line at the closed Austria Tabak factory — flash into view in the buzzing neon light. The impressive sound and choreography of light were taken from an installation by the artist in the empty spaces.