Anti-globalization deafening sounds: on Naomi Kleins The Take and the voices from the South

Jorge, the protagonist of the Argentine film Bar El Chino ( aniel !ura", Argentina, #$$%&, re'ects the offer to live abroad on the grounds that (to live )ithout an economic crisis must be ver* boring(+ !ut even Jorge did not en'o* )hat happened in Argentina in ecember #$$,+ After a decade of economic reforms and several *ears on the brin" of disaster, the stra) that bro"e the camel-s bac" )as the ./0-s suspension of its loans to Argentina+ 1anic ensued: there )ere runs on ban"s )ith depositors tr*ing to get their mone* out of the countr* and to convert pesos into dollars,: as a conse2uence, the government )as forced to impose severe restrictions on the amount of mone* ordinar* citizens could )ithdra) #3 )ith 4 1 and manufacturing output falling at an alarming rate and unemplo*ment running at #%5, and )ith 6%5 of the population belo) the official povert* line %, ordinar* Argentines had enough: protests erupted on the streets7+ 8here are generall* t)o e9planations of )hat happened in Argentina+ 8he first, e9emplified b* :obert /ussa puts the blame on Argentina and the incapacit* of its government to cut public e9penditure )hile the ./0 is to a large e9tent e9culpated of all blame 6+ !ut then, /ussa happens to )or" for the ./0+ 8he second e9planation puts the blame on the .nternational /onetar* 0und and the policies it dictated for Argentina during the nineties and that 1resident /enem, )ho does not escape criticism, )as all to happ* to adopt+ After such a spectacular failure of the neo-liberal pro'ect, it )as onl* natural for the Argentine crisis to attract the attention of those fighting neo-liberalism and globalization+ 8he )ell "no)n 'ournalist and anti-globalization activist Naomi Klein )as one of them+ 0or her, )hat happened in Argentina )as the result of the application of neo-liberal economic policies and economic globalization+ At the same time, she sees the Argentinean social response to the crisis as an anti-globalization protest in line )ith the protests that too" place in Seattle or South Africa and as proof of people-s resistance to neo-liberalism all over the globe+
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0or a detailed e9planation of the causes of the crisis see ;arranza (#$$6&, ;arrera (#$$<&, !onnet (#$$<& and 4rigera (#$$<&+ 0rom the neo-liberal point of vie) see /ussa (#$$#&+ # :oc", #$$#, p+ 66+ % ibid, p+6< 7 0igures var* slightl* from author to author as a reflection of the difficult* in obtaining reliable data+ See also =>pez-=ave*, #$$7, p+# 6 See /ussa #$$#, p+ 6,

8he documentar* film The Take (Avi =e)is ? Naomi Klein, ;anada, #$$%& co-directed )ith her husband Avi =e)is and financed b* the ;anadian 1ublic !roadcasting ;ompan* and the ;anadian 0ilm !oard, is part of Klein-s )or" on Argentina+ 8o the best of m* "no)ledge, the film has never being released commerciall* although it is possible to bu* the @ in shops+ =e)is and Klein too" the first complete cop* of the film bac" to Argentina and screened The Take for the first time at a public gathering )ith the protagonists of the film+ The Take follo)s the attempts of a group of )or"ers to recuperate their closed factor* )hile, at the same time, trac"ing some of the struggles in t)o of the most famous cases of factor* occupation in Argentina+ 8he occupation of failing or closed companies b* their )or"ers is one of the most interesting forms of social protest in Argentina+ 8he phenomenon has its roots in the earl* eighties but reached its pea" after the #$$, crisis+ Ahat follo)s is not an attempt to criticize the ideas Klein puts for)ard in the film B . do adhere to a great deal of )hat she sa*s+ .nstead, . )ant to problematize some of the strategies Klein uses in her activism and that are clearl* present in The Take+ .n particular, . )ill argue that Avi =e)is and Naomi Klein-s documentar* give ver* little importance to the voice of the Argentine )or"er+ 8he voiceover narration b* the t)o directors carries an anti-globalization message )hich is never present in the voice of its theoretical protagonists+ !* imposing the concept of anti-globalization to a local situation, the message in the film becomes easil* acceptable )ithin certain groups in the Aestern )orld but in so doing, the film, at best, silences the voices from the South and at )orst, negates, misrepresents and misunderstands the voice of the Argentinean )or"ers in the film+ . )ill then briefl* compare The Take )ith an e9ample from one of the numerous documentaries made in Argentina b* Argentineans on the theme of )or"ers occupation of companies, FASINPAT, (The Bossless Factory, aniele .ncalcaterra, Argentina, #$$6&+ =et-s start b* sho)ing *ou a short e9tract from the film+ .t is from the beginning of The Take. After a historical introduction )e get to the protest of #$$,+ .t encapsulates most of the issues . )ant to tal" about+ 8here are a fe) important criticisms that can be made: 0irst, )hile it is true that Argentina )ent through five presidents in ten da*s, all )ere elected follo)ing the mechanisms established in
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the constitution )ith the militar* no)here in sight B a first in recent Argentine histor*, but the protesters )ere no close, as Klein declares, but far a)a* from getting their )ish since the five presidents, including the one )ho managed to stic" to it, )ere and still are part of the same political class protesters )anted to thro) out+ Second, the countr* did not refuse to pa* its debt3 it declared ban"ruptc* )hich is not the same+ !an"ruptc* is 'ust another tool for capitalists, not the brea"ing do)n of the s*stem, and ban"s onl* loc"ed the middle and )or"ing classes out of their mone*, not the rich )ho managed to get the mone* out of the countr* B as Klein mentions 'ust before m* clip started+ So the (s*stem( as the* call it, )or"ed 'ust fine+ 8hird, it is true that people )ere re'ecting the )hole modelC but )hich modelD Are the* suggesting the neo-liberal modelD A 2ualified *es+ ;apitalismD A clear no+ Ahat model )here the* re'ectingD /arcela =>pez-=ev* anal*sing the social movements that appeared in Argentina after #$$, notes (1eople have ta"en to the streets in a manner that reaches be*ond protest3 the* have demanded a complete restructuring of the state and of social relations( <+ =uc* 8a*lor has e9plained brilliantl* the ob'ectives of ;arlos /enem as president from ,EFE to ,EEE+ After the return to democrac* a reformulation of the Argentine state )as needed and /enem )as successful in reinterpreting the role of the state G+ He tried to change the (character of the autonomous liberal citizen through changes in the constitution and the institutional arrangements bet)een citizen and state(+ 8he application of neo-liberal economic policies )as onl* part of the master plan+ ;hanges in the constitution, measures of social control and changes in the relation bet)een /enem himself and his political part*, the 1eronist 1art*, )ere all at sta"eF(+ /ario ;arranza-s caution note seems useful here: he recognises that political e9planations of the crisis on their o)n are not enough since the* )ill pla* do)n the role globalization and international economic forces pla*ed in the crisis E but he also notes that (the crisis revealed the e9istence of a profound crisis of legitimac* and democratic representation(,$+

< G

=>pez-=ev*, #$$7, p+ 6 and ;arranza #$$6, p+ << 8a*lor, ,EEF, p+ ,7$ F .bid, p+ ,%, E ;arranza, #$$6, p+G% ,$ .bid+ p+ G<

So )hen the narration in the film tell us that social protest in Argentina (is e9actl* )hat has been happening around the )orld from Seattle to South Africa( it is onl* partiall* right+ 8rue, most of the economic policies are roughl* similar but the conte9t is completel* different and cannot and should not, in m* vie), be ignored+ :ather than forcing Argentina to fit into the straight 'ac"et of some )ell meaning theor* concocted in the Aestern )orld, it seems to me that )e should tr* to )or" the other )a* round: tr*ing to understand different protests in their o)n conte9t and from there highlight similarities, coincidences and dra) lessons that could be of general application+ .n a commentar* on Klein-s latest boo", The Shock Doctrine, that appeared recentl* in the 'ournal Radical Philosophy, :onald Suresh :oberts accuses Klein of Irientalism )hen discussing South African politics and suggests that she is guilt* of the same imperialism she is tr*ing to resist,,+ . )ill agree )ith that+ A second set of problems that the clip demonstrates are not e9clusive to Klein and =e)is+ The Take is 'ust one of man* e9amples in television and the cinemas+ And since the Jnglish director /ichael Ainterbottom is currentl* shooting )ith Klein a documentar* on her latest boo" . am prett* sure the* )ill be reproduced again+ Although, . )ill be ver* happ* if . )ere to be proven )rong+ No) let me ta"e *ou into the )onderful )orld of film theor*, in particular documentar* film theor*+ . )ant to e9plore the concept of the voice of the documentar* )hich e9plains ver* )ell )h* Klein and =e)is narrate their o)n film and )h* do )e see them on screen+ 0ilm theorist !ill Nichols defines the voice of the documentar* as (the specific )a* in )hich an argument or perspective is e9pressed(,#+ 8he voice of the documentar* refers not onl* to )hat point of vie) the filmma"er )ants to conve* but also to ho) this point is manifested in the film ,%+ 8he voice of a documentar* can be put across not onl* through spo"en )ords but b* all means available+ The Take is a documentar* in e9positor* form and Nichols e9plains that this form relies heavil* on the spo"en )ord to inform about the logic of the film+ 8he commentar* in this t*pe of film is of a higher form than the accompan*ing images ,7+ .n reference to The Take, Klein-s script delivered b* her and Avi =e)is carries the meaning of the film, not the images or the
,, ,#

:oberts, #$$F Nichols, #$$,, p+7% ,% .bid+ p+ 76 ,7 .bid+ ,$G

comments of the )or"ers+ Aor"ers sa* ver* little in The Take+ 8he* tal" but hardl* ever are the* allo)ed to e9press a coherent argument about the occupation of the factor* or about their future plans+ 8he* cr*, )orr*, laugh and get emotional but the rational e9planations are onl* provided b* Klein and =e)is+ And )hen one of the )or"ers reveals his support for president /enem it is the* rather than his co-)or"ers the ones )ho as" )h*+ Aor"ers are negated a political voice+ Klein and =e)is provide it for us+ 8his is such a common )a* of presenting things that even an e9perienced revie)er li"e 4u* Aest)ell falls for it and he praises the film because in The Take ((r&esistance is no) an e9ercise in humilit*, decenc* and hard )or" ,6(+ If course+ 4od protect us if apart from being humble, decent and hard )or"ing, Argentineans should have a brain capable of e9pressing rational, logical thoughts+ 8he commentar* in films li"e The Take is delivered in a fairl* neutral tone+ !ut the impression of truth provided b* the commentar* is helped b* the fact that both Klein and =e)is tell us that the* have *ears of e9perience as activists and also because the* are -there- as if being -there)ill guarantee better "no)ledge or understanding+ Nichols e9plains that this is the structure of the ne)s on television )ith an anchor person and a reporter+ 8he convention is that the anchor tell us about something (but lest *ou doubt, . )ill prove the truth of )hat . said b* inviting a reporter to provide further detail from the ver* place )here the stor* is unfolding( ,<+ .n the case of The Take, *ou should change anchor for voiceover narration b* =e)is and Klein and change reporter for the images of =e)is and Klein in Argentina+ Here lies the problem: since the* are both the anchor and the reporter, the* are the important ones, not the )or"ers+ So opposition to neo-liberalism and to economic globalization becomes the real theme of the film not the actual -ta"e- of the title+ 8he reason behind the occupation of factories )as simpl* the fact that, )or"ers had no other alternative in order to feed their families but to occup* B this is ver* briefl* and indirectl* ac"no)ledged in The Take but e9plicitl* mentioned b* Klein on her article for The New States an t)o *ears after ma"ing the film ,G+ If course, in an* contemporar* film dealing )ith )or"ers occupation of companies there is al)a*s lur"ing in the bac"ground a related issue

,6 ,<

Aest)ell, #$$6, p+ GE .bid+ p+ 67 ,G Klein, #$$6, p+ %$

about neo-liberal economic policies and globalization+ !ut it should never obscure the main issue of the film: the occupation of the factor*+ 8o finish, . )ant to sho) *ou a ver* short e9tract from one of the man* documentaries made b* Argentineans on factor* occupations+ Aith their lac" of voiceover narration, )ithout the active presence of the filmma"ers on camera, these Argentine documentaries provide a space for the voice of the Argentinean )or"er, a voice that does not need to be reinterpreted for audiences+ 8he* offer the necessar* space and time for the )or"ers to e9press their opinions+ .n most cases, the* refuse to sho) emotional moments B contrar* to The Take B and )hen sho)n the* are al)a*s lin"ed to the fight to "eep the occupied factor*+ The Take follo)s the formula -. am spea"ing to *ou about them-, these documentaries follo) the formula -)e are spea"ing to *ou about us- and in most cases -*ou- mean Argentineans, not the Aestern )orld+ 8hese Argentine films trust the )or"ers to spea" for themselves allo)ing them to e9press their opinions and ideas in a local conte9t+ And in their localism, the* manage to spea" to the man* around the )orld+ 8he clip sho)s a representative of a recuperated factor* e9plaining their aims and ob'ectives during a radio program run b* the factor* )or"ers in the local radio station+

Bibliography: !onnet, Alberto :+ (#$$<& -Kue Se @a*an 8odosL iscusing the Argentine ;risis and .nsurrection in

!istorical "aterialis @ol+ ,7-, (#$$<&3 =eiden3 Konin"li'"e !rill (,6G-,F7& ;arranza, /ario J+ (#$$6& -1oster ;hild or @ictim of .mperialist 4lobalizationD- in #atin A erican Perspecti$es .ssue ,76, @ol+ %#, No+ < November #$$< (<6-FE& ;arrera, Juan .Migo (#$$<& -Argentina: 8he :eproduction of ;apital Accumulation 8hrough 1olitical ;risis- in !istorical "aterialis @ol+ ,7-, (#$$<&3 =eiden3 Konin"li'"e !rill (,F6-#,E& 4rigera, Juan (#$$<& -Argentina: In ;risis and a /easure for ;lass Struggle- in in !istorical "aterialis @ol+ ,7-, (#$$<&3 =eiden3 Konin"li'"e !rill (##,-#7F& Klein, Naomi (#$$G& -Iccup*, :esist, 1roduce- in New State ent, September #$$G (#F-%,& Klein, Naomi (#$$F& -Smo"e and /emories in !uenos Aires- in The Financial Ti es on /a* the 7th #$$F =>pez-=ev*, /arcela (#$$7& %e Are "illions. Neo&#i'eralis =ondon3 =atin American !ureau /ussa, /ichael (#$$#& Ar)entina and the F*nd+ Fro Tri* ph to Tra)edy, Aashington, ;: .nstitute for .nternational Jconomics+ Nichols, !ill (#$$,& Introd*ction to Doc* entary, !loomington and .ndianapolis3 .ndiana Nniversit* 1ress :oberts, :onald Surech (#$$F& -!e)are Jlectrocats: Naomi Klein on South Africa- in Radical Philosophy, issue ,6$ Jul*OAugust #$$F-$E-$E :oc", avid (#$$#& -:ac"ing Argentina- in New #e(t Re$iew, No+ ,G Ictober #$$G (66-F<& 8a*lor, =uc* (,EEF& Citi,enship, Participation and De ocracy. Chan)in) Dyna ics in Chile and Ar)entina , Houndsville, !asingsto"e and =ondon3 /c/illan 1ress =imited Aest)ell, 4u* (#$$6& -:evie) of The Take- in Si)ht and So*nd, Jul* #$$63 =ondon !+0+.+ (GE-GE& and New For s o( political Action in Ar)entina ,

Filmography Bar El Chino ( aniel !ura", Argentina, #$$%& The Take (Avi =e)is and Naomi Klein, ;anada, #$$%& FASINPAT (The Bossless Factory, aniele .ncalcaterra, Argentina, #$$%&