Gaytán Cuesta 1 LOLLIPOPS, MEAT AND BODIES: VISIBILIZING HIDDEN LABOUR THROUGH THE HAPTIC IN THREE MEXICAN SHORTS FROM ANTJE EHMANN AND HARUN FAROCKI’S LABOUR IN A SINGLE SHOT (2011-2015) Andrea Adhara Gaytán Cuesta In this paper, I analyze the embodied experience of labour in three shorts from Antje Ehmann and Harun Farocki’s global project, Labour in a Single Shot (2011-2015). These short films were produced during their workshop in Mexico City. Filmed in 2014, in the center of the megalopolis of Mexico City, Meat, by Tonantzin Arreola, Mary, by Sandra Calvo and Pedro Antoranz, and Massage, by Derek Badillo, are some of the 400 films included in the workshop “Eyes Wide Open” in 15 cities around the globe. I argue that the haptic dimension of the selected Mexican shorts transforms the meaning of objects, animals and bodies as labour tools through the intentional and unintentional use of images, sounds, and touch. Drawing from Farocki’s interest in the way in which images question the system, I hypothesize that these films resist the interpretation of labour by bringing invisible labour to a visible set, the private and censured activities of work to the public sphere. To achieve this goal, I have organized my paper in five sections. First, I provide a contextual background of Ehmann and Farocki’s work and especially the installation of Labour in a Single Shot. I emphasize the powerful use of the single shot as an influence of the 1895 Lumière brothers’ film Workers Leaving the Lumière Factory, as well as contemporary discussions about Labour in a Single Shot of Gertrud Koch and Roy Grundmann. In the second section, I explore the use of the body as labour tool, focusing on the film Meat by Tonantzin Arreola. I discuss the discharging of dead and bloody animals from a truck into a shop, to contrast the notions of manual versus technical labour, the public versus the private