Cate favourite to take out Emmy – Queensland Times

The usual glitz and glamour of the Emmy Awards won't be the same this year due to the restrictions of the coronavirus lockdown.

It's unlikely that the red carpet arrivals and step-and-repeat fashion commentary will happen this year but the awards will go ahead in some shape or form, hosted by Jimmy Kimmel, on Sept. 20.

Star gazers will still have plenty to marvel over, including performances from some of the world's greatest actors - among them Aussies Cate Blanchett, Hugh Jackman, and Russell Crowe.

Russell Crowe was passed over this year by the Emmys. Picture: Getty Images

The Nominations for the 72nd annual Emmy Awards were unveiled on Tuesday, local time, and not surprisingly, Netflix walked away with a massive 160 noms, a record for any station or streamer.

HBO's miniseries Succession starring Russell Crowe led the drama category with 18 nominations, but while Crowe won a Golden Globe for his performance, surprisingly, he was snubbed by the Emmys.

On the other hand, Hugh Jackman received a nomination for his lead performance in Bad Education.

But it's Cate Blanchett who is receiving raves for her portrayal of conservative anti-feminist Phyllis Schlafly in Mrs. America.

The Hulu series has garnered Blanchett a nod for Outstanding lead actress in a limited series or TV movie.

Cate Blanchett has been nominated for her first Emmy for Mrs. America. Picture: Sabrina Lantos/FX

Blanchett's performance in the star-studded show (which also features Aussie Rose Byrne as feminist legend and Ms. Magazine editor Gloria Steinem) examining the struggles of the American second-wave feminist movement was widely praised.

Blanchett attacked the role of Schlafly with nothing less than relish, imbuing a woman who is widely regarded as a female villain if not an enemy of civil rights.

Why did Blanchett take on the role of this nightmarishly anti-feminist, anti-gay, anti-fun character - the undeniable villain in a pantheon of feminist saints including Gloria Steinem, Shirley Chisholm, Bella Abzug, and Betty Friedan?

In an era when America is being torn apart by its inequities and political division - and some say is on the brink of civil war - Blanchett, an activist and human rights advocate, found the positive in trying to see things from a different perspective.

Cate Blanchett finds the human side, and the humour, in playing Phyllis Schlafly, one of Americas political villains. Picture: Sabrina Lantos/FX

The Oscar-winning actress told Harper's Bazaar, "It's interesting that in everything I read about Phyllis that for her supporters, she was a Joan of Arc figure to be admired and revered, but I didn't come across a lot of people who were very close friends with her."

But Blanchett digs deep and gets to the heart of the Midwestern housewife whose only mission was to stop the ERA (Equal Rights Amendment) in its tracks.

"She was a mother of six, and between her activism and political aspiration and the kind of engagement with her family life, that left precious little time for her to have what's traditionally called friends," says Blanchett.

Schlafly lacked the sisterhood of intersectional feminism, says Blanchett, and her crusade - to preserve traditional women's roles as wife, mother, homemaker - was therefore "quite, quite lonely."

Cate Blanchett has been nominated for hundreds of international awards but Mrs. America is her first-ever Emmy nomination. Picture: Isabel Infantes / AFP

Critics have applauded Blanchett's interpretation of one of the villains in America's culture wars.

Leading film review website Roger Ebert singled Blanchett out for praise from the ensemble cast, noting that the Aussie star captures America's current Zeitgeist "brought to life by Blanchett's frozen smiles, flickering eyes, and a voice that shoots out like the gong of a bronze shield: to know something is wrong, do it anyway, and then keep doing it for as long as you can."

Punters predict Blanchett will walk off with the award - to the tune of 63 per cent, according to Gold Derby, which bets on Hollywood award races.

But Blanchett has some tough competition in her category: Shira Haas, Unorthodox; Regina King, Watchmen; Octavia Spencer, Self Made; and Kerry Washington, Little Fires Everywhere.

To date, Blanchett has won a total of 159 major international awards and been nominated for 341.

Mrs. America is her first Emmy nomination.

Originally published as Cate favourite to take out Emmy

Hugh Jackman received an Emmy nod for Bad Education. Picture: Supplied

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Cate favourite to take out Emmy - Queensland Times

Why Trumpism won’t outlive Trump – The Spectator USA

Trumpism is, according to its adherents, meant to replace Reaganism, the political doctrine that has dominated the Republican party and the conservative movement since Ronald Reagan left office. Reaganism is identified by a commitment to free market economics, internationalist foreign policy, strong national defense and an open door to immigration.

But then Reaganism and its British version, Thatcherism, have also been associated with an intellectual revolution that swept the West in the 1970s and that was headed by Nobel Prize-winning economists like Friedrich Hayek and Milton Friedman, and driven by think tanks like the Heritage Foundation, the American Enterprise Institute, the Cato Institute and the Center for Policy Studies that transformed the political discourse worldwide. There is no comparable intellectual shift with Trumpism.

Say what you want about the much maligned neoconservatives that helped set the Reaganist policies, but Daniel Bell, James Q. Wilson, Daniel Patrick Moynihan, and Irving Kristol were intellectual giants, who shaped the Western zeitgeist in the second part of the 20th century as they challenged the then traditional liberal thinking about the welfare state and the Cold War.

Trumpism, by contrast, is represented today by loud pundits on right-wing news sites such as Sebastian Gorka. These people are committed to fighting the globalists, the elites and the secularists as well as by academics like Trumps economic nationalist guru, Peter Navarro. These scholars have been raised out from obscurity after being portrayed by the media as the brains behind the former reality-show host who occupies the White House.

Intent on laying the ground for a new intellectual movement, a group of Trumpists gathered last July at the Ritz Carlton Hotel in Washington DC for the National Conservatism Conference, where they tried to market their new intellectual brand. The idea was to provide an alternative to Reaganism in its neoconservative and libertarian incarnations.

Yet the gathering in Washington merely demonstrated that Trumpism remains inchoate. It is mostly a figment of the imaginations of jobless academics and ex-think tankers pretending to be the voice of a president.

Trump hasnt been very Trumpist, for one thing. The President who criticized unnecessary military interventions, especially in the Middle East, very nearly went to war with Iran. And while posing as the ally of unemployed blue-collar workers in the Rust Belt. Trumps only legislative achievement has been a huge cut in the corporate tax rate that has benefited the billionaires who dominate his cabinet.

Trump is basically a political opportunist who has exploited the anti-immigration sentiments in the country by embracing an us vs them agenda. Calling Chinese President Xi Jinping his great friend, he waged a cold war against the Chinese as part of a re-election campaign ploy. He has raged against the social media only to reach a backroom understanding with Facebooks Mark Zuckerberg.

Bannon, as well as other political figures such as Republican senators Josh Hawley and Tom Cotton, seem to believe that bashing China and attacking Silicon Valley would help them win the political support of members of Trumps electoral base, as well as mobilize the support of the American people behind nationalist and populist agendas even if Trump loses the election in November.

But these hopes are based on a misreading of the countrys political map. It tends to assume that Trumps election victory was the result of a political backlash against immigration and trade among unemployed blue-collar workers in Pennsylvania, Michigan and Ohio. It further regards Trumps election as the start of a grand political realignment, the kind that allowed Richard Nixon and then Ronald Reagan to switch large chunks of the Democratic electorate to the Republican party and win smashing re-elections elections in 1972 and in 1984.

But those re-election victories were a result of major demographic changes, during which many of the traditionally Democratic southern states started to shift their allegiance to the Republican side, as did many of the so-called white ethnics, mostly Catholic voters.

***Get a digital subscription toThe Spectator.Try a month free, then just $3.99 a month***

Nothing as momentous happened in 2016. If anything, the electoral power of members of the demographic group that voted for Trump older white Christians with no college education is going to diminish in the coming years. African Americans, Hispanic and Asian Americans as well as liberal young voters will determine the outcomes of elections even in what are now red states, like Georgia, Arizona and Texas. Old miners in West Virginia are out; young urbanites are in.

In that context, the cultural changes in the country, such as growing secularization and evolving sexual mores and attitudes towards gays, are not favoring the Trumpists who rely on the support of Evangelical Christians and conservative Catholics.

Reaganism thrived on the concept of the big political tent that brought together libertarians, national security hawks, Evangelical Christians, suburbanites, urbanites and residents of rural areas. Trumpism seems to be moving in the other direction, towards building a very small tent of voters. Small tents dont build global movements.

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Why Trumpism won't outlive Trump - The Spectator USA

Carl F.Bucherer – A partnership between the brand and IGNIV restaurants – Arts and culture – WorldTempus

Beautiful moments are truly worth savoring when they are shared with those who matter the most. Carl F. Bucherer has always celebrated that philosophy with its elegant timepieces. The companys new partner, IGNIV, manifests it in its culinary concept. IGNIVs motto is: We love to share. Its four teams run exclusive restaurants in Bad Ragaz, St. Moritz, Zurich, and Bangkok, and their guests get to treat themselves to a truly indulgent time.

What do the art of watchmaking and exquisite cuisine have in common? You will find that it is quite a lot. Excellence, passion, innovation, and high precision are the foundation of all genuinely exceptional creations in both Haute Horlogerie and Haute Cuisine. And there is more that unites Carl F. Bucherer and IGNIV: their new partnership focuses on the aspect of shared time and the cosmopolitan spirit that is deeply enshrined in the corporate culture of both brands. Now, this connection is also reflected on the wrists of the four IGNIV teams based in Bad Ragaz, St. Moritz, Zurich, and Bangkok, respectively.

The four head chefs, Silvio Germann, Marcel Skibba, Daniel Zeindlhofer, and David Hartwig, and the four sommeliers, Francesco Benvenuto, Giuseppe Lo Vasco, Ines Triebenbacher, and Marco Franzelin, have become official friends of the brand, and are now part of the CFB family. The culinary concept of IGNIV gives a whole new meaning to the concept of savoring the moment. As a watch manufacturer that has always been infused with a cosmopolitan spirit, we are especially proud to contribute a piece of watchmaking excellence Made of Lucerne to the culinary journey of the teams and their restaurant guests, comments Sascha Moeri, CEO of Carl F. Bucherer, on the new partnership. Visitors to the four restaurants will now get to experience the global zeitgeist of Carl F. Bucherer up close.

Sivio Germann Carl F.Bucherer

The Rhaeto-Romanic word igniv translates to nest. It represents the companys desire for its guests to feel at home in its restaurants, just like a little bird in its nest. On top of outstanding hospitality and the welcoming atmosphere that the Spanish interior designer Patricia Urquiola created specially for IGNIV, the company achieves this with its sharing approach in its four exceptional restaurants. Guests do not need to stick to a traditional sequence of courses. Instead, they are offered a Fine Dining Sharing Experience consisting of up to 30 components served at their table in numerous bowls. All IGNIV restaurants i.e. at the Grand Resort in Bad Ragaz, Badrutts Palace in St. Moritz, Marktgasse Hotel in Zurich, and St. Regis in Bangkok follow the same culinary philosophy. They serve imaginative, award-winning dishes. In a cosmopolitan environment with regional charm, guests get to spend pleasurable hours and soak up the same openness that links the IGNIV family to the Lucerne manufacturer. Both companies are at home in the world, yet firmly rooted in the heart of Switzerland.

Ines Triebenbacher, the sommelier and restaurant manager at IGNIV Zurich, explains: Just like Carl F. Bucherers 130 years of watchmaking excellence impresses customers all over the world, we want to provide our guests with an extraordinary experience wherever they visit us, be it in Switzerland or Bangkok.

Ines Triebenbacher Carl F.Bucherer

The teams wear pieces from the Manero Flyback collection, developed specially for the high demands of modern and urban cosmopolites, as well as other watches from the Carl F. Bucherer collection. The chronographs come in a 43-millimeter case and feature a flyback function allowing their wearers to reset and restart the timer instantly. Inside, they are powered by CFB 1970 automatic movement, whose tireless work can be admired through the sapphire crystal case back unlike the hustle and bustle of the IGNIV kitchens, where countless hands work behind the scenes to create unforgettable memories for their guests to take home.

Manero Flyback Carl F.Bucherer

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Carl F.Bucherer - A partnership between the brand and IGNIV restaurants - Arts and culture - WorldTempus

Advertising the Black Stuff in Ireland 1959-1999: through a Guinness glass brightly – The Irish Times

Book Title:Advertising the Black Stuff in Ireland 1959-1999: Increments of Change

ISBN-13:978-1789973457

Author:Patricia Medcalf

Publisher:Peter Lang

Guideline Price:21.00

Marshall McLuhan regarded a countrys advertising as a treasure trove of information and insights about that country.

From an Irish perspective, Prof Anthony Clare remarked that, if we are going to be discussing the future of Ireland the role of advertising in shaping the culture must be included these advertising people are tapping into elements of what is commonly called culture for a variety of hard-headed business reasons they can give us cultural information but we need to keep an eye on them.

I think those last few words are a clue to why the vital role of advertising to reflect the mood and culture of a society hasnt been properly utilised; the academic disciplines that might be tempted are inclined to look down their pedagogic noses at advertising, which is why Dr Patricia Medcalfs book is not only welcome but ground-breaking.

The time period she has chosen, 1959-1999, is particularly apposite. 1959 was at the heart of one of the most dramatic periods of Irish social, cultural and economic history. 1958 saw the publication of the first programme for economic expansion; Irelands opening up to the wider world. In 1959, de Valera finally handed over the reins of power to Sean Lemass and 1960 saw the election of John F Kennedy as president of the US, giving us a new sense of self confidence. RT began transmission in 1961, bringing the rest of the world to our living rooms and in 1962 Vatican II provided another significant break with the past.

The closing date is also significant. 1999 initiated the birth of the digital era; Google was less than a year old but, together with Facebook, it would grow into a monster of Frankenstein proportions, promising more accurate targeting for advertisers, but all too often at the expense of creativity.

The result was a global efficiency pandemic where famous creative campaigns were banished into lockdown. A recent report from the Institute of Practitioners in Advertising in London concluded that advertising, has become flat, abstracted, dislocated and devitalised it has lost its humanity-and become dislocated from its time and place. So, it looks like the 40 years covered in this book will be looked back on as the golden age of TV advertising in Ireland.

Those years were of course a time of seismic transformation in Ireland, one of the most dramatic being the change in the status of women as almost every barrier to female advancement was beginning to be dismantled. Guinness advertising reflected this throughout the four decades, from the amusingly direct approach in the 1970s Trousers and Guinness were only for men, but now that youre wearing the trousers isnt it time you had a Guinness to the more sexually explicit Monogamy in the 1990s, which the author discreetly describes as a story of love, lust, betrayal and disappointment.

I was delighted to see that the only TV ad Medcalf reprints is the entire voiceover is the classic I Believe ad featuring the great Stanley Townsends delivery on Sandymount Strand standing in the shadow of the Poolbeg chimneys: I believe the DART should run to Tallaght, I believe in flushing toilets, washing your hands and leaving the seat down. Isnt it amazing how prescient those who work in advertising are; the DART (well, Luas) now runs to Tallaght and were all washing our hands and leaving the toilet seat down.

The book also comments on an underlying tension in the relations between local marketing departments and agencies and head office marketing teams and their global agencies. This inevitably leads to problems when a global agency is imposed on the local market. One London agency, HHCL, launched a disastrous Big Pint series of commercials in the 1990s and Medcalf doesnt pull any punches in stating that, they convey a lack of understanding of the Irish psyche and Guinnesss deep associations with Irish culture.

An important theme running through the book is whether advertising is a driver to or a reactor of social change. This is a subject that comes up regularly and although academia, to some extent, and the media often regard advertising as having the capacity to play an active role in society, those who work at the coalface tend to be more sceptical and incline to the belief that advertising reflects society rather than shapes it.

Medcalf takes an admirably nuanced approach, pointing out on the issue of female emancipation that it is difficult to conclude that Guinness was responsible for the gradual change on the status of women in society, however, its ads probably supported the movement by normalising images of women in pubs or engaging in activities traditionally associated with men.

At the heart of this book is the important subject of cultural branding. Cultural consumption theory acknowledges that goods not only have a utilitarian character but are also able to carry and communicate cultural meaning. Sometimes this is deliberate and today we see numerous examples of brands consciously adopting positions on societal issues to demonstrate brand purpose.

Nikes campaign featuring American footballer Colin Kaepernick, Believe in something even if it means sacrificing everything, is a good current example. But often cultural meaning can be communicated unconsciously through a combination of insights gathered from detailed research among the population that precedes major advertising campaigns and the innate feel for zeitgeist that characterises the best creative teams. This study of the last 40 years of the 20th century through the lens of Irelands most iconic brand is a good example of how a study of cultural branding can illuminate aspects of that period.

Im not suggesting that Advertising the Black Stuff should replace the collected works of Diarmaid Ferritter and Roy Foster, but it can augment what they have to say and hopefully it may inspire other academics to dip their toes into advertisings Aladdins cave and add to our understanding of our collective times past and present.

John Fanning lectures on Branding and Marketing Communications at the Smurfit Business School

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Advertising the Black Stuff in Ireland 1959-1999: through a Guinness glass brightly - The Irish Times

In Hong Kong, politics is inseparable from the art of filmmaking – Equal Times

Five years ago, filmmaker Zune Kwok made a dystopian film about a cabal of pro-Beijing politicians in Hong Kong who plotted the enactment of a dreaded national security law to crack down on pro-democracy activity in the former British colony. This, as it turns out, is an eerie case of art predicting life. Extras, a short story which forms part of the critically acclaimed 2015 anthology flick Ten Years, paints a bleak vision of Hong Kong in 2020. In reality, this is the very year Beijing imposed a draconian national security law on Hong Kong, a move that has shocked the world.

The coincidence is freaky. How should I put it? Im still digesting what is happening, the 35-year-old Hong Kong filmmaker says. When the film came out that year, some people said the plot was too exaggerated to be real. Others said it could happen. Now the law has arrived. Perhaps we filmmakers are a little more sensitive to whats going on around us.

The national security law, which came into force in Hong Kong on 30 June 2020, is widely seen as a political bombshell dropped by the Chinese government, apparently to restore order and stability following a months-long, sometimes violent, pro-democracy movement last year that plunged Hong Kong into its biggest crisis in decades. It is believed the legislation will deal a devastating blow to freedoms in the semi-autonomous Chinese city, an otherwise freewheeling financial hub whose sovereignty was returned to Communist China from Britain in 1997. Vaguely written, the law criminalises subversion, secession, terrorism and collusion with foreign forces, punishable by a maximum term of life imprisonment. It was fast-tracked by Beijing, which circumvented Hong Kongs elected legislature to push the enactment within merely several weeks.

Equally astonishingly, the law doesnt only cover Hongkongers: one clause specifies that it can be applied to anyone, including people who are not permanent Hong Kong residents and those who violate the law even when they are outside of Hong Kong.

Since the legislation came into effect, events in Hong Kong have been taking place at breakneck speed. In a mass protest on 1 July, just hours after the law was passed, over 370 people were arrested by police, including 10 for violating the new law with acts such as holding a Hong Kong independence flag. Public libraries removed books penned by pro-democracy activists. The rallying cry Liberate Hong Kong, revolution of our times!, heard at almost every protest over the past year, is now banned. Worried about breaching the sweeping legislation, some renowned writers have stopped publishing their long-time newspaper columns, and key opinion leaders and ordinary protesters have deleted their Twitter accounts. Many lawyers and academics now decline journalists interview requests about the legislation. An atmosphere of fear is pervasive.

Independent filmmakers like Kwok, however, have decided that despite the chilling effect of the law, fear has to take a back seat to art. They believe it is now more important than ever to speak up and tell Hong Kongs stories through their lens.

Today, everyone is seizing the first chance to push their own narratives of events in Hong Kong. The authorities for sure are doing that. Storytelling is powerful. This is a time when we should tell the Hong Kong stories, the director remarks. I cant pretend the law doesnt exist, but until something happens to me, I prefer doing what Ive been doing.

Chan Tze-woon, 33, another indie filmmaker currently shooting a film about Hongkongers from different generations fighting for freedom at different times, concurs. Around the time news broke of the law, I suddenly felt a strong creative urge. I turned down odd jobs and focused on filmmaking. We should make as many films about Hong Kong as possible. This is an important time in history. Miss these moments and your thoughts and feelings will not be the same later.

In recent years, a new crop of indie filmmakers have emerged in Hong Kongs struggling film industry, once celebrated as the Hollywood of the Far East. These creatives, some experienced and many others relatively young, have a penchant for making films in tune with the zeitgeist of contemporary Hong Kong and its history. This is a trend intimately linked with the wider political and social landscape of Hong Kong. Over the past two decades, as perceived encroachment by Beijing into the autonomy of this westernised city has become more real, a sense of local cultural identity has been growing among many Hongkongers. This sense was further reinforced in 2014 during the Umbrella Movement, a protest-occupation demanding greater political freedom, and in the 2019 anti-government protest movement, which was sparked by a controversial bill on extraditing Hong Kong fugitives to mainland China. All of this helped to lay the groundwork for the rise of local indie movies with a political and social relevance.

Usually made on a low budget and supported by a cast of C-list or amateur actors, these indie pictures tend to reflect, subtly or artfully, a desire for freedom and justice, as well as a critique of the unequal power relations between mainland China and Hong Kong. Themes include the demolition of a rural village to make way for a rail route linked to mainland China, the story of a young activist, and protesters-police clashes in the 2019 uprising. These stories are refreshing for local audiences who have had enough of Hong Kongs big-budget movies co-produced with mainland Chinese partners; its a business model that enables local filmmakers to access the lucrative Chinese market, but which comes with content restrictions that can make these films seem formulaic and detached from the reality of Hong Kong society.

Attention, applause and sometimes accolades come their way, but the path for these politically conscious films is rarely smooth.

While fundraising is a hard nut to crack for many filmmakers around the world, Hong Kongs indie directors face an extra challenge: they stand no chance with mainstream investors, many of whom have business ties or are associated with mainland China in some way and, therefore, would steer clear from politically charged projects.

Even after funding is secured and a whole project completed, getting an indie film to see the light of day is no straightforward matter.

Vincent Chui, 55, a veteran filmmaker and programme curator of the Hong Kong Independent Film Festival, says that ever since Ten Years high-profile success (it was named Best Film at the 2016 Hong Kong Film Awards) major cinemas have avoided screening films they consider to have sensitive content. Most indie films with a political dimension released after 2016 have barely made it to the big screen and have to rely on screenings at one or two arthouse cinemas and local community film events. Chans Yellowing, a 2016 documentary about Umbrella, was nominated for Best Documentary at the 53rd Taiwan Golden Horse Award. However, it was screened just four times, at a theatre funded by South Korean money.

These films have been approved by the authorities. Its not illegal to show them. But cinemas wont screen them. This genre has been pushed to the fringe, Chui explains. This is something we had been experiencing before the national security law. If anything, this law would only aggravate the self-censorship problem.

Those practising self-censorship are not confined to cinemas. Shortly before the law was enacted, a studio rented by an indie film crew cancelled the rental on the spot when some actors chanted the slogan Liberate Hong Kong, revolution of our times! as part of the script. Many showbiz figures are also walking on eggshells. Since Umbrella, Hong Kong actors and musicians vocally supportive of pro-democracy causes have been shunned by the mainstream entertainment industry, lost sponsorship deals, and have been blacklisted in mainland China in a sort of reverse McCarthyist witch-hunt. The suppressive atmosphere forces many celebrities to either keep quiet on even marginally social issues or loudly declare their pro-China position. Neither option favours indie film production.

Nevertheless, compared with their mainland Chinese counterparts, Hong Kongs indie filmmakers are in a relatively fortunate position. In January this year, the China Independent Film Festival, a leading festival of its kind in China, decided to shut down indefinitely after 17 years. The organiser said it was now impossible to host a movie festival in China with a purely independent spirit. Mainland directors, mainstream or offbeat, can find themselves in hot water if they cross certain unwritten red lines. For example, in 2006 acclaimed director Lou Ye was banned from making films for five years after shooting a feature that touched on the Tiananmen student movement in 1989.

Will Hong Kongs film sector meet a similar fate soon? Chan, who recently managed to raise half of the funds needed for his latest project through crowdfunding, is ever the optimist. He reckons while self-censorship will continue, there is still room for his films, and that from now on, politics is inseparable from the art of filmmaking in Hong Kong.

Nowadays you can hardly avoid Hong Kongs wider social or political context even when you make a romantic comedy. Foreign audiences may also expect to see something specifically Hong Kong from a Hong Kong movie, he says.

For Chui, it is rather tragic when a new movie genre is borne out of people fighting for freedom for their city. But for the sake of Hong Kongs film industry and the city as a whole, no filmmaker with a voice should tone down their stories despite the changing political climate, he emphasises.

Ive been in the industry for 30 years. Self-censorship is definitely not my way, Chui adds.

This resolve echoes veteran film producer Derek Yees subtle message when he announced Ten Years as the winner of Best Film at the Hong Kong Film Awards in 2016. Addressing a star-studded audience, Yee said that prior to the award-giving ceremony, a young scriptwriter for the event sheepishly asked him if the script could mention the words ten years. Yee then told him: Young man, President Roosevelt once said: The only thing we have to fear, is fear itself.

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In Hong Kong, politics is inseparable from the art of filmmaking - Equal Times

What the Conservative Version of Cancel Culture Looks Like – The Bulwark

It is hard to think of a major sector of the culture-shaping industries and institutions of American lifeHollywood, news media, universities, arts, publishing, music, advertising, and so onthat isnt thoroughly absorbed into the intersectional zeitgeist of the American left. There are pockets of conservatism, of course, such as Fox News, talk radio, some publishers, and various online publications and communities. But for various reasons, they can neither balance nor meaningfully compete with the cultural and social throw-weight of progressivism and the left.

Given this imbalance, it is worth reflecting on how the right has chosen to exercise the cultural power it does have. Rather than securing the broadest possible coalition against the illiberal left, the right has decided to mimic the lefts strategies and tactics to conduct a purity campaign. In short, the right is canceling itself.

Earlier this month, I casually asked on Twitter whether the right has a cancel culture analogous to the left. My AEI colleague Stan Veuger dryly suggested checking out this weeks issue of the Weekly Standard for a symposium on the topic. Point taken: Lacking the muscle to compete in the mainstream of American life, the right cancels competing views and their adherents among fellow conservatives. You see the irony? While the left continues its long march through the institutions that guide cultural and social development, the right focuses on stamping out internal differences of opinion. One side steadily adds to and multiplies its influence while the other plays a game of subtraction and division against supposedly heterodox allies.

How did conservatives arrive at this point? The answer lies, I think, in the imbalance between conservative political success and its ongoing and pervasive cultural weakness. The coalition that came to power under Reagan was always far more successful at the ballot box than it was in the broader culture wars. Reaganism succeeded almost in spite of itself. Reagan himself understood this and actively discouraged internecine wars under the auspices of his 11th Commandment: Thou shalt not speak ill of another Republican. He knew lasting change required broad, strong, and occasionally even bipartisan coalitions. Victories were achieved by the steady application of political strength and sound governance; incremental advances could, over time, reshape society and politics.

Without the leavening influence of Reagans personality and political wisdom, however, his platform of smaller government, lower taxes, and stronger defense hardened into pledges and scorecards. Overreach, and the backlashes that accompany it, replaced three yards and a cloud of dust advances. These rigid ideological checks have come to serve as one of the primary mechanisms for internal GOP cancelation. Former senator Jim DeMinthimself eventually defenestrated at the Heritage Foundation as part of another intraconservative fightonce declared that hed prefer 30 Marco Rubios to 60 Arlen Specters in the Senate. His vision is taking shape: the creation of a zealous GOP minority.

What cancel conservatism didnt see coming was Donald Trump. As a completely transactional politician, Trump has been more than happy to become the avatar of longstanding Republican views. He accepted most GOP planks: tax cuts, increased defense budgets, outsourced but conservative judicial picks, and selective social conservatism. (On immigration and foreign policy, the Republican establishment long included a diversity of views.) Free trade has been Trumps one departure from orthodoxy, but it has mainly been a rhetorical one, marked by a spasmodic and ineffectual protectionism that seems to have succeeded mostly in inflicting pain on American producers and consumers. The price among Republicans for these policy victories has been the imposition of the ultimate cancel: an omerta as it relates to the erratic leadership and unsavory character and behavior of Donald Trump himself. All conservative interests, positions, policies, and fidelity measures have been collapsed into an oath of loyalty to Donald J. Trump.

Republican governing identity and support for Donald Trump are now one. People like Mark Sanford (a 93 percent voting record from Heritage Action) and Jeff Flake (85 percent) werent driven from public life over compromises on taxes, judges, or abortion but for active criticism of Donald Trump. Ben Sasse (83 percent) survived cancelation by moving to an undisclosed political location until he finished slogging nervously through his Republican primary. Even Jeff Sessions has been permanently canceled under the barrage of Trumps Twitter siege artillery in recompense for putting the rule of law above his loyalty to the president. And now, in the depths of todays pandemic, economic meltdown, and nationwide protests over police killings, the presidential personnel office is busily conducting loyalty stress-tests on the administrations own appointees that focus on personal commitment to Trump rather than any particular administration policy.

Which brings us to the peculiar case of Mitt Romney, the former GOP blue-state governor, presidential nominee, senator from Utah and bte noire of the Trumpist movement. Famously, he provided the lone Republican vote in either chamber for removing Trump from office during the impeachment proceedings. This brought down the full force of Trumpian cancel-power. Relatives have changed their names. CPAC, engaging in what the late, great Florence King might have called the height of WASP rage, made a point of announcing that it had not invited Romney this year on the theory that this constituted punishment rather than deliverance. Through this fire, Romney has emerged as the political equivalent of Harry Potter, the Boy Who Lived. The moral here is that if youre going to state the obvious about Trump, survival depends on having a couple hundred million dollars in the bank, a lifetime of personal achievement, great hair, and a tan of a shade that occurs in nature.

At the moment, polls are pointing toward a presidential wipeout and the possible loss of the GOP Senate majority. Suburban America, having already executed a volte-face in 2018, is withdrawing in horror from the GOP in 2020. Is this a rejection of lower taxes, a strong national defense, or a conservative federal bench? Not in the least. Its a verdict on the character, personality, behavior, and governing incompetence of President Trump. And as long as the GOP anchors its fortunes in Trumpian decadence rather than competent, philosophically coherent leadership, theres little chance of escape.

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What the Conservative Version of Cancel Culture Looks Like - The Bulwark

The US has finally acknowledged the threat of violent white supremacy: What took so long? – Observer Research Foundation

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Since the al-Qaeda terrorist attacks of September 11, 2001, the word terrorism in the United States has been nearly synonymous with a specific kind of terrorismSalafi jihadism. In other words, even though terrorism is politically and/or ideologically motivated violence, Americans and the U.S. government were almost wholly consumed by and narrowly focused on the threat posed by groups like al-Qaeda and the Islamic State in Iraq and Syria (ISIS), and concerned with those Americans living on U.S. soil who were motivated by these organizations to conduct attacks.

The focus on al-Qaeda and Salafi-jihadist more broadly was understandable, as the United States was caught off guard on 9/11, Americans were shocked and traumatized, and the nation subsequently mobilized to launch the (poorly named) Global War on Terrorism (GWOT). Less than three years after invading Afghanistan in an effort to destroy al-Qaeda and topple the Afghan Taliban, the United States invaded Iraq, overthrew Saddam Hussein, and soon became mired in a bloody counterinsurgency that gave rise to al-Qaeda in Iraq (AQI), the predecessor organization of ISIS.

The United States scored some impressive victories fighting against transnational terrorist organizations. A relentless drone campaign decimated the ranks of al-Qaedas leadership. And a sustained, multilateral coalition helped to destroy the ISIS caliphate, although the group continues to rebuild itself as a decentralized network across swaths of Syria and Iraq.

[beautifulquote align="full" cite=""] The United States scored some impressive victories fighting against transnational terrorist organizations. A relentless drone campaign decimated the ranks of al-Qaedas leadership. And a sustained, multilateral coalition helped to destroy the ISIS caliphate, although the group continues to rebuild itself as a decentralized network across swaths of Syria and Iraq. [/beautifulquote]

Domestically, the United States was left to contend with attacks by violent extremists and Salafi-jihadists inspired by al-Qaeda and ISIS propaganda. In April 2013, two brothers learned to build bombs from al-Qaeda in the Arabian Peninsulas (AQAP) Inspire magazine and went on to attack the Boston Marathon, killing three people and injuring more than 264 others. In December 2015, a husband and wife pledged allegiance to ISIS leader Abu Bakr al-Baghdadi before killing 14 people and injuring another 21 in San Bernardino, California. Approximately six months later, an individual pledged allegiance to Baghdadi before slaughtering 49 people and wounding dozens more in an attack on a gay nightclub in Orlando, Florida. Several other attacks took place over the years, including a vehicle ramming attack in New York City that killed eight and injured eleven more. The perpetrator showed no remorse and gleefully flaunted his admiration for IS.

But as American citizens became fixated on the very real and difficult to counter threat from Salafi-jihadists, something else was happening in parallel. It was occurring against the backdrop of the GWOT and even though it was clearly terrorism, it was dismissed, overlooked, and explained away because it wasnt considered the real threat that Osama bin Laden had so ingrained on the psyche of the nation.

This other threat was that posed by far-right extremists, including violent white supremacists. At the so-called Unite the Right rally in Charlottesville, Virginia in August 2017, hundreds of torch-bearing white nationalists marched through the city in a show of force that surprised many Americans. During the protests and counter-protests, a neo-Nazi drove into a crowd of people and killed one, a young woman named Heather Heyer. In the aftermath of the melee, U.S. President Donald Trump drew sharp criticism for his portrayal of events, noting that there were very fine people, on both sides, after being pressed to condemn neo-Nazis and white supremacists. As terrorism expert Daniel Byman has noted, in the United States right-wing terrorism is potentially worse than other form, because it taps into broader political tensions and because Trumps reaction exacerbates the problems.

There were several other high-profile incidents involving far-right extremists, including a shooting at the Tree of Life synagogue by a white supremacist targeting Jewish worshippers in October 2018. That attack, which incidentally took place in the Squirrel Hill neighborhood of Pittsburgh, Pennsylvania where the author lived for ten years (including at the time of the attack), left eleven dead and six more injured. An attack in El Paso, TX by a person targeted Hispanics killed 22 people and injured more than two dozen more.

Moreover, U.S.-based neo-Nazis and white supremacists maintain international connections to groups based overseas, including those in Scandinavia, Ukraine, and Russia, among other places. In April 2020, for the first time ever, the United States Department of State labeled the Russian Imperial Movement (RIM) as a Specially Designated Global Terrorist entity, slapping its leadership with sanctions. Other far-right extremists groups such as The Base, the Azov Battalion, or the Atomwaffen Division could be next to be sanctioned.

According to a recent report from the Center for Strategic and International Studies (CSIS), right-wing extremists were responsible for more than two-thirds of attacks and plots in the United States in 2019, and in roughly the first half of 2020 (up to early May), right-wing extremists have accounted for an estimated 90 percent of attacks and plots. When people ask the question, how did the United States finally come to recognize the threat posed by violent white supremacists and far-right extremists operating within its borders as terrorism, and not a local issue to be handled by law enforcement, the answer is: it became far too deadly for policymakers to ignore, try as they might.

Domestically, the terrorist threat posed by far-right extremists is perhaps more diverse than ever before, comprised of an eclectic mix of neo-Nazis, anti-government militias, and conspiracy theorists. The so-called Boogaloo Bois represent the new generation of domestic terrorism in the United States. Less a group than an ideology connected by a shared antipathy for law enforcement, there have been a number of attacks and plots by self-described members of this movement in the first half of 2020, and many of those arrested have ties to the U.S. military.

To its credit, to account for the changing nature of the threat posed to the U.S. homeland, the Department of Homeland Security created a new label for the threat posed by far right extremists and others motivated by race or ethnicity racially and ethnically motivated violent extremists, or REMVE. One commonly cited critique of the category is that it lumps together white supremacists with Black Identity extremists, including the so-called Black Israelites, and thus distorts the severity of the threat posed by the latter.

The COVID-19 crisis and coronavirus pandemic have been somewhat of an extremists buffet, offering groups across the ideological spectrum the opportunity to push propaganda and fit the crisis into their existing worldviews. White supremacy extremist groups in the United States have been actively recruiting new members during the pandemic, including members of increasingly younger ages.

The nationwide protests against police brutality in the wake of the murder of George Floyd by a Minneapolis, Minnesota police officer has reenergized the Black Lives Matter (BLM) Movement. Across the United States, BLM protests have been targeted by vehicle attacks, including an attack in Richmond, Virginia by the leader of a local Ku Klux Klan chapter. Discussions about banning the Confederate flag, renaming U.S. military bases long named after Confederate generals (e.g. Fort Bragg, Fort Hood), and removing statues and monuments tied to Americas racist history are almost certain to evoke a reaction from white supremacists who see the countrys political and cultural zeitgeist shifting and are desperate to prevent change.

Too often in the United States, the knee-jerk response to questions about what to do about neo-Nazis, white supremacists, and other far-right extremists (after all, the United States lacks an official domestic terrorism law) is what about Antifa? in reference to the decentralized collective of anti-fascist activists known for vandalism and the destruction of property. Sadly, President Trump and his allies have politicized the domestic terrorism debate, pushing for Antifa to be designated as a domestic terrorist group, while mostly remaining silent on the growing threat posed by violent far-right extremists.

What can the debate about terrorism the United States tell us, if anything about the debate elsewhere? Unfortunately, the lesson seems to be that when terrorism is perpetrated by the majority group against a minority (racial, religious, ethnic, etc.), for the issue to be properly recognized, it needs to become so large that its impossible to ignore. And that takes a long time and is no guarantee. A lot of people will die in the process and during that time, movements may congeal into more coherent groups and organizations, especially if there is a sense of tacit acceptance by the state.

Other countries including India that have been plagued by a particular type of terrorism should take heed. Focusing on one specific threat at the expense of others could result in the threat growing so severe that it can no longer be managed. Indeed, it is possible to consider all threats, rank them according to how dangerous they are, and begin taking the necessary measures to ensure that they do not threaten the lives of civilians and the stability of the nation.

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The US has finally acknowledged the threat of violent white supremacy: What took so long? - Observer Research Foundation

Alanis Morissette: ‘Without therapy, I don’t think I’d still be here’ – The Guardian

In the video for her new single, Reasons I Drink, Alanis Morissette appears in a group addiction meeting. The song, set to stabbing piano, traces the difficulty of being in recovery when succumbing to addiction feels so freeing. Im such an addict, says the 46-year-old, Grammy-winning firebrand, howling down the phone from her home in the San Francisco Bay Area.

Morissette ticks off her top three addictions: Work addiction, love addiction and food addiction, she says. She traces her work addiction back to when I was single digits (she was always a driven performer), and her eating disorders to her teenage years and 20s, during which she was always yo-yo-ing. In the video, she portrays herself as multiple characters: a businesswoman; the 90s MTV star in the same scarf and hat she wore in the video for her biggest hit, Ironic; a mother; the chairperson holding space for others.

Recovery is a complex, lifelong endeavour, and lockdown has been triggering, says Morissette, who is juggling life at home as a mother of three with promoting her ninth album, Such Pretty Forks in the Road. At 3pm, I might feel: Wow, this is a huge gift, Im so overwhelmed with gratitude. By 3.15pm, Im raging. By 9pm, Im despondent. Isolation is the lighting of the match.

Medication has helped. Most recently she has been dealing with post-partum depression. Her youngest child, Winter, was born last August, a brother to her nine-year-old son, Ever, and three-year-old daughter, Onyx, her children with the rapper Souleye, whom she married in 2010. She has endured the condition after every birth. Previously, she delayed dealing with it; this time, she sought to expose it as it happened, appearing on TV after the birth to tell viewers it is like being covered in tar and underwater.

She also headed to the studio for the first time in eight years to record her new album. Songwriting is an exercise in letting the unconscious out, she says. I live my whole life, then I take 10 minutes to write the story of it. The songs are rooted in guitar and piano-based rock; sometimes anthemic (Smiling, Ablaze), often gentler and pensive (Diagnosis, Her). They are not as abrasive as her definitive early songs, but just as she travelled novel ground back then, foregrounding a young womans anger, she is still covering topics that rarely appear in mainstream rock. The song Nemesis documents the mental gymnastics she faced with an unplanned pregnancy. Im excited yet Im filled with despair, she sings. This metamorphosis closed the door and opened a window.

The album also tackles what Morissette terms financial abuse in the music business. In 2017, her former business manager was sentenced to six years in prison for stealing $7m (6m) from her, a violation that factors in the songs Pedestal (You grabbed my crown and got everything you wanted) and Reckoning (I hope you enjoy these drawings in your jail). They hark back to Right Through You, from her seminal third album Jagged Little Pill, particularly the oft-cited verse in which she addresses a man who took me out to wine dine, 69 me / But didnt hear a damn word I said.

Morissette has been singing about being leeched upon by men, economically and sexually, for 25 years. Thats the most depressing thing in the entire world, she admits, laughing. The themes of pain and division, trust, exploitation, misogyny, lack of integrity, sociopathic personality disorder and narcissism. These are themes I cut my teeth on as a child. To this day, she says, she is still healing from the theft, and from past sexual trauma that she doesnt detail. She feels she could still fall victim to abuse; it is a pattern she wants to break. She is disarmingly fluent in psychology, including the work of Carl Jung and more contemporary academics. If I didnt have a whole team of therapists throughout my life, I dont think Id still be here, she says.

Morissette is from Ontario and started a record label by the time she was 10. After a teenage pop career as the Debbie Gibson of Canada, she ran off to Los Angeles in 1995 and co-wrote the rockier Jagged Little Pill. No label would sign her, then Madonna imprint Maverick did. The album sold more than 33m copies worldwide, making her the youngest artist to achieve diamond-certified status in the US. She moved the needle but felt the drag. I couldnt even leave my hotel room, she says of the claustrophobic spotlight. If I walked by the window and my shadow hit the drapes, people would be screaming outside because they saw movement. She recalls fans rummaging through her room when she wasnt there. Theyd take my underwear. Theyd know it was under my pillow. It was invasive.

When Morissette appeared on the cover of Rolling Stone in November 1995, the magazine billed her as the Angry White Female. Then 21, her songs were misinterpreted as combative and pretentious in their fury. She recalls radio DJs looking at her entering stations like they thought I was gonna bite their heads off. Her success meant she was treated as an industry saviour, yet one manager shamed her for asking about money. Oh, youre one of those clients, he responded. Today, she stands her ground. Youre not gonna gaslight crazy-make me when Im on a journey of empowerment.

Two decades before a whimper of the #MeToo movement had even been heard, Morissettes voice allowed listeners to wail louder. But that also backfired as she became a vessel for others projections. If they had issues with an ex-girlfriend or unfinished stuff with their mom or a horrifying divorce, I became that person theyd show resistance to, she says. The discourse around her felt almost physical, as if it was being thrown at her. Even the solace she offered appreciative fans became burdensome to her. She equates the loss of anonymity to grief. I used to sit on park benches and watch people. But when I became the watched it was debilitating.

Her isolation deepened when she found herself pitted against other women. I was sold that fame would be a panacea to solve all problems, that Id be singing Kumbaya with my celebrity friends, she says. Morissette was rejected by her peers. I thought I was gonna phone Bjrk and Tori [Amos] and all of us were gonna love each other. I reached out to a lot of people. Often I was met with: Why are you calling me? She doesnt want to stoke division by naming names.

After Jagged Little Pill, Morissette returned to Canada to work on the follow-up, Supposed Former Infatuation Junkie, with the producer Tim Thorney. There, supermarket checkout staff would ask her when the album was coming. I wanted to cry, she says. I remember saying: I dont wanna make music any more. When Thorney replied, Sounds good! and took her for dinner, she returned to the studio feeling revived and began writing immediately: His freedom took the pressure away.

Released in 1998, that album debuted at No 1 in the US and broke first-week record sales by a female act, a record previously held by The Miseducation of Lauryn Hill. Yet the wave of unadulterated 90s female-fronted rock would soon be crushed by teen pop. By 2000, Britney Spears had broken Morissettes diamond record and almost tripled her sales. It was a relief. The white-hot heat of fame waned, which is what made everything OK, actually! she says. Fame is not a circumstance I want to sustain.

Not that Morissette disappeared. Her 2001 single Hands Clean from fifth album, Under Rug Swept, was an international hit, although her next single failed to match its success. She began acting, cropping up in Sex and the City and Curb Your Enthusiasm, and in the movie Dogma, in which she played God. She even had a short stint as an agony aunt for the Guardian. There has been a steady cultural reclamation of the kind of female anger that Morissette was vilified for in the 90s. Seven years in the making, a Broadway musical inspired by Jagged Little Pill has been a huge success. It includes a character who is raped at a high-school party and later gaslit over the experience. The actor Kathryn Gallagher recalls Morissette reminding her that the character was meant to be angry: The thing that Ive taken away from her in her guidance is the importance of feeling everything and going through every single emotion, even the sticky spots, she says.

Queer artists, including Halsey and Perfume Genius, have cited Morissettes importance in their own self-emancipation. This year, Morissettes 90s peer Fiona Apple similarly demonised as an angry girl back then received acclaim for a new album that delved into those formative industry traumas. Curiously, Morissette hasnt heard about it. Shes focused on her own efforts. Having my worth dictated by how relevant I am in the zeitgeist pop culture is a recipe for disaster, she says. I dont ride that rollercoaster.

Despite this cultural course correction, Morissette remains sceptical: she worries about the enduring vapidness that plagues the entertainment world and thinks its foolish to consider that talented women are favoured for reasons beyond marketability. The patriarchy only pays attention when theres a financial shift, she says. It became bankable to have a female artist so it was embraced, and then, off to the races! Yet she acknowledges that some things have improved. In the past, Morissettes desire to understand the human condition was a source of mockery by press and public. I used to feel like a freak in every room I was in, she says. Now I dont feel strange.

Such Pretty Forks in the Road is released by RCA on 31 July

Excerpt from:

Alanis Morissette: 'Without therapy, I don't think I'd still be here' - The Guardian

Netanyahu has shattered the two-state pipe dream – Gulf Today

Israeli policemen, clad in masks due to the COVID-19 coronavirus pandemic, escort away a woman wearing a Palestinian flag as a mask during a demonstration against the Israeli government near the prime ministers residence in Jerusalem. Agence France-Presse

He has postponed annexation, partly due to rampaging Covid-19 infections in Israel and partly due to worldwide opposition to the well publicised land grab.

The time has come to confront the result of this cowardly approach.

There is only one practical and honourable way to deal with it: revert to the one-state solution. Last week Jordanian Prime Minister Omar Razzaz said the kingdom could accept a one-state solution if Palestinians were granted equal rights with Jewish Israelis. At present Palestinian citizens of Israel are relegated to second class with fewer rights than Jewish Israelis while Palestinians living under occupation have no rights. Until now Jordan had insisted on the two-state solution involving the emergence alongside Israel of a Palestinian state in Gaza and the West Bank with East Jerusalem as its capital.

Israel has repeatedly called for Jordan to become the Palestinian state by absorbing Palestinians fleeing Israeli rule and giving citizenship to Palestinians who opt to stay on and endure apartheid under occupation. Jordan has made it absolutely clear that this is not on the cards. Jordan is no longer ready to be the dumping ground for refugees from regional wars and crises. Jordan already has a population of 10 million and not enough water and resources to sustain such a large population.

I speak of reverting to the one-state solution. It is nothing new.

As early as 1969, 20 months after Israels conquest of Gaza, the West Bank and East Jerusalem, the Palestinian National Council, the Palestinians parliament-in-exile, meeting in Cairo chose Fatahs Yasser Arafat to head the Palestine Liberation Organisation (PLO) and put forward the one-state option. Fatahs Nabil Shaath promoted it. The proposition was, naturally, ignored by Israel which never had any intention of giving equal rights to Palestines natives as this would mean the end of the Zionist state and the capitulation of Zionism to a pluralistic bi-national polity.

The threat of Israels annexation of up to 30 per cent of the West Bank has prompted influential opinion makers and political leaders to raise the counter-threat of the one-state solution.

Peter Beinart, a prominent US Jewish intellectual and commentator, contributed on July 8th a New York Times opinion article calling for the one-state solution. Beinart wrote, If Netanyahu fulfils his pledge to impose Israeli sovereignty in parts of the West Bank, he will just formalise a decades-old reality: in practice, Israel annexed the West Bank long ago.

Beinart argued that liberal Zionists like himself must stand up for the equal rights for the Palestinians: Its time to imagine a Jewish home that is not a Jewish state. He said that equality could be realised in a single state that includes Israel, the West Bank, Gaza and East Jerusalem. Another option could be a confederation that allows free movement between two deeply integrated countries.

Although he warned that resistance from hardliners on both sides could be expected, he insisted that the goal of equality is now more realistic than the goal of separation. He made the point that Israel is already a bi-national state. Two peoples, roughly equal in number, live under the ultimate control of one government. Beinart concluded his essay by saying, Israel-Palestine can be a Jewish home that is also, equally, a Palestinian home. And building that home can bring liberation not just for Palestinians but for us, too.

His essay has been praised by Israelis courageous dissident columnist Gideon Levy and other Jewish opponents of Israeli apartheid and has been widely quoted in Arab publications.

A contributor to the Israeli liberal daily Haaretz and other publications, Levy had previously called for recognising and acting on the one-state solution.

He wrote in the Palestine-Israel Journal that the alternative to the two-state solution is, naturally, a one-state solution. This state has already existed ...since the 1967 war. He said, however, that the occupation and separation means this one state has two regimes, a liberal democratic one in Israel, which includes a discriminatory regime toward the Palestinian citizens of the state and a South African-style apartheid regime in the West Bank. Even the Gaza Strip is part of this one state; it is a gigantic cage in the backyard, the biggest prison in the world...

The fate of all the human beings living between the Jordan River and the Mediterranean Sea is determined in the (Israeli) government buildings in Jerusalem and the security buildings in Tel Aviv. Thats what one state with one government looks like, period.

He contended Israelis have three alternatives. Israel can withdraw from the territories occupied in 1967 allowing the Palestinian state to emerge in order for Israel to retain both its Jewish identity and democracy. But, he said, this is almost impossible because of the hundreds of thousands of Israeli colonists.

Israel can remain Jewish but not democratic by continuing the occupation and imposing apartheid on the Palestinians. This goes against the anti-colonial zeitgeist of the 21st century. Or, Israel can opt for a single democratic state where Palestinians have equal rights. He agreed with Breitbart that Israelis have to give up on Zionism, the cherished 19th century colonialist ideology which produced Israel.

Meanwhile in the West Bank and East Jerusalem the occupation reigns.

Israeli troops continuously raid Palestinian homes in cities, towns and villages across the West Bank, arresting Palestinian boys and men. The Palestinian governor of East Jerusalem Adnan Geith is set to appear in court on Thursday.

He has been detained 17 times since his appointment by the Palestinian Authority two years ago. Last week the Israeli army smashed two Covid-19 testing centres in the West Bank and raided two Palestinian cultural institutions in East Jerusalem and detained their directors.

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Netanyahu has shattered the two-state pipe dream - Gulf Today

Blade Is One of the Most Influential Movies of the Last 25 Years – ScreenCrush

Wesley Snipes didnt play Blade. He became Blade. The stories of his refusal to break character while playing Marvel Comics vampire hunter are legendary, particularly from the set of the series final film, 2004sBlade: Trinity.According to co-star Patton Oswalt, Snipes was so deepinside Blades head that after the lines of communication with director David S. Goyer broke down, the star began sending him Post-It notes signed From Blade.

While thatmight have been the most extreme example of Snipes Method dedication, he was intensely invested in the character from the beginning. In 1998, he did at least one promotional interview forBladeas Blade. Im still looking for him to this day,Snipes growls about the vampire that killed Blades mother,moments before he refers to Wesley in the third person.

Agrown man talking with utter sincerity about being found as a child byKris Kristofferson and raisedas a vampire hunter is undeniably silly. Still, this clip shows just how ahead oftheir time Snipes and the firstBladewere. In 1998, practically no one in Hollywood took comic books seriously at all, much lessthisseriously. From the perspective of 2020, its clear thatBladeis one of the most important and influential movies of the last quarter century.

Before talking aboutBladeitself, its important remember the cinematic landscape in which it was created. In 1998, comic-book movies were at their lowest ebb in years. The two DC Comics adaptations the year prior to Blades release Joel Schumachers camptacularBatman and Robin and Shaquille ONealsSteel were such critical and commercial flops that Warner Bros. wouldnt make another DC Comics movie for seven years. For all intents and purposes, the DCMovie Universe was dead.

That was still significantly better than Marvels box-office track record at that time. While the company had been one of the two biggest names in comics for more than 30 years, just one of their properties had ever been adapted into a theatrically-released feature film and it was the disastrous live-action version ofHoward the Duck. The previous attempt at a Marvel movie beforeBlade was Roger CormansFantastic Four, a production so atrocious the filmhas never been officially released to this day. In 2020, the Marvel Studios logo is practically a license to print money. Back then, it was box-office poison. (Or rather it would have been considered box-office poison if Marvel had their acts together enough to have their own movie logo at all; one wouldnt arrive until 2002sSpider-Man.)

Although Tim BurtonsBatmanhad become an enormous blockbuster in 1989, almost all the superhero and comic movies made in its wake were critical or commercial flops or both. The rare success stories 1991sThe Rocketeer, 1996sThe Phantom were period pieces. Comic books were about as far out of the zeitgeist as you could get. They did not speak to contemporary ideas, at least as far as movies were concerned. Superheroes were relics; hokey, old-fashioned adventure stories for kids.

NotBlade. This was a comic-book movie setina present-day world filled with vicious vampires and modern hip-hop and technomusic. The very first action sequence literally showers an underground rave with blood.Bladeearned its R rating unheard of in its day, and almost as rare now, even in a landscape dominated by comic-book movies with extensive blood and gore. Its hero even dropped the occasional F-bomb when the mood struck him:

Whats also evident inthe scene above is that Blade has no concern about a secret identity. He strolls into a hospital, shoots at vampires, tells off cops, and leaves with an important witness with no attempt to hide his face. This was another major break with superhero movies to that point, which were entirely consumed with Supermans and Batmans and assorted other costumed do-gooders who expended enormous energy (and screen time) disguising their true identities.

Althoughthis might not seem like a huge change, most Marvel movies followedBlades lead. The X-Men ditched the masks that had been a key part of many of the characters costumes for decades.Sam RaimisSpider-Man trilogy maintained Peter Parkers secret, but then firstIron Manended with Robert Downey Jr.s Tony Stark declaring to the world that he was his armored alter ego. From that point on, the Marvel Cinematic Universe rarely considered secret identities again.

Blades armor which debutedaboutsix months beforeThe Matrixmade leather and black overcoats the de facto costume for an entire generation of action heroes also broke from the tradition established by the Burton Batman movies of encasing superheroes in mountains of stiff latex.Wesley Snipes Blade costume is elaborate but it doesnt restrict his movement, allowing director Stephen Norringtontodelivercomplex action sequences highlightinghis stars martial-arts skills.

Lets take a look at the difference in action between BurtonsBatmanand NorringtonsBlade.During Batmansbig action finale, Michael Keaton mostly stands in place while bad guys jump and kick around him. In the most extremeexample, one of theJokers goons performs an absurd gymnastics routine,flipping down an entire hallway,then leaps at Batman with a kick. Keaton watches all of this transpire without moving a muscle, then drops the guy with one punch and some kind of Bat-gadget he extends from his hand. Fight over.It might be more accurate to call this an inaction scene.

Compare that with part of the finale fromBlade, where Snipes takes on a whole army of vampires working for the evil Deacon Frost (Stephen Dorff):

Keatons Bat-costume gave him the illusion of an outlandish comic bookphysique in exchange for all of his mobility. Snipes, in contrast, needed no help in the muscle department. When hes stripped down to the waist late in the film,he isabsolutely jacked.Huge muscles were standard operating procedure in action moviesduring theyearsdominated by Schwarzenegger, Stallone, and Van Damme. After Batman, they were far less common in comic-book movies untilBlade.

The very first shot of that fight scene shows Snipes landing in a three-point stance, amodern cliche of Marvel moviesthat was a total rarity in live-action whenSnipes did it. In general, Snipes movement as Blade was way ahead of his time. Without a bulky rubber costume, he was able tostrike with equal amounts of grace and violence,like a cross between Bruce Lee and Mikhail Baryshnikov.Superheroes of that era could sometimes look impressive at rest; thinkVal Kilmer ominous looming over the Batcave in his jet-black armor. But they rarely seemed impressive in motion. Snipes Blade looked faster and more agile than everyone else on screen. He really sold the idea that this guy is more than human.

Amusingas that in-characterinterview with Bladefrom 1998 looks,it clearly shows that all of these elements were deliberate onSnipes and Norringtons part.Playing a comic-book character is the best of all worlds because anything goes,Snipes says in Blades signature snarl during the Bladeinterview. You create a different voice, create a different look, different sound, different way of moving, talking.

Snipes concludes that interview with a prediction. I think were creating a shadow world, he says, where the bridge between what is reality and the unreal is very small. Not only didBladedo exactly that, but that shadow world (and Snipes attitude and physicality) became the template for nearly every Marvel movie that followed. Wesley Snipeshad a goofy way of showing it, buthe saw the future. InBlade, hehelped build a bridge to a new way ofbringing comic books out of the shadows.

Gallery How Every Avengers Costume Evolved From Movie to Movie:

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Blade Is One of the Most Influential Movies of the Last 25 Years - ScreenCrush

Zeitgeist of Now: Privacy in today’s world & what it means for brands – MarkLives.com

by Jason Stewart (@HaveYouHeard_SA) Privacy is the state in which one is not observed or disturbed by other people, or being free from public attention, according to the Oxford Dictionary. Less than a decade ago, privacy was easy to achieve: we simply shut the door or walked away from the conversation. Not so today.

Today, we voluntarily keep a device close at hand that can watch us, listen to us and track us, even during what should be our most-private moments (around 75% of people scroll on their phones while on the toilet, and almost all people have their phones within a few feet of them while having sex). Nor do we really know what datas being collected because the big tech companies wont tell us or show us.

What we do know is that it can run into thousands of different data points per person and, as artificial intelligence (AI) and machine learning evolves, the companies thatve collected that data will be able to do much more with it.

When this data is used to enhance the personalised service we get and boosts convenience, many are prepared to pooh-pooh those who warn about the risks. This is because humans struggle to perceive true threats; were pretty much like the frog in the pot of water and its only now passing lukewarm.

Paranoid? Maybe not.

At the beginning of 2020, ClearView AI was declared a major threat to personal privacy. The company provided software to almost 500 law enforcement agencies, predominantly in North America. It was claimed that these agencies solved cold cases in just 20 seconds just by trawling the internet with facial-recognition software. The same software can be used by criminals, and this is why there are now class-action lawsuits against the company.

At least two years prior to Clearview AI, an opensource tool called Social Mapper trawled eight different social media platforms and pulled together every piece of content that had your face and identity attached to it. Oh, and there was also Face Swap in 2018 (whether you believe the conspiracy theories or not, there was an enormous amount of data uploaded voluntarily onto servers across the world).

Then theres cheaply accessible software that allows you to stealthily spy on people (so long as you manually upload a file onto their phone). For US$40 per month, you can see every click, swipe and instant message, along with live access to someones camera and microphone. On any of their devices, such as the smart food processor, Siri and smart fridge. The explosion of 5G and IoT devices (internet of thing appliances that generate data) and new services like driverless cars are all possible because of more connectivity which means more data storing and more sharing, linked to each individual.

The impact this has on our psychology is that it changes how we feel about what were doing. It makes us hypervigilant and modifies our behaviour. It takes away the ability to freely explore, express or try. It means someone is always watching and recording and whatever we do or say can be used against us in the court of public opinion. So, wed better be careful and stay in our box.

Anonymity will soon be a highly sought-after state. Even before the covid-19 pandemic, people were wearing masks in public, specifically activists in countries with authoritarian governments such as Hong Kong. The Digital Emancipation movement is gaining momentum; children are suing their parents for posting photographs of them online.

Designers, too, have invented ways to avoid surveillance and keep data private. This has seen the publics fear and concern permeate pop culture. Take this puffer jacket from The Arrivals that has a Faraday pocket made from a blend of polyester, copper and nickel, for example. This combination blocks radio-frequency identification (RFID), near field communication (NFC), electromagnetic fields (EMR and EMF) and radiation signals all the methods of delivery to mobile phones for push notifications, GPS tracking, text messages, and more.

In 2019, Polish designer Ewa Nowak launched a jewellery range, Incognito, aimed at thwarting facial recognition technologies and which has proved successful at beating Facebooks DeepFace algorithm.

Accessories for the Paranoid, too, abound: devices that may be hooked onto technology in the home and feed it mis-information. One slots over a computer webcam and feeds it fake images, while another links to Amazons Alexa and plays it white noise or feeds it distracting fake tasks.

Jason Stewart is co-founder of HaveYouHeard (@HaveYouHeard_SA), a full-service agency. Zeitgeist of Now, his new column on MarkLives, is inspired by the agencys proprietary tool developed to understand the invisible but powerful forces that influence people, products, culture and societies. If we appreciate these, he argues, we become more-effective marketers.

Sign up now for the MarkLives newsletter, including Ramify.biz headlines and become a MarkLives Member, too, to ensure continued coverage.

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I Have to Go in and Decolonize: Europes Black Theater Makers Discuss the Scene – The New York Times

LONDON This summer, a coalition of American theater artists issued a statement, We See You, White American Theater, calling for an overhaul of the countrys theater landscape. There should be term limits on theater industry leaders to improve representation, it said, and at least half of casts and creative teams should be people of color.

Many of the same issues of representation plague the theater in Europe. Last month, Black Lives Matter protests sprung up across Britain and theaters issued messages of support, as well as statements pledging action on racism. This month, 400 British creatives signed an open letter calling for industry reform. We cannot accept empty gestures, it said, before listing five areas for change.

Representation in the theater business is an issue elsewhere in Europe, too, despite most major theaters receiving government subsidies and growing calls for theaters to reflect their local populations onstage.

On Wednesday, Kwame Kwei-Armah, 53, the artistic director of the Young Vic theater in London; Julia Wissert, 36, the artistic director of Schauspiel Dortmund in Germany; and Eva Doumbia, 51, the founder of the French theater company La Part du Pauvre, met on Zoom to discuss their experiences.

I am so wildly excited to be doing this, said Kwei-Armah as he joined the call.

Over two hours, the group found some differences and many similarities in the theater landscapes of their countries. When Doumbia (who spoke through a translator), said she had set up a festival to present work by Afro-European writers and directors, Wissert who is the only Black head of a major theater in Germany replied that she didnt think that would work in Germany. If youre too explicit here when talking about racism, everyone just freezes, she said.

Were all having to negotiate and shadowbox with white supremacy, Kwei-Armah said. But the recent Black Lives Matter protests inspired a change of mind. I am done, he said.

The three also discussed white universality, decolonizing theater institutions and their issues with the word diversity. These are edited excerpts from the conversation.

What is the state of diversity in your countries theater scenes?

JULIA WISSERT I just hate speaking about diversity, because Im not interested in diversity. I dont want to diversify anything. Im interested in the question of representation: Representation in the structure, in positions of power, among people who give money to theaters, artistic directorships.

Most of these [people in charge in Germany] are homogeneous: White, middle class, mostly male, mostly cisgender. Its very slowly changing, but at the end of the day I think were very much at the beginning of this conversation.

When I got my job one journalist started an interview with, Were you as shocked about this announcement as the theater world was? And I can understand that people thought it was a surprise because Im obviously way too young to hold that position, because you have to be 60 to be an artistic director here, and of course you have to be male and of course you shouldnt be Black.

EVA DOUMBIA I dont like talking about diversity either. When I do, its always on a diplomatic level more than anything. In France, most of the time we use the idea of diversity as a tool to polish our racism and put it in opposition with the racism in the United States. We call that the real racism.

But the Black Lives Movement and what happened with George Floyd, there was a French echo to it with Adama Traor [a 24-year-old man who died in police custody in 2016]. The Black Lives Matter protests reactivated those feelings here and its reignited that issue of representation in society, in theater.

KWAME KWEI-ARMAH What we have found in Britain is the people who invariably are the George Floyds, the people on the front line, are normally of African descent. But when it comes to diversity, we are normally right at the back of the queue.

The history of structural inequality here has meant there are few Black British artistic directors who have been in place for longer than two or three years. This is a wonderful moment where we are saying, We want this time to be about us! And within the sphere of theater, thats revolutionary because it means when I go into an institution, I have to go in and decolonize not just whats on the stage but the business model and the culture of the organization.

Do you feel able to stage plays about the reality of Black lives in your country?

DOUMBIA What tends to happen in France is we invite people from Africa directors, creatives. Theres a sort of comfort that theyre speaking from their perspective, so its not the view of someone born in France whos known its racism since kindergarten. Theres a sense of confidence that they will never challenge whats established here.

We do have French racism talked about onstage, but its never being addressed by Black people. Its mainly white directors making plays for white audiences. Its OK to have Black performers, actors, dancers, but Black creators are not as accepted.

WISSERT I would say here its exactly the same. The biggest discussions were having at the moment in Germany is the question of white universality the white body as being neutral and the white artist being able to speak to any time. Theres no understanding.

DOUMBIA I get a sensation of feeling a little bit stuck sometimes. Because you want to be able to tell your stories and tell them to the biggest number of people. But at the same time, you feel youre being assigned to a category being seen as a Black person from the white gaze.

KWEI-ARMAH I dont quite know what Black work is, and as we know, the word Black is a political construction. It means different things in different spaces. But what I am really clear about is there is a tax from our white audiences, many of whom are quite tribal, and who, the moment that they see someone Black on the poster, think that [the play] is somehow niche.

When we see a white story, we see a white actor in it and race becomes secondary. We go, Oh, this is a story about redemption. But sometimes the white audience will see a Black face and go, Oh, this is a story about racism. Or Oh, its for them. And thats the false binary we need to defeat in this country. And we are nowhere near defeating it.

Are diversity targets or quotas the answer?

DOUMBIA Can I make an analogy with the face masks were always talking about? In a normal world with Covid, you wouldnt have to tell people to wear a mask in order not to get sick, right? And yet you have to tell them. Its the same with quotas. In a world with common sense we wouldnt have to ask for them and yet without them nothing will be done. Although itd be hard to have them here, because we have this huge tradition of official color blindness. [In France it remains illegal to collect data on race for almost all official purposes.]

WISSERT In Germany, I wish we had a quota because I think, or hope, it would start a conversation and force colleagues to think differently, as well as give other artists a chance of gaining positions of power. Ive had enough of people saying, I really want to do something. I dont want to hear good will anymore, because good will didnt get us anywhere.

Id even go further and connect that quota to subsidies: There are no repercussions at the moment if you dont have any people of color in your institution. You can get shamed on social media and people call you out. But thats basically it.

Do you have quotas at the Young Vic, Kwame?

KWEI-ARMAH My previous shadowboxing self would have broken down the connotations of quotas and tried to make it sound polite and soft and nonthreatening to my white colleagues to not make them worry that somehow they would lose something that they were born naturally into.

My post-Black Lives Matter self actually says, I dont understand the question. Democracy means that you should reflect your environment. And if youre not reflecting your environment, youre suppressing someone. Quotas is a euphemism for Should we let Black people in?

In truth, incremental change is fine, but were not in the moment of incremental change.

Theaters across Europe are currently facing financial hardship after they were forced to close because of the coronavirus. Are you worried that could affect efforts to improve diversity?

WISSERT Our season had been announced when Covid happened. But what it did for us was allow us to rethink the idea of what theater really is. Its a question of: How do we engage with an audience? What stories are we actually telling? So we used this crisis to go to the city and say, Were not going to make money for maybe two years, but were going to go out to the communities and create projects that can really engage with people who wouldnt normally come to the theater.

KWEI-ARMAH When we went into Covid, I was about to announce my new season and the centerpiece of that was themed around for want of a better term a Black British experience. And as soon as we started hemorrhaging money, I went, Thats the one that has to go. The writers are not that well known, and its a big expensive project.

But then Black Lives Matter happened, and I went, No! Thats got to be the leader of the pack. Everything else takes a second seat this now becomes the zeitgeist since theater is here to reflect society and speak about it from its heart. This time has allowed me to stand in my truth without compromise.

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I Have to Go in and Decolonize: Europes Black Theater Makers Discuss the Scene - The New York Times

From James Gunn to Danny Boyle: The 10 best horror films of the 2000s – Far Out Magazine

Once the horror genre had been slapped across the face by the financial success of The Blair Witch Project there was no going back. Cropping out from the darkest corners of small-town America and cinema worldwide came replicas and rip-offs, some of which were great, most of which were almost unwatchable.

New technologies saw a horror ascension, giving many outside the studio system the chance to create and explore the genre without the need for large budgets and effects. Though despite this, the bizarre cinematic zeitgeist of the new millennium was for gore in extremity. James Wans Saw franchise rolled out seven films across the decade, each as absurd as the last, the culmination of which ended in 3D version, sending copious limbs toward the audience for our viewing pleasure. This was joined by the comparatively short lived Hostel series, all whilst across the European pond, new French extremity was also proving popular taking the audiences violence tolerances to new heights with 2007s Inside, pushing the sub-genre to its very limits.

This gave an interesting tone to horror in the 2000s, where themes, cultures and subgenres collided, here are the best and most interesting from 2000-2010.

Raimis first real return to his self-made horror-slapstick sub-genre since his iconic Evil Dead trilogy is a wild crowd-pleaser, mixing disturbing satanic context with sickeningly gory goo and guts seamlessly.

For Rami, the director approached Drag me to Hell with a new direction in mind, aiming to make the film rated PG-13 and moving slightly away from the gore-driven content: I didnt want to do exactly the same thing I had done before, he said.

The comedy is perfectly compiled, fun and totally over the top yet strangely still very disturbing, a skill that Raimi and few others have ever mastered.

The most infamous film of new French extremity, Martyrs brings untold nastiness to the mainstream fold, encased within a story which is inarguably original and strangely insightful.

Starting off as a good old revenge thriller, Martyrs quickly descends into something far more deprived at around the halfway mark once a girl seeking payback for her disturbing childhood finds herself in an inescapable trap. The worst date night movie.

A spiritual spin-off to 2000s Ringu, Pulse played off similar fears of technology at the time, focusing on PCs and the internet, lumbering pieces of bewildering equipment connected to an ethereal otherworld.

The film follows a group of young Japanese residents when they believe they are being tailed by dead spirits, and haunted through the screens of their computers.

Like many Asian horrors, Pulse brings ancient evil to contemporary life, unsettled spirits terrifyingly realised as malevolent forces, formed together within a gripping mystery of genuine terror.

Better known for his recent adventures with the Guardians of the Galaxy, James Gunn was once a more altogether bizarre writer and director.

His first fully helmed project, Slither (2006), brought body-horror to the contemporary fold. An ode to the ooze and gunk of Sam Raimis Evil Dead trilogy and 1989s Society, Slither is an overlooked release that perfectly fuses intense horror and gross-out comedy for a highly enjoyable, stomach churning watch.

Spawning sequels, spin-offs, remakes, restorations and re-releases, Ringu and its following series has become a horror trailblazer for all things grungy, supernatural and long-black-haired.

Ringu takes a traditional Japanese horror, rooted in fears of vengeful and unsettled spirits, and merges this with the paranoia of the turning millennium. Ugly, unfinished and bulky technology, inhabit ancient spirits, making a generation question just how trustworthy the white noise flicker of their TV truly was.

Part monster film, part a claustrophobics worst nightmare, the descent is a cinematic achievement on the smallest scale. Shot in very limited, tight spaces, the underground world of the descent was shot largely on a set, though this is never made obvious.

Horror is at its best when its at its most simple, with the Descent playing on the same fears as the unknown fears of a gloomy forest, though replacing this overused cliche for the depths of some underground caves. Its a horrible, highly uncomfortable watch.

In the midst of the vampire renaissance in the mid-2000s, Let the Right One in appeared as the dark and twisted counterpart to the cultural sweetheart, Twilight. Instead the film created a smaller cultural rejuvenation of its own, bringing dark Nordic drama to the forefront of mainstream entertainment.

Following a downtrodden, quiet boy who finds young love in a mysterious girl new to the community. Deftly transitioning between quiet drama and brutal, unforgiving horror, Let the right one in, set a new president for sophisticated contemporary horror.

The idea of a zombie pre-millennium was more of a nuisance than a terrifying threat. Something that would knock all your furniture over rather than aim for the jugular.

28 days later would change all that, giving an infected sub-category to the zombie genre, and spawning a whole movement of zombie enthusiasts. Its now iconic opening sequence, stalking the ghostly Cillian Murphy around Londons desolate streets, sets a pessimistic benchmark for the rest of the film, a drab, realistic and highly entertaining depiction of viral infection.

Takashi Miike isnt unfamiliar to the explicitly disturbing, renowned for his frank and blunt approach to sex and violence. Audition is no different, taking the word disturbing to new cinematic heights, in the tale of a widower auditioning local women to be his new wife.

Its a slow burner which patiently builds a gripping drama, whilst behind the curtain crafting something far more sinister. Delivering the climax with a devastatingly uncomfortable blow.

With the help of Danny Boyles 28 days later and Oren Pelis Paranormal Activity, Rec took 21st-century innovations in horror and formed together with its own ingenious take on the genre.

Truly innovative, Rec plays out in real time following a TV reporter and a group of firefighters who report to a mysterious disturbance at a block of flats. What conspires to be the result of an occult medical science, Rec spirals into a grungy, dirty take on the infected sub-genre.

A tangible panic and urgency maintaining you glued into position for 80 minutes.

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From James Gunn to Danny Boyle: The 10 best horror films of the 2000s - Far Out Magazine

Reviewing the legacy of racist scientists – swissinfo.ch

Swiss psychiatrist Eugen Bleuler coined several now-common psychological terms such as schizophrenia, autism and ambivalence. He also believed mental and physical cripples should be sterilised in order to preserve racial purity. At a time when controversial historical figures are increasingly under the microscope, how should we judge scientists like Bleuler?

Born in London, Thomas was a journalist at The Independent before moving to Bern in 2005. He speaks all three official Swiss languages and enjoys travelling the country and practising them, above all in pubs, restaurants and gelaterias.

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Swiss individuals and institutions helped produce the toxic waste of scientific racism and played a leading role in international eugenics, says Pascal Germann, an expert on the history of eugenics and racism at the University of Berns Institute for the History of Medicine.

In other words, they didnt merely follow the zeitgeist but actively shaped these ideologies and practices of exclusion. This should be a topic in schools and universities.

Paul Eugen Bleuler (1857-1939) was born and died in Zollikon, near Zurich.

His sister, Pauline, five years his elder, had a psychiatric disorder.

His wife, Hedwig Bleuler-Waser, was one of the first women to receive her doctorate from theUniversity of Zurich. She founded the Swiss Association of Abstinent Women.

Bleuler was an early proponent of the theories ofSigmund Freud.

In 2000, the asteroid (11582) Bleuler was named after him.

Bleuler, director of the Burghlzli psychiatric hospital in Zurich from 1898 to 1927, was a reformer. He took his psychotic patients seriously, focused on personal treatment and pushed for improvements in conditions. He championed a community environment for patients rather than institutionalisation, and he avoided the use of straitjackets where possible.

However, his theory, and that of other psychiatrists, that undesirable behaviour was genetically transmitted was used to justify forced sterilisation and castration.

Writing in his seminal study of 1911, Dementia Praecox, or the Group of Schizophrenias, Bleuler noted that castration, of course, is of no benefit to the patients themselves. However, it is to be hoped that sterilisation will soon be employed on a larger scale for eugenic reasons.

In the same article he claimed that most of our worst restraining measures would be unnecessary if we were not duty bound to preserve the patients lives which, for them as well as for others, are only of negative value.

In 1924 Bleuler wrote in the Textbook of Psychiatry: The more severely burdened should not propagate themselves If we do nothing but make mental and physical cripples capable of propagating themselves, and the healthy stocks have to limit the number of their children because so much has to be done for the maintenance of others, if natural selection is generally suppressed, then unless we will get new measures our race must rapidly deteriorate.

This appeal for new measures was soon answered in Europe and the United States by various laws permitting compulsory sterilisation or worse, although murder was spun as euthanasia or mercy killing.

Eugen Bleuler was an exponent of the eugenics movement, a scientific and political movement aimed at improving the genetic make-up of populations. To this end, it called for interventions in human reproduction and sexuality. People who were considered genetically unhealthy and inferior were to be excluded from reproduction, while the reproduction of healthy and valuable parts of the population was to be encouraged, Germann says.

Although eugenics was accompanied by a rhetoric of exclusion and hardness, it gained its persuasive power through a positive message: disease and suffering were to be prevented, health was to be promoted. In this respect, eugenics can be placed in the context of modern health efforts which aimed to improve life.

Germann points out that eugenics was also a modern movement because it was strongly based on the latest scientific findings and technology. These ambivalences must be stressed in order to understand why eugenics had such a strong appeal to so many eminent scientists and physicians, he says.

In Switzerland forced sterilisations took place throughout the 20th century. According to a 1991 study by the Swiss Nursing School in Zurich, 24 mentally disabled women aged 17-25 were sterilised between 1980 and 1987. In addition, the story of the Swiss gypsy people, known as the Jenisch, exposed a calculated policy of Nazi-style eugenics carried out behind closed doors well into the 1970s.

Eugenics was an international movement that was capable of connecting to a wide variety of political ideologies and had very different manifestations: there was not only fascist and nationalist eugenics, but also liberal, socialist and Catholic eugenics, Germann says.

Eugenic thinking was widespread in the early 20th century, especially among physicians and psychiatrists, but also among many natural and social scientists. Eugenics was also supported by leading geneticists, for example. However, it would be wrong to assume that eugenics simply reflected the spirit of the age. There was vehement criticism of eugenics early on, for example from Catholic circles, but also from scientists and physicians who rejected eugenic demands on scientific and/or moral grounds.

Bleuler certainly wasnt the only scientist at the time to have views that are now considered unacceptable. The explicit racism of Swiss biologist and geologist Louis Agassiz, for example, continues to generate controversy.

So how, as Switzerland debates its past and controversial monuments, should we weigh up the legacy of problematic scientists from more than a century ago?

Is it possible to say that Bleuler was basically a good man with good intentions he did after all seem to genuinely care about his patients? Can one separate the good Bleuler from the bad Bleuler?

No, that doesnt seem to make sense to me. Its more plausible that figures like Bleuler were influenced by the ambivalences of modernity. The science-based health efforts of modernity produced great achievements, but they often also led and eugenics is just one particularly drastic example here to exclusion and marginalisation. Or in the worst case were associated with a racism that regarded entire sections of the population as unhealthy, inferior and unworthy of life, Germann says.

The fact that some eugenicists were good scientists does not mean that their research was morally acceptable or politically harmless. You cant separate the one from the other.

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Reviewing the legacy of racist scientists - swissinfo.ch

‘Hamilton’ has gone virtual on Disney+. What does that mean for the future of live theater? – News@Northeastern

This month, the global musical sensation Hamilton hit the small screen(s) when it became available to stream from Disney+. It meant that suddenly, if you have a laptop or phone and internet access, you have access to the worlds hottest show, says Jos Delgado, a lecturer in the Department of Theatre at Northeastern.

Delgado, who is an award-winning music director, accompanist, and vocalist who has worked with performers including Jason Robert Brown, Alan Silvestri, Seiji Ozawa, and The Boston Pops and Symphony Orchestras, joined News@Northeastern to discuss the show that everyones talking about, and what it means for the future of live theater now that Hamilton has gone digital.

This is a harbinger of things to come, he says.

Hamilton wasnt just a big show that emerged on the scene, it was an event; it transcended borders, cultures, genders, levels of political engagementeverything. It broke down barriers, and even more so, it opened doors. It opened conversations of the content, of how they pulled off what they pulled off, of how [Hamilton playwright and star] Lin-Manuel Miranda used that language from 100 years ago.

Jos Delgado, an award-winning music director, accompanist, and vocalist, is a lecturer in the Department of Theatre at Northeastern. Photo courtesy of Jos Delgado

As the show continued to evolve, its level of impact and the scope of its impact expanded. I started noticing that each time [performers] did another live performance on late night TV, the creative team made a decision not to have the exact same people perform or even perform the exact same numbers.

Even [news] articles about the show had different talking points, they [Hamilton creators] seemed to very deliberately and strategically and brilliantly disseminate as much information as possible about the show. Everything about it was brilliant.

I also very much appreciated the evolution of their targeted focus on educationconnecting with communities that were more disadvantaged than others, seeking out ways to engage with those communities.

It wasnt just another great showand Im quoting Hamilton hereit was a movement, not a moment. So often, a show emerges and its fantastic, and depending on how audiences come to it, itll make a big splash, itll become part of the zeitgeist, everyones heard of it but then there are those wonderful rare shows that transcend the parameters of their venue and seep out into the world in a broader level.

Honestly, I was anticipating a couple of cons when I went to see it because I just knew the show so stinkin well, so I put myself and my sons on a Hamilton-free diet for the few weeks leading up so we arrived with as fresh ears as possible.

But live theaterand Im a live theater musician, a live musician periodthere are very few things that compare to it. So, if I have time to see a show, my antennae are very much up and looking and noticing everything going on.

Because I knew the show so well beforehand, there were a few moments that I was really looking forward to, and then I was just struck by how they manifested it live. There were transitional moments or moments that arent on the soundtrackmultiple moments where just seeing actual humans tell the story at such a high level in person was profoundly moving.

My back may have been on the back of the seat, but Im not sure I blinked; I didnt want to miss a single moment. And that includes the live orchestrathe orchestra made a ton of decisions that were different from the soundtrack to accompany whats going on onstage, and I really appreciated how they did that.

There were dozens and dozens of moments: the angles at which they shot some of the scenes, the proximity from which you could see every emotion on the actors face.

There is an argument that being so close means sometimes youre missing stuff happening upstage, but the tradeoff is getting that access of being right up front, and I really appreciated that element of it. And maybe my bias is coming through a bit too strongly, but those small things that are missing pale in comparison to the magnitude of the viewing experience.

And the biggest thing is that it can be everywhere. If you have a laptop or phone and internet access, you have access to the worlds hottest show, and you can watch it as many times as you want; Im on my fourth or fifth viewing of many more.

We saw the beginning of a new level of engagement with theater when we saw the TV productions of shows. Youre getting that behind-the-scenes access, and we all want that. So, the soil was already fertile for people to be receptive to consuming theater in this live or streamed version.

With regards to what its ultimate impact will be, I have no ideaand no one really doesbecause this is just a drop in the bucket. What I anticipate is that there will be a handful of shows that are the biggest hits, that have the most potential to draw audiences, and the companies that take them on to stream will approach them as a business decision. But once those companies see quantifiable success of taking a chance and investing, I would suspect that it will be like a waterfalleverything will go to streaming.

This is a harbinger of things to come, and Im excited about that because there are any number of shows that are already in existence or are coming out that I would love to see as well.

I think it will be immensely exciting for people who, for whatever reason, cant get to the theater, and hopefully it will inspire people to seek out live theater anywhere and everywhere they can; community theater needs patronage, regional theater needs patronage, Broadway needs patronage, off-Broadway needs patronage, off- off- off- off- off-Broadway needs it. So go find it, seek it out, support it in any way you can.

For media inquiries, please contact media@northeastern.edu.

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'Hamilton' has gone virtual on Disney+. What does that mean for the future of live theater? - News@Northeastern

Parasite Joins Criterion in October with 4K Remaster, Black-and-White Edition, and More – IndieWire

The Criterion Collection has announced an October release date for its Parasite Blu-ray release, a fitting date as the release will mark the one-year anniversary of Bong Joon Hos U.S. theatrical release. The Criterion Parasite release includes not only a 4K remaster of the original film supervised by Bong Joon Ho himself, but also the movies much-touted black-and-white version and new audio commentary track with Bong and film critic Tony Rayns.

A zeitgeist-defining sensation that distilled a global reckoning over class inequality into a tour de force of pop-cinema subversion, Bong Joon Hos genre-scrambling black-comic thriller confirms his status as one of the worlds foremost filmmakers, Criterion wrote in a statement announcing the films October release date. A bravura showcase for its directors meticulously constructed set pieces, bolstered by a brilliant ensemble cast and stunning production design, Parasite cemented the New Korean Cinema as a full-fledged international force when it swept almost every major prize from Cannes to the Academy Awards.

Parasite made history at the Oscars at the beginning of 2020 by becoming the first foreign language film to take home top honors for Best Picture and Best Director. The film also won Academy Awards for Best Original Screenplay and Best International Feature Film. The movie joins fellow October 2020 Criterion releases such as John Berrys Claudine, Henry Kings The Gunfighter, Jean-Luc Godards Pierrot le fou, and Stephen Frears The Hit.

All of the special features included on the Parasite Criterion release are listed below.

New 4K digital master, approved by director Bong Joon Ho and director of photography Hong Kyung Pyo, with Dolby Atmos soundtrack on the Blu-ray New audio commentary featuring Bong and critic Tony Rayns Black-and-white version of the film with a new introduction by Bong, and Dolby Atmos soundtrack on the Blu-ray New conversation between Bong and critic Darcy Paquet New interviews with Hong, production designer Lee Ha Jun, and editor Yang Jinmo New program about the New Korean Cinema movement featuring Bong and filmmaker Park Chan Wook (Oldboy) Cannes Film Festival press conference from 2019 featuring Bong and members of the cast Master class featuring Bong from the 2019 Lumire Festival in Lyon, France Storyboard comparison Trailers PLUS: An essay by critic Inkoo Kang

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Parasite Joins Criterion in October with 4K Remaster, Black-and-White Edition, and More - IndieWire

Talking to my children about racism has become much more complicated – The Globe and Mail

Fayeque Townsend-Rahman is a Canadian filmmaker. His first film, Necessary Illusions, won the Visionary Award at the D.C. Independent Film Festival.

Months of isolation elapsed, exposing enough of our vulnerabilities to bring us together as a species. But nobody expected what came: intimately witnessing the dark underbelly of what humans can do to each other, as we saw with the police killing of George Floyd in Minneapolis.

I am an ethnic minority (I hope thats the right term) or racialized Canadian (a new term Ive learned). I am the father of two biracial children. My wife is an Anglo-Saxon Haligonian. To many, we epitomize neo-Canadian society and culture.

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Diversity is said to be this countrys strength. But a recent YouGov study showed that 72 per cent of Canadians believe racism is a serious problem in this country. However, 42 per cent didnt agree wholeheartedly, selecting the somewhat agree option. Indeed, 25 per cent disagreed (strongly or somewhat disagreed).

I find this fascinating. It shows that we are either conflicted about what racism entails or have citizens with exceptional self-awareness. Until recently, I would have bet on the latter because were Canadian.

Since the tragedy in Minneapolis, I have had a tough time talking to my children about their future. Statistics highlighting how the Black community is disproportionately discriminated against are painful but dont affect those of my colour as intensely. But I have been left humiliated, defeated and physically scarred simply because of the body I was born into.

Experiencing racism is a natural part of my existence.

Living in Italy in the eighties, xenophobia was (and arguably still is) a cultural norm. It was clear as day, with all the kids hanging out under fascist graffiti made by organized groups of violent footfall fans, the ultras. As a fluent Italian speaker, I could have easily passed as a regular Italian kid but for the colour of my skin.

In the nineties, I had the privilege of attending a posh boarding school in England. By the time I graduated, I just accepted myself as a Paki. I even called my brown friends by the slur. I remember a South Asian student being nicknamed Easter. I cant remember his real name because he was called Easter from the age of 13 until he left the school as an adult. Why? Because the French word for Easter is Pques.

At the time, racism was normalized.

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These anecdotes are just the soft tip of the iceberg. But I am still alive. And here in Canada, I have experienced far fewer moments of intolerance than I have anywhere else.

That would have been my message for my children had the social zeitgeist not shifted after those fateful eight minutes and 46 seconds for Mr. Floyd and had the Amy Cooper incident, in which a white woman falsely claimed she was threatened by a Black man in Central Park, not flooded social media.

Nobody can minimize the atrocity committed in Minneapolis. Yet, as a person of colour, I am now more terrified of people like Ms. Cooper than I am of being killed by a police officer.

The same YouGov study I cited above asked pointed questions about race. More than 50 per cent of Canadians believe that preferring to live in a community that is mostly or exclusively the same race as them is not a racist scenario. According to a recent article by CBC, Canadians are among the most active in online, right-wing extremism more than users in the U.S. and Britain. Last year, Global News cited a report by the Environics Institute for Survey Research suggesting that more than half of Black and Indigenous Canadians reported being discriminated against 40 per cent said it happened at work.

These figures tell a complicated story. What frightens me is that my daily interactions in my community, at work or at the pub have a statistical probability of being racially charged. And there is no uniform to signal impending danger.

I would never have ascribed bigotry to Ms. Cooper, a university-educated person with an impressive rsum. She could be my boss, my colleague, a fellow parent or my childrens teacher. Yet we watched her weaponize the police with absolute racial intent. She now represents an unknown enemy.

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Instagram posts supporting Black Lives Matter and corporate e-mails about intolerance are fancy. But will todays movement be remembered? After all, my children dont know who Rodney King is. Most people have forgotten Eric Garner and Botham Jean. Will Mr. Floyd pass into our latent history of racial pain?

To my kids, I can only say: Honour your heritage, because it will define you throughout your life. Remember the history of those who have fallen to the evil of racism. Have the courage to document injustice but, most of all, find the courage to stand up for human dignity no matter the cost.

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Talking to my children about racism has become much more complicated - The Globe and Mail

From Curls to Canvas: Mark Bradford at the Modern in Fort Worth – National Review

Mark Bradford exhibit at the Modern Art Museum of Fort Worth(Courtesy Modern Art Museum of Fort Worth)Once a hair stylist, the artist mined the beauty parlor in his early work.

NRPLUS MEMBER ARTICLELast week, I wrote about the Kimbell Art Museum and the Modern Art Museum in Fort Worth. Side by side in a midsize Texas oil and cattle city, they fashion an unexpected and stellar Made in Fort Worth culture brand. The citys got serious money but also good taste and civic pride. A third museum, the Amon Carter, is nearby and specializes in American art. With so much art and a great symphony, too, Fort Worth is a destination.

When I was a museum director, I learned that visitor surveys and obsessing over visitor experience have only so much value. As people, were all unique, and our moods change, too. Theres so much variation that sculpting a visitor experience or catering to a nonexistent generic visitor can become a waste of time. When our personalities and moods encounter art and architecture, a singular museum experience is born.

When I visited the Modern in Fort Worth, I craved serenity. If serenity, contemplation, and reverie topped my agenda, the Moderns beautiful Tadao Ando building supplied the stage, and the museums curators supplied the exhibition. Mark Bradford: End Papers opened at the Modern on March 8, days before the Chinese coronavirus shutdown, and without the crisis, it would have run through early August. The Moderns open again, and it has renegotiated the loans so the show can run through the fall.

The Capodimonte show at the Kimbell next door gives the visitor Neapolitan baroque and blood, drama, and flesh. End Papers is California Cool and unmistakably American.

Its a beautiful, elegant show kudos to the Modern for lowering my blood pressure, by the way but its satisfyingly sound, too. It has a big name, a theme, a purpose, great art, and a good story. Bradford (b. 1961) is one of the best American artists working today. His work is mostly abstract and big, with sweeping spaces that have both density and bounce. His materials are paint and collage, though he makes sculptures, videos, and drawings, too.

I first discovered Bradfords work in a group show of Southern California artists at the Orange County Museum of Art about 15 years ago before he was famous, before his one-man extravaganza at the Venice Biennale, and before his paintings went for millions. His art appealed to my own taste for a complex, subtle palette, smart handling of materials, and subjects that looked like an abstract aerial street map. He seemed a new master of the modernist grid, but his thoughtful calibration of forms and color have an Old Master feel.

I read his artists statement, which began with I grew up in a hair salon. How could I not read more? You cant beat it for annihilating art-history jargon. The best American art, after all, treats everyday life. The best artists are entrepreneurial when it comes to materials.

Bradford was raised by his mother, a single parent, who started, owned, and operated a small, successful beauty salon in Los Angeles, not a salon to the stars but for average people. After school, Bradford was in the back of the shop and soon became a hairstylist himself. He worked in his mothers shop, saved money, traveled in Europe in the 1980s, and in 1991, at 30, enrolled in CalArts. For his first serious works, he chose a material that said something about him. He chose end papers.

Yes, end papers. With natural curls, I never thought much about permanents. Ive always gone to barbers, for a 15-minute haircut, and for years went to the same barber who cut my fathers and grandfathers hair. It wasnt exactly get the bowl cut caliber, but it was a nice clean-cut look. That said, we all have in our heads the image of a woman, head industrialized by big curlers and metal rollers, crowned by a big metal cone, baking for beauty. A permanent is a profile in both courage and vanity.

An end paper is a thin, translucent sheet used with a hair roller and solution to curl hair. Bradford uses end papers in lieu of conventional oil-paint brushstrokes. Id call it a stroke of genius.

For a permanent wave, the stylist wraps wet hair around a curler and then wraps an end paper to keep the hair flat and to evenly distribute the permanent wave solution thats applied like paint over the hair. Theyre sold in small boxes of 1,000 cheap material in different pastel colors. Put on an opaque surface like a canvas, an end paper can look like a rectangle of thinned paint. End papers are mass-produced, but each end paper is different, though almost always the differences are infinitesimal. They can have a dull finish or a touch of sheen, too.

Bradford treats each end paper with hair-dye solution to get the color he wants. Some of the end papers in On a clear day, I can usually see all the way to Watts, from 2002, are deeply saturated. Others are mottled and look like miniature Helen Frankenthaler drip paintings. Much as end papers absorb curling solution, they absorb color, but their absorbativity yikes, Im guilty of the mortal sin of inventing art-history jargon doesnt stop there. Whether the palette is solid and assertive or gauzy, the blocks draw the viewer deep into the picture. The shapes are irregular enough to look like pieces of a puzzle, and the viewer is invited to puzzle out a mystery. Nothing is obvious.

Bradford starts with a basic grid to anchor the composition. 45R Spiced Cognac, from 2001, is a textbook minimalist grid, something from Mondrian. His first experiments with end papers had a problem, however. The material the end papers appeared too immaterial. He solves the problem by burning the edge of each end paper with a little blowtorch. The burnt edge creates a line. Depending on how he manipulated the torch, the line could be wispy thin, aggressively straight and precise, or thick and irregular, like a velvety burr. The color could be brown or black.

Bradfords material might be new, but the strategy isnt. Czannes brushstrokes are unusually big and invariably square, rectangular, or cone-shaped. Thats why his paintings look like theyre made from small building blocks. Theyre representational mountains, farmhouses, and people and geometric and abstract at the same time. Czannes blocky brushstrokes helped launch Picasso toward cubism.

There are about 35 works in the show, most 72 by 84 inches, but one, Los Moscos, from 2004, stretches to 16 feet. Most of the Moderns galleries are big, so they accommodate Bradfords work perfectly. The art is simply interpreted, without the crush of curatorial spin. The work has the physical and psychological space to engage the viewers mood.

Bradford is a colorist without peer. In Jheri Now, Curl Later, from 2001, different blocks of gray, salmon, and muted white naturally soothe. Its a cool, cerebral palette. Bradford never allows his little blocks to flow evenly. He likes Agnes Martin, but hes not Agnes Martin. Jheri Now, Curl Later is tonal and reminded me of Whistler or Inness, but theres no precisely measured procession across the surface.

Bradfords blocks move across the surface, sometimes slowly where the palette is tonal or pastel, and sometimes with a hop, skip, and jump. Sometimes theres a traffic jam, and sometimes, as in You remind me of a friend of mine, from 2002, theres a dense jumble of end papers that looks like a car crash. Bradford sometimes applies words click or juice to advise a bit of snap to the eyes movement. Some read like landscapes, but the grid clearly makes them the province of the man-made and usually the city.

On a clear day, I can usually see all the way to Watts is a mix of turquoise, sky blue, azure, and white, but the burnt end-paper edges are densely packed and laid side by side to create a long, insistent line running from left to right. The look is a big California sky. Gonna Man looks like a figure, with a build-up of lots of burnt end-paper edges. High Roller Kats Gonna Pay for That, from 2003, is moody and jazzy. Its a nocturne with a nightclub palette. There, the end papers dont meander. They syncopate. The titles, the labels tell us, represent snippets of conversation we might hear in a hair salon, or they give us a clue for where the artist is going.

Theres no parallel for Bradfords medium, but the choice of end papers comes from the CalArts teaching philosophy as well as the 1990s zeitgeist, both mind openers for a hairstylist-turned-artist. CalArts, as an art school, has always promoted new media, whether its video art, conceptual photography, or performance art, all of which came into their own in the 1990s, often at the expense of traditional painting. For Bradford, this zeitgeist allowed him to pick a medium thats biographical.

The catalogue begins with a quote from the sculptor John Chamberlain. Oil paint is European, he said. But America is about other stuff, the things we invent and the things we use. . . . Thats why American art looks different. My academic specialty is American art, and though its early 19th century, when American art was operating on Old Master fumes, I usually look at what living American artists are doing today and ask, Whats American about that?

Bradfords work is also biographical in that hes from Los Angeles. Hes fascinated by aerial views, and one of the iconic Los Angeles views for me is the approach to LAX from the east. Past the San Gabriel mountains, heading to the airport, theres a long passage of suburban and urban sprawl, a glass hive unfolding in grid form. The grids there at night, too, but the forms are spots and lines of light. The vast dimensions of the end-paper pictures make even more sense. Los Angeles is, of course, a car town. Its best experienced in a car. Movement is governed not by feet but by the gas pedal and grids of streets in a flat landscape.

The catalogue is great. Its co-published by the Modern and DelMonico Books, an imprint of Prestel. Theres a short essay by Michael Auping, the curator of the show, high-quality illustrations of the objects in the show, including nice details, and then Aupings interview of the artist. I think close-ups of the works in the show are essential. Theyre gorgeously presented so the reader can understand Bradfords process and refinement.

The books paper is lovely. The pearlescent paper used for the text pages has a sheen like the end papers Bradford uses, and the Day-Glo pink color of the headings has a beauty-parlor look. The book has an unusual three-quarters dust jacket that looks like a basic end paper. Its slightly transparent, revealing the detail from one of Bradfords paintings in the show.

Auping is a good, straightforward writer who seems to abhor art-history jargon as much as I do. His essay is great art history without pretension, and he demystifies technique. Ive read and seen many interviews with Bradford. Hes charming, honest, and thoughtful, a good talker simpatico with Auping. Art historians, especially contemporary art specialists, can make art so boring. They can be dogmatic, possessive, and opaque, as if deliberately barring the viewer from making sense of art. Sullen and solemn, they take the joy from art. The Moderns catalogue is a high-scholarship book, but its beautiful and scrutable as well. Id call it supremely effective.

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From Curls to Canvas: Mark Bradford at the Modern in Fort Worth - National Review

When the State Fears a Poet – Boston Review

Image: Wikimedia

Celebrated Indian poet, human rights activist, and political prisoner Varavara Rao, now eighty and in frail health, is in mortal danger of succumbing to COVID-19 if he is not released from prison, where he has been on and off since 2018 on trumped-up conspiracy charges.

On Saturday, I checked my phone and saw that wed heard from my uncle, currently a political prisoner in India. Im alright, he said. But he wasnt alright. His voice was weak and feeble, and his words, disjointed, slipped into Hindi instead of his beloved Telugu. For over six decades, Varavara Rao, the revolutionary poet, captivated generations with his critical poetry and prose. That he was anything less than articulate, let alone incoherent, was a gut punch. The goal of Narendra Modis administration has been to silence those like my uncle. Had they succeeded?

In one of the many conspiracy cases lodged against Rao over the decades, the state attempted to demonstrate that all the actions of revolutionary movements were a direct consequence of the poems, speeches, and writings of radical writers.

There are many ways to describe Varavara Rao. Hes a teacher, a poet, an activist, known to many simply as VV. To the Indian government, hes a rebel and a threat, an anti-national. It is, in fact, possible to sketch independent Indias history simply by the dates of fabricated cases brought against him by the Indian state: over the last forty-five years, there have been twenty-five, for which he has spent eight years in prison, awaiting trials that would eventually acquit him. His landmark contributions to the discipline of Marxist literary criticism as a left-wing intellectual and his fearless opposition to religious orthodoxy, caste discrimination, and neoliberal development earned him the love of those invisible to the state, and, unsurprisingly, the wrath of landlords, bureaucrats, and police forces alike. Beginning with the rural rebellions for land rights in the 1960sand continuing through the severe repression that followedhe unflinchingly stood by disenfranchised tribal communities, going on, at the start of the millennium, to serve as an emissary in peace negotiations between the Andhra Pradesh government and the Naxalites.

But to me, hes just Bapu, a term of endearment in Telangana for father. By relation, he is my maternal uncle. But for generations, for nieces and nephews and grandnieces and grandnephews, hes always been Bapu and us, all of us, his grandchildren. Through most of the first decade of the 2000s, wemy sisters, my mother, and her sisterswould spend many summer days at my uncles house in Malakpet in Hyderabad, the city I grew up in. His living room welcomed a rotating cast of visitors while my aunt, Aamma (a quirky elongation of amma, mother), unfailingly offered them chai. That part of my childhood coincided with a selective rising tide in India; many families such as mine experienced upward mobility and made frequent moves into increasingly elite neighborhoods. Bapu and Aammas unchanged apartment in humble and overwhelming Malakpet gave their presence in my childhood a timeless quality.

For us children, make-believe turned neighboring flats into enemy castles, the front hallway an open field, and the sturdy staircase walls, covered in dust and grime, ideal hiding spots. When it was time to go inside for mangoes, the adults talked with immediacy about distant places such as Palestine and Cuba, or Warangal and Chattisgarh, closer yet also unfamiliar. Someone had been harassed by the village headman, beaten up by upper caste groups, and needed legal help. Someone had been killedan encounter, they said. (I would later learn the term referred to extrajudicial killings by the police.) The conversation shifted. Everyone had read something new. Precocious voices eager to share. A feminist poem, translated from Urdu, in last weeks paper. A new book on the FARC in Colombia. A friends recommendation. The exchanges never ceased, as the family I knew drank in each others warmth, hungry for raised voices and raucous laughter.

My entire life, Bapu looked exactly the same. A crisp white shirt, or sometimes light blue, a pen resting in the pocket, and a head full of silver hair; he always had a smile playing on his lips. When he greeted us at the door, it was with a hug. Bagunnava, bidda? (Are you well, my daughter?) he would ask my mother. At the time, this was rare; men and women did not typically hug each other. Later, I came to appreciate it as one of the many things that I did not have to unlearnI had already been taught to love openly, freely, and joyfully.

Bapu and Aammas 1990 move to Hyderabad was a forced one. At the conference of the Andhra Pradesh Raithu Cooli Sangham that year, a peasants movement demanding land to the tiller, Bapu had addressed a crowd of over 1.2 million. This drew the fury of the state police, who, five years earlier, in 1985, had assassinated Bapus comrade, Dr. A. Ramanathan and implicitly declared their intention to target Bapu as well. Under ever-increasing threats, Bapu and Aamma left their beloved Warangal, as the newly elected Congress government followed in the footsteps of the earlier Telugu Desam Party, stifling left-wing movements across the state. This all happened a few years before I was born, but I can picture it vividly. A black-and-white sketch of Dr. Ramanthans room as the police left ithis doctors chair knocked overhung on Bapus living room wall throughout my childhood. This story, like many others, became legible to me only over time.

What I experienced in Bapu and Aammas house, amidst an eternal supply of chai, is what Ive now come to recognize as an education. A grad school classmate from the United States once asked me where my politicization began. Swiftly I had answered, At home, with my parents. And theirs? It was Bapu. Not only for my parents, but for generations of people since he began writing as a young man in 1957. Watching him advocate fearlessly and be persecuted by government after government, multitudes of activists began to demand the protection of civil rights for the most marginalized, at a time when the zeitgeist tended toward the shining narrative of a rising Indiaof hydroelectric dams built over tribal lands and industrial zones replacing communities.

So, when my parents reminisced about the Telangana movement, or the Peoples Union for Civil Liberties, their stories were never meant to be remarkable; they were commonplace in a generation begotten by Varavara Rao. And like him, they too were teaching their children the humble notion that Bapus battles ought to be their own. That if they could be angry about the same things, their anger too would find its place in political action.

In what discourse / Can we converse / With the heartless?

If Bapu found imprisonment difficult, we never knew it. He never wanted us to. Witnessing his life in this manner, in and out of prison, was to learn how the application of law could itself be illegal and, in that same instance, understand how to imagine resistance. Persecution was so commonplace that we would often find him calmly waiting, with a packed jail bag, having been tipped off about a forthcoming arrest.

So, when the police descended upon Bapus house, and the houses of his three daughters, in August 2018, there was no way to predict that this time would be different. Theres an arrest warrant, the police had said, or maybe it was a letter? In Marathi. But Bapu didnt speak Marathi. Someone said that it was about a plot to assassinate Modi. Wheres your laptop? the police kept asking, certain in the belief that, surely, Bapu had not written thousands of pages of radical literature by hand. He had.

When I got the news of the raid, I was at an airport boarding a flight to Hyderabad, and unable to access any information for the next many hours. Only after I landed did I hear the details of the arrest: he wasnt alone and had apparently been arrested along with some of the biggest names of Delhis and Mumbais left circles, Sudha Bharadwaj, Gautam Navlakha, Vernon Gonsalves, and so on. I breathed easier, feeling that, surely, Bapu would come out of this. The police accused him of waging war against the State, among other offenses, punishable by death or imprisonment for life. Almost two years later, he has not yet been formally charged; this is not only cruel, but blatantly unconstitutional.

When Bapu was taken to prison, newspapers everywhere carried a photograph of him leaving the emergency ward of the Gandhi hospital in Hyderabad, a secret route chosen by the police to avoid the media on his way to jail. Flanked by a few policemen, he had his fist in the air and a smile on his lips. Someone had managed to secretly photograph him from the crowd. He looked radiant, as always. I read last week that the photographer was Ravi, who, over a long career, captured historic moments and had recently died. It was strange to read about him, to feel the loss of a man I had never met but who had given me something I so treasured.

Campaigns for Bapus release began in no time. The college where hed taught for thirty years, Warangals CKM, stood in solidarity. Abroad, the Bhima Koregaon case, as it came to be known, became infamous, and the United Nations, Human Rights Watch, and Amnesty International all condemned the arrests. The nine human rights defenders currently in jail and others implicated in this case are being targeted due to their work in the defence of human rights, read the statement by Frontline Defenders. Over a hundred global intellectualsthe likes of Noam Chomsky, Ngg wa Thiongo, Judith Butler, and Bruno Latourcalled for his release, noting that over the decades, the Indian state has been trying to silence his voice by implicating him in many phony cases. Meanwhile, prominent members of Indian civil society, the great Indian historian Romila Thapar among them, challenged the arrest in the Supreme Court. This temporarily brought Bapu back home under house arrest.

The newly minted Unlawful Activities Prevention Act gives the Indian government the power to designate someone an enemy of the state without a trial.

I remember the morning of September 6, 2018Bapu still under house arrest. We were all huddled in their living room around the TV, the adults on the diwan, and the children on the floor. We anxiously flipped from one channel to the next, between the regional Telugu news streams and the English-language NDTV. The Supreme Court was set to rule on whether Bapu would be taken back to prison. It was also the day that would become historic as the day homosexuality was decriminalized in India.

Hope came to me in a sudden burst of joy, brought by the unanimous decision of the Court that struck down Section 377, the provision against unnatural sexual acts. Suddenly, my country, my unforgiving, immoral country that could jail an eighty-year-old poet, turned softer, like ephemeral rain on scorched ground. People of all ages were celebrating on the screen, hugging each other and raising slogans, periodically stopping to wipe away tears. Inside the house, our celebration had an impatience to it. We all felt the precarity of that moment, wanting to believe in an India that embraced its people, and simultaneously fearing that, in mere minutes, we would discover that it did not embrace Bapunot him, with his fiery poetry, not him who dreamt of seizing syllables, from each of historys furrows.

Later that afternoon, Bapu passed around some of his new poetry, written recently while in jail. These are incredible, perhaps we should thank Modi, someone joked. Easy laughter came back to us, and even though his cases judgment came soon afteran adjournment to a later dateI looked around and thought that this day mattered, one where a different world seemed possible.

As I struggled to read his handwritten words with their elegant curves, stumbling on my own mother tongue, I was struck by the loss of something I expected to possess forever. Like riding a bike, right? Telugu was my language. Did I inhabit a different world now? At the time, I was a graduate student studying public policy. I wondered what Bapu thought of me then, his Ivy Leagueeducated niece, who could host entire book clubs dedicated to Audre Lorde and bell hooks but would be unable to muster the word for feminism in Telugu.

In India, wrote Mukul Kesavan, English language pundits serve the same purpose as the Fool in Lears court: licensed tellers of occasionally uncomfortable truths. This is not to suggest that English has no role to play in public debate, but in India, the real relationship between writers and movements thrives in vernacular readership and subaltern politics. This is historically true and also what I had observed in Bapus lifes work. Organizations he founded, such as Srujana, a Telugu journal that published radical literature for over a quarter century, and Virasam, a revolutionary writers association, both had a determinedly marginal audience, bucking the elite practices of literary culture. His work was built on the classic Marxist commitment, articulated by Jeremy Wong, of faith in the intellectual, organizational, and political capacities of the working masses.

Fascist governments, of course, know this only too well, and it explains their fear of a poet, especially one who operates in the vernacular. One way of finding Indias public intellectuals, Kesavan writes, is to follow the bodies, pointing toward the killings of Narendra Dabholkar and Govind Pansare, who wrote in Marathi, and M.M. Kalburgi and Gauri Lankesh, who wrote in Kannada. In fact, a 1974 conspiracy case lodged against Bapu by the state government attempted to demonstrate that all the actions of revolutionary movements during that period were a direct consequence of poems, speeches, and writings of radical writers. It ended in acquittal in 1989, after fifteen years of prolonged trial.

Yet Bapus self-critical words, unfailingly, come to me again from his 1990 poem After All You Say:

But for me

Used to reading man as a text

Can the book become a substitute

For the world?

We had wanted to file a plea on the grounds of Bapus deteriorating health for some time now. He was the oldest amongst those arrested in 2018, had many serious health conditions, and was far enough away from home that Aamma, with her own ailing health, could not visit him often. He resisted: I am no more special than Saibaba or Shoma Sen, he said, insisting instead, even on those infrequent phone calls from prison, that we fight for so-and-so person or pass on information to so-and-sos family.

In March of this year, it seemed like the humanitarian release of prisoners was gaining traction, especially as the Iranian government decided to release 85,000 people from its jails. What of those with non-political charges? It was a question I considered over and over. As Golnar Nikopur reminds us, most of the ostensibly non-political charges for which people are detained in Iran, as elsewhere around the world, (and certainly in India, I thought) stem from self-evidently political issues linked to poverty and social difference. Once I learned that Bapu was falling ill, however, worry turned these questions immaterial, into intellectual exercises that I could no longer afford.

By the time Bapu relented to filing an individual bail plea in April 2020, there were already thousands of confirmed COVID-19 cases in India and a few hundred deaths reported across the country. On April 15, his lawyer filed an interim bail plea. The National Intelligence Agency, which had, by then, taken over the case, swiftly opposed bail. Three days later, a Public Interest Litigation revealed deaths in three of Maharashtras jails, including Taloja, where Bapu was housed. The lawyer made a hurried phone call to the jail authorities; on the other end of the line, someone picked up but did not respond to their question. Friends, now anxious, began posting social media requests: Can anybody contact Taloja jail? Or the Maharashtra government, or the media?

We have been extremely anxious, wrote his three daughters, my cousins, in a widely published open letter released on May 27. They despaired that over the prior eight weeks, Bapu had been allowed to speak to his wife only three times, phone conversations no more than two minutes each. The court date arrived the next day. The jail authorities failed to furnish a medical report, and the hearing was delayed five days.

To many, campaigns for political prisoners conjure images of battles in courts, fought between heated lawyers waxing eloquent about ideology. In fact, they are very often about simply knowing someones whereabouts. Where is he? Could we see him?

The next day, a call from the local police station: Hes in the hospital. Why? What happened? Is he okay? We could not get more than a one-line briefing. Thats all they would offer. A news report claimed that he had been hospitalized not then, but three days prior. The official briefing differed: he lost consciousness just earlier, but his vitals were back to normal. We just wanted the truth. For many people, campaigns for political prisoners conjure images of battles in courts, fought between heated lawyers waxing eloquent about ideology. In fact, they are very often about simply knowing someones whereabouts. Where is he? Could we see him? About the days of COVID-19, Heidi Pitlor writes, Giving shape to time is especially important now, when the future is so shapeless. What of time that feels like its running out?

When you have a loved one awaiting trial, the things that divide up your days become court datesare we fully prepared, maybe therell be a judgment? The newly minted Unlawful Activities Prevention Act, or UAPA, gives the Indian government the power to designate someone an enemy of the state without a trial. This means that in Indias new unconstitutional regime, the effort to get a trial takes on its own unending rhythm. Before you realize, the nervous eagerness that precedes each hearing withers into slow defeat.

Again, the court date arrived on June 2. The judge was absent. A delay, three more days. The court date arrived yet again, the mysterious medical report was still missing. A delay, five days. The judge was absent. Two days. This time, the medical report appeared, but was yet to be read. A week. The prosecution needed time to prepare. Another week.

Hope. A trim, solid word. What does it feel like today? Purchasing a book for Bapuhe had asked to read Toni Morrisons Beloved (1987). A text with a poem about him. His friends write one each day. A campaign, a new one, this time by Amnesty International.

June 26, and Im staring at my phone again. The arguments have been heard. ORDER RESERVED. I began reading up on reserved orders: When might judges choose not to immediately deliver a decision? Is this a good thing? Is there additional evidence to review? Three hours in, DENIED.

In a 1990 poem, The Other Day, detailing the night before an arrest, Bapu asks:

In what discourse

Can we converse

With the heartless?

On July 11, I watched as my aunt sat down in front of a camera for a press conference after receiving a call from Bapu that made clear his critical condition. Holding back tears, she urged, Im not asking for bail, for release, for anythingplease get him medical care and save his life.

In moments, I think I intend this to be a letter to himperhaps some affection will get past the prison bars. Other times, I imagine it as a call to the publicmaybe my anguish will agitate them. I am not certain anymore. Teju Cole once remarked: Writing as writing. Writing as rioting. Writing as righting. On the best days, all three. In this period of cruel waiting, perhaps mine is writing as remembering, and perhaps it will be a reckoning.

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When the State Fears a Poet - Boston Review

Reviewing the legacy of racist scientists – SWI swissinfo.ch – swissinfo.ch

Swiss psychiatrist Eugen Bleuler coined several now-common psychological terms such as schizophrenia, autism and ambivalence. He also believed mental and physical cripples should be sterilised in order to preserve racial purity. At a time when controversial historical figures are increasingly under the microscope, how should we judge scientists like Bleuler?

Born in London, Thomas was a journalist at The Independent before moving to Bern in 2005. He speaks all three official Swiss languages and enjoys travelling the country and practising them, above all in pubs, restaurants and gelaterias.

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Swiss individuals and institutions helped produce the toxic waste of scientific racism and played a leading role in international eugenics, says Pascal Germann, an expert on the history of eugenics and racism at the University of Berns Institute for the History of Medicine.

In other words, they didnt merely follow the zeitgeist but actively shaped these ideologies and practices of exclusion. This should be a topic in schools and universities.

Paul Eugen Bleuler (1857-1939) was born and died in Zollikon, near Zurich.

His sister, Pauline, five years his elder, had a psychiatric disorder.

His wife, Hedwig Bleuler-Waser, was one of the first women to receive her doctorate from theUniversity of Zurich. She founded the Swiss Association of Abstinent Women.

Bleuler was an early proponent of the theories ofSigmund Freud.

In 2000, the asteroid (11582) Bleuler was named after him.

Bleuler, director of the Burghlzli psychiatric hospital in Zurich from 1898 to 1927, was a reformer. He took his psychotic patients seriously, focused on personal treatment and pushed for improvements in conditions. He championed a community environment for patients rather than institutionalisation, and he avoided the use of straitjackets where possible.

However, his theory, and that of other psychiatrists, that undesirable behaviour was genetically transmitted was used to justify forced sterilisation and castration.

Writing in his seminal study of 1911, Dementia Praecox, or the Group of Schizophrenias, Bleuler noted that castration, of course, is of no benefit to the patients themselves. However, it is to be hoped that sterilisation will soon be employed on a larger scale for eugenic reasons.

In the same article he claimed that most of our worst restraining measures would be unnecessary if we were not duty bound to preserve the patients lives which, for them as well as for others, are only of negative value.

In 1924 Bleuler wrote in the Textbook of Psychiatry: The more severely burdened should not propagate themselves If we do nothing but make mental and physical cripples capable of propagating themselves, and the healthy stocks have to limit the number of their children because so much has to be done for the maintenance of others, if natural selection is generally suppressed, then unless we will get new measures our race must rapidly deteriorate.

This appeal for new measures was soon answered in Europe and the United States by various laws permitting compulsory sterilisation or worse, although murder was spun as euthanasia or mercy killing.

Eugen Bleuler was an exponent of the eugenics movement, a scientific and political movement aimed at improving the genetic make-up of populations. To this end, it called for interventions in human reproduction and sexuality. People who were considered genetically unhealthy and inferior were to be excluded from reproduction, while the reproduction of healthy and valuable parts of the population was to be encouraged, Germann says.

Although eugenics was accompanied by a rhetoric of exclusion and hardness, it gained its persuasive power through a positive message: disease and suffering were to be prevented, health was to be promoted. In this respect, eugenics can be placed in the context of modern health efforts which aimed to improve life.

Germann points out that eugenics was also a modern movement because it was strongly based on the latest scientific findings and technology. These ambivalences must be stressed in order to understand why eugenics had such a strong appeal to so many eminent scientists and physicians, he says.

In Switzerland forced sterilisations took place throughout the 20th century. According to a 1991 study by the Swiss Nursing School in Zurich, 24 mentally disabled women aged 17-25 were sterilised between 1980 and 1987. In addition, the story of the Swiss gypsy people, known as the Jenisch, exposed a calculated policy of Nazi-style eugenics carried out behind closed doors well into the 1970s.

Eugenics was an international movement that was capable of connecting to a wide variety of political ideologies and had very different manifestations: there was not only fascist and nationalist eugenics, but also liberal, socialist and Catholic eugenics, Germann says.

Eugenic thinking was widespread in the early 20th century, especially among physicians and psychiatrists, but also among many natural and social scientists. Eugenics was also supported by leading geneticists, for example. However, it would be wrong to assume that eugenics simply reflected the spirit of the age. There was vehement criticism of eugenics early on, for example from Catholic circles, but also from scientists and physicians who rejected eugenic demands on scientific and/or moral grounds.

Bleuler certainly wasnt the only scientist at the time to have views that are now considered unacceptable. The explicit racism of Swiss biologist and geologist Louis Agassiz, for example, continues to generate controversy.

So how, as Switzerland debates its past and controversial monuments, should we weigh up the legacy of problematic scientists from more than a century ago?

Is it possible to say that Bleuler was basically a good man with good intentions he did after all seem to genuinely care about his patients? Can one separate the good Bleuler from the bad Bleuler?

No, that doesnt seem to make sense to me. Its more plausible that figures like Bleuler were influenced by the ambivalences of modernity. The science-based health efforts of modernity produced great achievements, but they often also led and eugenics is just one particularly drastic example here to exclusion and marginalisation. Or in the worst case were associated with a racism that regarded entire sections of the population as unhealthy, inferior and unworthy of life, Germann says.

The fact that some eugenicists were good scientists does not mean that their research was morally acceptable or politically harmless. You cant separate the one from the other.

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