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Saturday Matinee: Sanjuro

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By Brian Eggert

Source: Deep Focus Review

Answering for the violent thrills of Yojimbo, Akira Kurosawa’s sequel Sanjuro modifies its predecessor’s structure and, in a way, condemns its eponymous hero, reprised by Toshiro Mifune, by depicting his violent existence as a tarnished bushido ideal. Instead of sending up the swordfighting chambara genre as Mifune’s Sanjuro mows down gangs of grotesque, bumbling yakuza criminals, against which he appears superior and even righteous, Kurosawa places his unkempt ronin in the middle of a jidai-geki, a dramatic period piece wherein Mifune’s protagonist remains crafty and skilled in combat, but, shamefully, without nobility nor willingness to restrain his violent instincts. Redefined through introspection and eventual feelings of disgrace about his lifestyle, Kurosawa’s Sanjuro becomes a tragic figure, his mythic stature marked—or soaked, rather—by the blood of his undisciplined existence.

Along with Ryuzo Kikushima and Hideo Oguni, Kurosawa developed Sanjuro from the Shugoro Yamamoto novel Hibi Heian (A Break in the Tranquility) prior to shooting Yojimbo. Yamamoto’s tale, although similarly plotted in its broadstrokes to Kurosawa’s eventual adaptation, features a samurai protagonist without as much idiosyncrasy or skill as Sanjuro. Author of the source novels for Kurosawa’s upcoming pictures Red Beard and Dodes’ka-den, Yamamoto would be associated with Kurosawa for the rest of their careers. For this picture, Kurosawa intended for Hiromichi Horikawa to direct. Horikawa was a former assistant director for Kurosawa on Seven Samurai and Throne of Blood among others, and had become a thriving director in the mid-1950s, with many chambara films among his releases. Nevertheless, producers at Toho Company insisted that Kurosawa direct, given the popularity of Yojimbo under his headship.

Shooting began on Yojimbo in January 1961 and was completed on April 16, and because Kurosawa edited during production, the film was released four days later on April 20, 1961. And since Sanjuro required only minor rewriting to convert the earlier draft into a sequel to Yojimbo, production commenced on September 25, 1961, and ended December 20, with the finished film premiering January 1, 1962. The speed and artistic showmanship with which these films were shot, edited, and released is staggering, especially taking into consideration the detail Kurosawa integrates into his picture. The main setting—a chamberlain’s house and the pond in front, a separating wall with a compound on one side and the sanctuary house on the other—were built as open sets on Toho’s largest stage. Kurosawa oversaw every detail personally, from the vast layout down to the crucial look of camellias on the trees, which the director insisted be hand-made to make sure each one looked just right. At his prime, Kurosawa’s meticulous, even autocratic control over his productions fully justified his nickname: The Emperor.

Sanjuro opens with nine young, incompetent samurai assembled in secret at a forest shrine. Their leader, Iori Izaka (Yuzo Kayama), has recently met with his uncle, the chamberlain, with whom Izaka lobbied to permit his fellow samurai to investigate signs of corruption. The chamberlain refused, which suggested to Izaka that the chamberlain was behind the corruption. And so, Izaka turned to the superintendent for advice; the superintendent agreed to help if they all meet at the present forest shrine. All at once, Mifune’s Sanjuro yawns from the darkness, and casually steps out to offer his thoughts—that the superintendent is, in fact, the corrupt one and the chamberlain was merely being protective of his nephew. He even suspects the superintendent’s men will double-cross the young samurai at their planned meeting, which, as it turns out, takes place at the forest shrine. When Sanjuro learns this, he looks outside and confirms his suspicions are true, then hides the nine young samurai in the floorboards. The superintendent’s men call for surrender and Sanjuro emerges, shouting about the noise and knocking several soldiers down. Believing Sanjuro’s deception, the soldiers’ leader, the idealized samurai warrior Muroto (Tatsuya Nakadai, who also played the gunslinger in Yojimbo), so bound to bushido, recognizes Sanjuro’s skill and offers him a job if he wants it.

Mifune’s introduction recalls the one from Yojimbo, where the ronin is asked his name, and in response, he reveals his first name, “Sanjuro [meaning thirty years old]… going on forty.” He then scans the area and settles on some nearby plantlife for his family name. In Yojimbo, he sees a mulberry field and responds “Kuwabatake [mulberry field],” and in Sanjuro he replies “Tsubaki [camellia]”—an ironic yet apt choice given the camellia’s associations to the chamberlain’s wife and daughter later in the film. In this sequel, Mifune’s Sanjuro proves just as iconic as his performance in the preceding film, only streamlined to highlight those memorable character traits. Unless his sword is drawn, the actor’s arms rarely leave his kimono except to scratch his chin or to itch at his scalp; along with his character’s minimum of dialogue, this places our focus on Mifune’s expressions, ripe with seemingly stoic confidence interrupted by his anger and unease. Sanjuro’s disdain around the hopeless young samurai and his later discomfort around the chamberlain’s wife and daughter are always comical, making Mifune’s performance a subtly complex combination of characterized gestures and reserved emotions.

After the superintendent’s men depart the forest shrine, Sanjuro and the young samurai realize the chamberlain will probably be arrested or worse, as the superintendent has no doubt deduced that the chamberlain suspects him. They resolve to rescue the chamberlain’s wife and daughter (Takako Irie and Reiko Dan) first, before they too are taken. Contemptuous of the young samurai but impelled to assist (for some cash and food) because, as he tells them, they cannot take care of themselves, Sanjuro leads them to the chamberlain’s house, which is guarded by the superintendent’s men. Despite Sanjuro’s constant insults and berating tone, the young samurai follow his every word “like a centipede” astonished by his skill. And, after convincing a servant to get the guards drunk, they quietly take out the sentries and move the women into a nearby barn. Here, Kurosawa pauses for a scene to establish Sanjuro’s lasting themes by differentiating the film’s protagonist from everyone else onscreen. The young samurai, the mannerly women, the dignified warriors serving an upper class—they each follow a particular decorum against which Sanjuro seems incongruous.

When the women first enter their own barn turned hideout, it is a place they have never been; they remark about the lovely smell of hay, the dreamlike quality one feels when resting back on a large mound of the stuff, and reveal their sophisticated obliviousness to the danger of the situation. Their ability to see so much good in the world amid all the bloodshed and unruly politics is not meant to make them look ignorant; rather, they are elevated beyond such unnecessary concerns, achieving a level of paradoxical nescient enlightenment. The chamberlain’s wife asks with polite interest about Sanjuro, and Izaka explains he is a friend. “I hesitate to say this after you so kindly saved us,” remarks the wife, “but killing people is a bad habit. You glisten too brightly… Like a drawn sword… You’re like a sword without a sheath. You cut well, but the best sword is kept in its sheath.” Sanjuro reacts uneasily to this, knowing the wife’s assessment is accurate, but perhaps unwilling to admit it to himself, yet. Sanjuro begins to feel ashamed of his status in the presence of the refined sensibilities of these women. With this, Kurosawa deepens the character throughout the course of the film, allowing Sanjuro to learn something about himself, his eventual victory bittersweet.

One of the young samurai suggests hiding in his house and Sanjuro agrees, but their group quickly learns that the superintendent is keeping the chamberlain locked up next door, just over a compound wall. By the end, Sanjuro, who deceives his enemies by taking Muroto’s job offer to learn of the chamberlain’s exact location, calls the young samurai to rescue the chamberlain, using a downpour of camellias floating down a stream under the compound’s wall as an elegant signal to attack. With this, bloody violence begins to unfold, while on the other side of the wall, the chamberlain’s wife and daughter clap with enchantment at the beauty of the flowers on the water, a scene played both for humor and to emphasize the nonsensicality of violence against the simpler things in life—a message Sanjuro learns by the conclusion. With the chamberlain rescued, the young samurai realize Sanjuro has gone. They find him in a field, preparing to face off against the distinguished samurai Muroto, who, his honor shamed with Sanjuro’s deception, insists they duel. Sanjuro cuts down his opponent with incredible speed, and all of the young samurai, shocked, watch with enthusiasm. After a moment of silent awe, one of them declares the display “brilliant”.

The duel itself remains Sanjuro’s most memorable scene, not only because it concludes the film, but because it does so with such an unforgettable “bang”. Positioned face-to-face, Mifune and Nakadai, mirroring their final scene together in Yojimbo, standoff for a clocked 26 seconds of silence, an excruciatingly long period of suspense. The technician who controlled the pressurized pump to spray Muroto’s fake blood (a batch of chocolate syrup and carbonated water) from Nakadai’s torso worried that the effect would not please Kurosawa, and overcompensated by adding thirty pounds of pressure, so when the scene commenced filming and Mifune cuts with split-second speed, fake blood shot out like a geyser. The larger-than-life outcome, wholly staggering and uncharacteristic when compared to the violence in the rest of the film, pleased Kurosawa, as its exaggerated quality echoes the base thrill both the young samurai and the audience feel toward the spectacle, and how even for a violent film this last act of violence remains the ugliest and most horrible.

A moment later, Sanjuro, enraged by their response, scorns the young samurai for applauding such violence. “Idiots! What do you know about anything? …He was just like me. A drawn sword that wouldn’t stay in its sheath. But you know, the lady was right. The best sword is kept in its sheath. You’d better stay in yours.” Sanjuro begins to walk away and the young samurai follow. “Stop following me or I’ll kill you!” They pause, drop to their knees in honor of their master, confused and shamed by their own ignorance. Scratching, Sanjuro says curtly, “Abayo” or “Bye” and walks off, as composer Masaru Sato’s theme from Yojimbo sends the disillusioned hero on his way. Forced to cut down his opponent, Sanjuro has learned enough about himself to see a level of self-destruction in killing Muroto. Whereas Sanjuro walks away from Yojimbo unaffected by the violence he has caused, he is not so untouched by the end of this sequel.

With Sanjuro a deeper, more thoughtful hero than he was in Yojimbo, this conclusion does not come as a victory. Despite his attempts to instruct them, Sanjuro’s young students have learned nothing of honor, only the thrill of battle. They remain adolescents, swept up in the illusions of the typical jidai-geki, with all of its heroics and courtly politics and romanticized sword fights, and find themselves taken by the rapidly unfolding progression of the plot. Meanwhile, Sanjuro finds the true meaning of bushido by the end, ironically from the words of an inexperienced, naïve but ultimately astute woman whose ideals are shaped by the strictest of Japanese formality. Whereas the young samurai are clinging to their chambara-inspired tales of swordplay and violence, Sanjuro realizes he supplied their myth and feels guilty for his crimes, but in the end reaches a greater plane of wisdom, one aspiring to be more like the strict master swordsman from Seven Samurai.

Among Kurosawa’s most well-balanced films, Sanjuro resounds with equal parts artistic intent and sheer entertainment value—the quality of Kurosawa’s greatest works. An argument can be made that the sequel betters its predecessor by adding a human dimension to the mythological anti-hero from Yojimbo, who, instead of descending upon a small village like a god to unleash retribution, is brought down to earth by humbling comments from the chamberlain’s wife. An undefeatable presence between two pathetic yakuza gangs, Sanjuro stands out as a disheveled bum amid the white-collar setting of a jidai-geki, and because of this, he feels shame. Kurosawa redefines the character in his sequel, complicates his mythology, and avoids that typical sequel mistake of giving audiences more of a proven formula. An audience might walk away from Yojimbo and overlook the social implications, mistaking the picture for escapist entertainment void of commentary; but after Sanjuro, no one can deny the powerful message Kurosawa imparts.

Bibliography:

Galbraith IV, Stuart. The Emperor and the Wolf: The Lives and Films of Akira Kurosawa and Toshiro Mifune. New York: Faber and Faber, 2002.

Kurosawa, Akira. Something Like An Autobiography. New York : Knopf: distributed by Random House, 1982.

Richie, Donald. The Films of Akira Kurosawa, Third Edition, Expanded and Updated. With additional material by Joan Mellen. Berkeley, Calif.: University of California Press, 1996.

Richie, Donald; Schrader, Paul. A Hundred Years of Japanese Film: A Concise History, with a Selective Guide to DVDs and Videos. Tokyo; New York: Kodansha International: Distributed in the U.S. by Kodansha America, 2005.

How Sad It It Is to Watch America’s Abandonment of Morality and Degeneration into Evil.

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By Paul Craig Roberts

Source: PaulCraigRoberts.org

To be an American today is to collect a basket full of sadness.  We have been at war forever for the profits of the military/security complex, for the hegemonic ideology of the neoconservatives, for Cold War hysteria, and for Israel.  Huge sums of money have been wasted for no benefit to the American people.  Just yesterday I was listening to a deputy sheriff tell me how frustrating it was that he cannot reach the criminal American elite and bring them home to their crimes, but has, instead, to focus on the minor crimes of their lower class victims.  

I asked him why it is the lower class that most waves the flag, and he said that patriotism is all that they have that gives them meaning.  I responded that this means that they cannot escape their victimhood, and he said “that is what is sad about it.”

Parents have not come home from Washington’s wars to their spouses, children, family, and friends.  They died for the military/security complex’s profits, for Israel, or for some dumbshit ideology.  They did not die for America, but for their deaths to have meaning, their families have to insist that they did.  With the American people trapped in this way, Washington can pile up the deaths, thanking the dead not for defending the military/security complex’s profits, but for “defending America.” In this way Washington can continue its endless wars. Dying for America is a way the lower class can find meaning in their lives. 

Now that Russia has shown that there is to be no American victory in Ukraine, Washington has renewed its war adventures in the Middle East, aligning solidly with Israel’s massacre of the Palestinians and against the Arab and Muslim countries that oppose what is an Israeli genocide of the Palestinians. Palestinian women, children, hospitals, schools, social infrastructure are being blown to tiny pieces with the American bombs and missiles that Biden is handing to Israel’s Nazi leader, Netanyahu, who is under indictment both in Israel and now in effect by the International Court of Justice.  But this means nothing to Washington, which sees itself as the exceptional, indispensable country unaccountable to any law, domestic or international.

The alleged “moral democracies,” the US, UK, EU, Japan, Canada, Australia, New Zealand, and Iceland, thumbed their noses at the International Court of Justice’s verdict against Israel by suspending their funding to the United Nations Relief and Works Agency (UNRWA), the major source of aid to the Palestinians in Gaza.  

What does this tell us about the morality of the Western World.  It tells us that it is worse than in Sodom and Gomorrah. 

How can we be Proud Americans when the suspension of funding by Washington will impact life-saving assistance for over two million civilians, over half of whom are children, who rely on UNRWA aid in Gaza? The population faces starvation and an outbreak of disease under Israel’s bombardment and blockade of aid.

This is the way that Zionist Israel, together with its Biden Regime Democrat ally, intends to accomplish its genocidal elimination of the Palestinian people. 

Israel has blockaded all water, food, electricity, and medical supplies to Gaza for the last 120 days. As a result, a half million Palestinians face starvation. 

The massive and ongoing bombing of Gaza, courtesy of the continuous shipment of US munitions to Israel, has killed and wounded at least 90,000 Palestinians, 70% of them women and children. More than 1000 children have had to undergo amputations without anesthesia. There is no medicine, no blood for transfusions, no clean water to wash wounds. And no food. Only more bombs falling from the sky each day, thanks to America.

Chris Hedges reports that the West’s alleged humanitarian and medical institutions refuse to denounce Israel’s decimation of human life in Gaza.  We are faced with the stark fact that even Western medical and humanitarian institutions are in the pocket of Israeli Zionists.  Morality cannot be found on the scene.

How is it that a tiny county, the existence of which depends entirely on American support, can force the world to accept genocide at the risk of the war widening into Nuclear Armageddon?

Stupid Macho U.S. Electioneering Will Push Biden Into Doomed War

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By Finian Cunningham

Source: Strategic Culture Foundation

Predictably, Joe Biden is being flayed by the Republicans over the killing of three U.S. troops in Jordan by Iraqi militants.

The Democrat president is slammed for being weak and a coward by his political opponents.

Donald Trump, his main Republican rival, mocked Biden as a “loser” and said the attacks on U.S. troops were because of the president’s “weakness and surrender”.

Nikki Haley, the other Republican vying for the presidential election this year, also taunted Biden for showing spinelessness toward Iran. She called for direct retaliation on the Islamic Republic “with the full force of American strength”. Logically, that could imply the use of nuclear weapons.

Unanimously across the mainstream U.S. political spectrum, it was assumed that Iran was ultimately responsible for the deadly attack on the U.S. military base on Sunday in Jordan where three military servicemen were killed and 34 were reportedly wounded, according to early reports.

The attack was claimed by Iraqi militants, the Kata’ib Hezbollah, as part of an umbrella group known as the Islamic Resistance. The militants are believed to be an alliance of militias based in Iraq, Syria, Palestine, Lebanon, and Yemen. The latter two include Hezbollah and the Ansar Allah movement also known as the Houthis. All are allied with Iran. But each is understood to have its own agency in directing and executing operations.

These groups have carried out hundreds of attacks on U.S. and Israeli bases since October 7 when Israel launched its offensive on Gaza following the deadly raid on Israel by Hamas. The Yemenis bring a maritime dimension to the region-wide resistance with the ongoing targeting of U.S. and other ships in the Red Sea area.

Iran has denied that it was involved in the latest attack on the U.S. base in Jordan. Tehran also denies it is behind the Yemeni operations in the Red Sea.

Iran and the resistance groups say they are an anti-imperialist alliance that is united by opposition to the U.S.-backed Zionist genocide in Gaza. These groups are not “Islamist” in the mold of Islamic State and its hardline Sunni (Wahhabi or Takfiri) offshoots. Far from it. The resistance groups were galvanized to defeat the Islamists which have been fomented and supported covertly by the United States for its regime change war in Syria. That proxy war was defeated after Russia intervened in 2015 in support of Syria.

The Americans are locked into a downward spiral created by their own flawed logic and cumulative imperialist occupation in the region.

Even President Biden has accused Iran of being responsible for the killing of the three U.S. military personnel. Biden vowed to respond at a time of “our choosing”.

So, Washington unquestioningly determines that Iran is the master culprit. That means the U.S. has committed itself to going after Tehran without any evidence or realistic understanding of where such a direction is leading. That is, how bad it could get for the Americans.

In a U.S. election year shaping up to be more fraught than ever, and with Biden facing dwindling poll numbers, the White House incumbent is highly susceptible to being goaded by Republican adversaries.

Trump has already been hammering Biden for being weak and frail. With the Middle East turning into a cauldron over the Israeli slaughter in Gaza, the Commander-in-Chief is cornered to show mettle. Biden is a hostage of stupid macho politics and bankrupt American imperialism. Diplomacy is simply not an option for the empire, according to its own logic and delusions.

After the deadly drone strike on the U.S. base in Jordan, Republican Senator Tom Cotton dialed up the revenge with the usual warmongering ranting and raving: “The only answer to these attacks must be devastating retaliation against Iran’s terrorist force… Anything less will confirm Joe Biden as a coward.”

Senate Republican leader Mitch McConnell said Biden’s inaction was the problem because it was emboldening enemies in the Middle East, saying: “The time to start taking this aggression seriously was long before more brave Americans lost their lives.”

How hilarious that Biden is scoffed at for being dovish. During his long career, he has been one of the most warmongering politicians in Washington. He backed the U.S.-led NATO wars in former Yugoslavia, Iraq, Afghanistan, Libya, Syria, and presently in Ukraine. The only thing cowardly about Biden is that he is a craven tool of the military-industrial complex and a pathetic psychopath.

Biden is also known for his bad temper and macho knee-jerk character. We can be quite certain that the Republican taunts about his supposed pusillanimous policy in the Middle East will get his hackles up. Biden has already taken a reckless militarist position over supporting Israeli aggression. The shocking mass killing of over 26,000 Palestinian civilians under a brutal blockade of starvation has shocked the world and in particular Arab and Muslim people. And yet Biden has not paused in his “unwavering support” for Israel.

Biden has led U.S. imperialism out of the quagmire of Afghanistan into an even bigger quagmire in the Middle East. With the goading by his equally brainless political rivals, the Americans are plowing further into disaster.

With over 50 military bases strung across the Middle East in 10 countries and with over 50,000 U.S. troops stationed in the region, the Americans are sitting ducks for the resistance. The advent of drones and newer missile technology is a new realm of warfare the Americans have not adapted to with their land garrisons in remote deserts and gaudy warships.

The death of three U.S. troops has long been on the cards. The stupid American politicians think they are going to get revenge. They have no idea what is coming to them given the long history of U.S. aggression, provocation, and illegal occupation in the region. The support of Israel’s genocide, the heartrending scenes of children being torn apart by American bombs, the bombing of Yemen – the poorest Arab country – the crazed threats to Iran, the insufferable American arrogance, and decades of impunity are all now welling up in the Middle East.

The stupid American politicians are digging a hole for themselves and have no awareness of how to reverse it. Democrats, Republicans, Biden, Trump, and so on, they are all a ship of fools.

Israel’s Starvation Strategy

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By Mike Whitney

Source: The Unz Review

It’s not a coincidence that the attacks on UNRWA took place after the ICJ ruling. Israel is trying to discredit the International Court of Justice, and one way of doing that is by rubbishing UNWRA. But UNWRA has fulfilled the heroic role of providing health, education and all other services to the Palestinian refugees since 1948. And it’s really heartbreaking that Israeli propaganda is now demonizing UNWRA and leading some countries to cut off aid. So, my sympathy and support is entirely on the side of UNWRA, and I hope it can long continue to play the vital role it has always played in supporting the Palestinian victims of Israeli aggression. Avi Shlaim, Israeli historian, You Tube

UNRWA provides food and flour distribution for the entire 2.2 million population of Gaza. Defunding UNRWA will lead to mass starvation and death.

Here’s your Zionist quiz for the day: Why did Israel launch a full-blown media blitz on a United Nations relief agency (UNRWA) on the same day that the International Criminal Court of Justice (ICJ) released its historic genocide ruling?

  1. —To divert attention from the fact that Israel is committing genocide in Gaza
  2. —To inform the public that new intelligence had serviced revealing Hamas involvement in the United Nations Relief and Works Agency
  3. —To assure people everywhere that Israel’s main concern is fighting terrorism
  4. —To activate the final phase of their ethnic cleansing operation

If you answered “4” then pat yourself on the back because that is the right answer. Of course, it’s also true that Israel wanted to divert attention from the ICJ’s announcement, but that pales in comparison to the launching of the final phase of its ethnic cleansing operation. This is the real coup de grâce, the final death blow to the two-state solution and a practical remedy to Israel’s nagging demographic problem. This is also the critical puzzle piece that makes sense of the last 100-plus days of relentless bombardment, airstrikes and other forms of state terror. It’s as if Israel is boldly laying down its cards so the entire world can see the strategy it plans to employ to eradicate the native population and fulfill the Zionist dream of a Jewish state from the river to the sea.

And what might that strategy be?

To disperse 2 million Palestinians to the four corners of the earth via mass immigration.

But, how will they do that, after all, haven’t a number of countries already refused to take the Palestinians?

Indeed, they have, but that is before the (soon to-be-published) photos of starving women and children flooded social media sites around the world generating an unprecedented outpouring of sympathy for the beleaguered population. And as public sympathy leads to widespread outrage, more and more people will demand that their governments take action to relieve the suffering through mass immigration. This is how Israel intends to rid itself of its native population and create Zionist Valhalla, a Jewish majority into perpetuity.

This is why Israel has launched its ferocious attack on UNWRA, because UNWRA—more than any other humanitarian organization operating in the Middle East—helps to keep the Palestinians fed and housed which is at-odds with Israeli explicit intentions. The last thing Israel wants is for the Palestinians to establish a massive refugee camp near Rafah that will balloon in size in years to come. That phenom has already taken place in both Jordan and Lebanon where nearly 3 million Palestinians still languish in refugee camps (75 years after the creation of the Israeli state) and are still determined to return home sometime in the future. That is not what Israel wants. Israel wants the Palestinians to ‘vanish into thin air’ which is why they want them dispersed around the world so even the thought of returning home, will never enter their minds.

So, while Israeli leaders do not relish the reputational damage they are experiencing due to their treatment of the Palestinians, they are willing to endure it in order to achieve their broader strategic objectives which are the complete eradication of the Arab population and the strengthening of a permanent Jewish majority.

Israel’s overall strategy was best summarized by Daniella Weiss, a former mayor of a West Bank settlement, who said the following in a short interview on Tik Tok:

“They will move. They will move. The Arabs will move….. So, we don’t give them food, we don’t give the Arabs anything, and they will have to leave. The world will accept them.” (Middle East Eye, Tik Tok)

That’s Israel’s plan in a nutshell.

Destroy a Nation: Israel Is Deliberately Bombing Palestine’s Educational Institutions

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By Timothy Alexander Guzman

Source: Silent Crow News

It’s not about Hamas, nor the Palestinian resistance hiding its weapons or any other excuse to attack Palestinian schools and universities, it’s a plot to destroy the Palestinian people. The Israeli government is deliberately targeting all educational institutions of Palestine whether they are in the Gaza strip or in the West Bank and beyond.  So why would they do such a thing?    

If the Palestinians don’t have educational institutions to train doctors, engineers, lawyers, historians, mathematicians, religious scholars, lawyers, and every other profession that is essential for a nation to survive and thrive, then what kind of society would they have?  Trained doctors and nurses won’t be able to treat and cure their patients.  Engineers and architects won’t be able to build critical infrastructure such as buildings, roads, water and sewer systems, railways and airports.  An uneducated people won’t be able to maintain or compete with other countries in terms of finance and international trade with skilled accountants, economists, financial planners, and investment bankers.  Professors, teachers, and school administrators won’t be able to teach their students reading and writing, math, history, religion and the sciences such as biology, chemistry and physics.  Newspapers and media won’t have trained journalists, researchers, and radio broadcasters and so on.  In other words, a nation without knowledge is doomed for failure and the Israelis are well aware of it.    

Destroy the education of the Palestinians, you destroy a nation of people.  Euro-Med Human Rights Monitor reported that “the Israeli army has killed 94 university professors, along with hundreds of teachers and thousands of students, as part of its genocidal war against Palestinians in the Gaza Strip.” Israel has killed many professors along with their family members in the Gaza Strip, “the Israeli army has targeted academic, scientific, and intellectual figures in the Strip in deliberate and specific air raids on their homes without prior notice. Those targeted have been crushed to death beneath the rubble, along with members of their families and other displaced families.”  The number of Palestinian professors, teachers, administrators, and students killed is a sign that those involved in education is a legitimate target for the Israelis:

According to preliminary estimates, the ongoing Israeli attacks on the Gaza Strip have resulted in the deaths of hundreds of university students, reported Euro-Med Monitor. The rights group pointed out that destroying universities and killing academics and students will make it more difficult to resume university and academic life when the genocide ends, saying it may take years for studies to be resumed in an environment that has been completely destroyed.

According to the Palestinian Ministry of Education, 4,327 students have been killed and 7,819 others injured, while 231 teachers and administrators have been killed and 756 injured during the ongoing attacks. Meanwhile, 281 state-run schools and 65 UNRWA-run schools in the Gaza Strip have been completely or partially destroyed

Israel is targeting the cultural and historical properties of the Palestinian people to erase their history, but also to destroy any knowledge they have to rebuild their society:

Israel’s widespread and intentional destruction of Palestinian cultural and historical properties, including universities, schools, libraries, and archives, demonstrates its apparent policy of rendering the Gaza Strip uninhabitable, Euro-Med Monitor warned. The attacks are creating an environment devoid of basic services and necessities and may eventually force the Strip’s population to emigrate.

Euro-Med Human Rights Monitor stressed that the targeting of civilian objects by armed forces, particularly those that are historical or cultural artifacts protected by special laws, is not only a serious breach of international humanitarian law and a war crime under the Rome Statute of the International Criminal Court, but falls under the purview of the crime of genocide

There is an indication that there is an agenda behind the mass killings of people involved in education.  The Toronto Star had an interesting article titled, ‘How Israel’s ‘scholasticide’ denies Palestinians their past, present and future’ said that “Academics raising concerns about this particular type of destruction call it “scholasticide,” and point to three related phenomena: the destruction of Gaza’s educational infrastructure, assaults on universities in Gaza and West Bank, as well as serious harassment and attacks on senior faculty and students supporting Palestine within the Israeli university system.” “Scholasticide’ is a term that shows how Israel’s destruction of the education system in Gaza directly impacts the past, present and future of the Palestinian people:

The destruction risks erasing Gaza’s past. For instance, the university that was blasted on Wednesday also housed a national museum containing rare artifacts. Whether those artifacts were destroyed or, as West Bank’s Birzeit University is accusing, stolen by Israel, they are lost to Palestinians. With archives and architecture destroyed, it’s as if Palestinians never lived there.

If the current situation continues, Gaza is also likely to be denied to its people in future. Israeli Prime Minister Benjamin Netanyahu reiterated his long-standing opposition to Palestinian statehood saying Thursday, “In the future, the state of Israel has to control the entire area from the river to the sea”

According to Abdel Razzaq Takriti, an associate professor of history at Rice University in Texas who is also the chair of the Arab American Educational Foundation said that “as scholars, we cannot fathom how it is possible that we’re supposed to stay silent while our colleagues are being bombed with bombs supplied by our countries” he also said that “this is an attack on the enlightenment in society” he continued“and it’s going to cause ignorance. It’s going to cause lack of opportunity. And it’s designed to do that. Scholasticide is a very dangerous aspect of genocide.”

It’s not just in Gaza, its all of Palestine’s educational institutions that are being targeted by the IDF forces.  The Norwegian Refugee Council conducted a report from January 2018 until June 2020 and found that “Palestinian children in the West Bank contended with a deluge of attacks on education, at a crushing pace of 10 attacks per month, on average.”  The research was based on a 30-month period and it “found that 296 attacks against education by Israeli forces or settlers and settlement private security guards took place during 235 separate incidents.” 

Israel’s actions is nothing less than a diabolical plot to destroy a nation’s people.  It gives the Israelis the excuse it needs to call the Palestinians animals who don’t even know how to read or write and that the Palestinians don’t know how to make a living and that’s why they are dependent on foreign aid.  A report by Amnesty International said that “Palestinians across all areas under Israel’s control have fewer opportunities to earn a living and engage in business than Jewish Israelis” and that “They experience discriminatory limitations on access to and use of farmland, water, gas and oil amongst other natural resources, as well as restrictions on the provision of health, education and basic services.”

With no educational institutions to train and educate its people, the Palestinians will face a collapse of their society.  Zionist warmongers want nothing more but to eradicate any hope for a better future for the Palestinian people by erasing all forms of education that would allow them to advance their society and that is something that the Israelis don’t want to see happen.  

“Not Wanting” A Wider Middle East War, the U.S. Has Started One

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By Edward Curtin

Source: Dissident Voice

You have to hand it to the U.S. and its henchmen for brazenness.  In order to protect their client state Israel and its genocide in Gaza, the U.S., together with the UK, have in one week launched air and sea attacks on the Houthis in Yemen five times, referring to it as “self-defense” in their Orwellian lingo.  The ostensible reason being Yemen’s refusal to allow ships bound for Israel, which is committing genocide in Gaza, to enter the Red Sea, while permitting other ships to pass freely.

To any impartial observer, the Houthis should be lauded.  Yet, while the International Court of Justice considers the South African charge of genocide against Israel that is supported by overwhelming evidence, the U.S. and its allies have instigated a wider war throughout the Middle East while claiming they do not want such a war.  These settler colonial states want genocide and a much wider war because they have been set back on their heels by those they have mocked, provoked, and attacked – notably the Palestinians, Syrians, and Russians, among others.

While the criminalization of international law does not bode well for the ICJ’s upcoming ruling or its ability to stop Israeli’s genocide in Gaza, Michel Chossudovsky, of Global Research, as is his wont, has offered a superb analysis and suggestion for those who oppose such crimes: that Principle IV of the Nuremberg Charter – “The fact that a person [e.g. Israeli, U.S. soldiers, pilots] acted pursuant to order of his [her] Government or of a superior does not relieve him [her] from responsibility under international law, provided a moral choice was in fact possible to him.” – should be used to supplement the South African charges and appeal directly to the moral consciences of those asked to carry out acts of genocide. He writes:

Let us call upon Israeli and American soldiers and pilots “to abandon the battlefield”, as an act of refusal to participate in a criminal undertaking against the People of Gaza.  

South Africa’s legal procedure at the ICJ should be endorsed Worldwide. While it cannot be relied upon to put a rapid end to the genocide, it provides support and legitimacy to the “Disobey Unlawful Orders, Abandon the Battlefield”  campaign under Nuremberg Charter Principle IV.

While such an approach will not stop the continuing slaughter, it would remind the world that each person who participates in and supports it bears a heavy burden of guilt for their actions; that they are morally and legally culpable.  This appeal to the human heart and conscience, no matter what its practical effect, will at least add to the condemnation of a genocide happening in real time and full view of the world, even though no one will ever be prosecuted for such crimes since any real just use of international law has long disappeared.  Yet there is a edifying history of such conscientious objection to immoral war making, and though each person makes the decision in solitary witness, individual choices can inspire others and the solitary become solidary, as Albert Camus reminded us at the end of his short story, “The Artist at Work.”

With each passing day, it becomes more and more evident that Israel/U.S.A. and their allies do want a wider war.  Iran is their special focus, with Gaza, the West Bank, Lebanon, Syria, Iraq, and Yemen targets on the way.  Anyone who supports the genocide in Gaza, explicitly or through silence, bears responsibility for the conflagration to come.  There are no excuses.

And the facts show that it is axiomatic that waging war has been the modus operandi of the U.S./Israeli alliance for a long time.  Just as in early 2003 when the Bush administration said they were looking for a peaceful solution to their fake charges against Sadam Hussein with his alleged “weapons of mass destruction,” the Biden administration is lying, as the Bush administration lied about September 11, 2001 to launch its ongoing war on terror, starting in Afghanistan.  Without an expanded war, President Biden – aka the Democrats, since he will most probably not be the candidate – and his psychopathic partner Benjamin Netanyahu, will not survive.  It is bi-partisan war-mongering, of course, internationally and intramurally, since both U.S. political parties are controlled by the Israel Lobby and billionaire class that owns Congress and the “defense” industry that thrives on never-ending war to such an extent that even the notable independent candidate for the presidency, Robert Kennedy, Jr., who is running as an anti-war candidate, fully supports Israel which is tantamount to supporting Biden’s expanding war policy.

Biden and Netanyahu, who are always claiming after the fact that they were surprised by events or were fed bad advice by their underlings, are dumb scorpions. They are stupid but deadly.  And many people in the West, while perhaps decent people in their personal lives, are living in a fantasy world of “sincere ignorance and conscientious stupidity,” in MLK, Jr.’s words, as the growing threat of a world war increases and insouciance reigns.

Neither the Israeli nor American government can allow themselves to be humiliated, U.S./NATO by the Russians in Ukraine and the Israelis by the Palestinians.  Like cornered criminals with lethal weapons, they will kill as many as they can on their way down, taking their revenge on the weakest first.

Their “mistakes” are always well intentioned.  They stumble into wars through faulty intelligence.  They drop the ball because of bureaucratic mix-ups. They miscalculate the perfidy of the moneyed elites whom allegedly they oppose while pocketing their cash and ushering them into the national coffers out of necessity since they are too big to fail.  They never see the storm coming, even as they create it.  Their incompetence or the perfidy of their enemies is the retort to all those “nut cases” who conjure up conspiracy theories or plain facts to explain their actions or lack thereof.  They are innocent.  Always innocent.  And they can’t understand why those they have long abused reach a point when they will no longer impetrate for mercy but will fight fiercely for their freedom.

All signs point to a major war on the horizon.  Both the U.S.A. and Israel have been shown to be rogue states with no desire to negotiate a peaceful world.  Believing in high-tech weapons and massive firepower, neither has learned the hard lesson that anti-colonial wars have historically been won by those with far less weapons but with a passionate desire to throw off the chains of their oppressors.  Vietnam is the text-book case, and there are many others.  Failure to learn is the name of their game.

The Zionist project for a Greater Israel is doomed to fail, but as it does, desperate men like Biden and Netanyahu are intent on launching desperate acts of war.  Exactly when and how this expanded war will blaze across the headlines is the question.  It has started, but I think it prudent to expect a black swan event sometime this year when all hell will break loose.  The genocide in Gaza is the first step, and the U.S./Israel, “not wanting” a wider war, have already started one.

(For an excellent history lesson on the Zionist oppression of Palestinians and the current genocide, listen to Max Blumenthal’s and Miko Peled’s impassioned talk – “Where is the War in Gaza Going? – delivered from the heart of darkness, Washington D.C.  Two Jewish men who know the difference between Zionism and Judaism and whose consciences are aflame with justice for the oppressed Palestinians.)

RAD, MAD & BAD: The Analog Rebellion of Craig Baldwin and Other Cinema

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By Andy Prisbylla

Source: We Are The Mutants

In our current technocratic society, it’s incredibly rare to meet someone who is genuinely free. The erosion of the Consent Decrees of 1948—which allowed media conglomerates to own and control movie theaters—drastically altered the landscape of film and video production, further destabilizing an already unlevel playing field between corporate interests, content creators, and consumers. The trickle-down economics Reagan touted in his 1981 tax act proved only to favor the affluent, further alienating independent creators who were frozen out of a livelihood through economic blacklisting, a perpetual attack that continues to this day. Bill Clinton’s elimination of the fin-syn rules that required television networks to source 35% of their content from independent producers only helped to continue this trend into the new millennium, and soon the mainstream movie and TV-consuming public was offered a slate of hegemonic programming supplied by a monopoly rule. 

With traditional avenues of information exchange becoming more restricted, pockets of transgressive media resistance—inspired by the countercultural film and video collectives of the ‘60s and ‘70s—gained 501(c)(3) non-profit status in 1980s America. These artist-run community organizations championed alternative educational perspectives on media literacy and performance, such as Artists’ Television Access in the Mission District of San Francisco, California. Operating under the umbrella of this community space exists a cinematic collective with a subversive trajectory: a film screening series and analog archive curated from the margins of mainstream media and acceptable art practice. Under the stewardship of underground filmmaker and curator Craig Baldwin, Other Cinema stands as the vanguard of Baldwin’s personal artistic conviction—what he calls “cinema povera,” an anti-capitalist filmmaking creed where artists only use the materials at their disposal to create art. Combine this practice with an ethos of media archeology and mixed-media collage that predates our current remix culture activities and what’s generated is an exhibition calendar of the modern avant-garde—a thirty-six week screening schedule projecting experimental film and video to the masses. Every Saturday night, cartoons, B movies, and commercials hold equal ground with industrial, educational, documentary, personal essay, and public domain/orphan films, bringing together numerous artists and filmmakers from around the world under one cinematic ceiling for close to 40 years.

Specific details surrounding the origins of Other Cinema are hard to quantify, partially due to the vastly prolific yet oddly cryptic career of founder Craig Baldwin. Born into a self-admitted 1950s middle-class existence in the Sacramento suburb of Carmichael, California, Baldwin spent his teenage years nurturing a ravenous curiosity for subversive cultures and media. During high school, he was often at the local Towne Theater enjoying the latest midnight show of underground programming, absorbing the cinematic combustion of the ‘60s experimental scene led by filmmakers like George Kuchar and Bruce Conner, who as a teacher would later kick Baldwin out of his film class while attending San Francisco State University. In college Baldwin also indulged in subterranean films such as Peter Watkins’s 1966 pseudo-doc The War Game and exploitation flicks like Paul Bartel’s 1975 sci-fi dystopian romp Death Race 2000. Forming a fascination with film exhibition, Baldwin worked as a projectionist at several movie houses throughout the city, navigating the film worlds through an eclecticism of arthouse, exploitation, pornography, and political activism—including contributing programming and film services to El Salvador Film and Video Projects for the Salvadoran solidarity movement of northern California. His early activism with the artistic political action collective the Urban Rats saw him and his cohorts reclaim San Francisco’s urban landscape through adverse possession or “squatter’s rights,” which allowed Baldwin to experiment with expanded cinema performance, such as projecting film in abandoned buildings and other derelict dwellings. 

This direct approach towards genre and social action speaks to Baldwin’s personal opposition towards the status quo, an attitude that not only informs Other Cinema’s motion picture programming but also Baldwin’s own filmmaking forays. His early experiments with Super 8 film—such as the prototypical culture jam/situationist prank Stolen Movie—bled into his 16mm attacks on advertising, consumerism, and colonialism in Wild Gunman and RocketKitKongoKit before gaining maximum velocity with his Dexedrine-driven, countermyth conspiracy report Tribulation 99. Making up the pure found footage/collage aesthetic of his filmography until introducing live-action performance into the mix with his films !O No Coronado!, Spectres of the Spectrum, and Mock Up on Mu, these early works draw heavily from Baldwin’s now massive archive of analog film. Housed beneath the Artists’ Television Access property, this subterranean scroll of marginalized media is continuously rescued from the bowels of civilization’s ever evolving technological burden and given new purpose. The shift from film in the 1970s to magnetic tape in the 1980s saw major institutions overhaul their audio/visual collections in favor of more economical video formats, sending reels of celluloid to the dumpsters and landfills. Much like the Dadaists of the early 20th century avant-garde, whose use of appropriation and photomontage expressed anti-bourgeois protest through their art, Baldwin and company salvaged these bastardized works from material obscurity and celebrated their ephemeral nature through collage and remix. These hybrid works of the late 20th century serve as precursor to many of our current 21st century new media innovations, resulting in the continued radicalization of modern artistic folklore, such as the mashups and supercuts of Everything Is Terrible! and the radical anti-authoritarian statements of the sister collective Soda Jerk. 

Baldwin and Other Cinema’s defense of the diminished and discarded extends not only to the physical media he interacts with but to the audience he exhibits for. Maintaining a dialectical attitude, Baldwin expresses both respect and disrespect towards film genre and classification by spinning one off the other and forming new categories. Each screening is meant to give equal weight to diverse voices and provoke participation amongst attendees—an ethos Baldwin codified with his underground screening series The RAD, The MAD & The BAD while programming film events for Artists’ Television Access during the organization’s formative years. A protean yet practical film genre grouping system sorted through three major categories stripped of pretense and soaked in punk rock colloquialism, each selection was designated its own time slot on Wednesdays and Saturdays with those represented creating a continuity across each section:

The RAD: showcasing political and social action films 

The MAD: mad genius or auteur cinema

The BAD: psychotronic themes of horror/sci-fi/exploitation

Defying the unspoken restraint behind many traditional classification systems that favor a false high-brow aesthetic to an honest low-brow sensibility, The RAD, The MAD & The BAD crossed the cultural demarcation line with an egalitarian stance towards genre representation, allowing for serious discussion about what constitutes a film’s importance and its commodification within society. More importantly, it displayed through example that poor production doesn’t always mean poor quality, and films created on the margins of capital contain a certain cultural influence and accessibility that corporate-backed productions can only hope to afford or inspire.

The authentic response audiences gave towards the weekly film schedule at Artists’ Television Access saw the prestigious San Francisco Cinematheque approach Baldwin to bring his street sensibility to their precocious crowd with Sub-Cinema, a RAD, MAD & BAD-inspired program that ran over the course of 1985. The creation of other pop-up programs like Anti-Films and Eyes of Hell inspired Baldwin to consolidate his film selections under his own programming umbrella, and soon the ethos that fueled The RAD, The MAD & The BAD manifested itself into the physical embodiment of Baldwin’s own psyche and practice with the foundation of Other Cinema. 

If the RAD, MAD & BAD helped bring acceptance to the concept of marginalization in film selection and exhibition during the 1980s, the programming behind Other Cinema built upon this provocation by introducing new alternative voices from the microcinema scene of the 1990s. One of the forefronts of this new cinematic experience, Other Cinema became a home for a subculture of film using and reusing old and new technologies to create future underground works, with filmmakers and exhibitors from across the country like Sam Green, Martha Colburn, Greta Snider, Bill Daniel, Orgone Cinema, 3Ton Cinema, and “others” coalescing to this space like the children of Hamelin to the Pied Piper’s whimsical flute. Many of these groups and individuals appear in Baldwin’s upcoming career monograph Avant to Live!, a 500-page treatise detailing his cinematic trajectory in the media arts.

The decline of physical media coupled with our perpetual progression towards a digital state continues to divide us, with some championing the virtual realm and its democratization of new technologies and others questioning its effect on the human experience and how we interact with each other. The popularity of streaming services continues to challenge the economic longevity of physical media, forcing film formats into a wave of obsolescence. Despite this, Craig Baldwin and Other Cinema rise against the tide with an analog assault of expanded cinema every Saturday night. Filmmakers on the fringe and maverick media archeologists with an overwhelming responsibility to film history, yet hamstrung by a lack of resources, congregate at Other Cinema to embrace the struggle in an ever evolving motion picture renaissance. It’s a form of masochism one needs to make it on this side of the art world—the “masochism of the margins,” as Baldwin often says. It takes pain and sacrifice to live here, yet the psychic rewards far outweigh the material loss. 

Craig Baldwin: Avant to Live! is a collaborative project between San Francisco Cinematheque and INCITE: Journal of Experimental Media and was released on May 30, 2023.

Andy Prisbylla is an underground filmmaker and exhibitor from the rust belt apocalypse of Steel City, PA. His screening series SUBCINEMA showcases subterranean movies and art through digital programming and live pop-up events. Find out more through Letterboxd and Mastodon.