Source: Consortium News
A new documentary by Olivier Berruyer, editor of the website les-crises.fr, released in conjunction with Consortium News on Monday, sorts out the complicated scandal and the role Joe Biden played in it.
UkraineGate – Inconvenient Facts
Part One: “A Not So ‘Solid’ Prosecutor”
Watch the full episode here.
Description from California Newsreel:
As relevant today as when it was first released, Faces of the Enemy follows social psychologist Sam Keen as he unmasks how individuals and nations dehumanize their enemies to justify the inhumanity of war.
Using archival news footage, public service announcements, and editorial cartoons, Keen unveils the same frightening pattern in conflict after conflict – World War II, the Vietnam War, the Cold War, Islamic and Christian Fundamentalism – and prefigures the current War on Terrorism. First we identify ourselves as victims. Then we blame, demonize and finally dehumanize our adversaries, rationalizing our murder of other human beings.
Faces of the Enemy contends that before a drop of blood is spilled we must ‘think each other to death.’ It is a story replayed on the nightly news, in Islamic Fundamentalists’ characterization of the West as the ‘Great Satan’ and our own stereotyping of Muslims as terrorists. In a revealing examination of the images and iconography of war Keen interviews the nation’s leading editorial cartoonists. They discuss how they use an almost universal language of stereotypes and prejudices to tap into readers’ most visceral emotions.
In a chilling example of the psychological roots of enmity, we meet David Rice, an unemployed welder now an inmate on Death Row. Influenced by far-right propaganda, Rice decided communism was responsible for his personal problems. He bludgeoned to death a family of four whom he (mistakenly) thought were communists. He remains without remorse regarding them as ‘collateral damage’ in a war against the Evil Empire. The Christian Fundamentalist leaders who inspired Rice are only too happy to explain that they are in a holy war against communists and any non-believers.
By contrast, William Broyles, a Viet Nam veteran and author, returned after the war to personalize the individuals who had been his enemies’ to humanize the abstractions. He explains how racist terms and images can be used to turn human beings into monsters. These epithets and images extend the circumstances of war into terrible brutality. But he also explains how we can move beyond these dehumanizing thoughts and seek out the humanity of others.
Psychologists Robert Lifton and Steven Kull explain how war and artificial enemies provide people with the moral and mental certainties they crave, giving them a sense of purpose in a sometimes-ambiguous world. Mythologist Joseph Campbell, providing a note of hope, suggests that underneath the mask of the enemy we ultimately recognize ourselves. This, Campbell further contends, may be the origin of compassion, brotherhood and altruism, in other words the inverse of war.
Watch the full film on Kanopy.
Director Jennifer Abbott and Mark Achbar’s “The Corporation” (2003) is a comprehensively researched film exploring the history of corporations, how they operate and how they’ve come to attain so much political power. Related topics include the 1933 attempted corporate coup exposed by General Smedley Butler, the Fox news coverup of the dangers of Monsanto’s Bovine Growth Hormone, and the mass protests in Bolivia sparked by the attempted privatization of their water supply in 2000.
This 80-minute documentary focuses on the growing “wealth gap” in America, as seen through the eyes of filmmaker Jamie Johnson, a 27-year-old heir to the Johnson & Johnson pharmaceutical fortune. Johnson, who cut his film teeth at NYU and made the Emmy®-nominated 2003 HBO documentary Born Rich, here sets his sights on exploring the political, moral and emotional rationale that enables a tiny percentage of Americans – the one percent – to control nearly half the wealth of the entire United States. The film Includes interviews with Nicole Buffett, Bill Gates Sr., Adnan Khashoggi, Milton Friedman, Robert Reich, Ralph Nader and other luminaries.
“Sans Soliel” (1983) is an experimental film by acclaimed French director Chris Marker which compiles footage recorded in various countries around the world and presents it in collage-like form. The movie features no synchronized sound, but instead ties the various segments together with music and voice-over narration pondering such topics as memory, technology and society. As the scenes shift, locations range from Japan to Iceland to Africa, creating a truly international work.
Watch the film on Kanopy here: https://www.kanopy.com/wayf/product/sans-soleil
By Vanessa Beeley
Source: 21st Century Wire
I met journalist and friend Rafiq Lutf and cameraman Abdul-Mun’aim Arnous in January 2018 and I was honoured when Rafiq asked me to work with him on his film project, The Veto.
As Dr Shaaban said to me in August 2016, “Western propaganda is paid for in Syrian blood”. This is true. The horrifying bloodshed and loss of life in Syria could never have happened without the colonial media manufacturing consent for another illegal war against a Sovereign nation.
The Veto tracks the evolution of the propaganda campaign waged by Western media against Syria. From Baba Amr in Homs 2011/2012 until the modern day “propaganda construct” – the NATO-member-state funded White Helmets. It honours Russia and China’s vetoes that have consistently defended Syria’s sovereignty and territorial integrity in the UN.
George Orwell said “The most effective way to destroy people is to deny and obliterate their own understanding of their history.” Western media has been tasked with writing the history of the Syrian conflict to serve the aggressors in the US Coalition of terrorism.
As Dr Shaaban also told me:
“The US alliance and its media are focusing on our history, material history, cultural history, identity, our army. Any power that keeps you as an entire state, or any statesman that represents strength or unity will be demonized and destroyed.”
The Veto exposes the criminal intentions of Western media and it archives the progression of the propaganda war waged by the West against Syria. Syrians are writing the history of the Syrian conflict because Syria and her allies have courageously resisted the Imperialist machine.
As Rafiq has said so eloquently “we are the Veto” and we must use it against the Industrial Media Complex in the West. Syria’s history belongs to the Syrians and Syria’s final victory must ensure that Western media is never again given the power to destroy a nation, divide its people and promote international terrorism both military and economic. Watch the film:
A 3 hour version of the unbiased and informative 2011 documentary about persecuted journalist and activist Julian Assange. Also features Daniel Ellsberg.
Watch the full film here.
Synopsis from Icarus Films:
In his newest film, French documentarian and cinema-essayist Chris Marker reflects on French and international politics, art and culture at the start of the new millennium. In November 2001, the filmmaker became intrigued, as did many other Parisians, by the sudden appearance of alluring portraits of grinning yellow cats on buildings, Metro walls and other public surfaces. Marker’s cinematic efforts to document the mysterious materializations of this charming feline throughout Paris are a recurring theme of THE CASE OF THE GRINNING CAT.
This engaging record of Marker’s cinematic peregrinations throughout the city, visually energized by his free-association montage style, chronicles strikes, demonstrations, memorials, election campaigns, celebrity scandals, international political incidents, and a seemingly endless variety of political protests (against the Iraq War, against China’s occupation of Tibet, against the government’s ban on the wearing of Muslim headscarves). The personalized commentary running throughout THE CASE OF THE GRINNING CAT offers the simultaneously learned and witty reflections of the filmmaker, now in his early eighties, on both the contemporary and historical implications of these varied events and personalities.
The mysterious grinning yellow cats soon begin to appear amidst the banners and signs in some of the political demonstrations. Eventually, the creator of the grinning cats is revealed to be an art collective known as Mr. Cat, whose members are shown painting a massive representation of their mascot on the plaza before the Pompidou Center. The filmmaker’s own famous cat caricature soon allies with Mr. Cat, as Marker speculates on the political possibilities of such a feline association.
Chris Marker concludes THE CASE OF THE GRINNING CAT with thoughts on the vital importance of such expressions of imagination in our public lives, echoing the May ’68 slogan that “La poésie est dans la rue” (“Poetry is in the street”).
INDIAN COUNTRY NEWS
"It is the duty of every man, as far as his ability extends, to detect and expose delusion and error"..Thomas Paine
Human in Algorithms
From the Roof Top
I See This
blog of the post capitalist transition.. Read or download the novel here + latest relevant posts
अध्ययन-अनुसन्धानको सार
After the Crash 