finally saw miral. the film’s content is fine, except perhaps the oslo accords which r presented as a viable solution to the occupation. a map of what was proposed would be useful as it would be a visual recap of the bantustan that was supposed to constitute a palestinian state. my problem with the film is more aesthetic, more technical. the film lacks any emotional depth. it is full of cardboard characters that we should feel something for but with whom we r incapable of forming any empathetic ties. the camerawork is too stylized (in an unsteady way), to the point of being distracting, annoying. however, the film “shows” many imp issues (w/o really delving into them) and that is something. 3.5 out of 5 for me.
occupied minds: a candidate for the palestinian film festival we’re organizing in rochester. the film touches on many important issues, it’s personal and therefore easier to watch and access. it tries to be balanced (which can be a problematic word in the context of occupation but it’s not here). it lacks a cohesive narrative and doesn’t leave us with any cogent/urgent message but at the same time it manages to cover a wide spectrum of issues in one film w/o making it overwhelming. a great compliment to narrative films. 4 out of 5 for me.
in her article “occupy the holidays” (the nation, january 2, 2012) katha pollitt’s first recommendation for donating to worthwhile causes is an organization called “women living under muslim laws”. no kidding, there is a non-profit by that name. pollitt’s articulation of their mission: “this international solidarity network serves women affected by sexist and theocratic interpretations of islam. whether it’s unequal family laws, the criminalization of women’s sexuality, the marginalization of women’s voices or the infamous saudi driving ban, wluml is on the case.”
this is what houria bouteldja, spokeswoman for the PIR (parti des indigènes de la république) likes to call the privilege of white solidarity. on being asked about feminism and if she had any advice for white women interested in solidarity, she explained:
“my advice is that they should not forget their own oppression and they should cease to be maternalistic, meaning that they should cease to consider women in the south as simple victims. women in the south, women from third world countries, know how to take care of themselves. white women have this privilege of solidarity – they think that there is a need to help women in southern countries because they assume that these women r more oppressed, more alienated. this is not completely false – women from southern countries need solidarity from all women across the globe. but i think that the demand from these women, from these people [in third world countries] is that women from the north, from the occident, fight against imperialism in their own societies. for palestinian women for example it is about asking people from western countries to fight against zionism, and against the pro-israeli policies of their govts. when palestine is liberated, palestinian women will take responsibility for their own future and decide what their emancipation will look like as they negotiate with their own society. personally, what i don’t like is the interference.”
so when i read about this u.k. based solidarity outfit the first thing that came to mind was, what about a non-profit called “women fighting imperial wars.” makes a lot of sense considering that one in three u.s. servicewomen get raped. in fact they are more likely to get raped by fellow soldiers than be killed by the enemy. this becomes even more terrifying when it is estimated that 90% of military rape cases go unreported.
if we must be religion-specific, then how about donating to “women under jewish occupation” or better still “women under christian drones”?
in today’s world when wars and occupations and their impact on women are documented with vivid, multi-media precision, available to all at the click of a mouse, it is truly astounding how the west can continue to live in la la land and pretend that it can fix the world by bombing it or bringing “stability” in the guise of multinational-friendly dictators, whilst donating to solidarity with the ones being bombed or repressed – at least the female half of that civilian population. as bouteldja illustrates so beautifully, western feminists need to focus on the oppression of white women first and then stand in solidarity with their sisters around the globe by resisting the violence committed by their societies on other countries and people – including women living under muslim laws.
Occupy the Holidays, Katha Pollitt, January 2, 2012 edition of The Nation
Rape shame of the US military, Ellie Mae O’Hagan, July 21, 2011, The Guardian
Covered up: More than 1/3 of American woman soldiers raped, Ronald West, October 26, 2010, Alternet.org
“It has always been a struggle for me to explain myself, who I truly am, and how I should or shouldn’t act in culturally diverse situations. Occasionally I feel confused, proud, and even awkward about how to deal with the differences of my two halves. Am I Iranian? Am I American? Should I be Muslim from my father or Jewish from my mother? I feel that maybe these photographs will answer some questions.” More here.
that’s natalie abbassi trying to make sense of her identity. such questions might be more pertinent for newer immigrants and certainly for people who have truly lived bi-culturally, as she has, especially when one of the cultures they r rooted in is perceived as the opposite of the other. iran is not just another country – it comes with a lot of stereotypical baggage in america. and i’m sure that the same is true of being an american in iran – altho perhaps to a lesser degree on account of american cultural hegemony. i find the formation of cross-cultural identities to be fascinating (perhaps because that’s something i think about a lot) and its artistic treatment is most interesting to me. i like what she has done. she has expressed her “duality” quite literally.
mixed identities have always existed, but they have never been immersed in such a global, complex, propagandized environment as today. the exploration of one’s identity is a way to come to terms with oneself especially if one part of ur identity is being articulated/mutilated for u on a daily basis. as far as those sharing in that exploration, i think that it can be an equally rich experience for them. it creates empathy, it widens one’s world. it’s a bit like learning a new language.
watched a few episodes of “the tudors.” it’s a sexed up, soap opera-ish account of henry VIII’s travails, with awful digitally-generated sets. what struck me most (apart from the obscene disconnect b/w ruler and subject and the sad results of royal inbreeding) was how women have been “colonized” forever. it’s the oldest, most pervasive form of imperialism.
read an excerpt from sadegh hedayat’s “the blind owl” – it’s considered to be one of the classics of iranian (nay human) literature. it’s dark, poetic, layered, circular, intense, nightmarish – full of symbolism and human psychology. hedayat was one of the pioneers of modern iranian literature. check it out.
In life there are certain sores that, like a canker, gnaw at the soul in solitude and diminish it.
Since generally it is the custom to relegate these incredible sufferings to the realm of rare and singular accidents and happenings, it is not possible to reveal them to anyone. If one does talk or write about them, people pretend to accept them with sarcastic remarks and dubious smiles, while adhering either to prevalent beliefs or to their own ideas about them. The reason is that as yet man has not found a remedy for these sores; the only remedy now is forgetfulness induced by wine or, artificial sleep induced by opium and other narcotics. It is a pity, however, that the effect of these drugs is transitory and that after a while, instead of soothing, they add to the pain.
Will it come to pass one day that someone will penetrate the secrets of these supernatural happenings and recognize this reflection of the shadow of the soul which manifests itself in a coma-like limbo between sleep and wakefulness?
I shall only describe one such incident which happened to me and which has shocked me so much that I shall never forget it; its ominous scar will poison my life throughout-from the beginning to the end of eternity where no man’s understanding can fathom. Did I say poisoned? Well, I meant to say that I am scathed by it and will remain so for the rest of my mortal life.
lakshmi chaudhry argues that women have come a long way since the lovelorn vulnerability of marilyn monroe and princess diana. now we have the “skank posse” (paris, britney, lindsay) rich and powerful women who r unapologetic about their sexual appetites/need for cheap publicity. ok. maybe celebrities have the right to be skankier now but does that really help real women? is that the slutwalk argument or what?
the word “skank” is itself prejudicial. men who exhibit the same kind of sexually reckless behavior r somehow not categorized as “skanks”. chaudhry uses the word in quotes – she is referring to that social characterization. i’m just not sure that her argument about how we’ve come a long way baby since diana/marilyn holds currency. also, i am not sure that lindsay’s ability to live out her sexuality in front of a camera means anything for the vast majority of women. have sexual mores really changed? do women really have the same kind of freedom as men? is holding women to ridicule better than loving them for being tragic? is that progress? it reminded me of the slutwalks in that some select white women in underwear do not really transform women’s rights generally. or do they?
i think that the problem is that woman is always the object, while man is the subject – hence all this analysis of woman. “woman is defined and differentiated with reference to man and not he with reference to her; she is the incidental, the inessential as opposed to the essential. he is the Subject, he is the Absolute – she is the Other.” (simone de beauvoir)
read chaudhry’s article in the nation here.
saw “the fighter” last night. full of energy, sometimes to the level of camp. christian bale is totally out there, channeling the crack-addicted dicky eklund. mark wahlberg provides a nice counterpoint to his frenetic restlessness. melissa leo is their mother alice – a tyrant in a hair sprayed bouffant, surrounded at all times by 7 bizarre daughters. amy adams is obviously going for something different here – foul-mouthed, tough girl from a blue collar neighborhood. it works.
interesting coverage by the nyt here. it’s not just that mr breivik is never described as a terrorist. there’s much more. my comments below.
“The police identified him as a right-wing fundamentalist Christian, while acquaintances described him as a gun-loving Norwegian obsessed with what he saw as the threats of multiculturalism and Muslim immigration.” — no mention of breivik’s support for zionism?
from larry derfner’s article: “OMG: Breivik identifies with the Israeli Right”
In a jab at left-wing Jews, Breivik writes that pre-war German Jews were disloyal to their country, “at least the so-called liberal Jews, similar to the liberal Jews today that oppose nationalism/Zionism and support multiculturalism. Jews that support multiculturalism today are as much of a threat to Israel and Zionism (Israeli nationalism) as they are to us. So let us fight together with Israel, with our Zionist brothers against all anti-Zionists, against all cultural Marxists/multiculturalists?.”
“Thomas Hegghammer, a terrorism specialist at the Norwegian Defense Research Establishment, said the manifesto bears an eerie resemblance to those of Osama bin Laden and other Al Qaeda leaders, though from a Christian rather than a Muslim point of view.” — so white supremacist fascism and european nationalism/racism were only invented after 9/11? all modeled on al qaeda? now that’s a thought.
“The unclassified versions of the last three Norwegian Police Security Service reports assessing national threats all played down any threat by right-wing and nationalist extremists. Instead, the reports emphasized the dangers posed by radical Islam, groups opposed to Norway’s military involvement in Afghanistan and Libya, and others.” — i thought norway was a completely peaceful country? “military involvement” is such a great euphemism for war i.e. the killing of civilians by today’s military stds.
“This is the Norwegian equivalent to Timothy McVeigh” — not the only other example of domestic terrorism, but i guess they’re both white so it works.
Kari Helene Partapuoli, director of the Norwegian Center Against Racism, said Mr. Breivik did not belong to any violent neo-Nazi groups that she was aware of, and his Internet postings, before those of last week, did not espouse violence. “The distance between the words spoken and the acts that he carried out is gigantic, because what he did is in a different league of what the debates have to do about,” she said. — so i guess it’s ok to keep the neo-nazi/racist debates going. because of the “gigantic distance” and such.
[voice over] The nuns taught us there were two ways through life – the way of nature and the way of grace. You have to choose which one you’ll follow.
Grace doesn’t try to please itself. Accepts being slighted, forgotten, disliked. Accepts insults and injuries.
Nature only wants to please itself. Get others to please it too. Likes to lord it over them. To have its own way. It finds reasons to be unhappy when all the world is shining around it. And love is smiling through all things.
The nuns taught us that no one who loves the way of grace ever comes to a bad end.
I will be true to you. Whatever comes.
thus starts terrence malick’s latest film, “the tree of life”. it is one of the most ambitious films i’ve ever seen, it is also one of the most profound and visually poetic. i can best describe it as a broad, panoptic slice of life where malick gets to isolate each layer and collage it back together, in order to partake of its multi-dimensional flavors. an individual life is a series of recollections and malick offers us some beautiful memories – fleeting moments, gestures, visions, sounds and silences merge in random, lyric ways.
this reconstitution of childhood, memory by memory, is mixed with larger questions about life and death, god and the universe. we r treated to spectacular imagery recounting the story of life on earth, from meteoric collisions to volcanic eruptions and cascades of water. pre-cellular life transforms before our eyes into more and more complex organisms until we r regaled with incredibly alive, watchful dinosaurs. this entire sequence is overlaid with hushed questions asked of god:
where were u? u let a boy die. u let anything happen. why should i be good when u aren’t. what r we to u?
it’s a terrific audio-visual blend of metaphysics and the infinite depth and breadth of what we imagine to be god’s manifestation.
the film also explores the binding relationship b/w parents and children and between life and death. there is a moving scene at the end where time seems to collapse – past, present, life, death all come together in a beautiful dance of grace. that resolution provides the final release in the film and the beginning of peace. perhaps that’s malick’s way of warning us about the limits of linear thinking. rather than look at life thru a pinhole and try to establish cause and effect relationships, perhaps it would be useful to open the door and embrace everything at once.
ah javier bardem… i love him. he’s one of the great actors of the world. his face is indelible, a monument, a colossal stamp on the human species. yet as an actor he’s hardly a towering icon – he’s emotionally nimble, vulnerable, transparent. in “the sea inside” i was constantly reminded of the physical force of his presence and awestruck at how he had succeeded in taming it, containing it. an incredible feat.
in biutiful, we are treated to many different sides of javier bardem/uxbal – he’s a small-time go-between involved in every aspect of barcelona’s criminal underbelly, he’s a devoted father, he’s still in love with his bipolar ex-wife, he can commune with the dead, he tries to be a good human being (however quaint that might sound these days). oh yeah, he’s also dying of cancer. in his characteristic style, alejandro gonzález iñárritu gives us multiple threads that r all woven into one dynamic tapestry. characters and storylines abound, some more developed than others, yet uxbal ties everything together.
day by day, he jumps thru hoops in order to survive. he is surrounded by people who r equally trapped by their own circumstances. it’s a mean and miserable side of life where deprivation can turn morality into a luxury. it is grating to watch after a while. one wishes for less – fewer, longer shots, less hectic editing, fewer side characters and sundry drama, more quiet, more time for uxbal to articulate his essence fully, uninterruptedly.
but there r some beautiful moments in the film – when damaged people manage to connect deeply, when a father comforts his son in the dark, when a grown man sees his 20 year-old embalmed father for the first time, when a man confronts his own death and shares that certainty with his young daughter. there is such truth at these moments, such raw emotion, such honest physicality. the movie is shot handheld for the most part. the colors r grim with sudden bursts of radiance. the film has an impeccable artistic look. and javier bardem is magnificent.
watch trailer here.
i found this apparently innocuous, happy-go-lucky article, celebrating navy seals and their killing of osama bin laden, disturbing in its glorification of violence and murder:
The Coolest Guys in the World; America’s quietest killers, working anonymously and without public recognition; can also make some noise—as they did when they killed Osama bin Laden last week with a point-blank shot to the left temple; a semi-legendary bunch; Swagger; agonizing combination of brain and brawn; hunter-killer teams; The men toasted fallen comrades, ogled action shots of each other “blowing things up, skydiving, attacking ships,” and took turns with slide shows of their major kills.
yes, it’s published in mainstream media but how else are we to gauge a nation’s popular culture? i don’t read newsweek, in fact i wouldn’t touch it with a barge pole, but sometimes i come across the magazine in waiting rooms. the entire issue on osama’s execution is frightening, including the accompanying photo – men stripped of their identities, their judgment, their humanity and turned into indistinguishable bodies that kill at someone else’s command – the entire idea behind the military of course.
not only was this particular piece alarming, in many ways, but also other articles, in the same issue.
salman rushdie: pakistan is a “terrorist country” — how does that work when pakistani civilians r being droned by us and not the other way around?
elie weisel: A Death Deserved: Normally, I would respond to such scenes with deep apprehension… This time is different. –- talk about moral relativism.
Bernard-Henri Levy: jihadi infiltration, pakistani bomb, most dangerous country in the world, etc – typical zionist conspiracy theory that barely tries to mask an islamophobic rant.
andrew sullivan: As a Christian I am asked to pray for the soul of Osama bin Laden, not to celebrate his death. And this prayer I have spoken, as I am bound to. But this is also true: the joy will not leave me either, and I am not ashamed in the slightest. –- ok, good for u.
fatima bhutto: osama’s death is irrelevant to pakistanis — she’s right but again, no outrage at extrajudicial murder.
no mention of the 1 million iraqi civilians dead, the civil war, the refugees, the depleted uranium, the comprehensive destruction of a country.
no mention of the obscene war in afghanistan, the second poorest country in the world, most threatened not by the taliban but by malnutrition.
no mention of ongoing drone attacks that kill pakistani civilians on a daily basis – 2,000 killed in the last two yrs alone, under obama’s stewardship.
it’s all tied together. it’s not just about perpetrating violence on “them.” that’s why SWAT teams r now being used to break into people’s homes and arrest them for missing student loan payments.
i don’t watch tv but i come face to face with it at the gym. frequently, all the major tv channels highlight their programming with a roundup of clips from their most successful shows. there’s no sound at the gym but the visual loop of people prancing around with guns, pushing in doors, committing violent crimes, and dissecting dead bodies is quite dizzying. the editing is choppy, the camera work nervous (for a handheld, reality-based feel), the pace relentless. the stories seem repetitive, banal, mind-numbing. there is no space for exploration, analysis, comparison or evaluation. the images r violent or sexual, fragmented, compressed together, looped interminably. it’s scary. and happy-go-lucky.
just saw iranian film “white meadows”. directed by mohammad rasoulof and edited by jafar panahi, the introduction itself was sensational as both men have been arrested by the iranian govt. the film is described as an allegorical poem rooted in persian literature and contemporary politics. the cinematography is stunning. the film was shot on the salt islands of lake urmia. scenes are bare, mostly devoid of color or texture, and stark in their black and white contrast. men and women dressed in black, moving quietly across still, panoramic shots reminded me of shirin neshat’s video work.
we go on a journey with rahmat, a professional tear collector, who travels from salt island to salt island, listening to people’s heartaches and collecting their tears. the visualization of the expression of grief and ritualistic human endeavors aimed at resolving it, living with it, are poetic indeed. in one village, people take turns whispering their sorrowful secrets into small glass jars and shutting them tight. after they have their tears gathered by rahmat into a small glass vial, all the jars weighed down by guilt, pain and remorse are attached to the body of a man small enough to climb down the well. he happens to be a dwarf who was recently married. he is asked to leave the jars at the bottom of the well and climb back up before sunrise. the man is apprehensive about being able to move that fast but he accepts his fate. when he is unable to resurface on time, the rope is cut condemning him to death, to the lamentation of his young wife. rahmat encounters many such stories.
altho i appreciate the symbolic import of each fable and i am not one to complain about abstraction, i was disappointed by many of the stereotypical images used by rasoulof. the stoning of a young lover, the ceremonial sacrifice of an underage virgin, the torture of dissenters – these are not ground-breaking allegories but mainstream platitudes that the west is already v cozy with. they don’t tell us anything new about iran, but reinforce the propagandist summation of iran as cruel, mysterious, incomprehensible. the reaction i heard most often in the theater, throughout the film, was “jeez” – an expression of shock and self-righteous dismay. any fox news report on iran can produce that reaction, any time of the day.
of course i am all for freedom of speech, especially artistic expression. rasoulof’s film is visually complex and humane. yet i fear the reaction of many magnanimous americans who might be tempted to think that we have something to teach other cultures. and another question: when do we get to see an allegorical film about american oppression and ritualistic sacrifice? symbols could include images of scalping and branding people, waterboarding and dark pools of thick sticky oil. any takers?
saw a terrific korean film called “poetry.” it’s about women being much put-upon, it’s about how the finest, tenderest of human feelings cannot find expression in a world that doesn’t care, it’s about lives that become irreversibly intertwined, it’s about finding one’s voice.
this is a subtle film – it’s quiet and lyrical, yet full of violence – violence we don’t see but can read as subtext. what struck me most is how women r so socially imposed upon – it’s something we accept, irrespective of culture.