• Le Guardian, jaloux du rôle pionnier du Monde dans ce domaine, a enfin trouvé quelqu’un du cinéma pour porter le flambeau anti-#Metoo. Un qui a trouvé en plus super malin de dénoncer ça sur le thème de la « chasse aux sorcières »…

    Michael Haneke : #MeToo has led to a witch hunt ’coloured by a hatred of men’

    Michael Haneke has become the latest figure to criticise the #MeToo movement against sexual assault and harassment in the film industry, arguing that it has instigated a “witch hunt” that “should be left in the Middle Ages”.

    The Austrian film-maker, two-time winner of the Palme d’Or at Cannes, made his concerns known during an interview with Austrian newspaper Kurier, later reported by Deadline. “This new puritanism coloured by a hatred of men, arriving on the heels of the #MeToo movement, worries me,” he said. “As artists, we’re starting to be fearful since we’re faced with this crusade against any form of eroticism.”

    While Haneke noted that any act of “rape or coercion” should be punishable, he said that “this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.

    “This has nothing to do with the fact that every sexual assault and all violence – whether against women or men – should be condemned and punished. But the witch hunt should be left in the Middle Ages,” he added.

    • Le Guardian se réfère donc à cet article de « Deadline » (des fois que tu connaisses) : Michael Haneke On MeToo : “Witch Hunt Should Be Left To The Middle Ages”

      Oscar and double Palme d’Or winner Michael Haneke has become the latest prominent European artist to lament what he calls a “witch hunt” in the wake of the #MeToo movement. Speaking with Kurier, the Austrian filmmaker said there is no question that “any form of rape or coercion is punishable… But this hysterical pre-judgment which is spreading now, I find absolutely disgusting. And I don’t want to know how many of these accusations related to incidents 20 or 30 years ago are primarily statements that have little to do with sexual assault.”

    • Lequel Deadline tire ses citations d’une interview autrichienne de « Kurier » : Michael Haneke : "Hexenjagd im Mittelalter belassen"

      Glauben Sie nicht, dass es neuerdings eine Tendenz gibt, Tabus wiederaufzubauen, etwa in der Folge der #MeToo-Debatte?

      Oh Gott, fragen Sie mich nicht danach. Als Mann sollte man zu diesem Thema ja kaum mehr etwas sagen. Natürlich finde ich, dass jede Form von Vergewaltigung oder Nötigung zu ahnden ist. Das ist ja gar keine Frage! Aber diese Vorverurteilungshysterie, die jetzt um sich greift, finde ich absolut degoutant. Und ich möchte nicht wissen, wie viele dieser Anklagen, die sich auf Vorfälle vor 20 oder 30 Jahren beziehen, in erster Linie Abrechnungen sind, die mit sexuellen Übergriffen nur wenig zu tun haben.

    • Il y connaît rien en sorcières Haneke. La chasse aux sorcières c’était à la renaissance et pendant le Maccarthysme.
      Ca m’étonne pas de lui.
      Cette confusion entre érotisme et harcelement sexuel est typique de la culture du viol. Ces derniers jours j’ai fait lire à Amélie pas mal de textes sur la littérature libertine du XVIIIeme d’un point de vue féministe : comme par exemple celui ci https://imaristo.hypotheses.org/166

      Cette littérature se caractérise par

      un monde où la gloire des hommes s’acquiert par la conquête des femmes, et où les femmes ne sont jamais que des proies[3] au service de ce jeu faussé de la séduction.

      #fraternité #érotisme #culture_du_viol #domination_masculine #male_tears

  • Un ancien journaliste du #New_York_Times (via naked capitalism):

    It was a shock on arriving at the New York Times in 2004, as the paper’s movie editor, to realize that its editorial dynamic was essentially the reverse. By and large, talented reporters scrambled to match stories with what internally was often called “the #narrative.” We were occasionally asked to map a narrative for our various beats a year in advance, square the plan with editors, then generate stories that fit the pre-designated line.


    The bigger shock came on being told, at least twice, by Times editors who were describing the paper’s daily Page One meeting: “We set the agenda for the country in that room.”

  • Tu te souviens, quand on a essayé de te faire croire que Ziad Rahbani était grillé au Liban, qu’il s’était fait virer par des manifestations « spontanées » contre sa présence à l’AUB (avril 2013)… bon ben c’est pas vrai : Lebanese film ‘What About Tomorrow ?’ Crushes box office records In Lebanon

    A new Lebanese film, What About Tomorrow?, which is made up of grainy footage of a 38-year-old play by legendary singer-writer Ziad Rahbani, is crushing box office records in the country. The film opened on Thursday January 21 and has already garnered 28,000 admissions in its first day. To put that into context, that’s more than Star Wars: The Force Awakens did in its entire opening weekend. The film is now anticipated to become the highest grossing Lebanese film of all time. A lot of tickets sold were part of a new phenomenon in Lebanon where people buy out whole screens and invite their friends and family for a private showing on the day of release. 12,000 tickets were sold in pre-sales alone, an un-heard of number for a film in the country.

    What makes this all the more remarkable is the film is not really a film at all, or even new for that matter. It is a collage of old 8mm footage of performances of Rahbani’s play, also called What About Tomorrow?, that first opened in Beirut in 1978, three years into Lebanon’s 15-year civil war. The footage was originally filmed by Rahbani’s sister Layal at his request so that he could show it to the actors during rehearsals and change stage elements such as the lighting and costumes. There are scenes in the film version where the same character appears in different clothes for no apparent reason. “The audience don’t care,” says Hyam Saliby, the head of sales and acquisitions at distributor Italia Film. “Even though the quality of the image is not great, the audience are just in love with Ziad and this experience. The amazing thing is this footage was never even meant to be shown. It was only intended for personal use.”

    Ziad Rahbani’s iconic play in Beirut cinemas

    The audience interacted with the film, as if they were watching the play firsthand, clapping the moment the actors went on stage, and singing along with late Lebanese singer Joseph Saker as he sang Aa Hadeer Al-Bosta, Esmaa Ya Reda and Aisha Wahda Balak.

    The audience members comprised members of Lebanon’s older generation who had attended the play’s premiere on 27 February 1978, which garnered huge commercial success, and hence wanted to reclaim the memories of Beirut in this production, which continued to be performed in Al-Hamra Street for eight months. Also attending were Lebanese youth who grew up listening to recordings of Rahbani’s works.

    Pas mal de choses sur Youtube en cherchant « Bel nesbe la boukra shou »…

  • L’histoire secrète des Mongols en 365 jours
    Édition modernisée et « adaptée à la vie moderne » à lire par petits bouts. Une version pour tablette est en préparation et une version française (entre autres).

    C’est LA chronique historique mongole. La version la plus ancienne est du XIVe siècle.

    P.Bayarmagnai : We shouldn’t compete – we should take initiative | The UB Post

    Whose version of the MSH did you use? You mentioned that you defined around 2,000 ancient words and gave context?
    We created our book based on the interpretation by State Honored Teacher Sh.Choimaa, which is considered to be a superb version by scientists. Sh.Choimaa has also published more than a thousand ancient terminologies and their definitions, which were almost forgotten, on to which our team added about a thousand.
    We have tailored our book to fit the needs and busy schedules of the modern lifestyle so that when the text for the MSH is divided into 365, only a small paragraph a day is allotted to be read. The definitions for the terminology used in the small text are included on the bottom of the page. Basically, five to 10 minutes will be spent each day reading the MSH.
    In a sense, we can say that the special feature of the book is its design. If it’s not a secret, how are sales?
    People have been calling us and saying, “Our whole family has started reading the book and are enjoying it. We start off by reading the main text, followed by the explanation.” It is very rewarding to hear this. The book is designed so that you finish exactly one year after you start reading it. You don’t have to start specifically on January 1st.
    The book is selling very well. In just one week, our book ranked sixth on the bestseller list at Internom bookstore. Requests from other bookstores are pouring in. The creators of the book strongly influenced book sales, as well as the video clip with actor B.Amarsaikhan, which went viral online.

    Pour le buzz à l’échelle de la Mongolie, la vidéo mentionnée avec l’acteur B. Amarsaikhan a été vue 15000 fois ;-)

    L’Histoire secrète était très peu diffusée à l’époque soviétique : il était très mal vu et considéré comme une déviation nationaliste de s’intéresser à Chinggis Khan.

    Depuis la « révolution démocratique », elle a retrouvé sa place. Par exemple, cette exposition de peinture et de calligraphie (en écriture ancienne) dans la province de Khov.

    (pour le plaisir d’entendre parler mongol — comme pour la précédente… et un petit plaisir du monteur qui fait coïncider les débuts de chant diphonique avec les prises de paroles des discours officiels…)

    Le titre de l’article du UB Post est justifié par ce qui suit (fin de l’article)

    After learning about all these great deeds, we cannot help but want to know more about the Mongolian Secret History Foundation. Why was this foundation established?
    Instead of bragging about the history of Mongolia, we should take measures to learn more about it and let others know and appreciate this vast history. We have many issues we feel strongly about, so we felt we should do something about them.
    If Hollywood is really interested in us, an all-Mongolian creation, complete with a Mongolian script, Mongolian directors, and Mongolian composers should be made. Chinese government funded China Film Group corporation has undertaken a multi-billion Yuan project to create a national superhero, intended to span from novels to movies, animations, applications and merchandise. They have chosen Chinggis Khaan to be this superhero.
    They are making another movie series about Chinggis Khaan. They got funding from Hollywood to make “Treasures of Chinggis Khaan” 3D movie in association with Marvel’s producer Avi Arad, the man behind the creation of Spiderman, Hulk and X-Men. Chinggis Khaan is going to be China’s hero and sold as merchandise. And this is just an example.
    We shouldn’t compete – we should take initiative. Competing is difficult. They are funded by the billions and can do anything. What we can do is take initiative.

    Il faut dire que pour les Mongols, la perspective de voir une super production hollywoodienne sur Chinggis Khan, coproduite par Marvel et un financier chinois a de quoi les énerver un peu…

    Genghis Khan Movie To Launch Bruno Wu-Avi Arad China Company | Deadline

    In late 2011, Chinese media entrepreneur Bruno Wu’s Seven Stars Entertainment announced a joint venture with producer Avi Arad. The aim was wide-ranging: to develop superhero franchise properties across live-action tentpoles, animated TV series, merchandising, digital platforms, and mobile apps. All of the stories were to be inspired by Chinese history and mythology. In 2013 the venture morphed into a more formal agreement that created Dragon Entertainment.
    The new head of CFC, La Peikang, Arad, and Wu say the first project to be produced under the deal is Genghis Khan’s Treasure, a 3D adventure epic about the legendary conqueror. Mongolian filmmaker Lisi Mai is attached to direct. It is fully financed and set to go into production next year for a 2016 release. The English-language film is yet to cast, but will seek Chinese and American actors. CFG will release in China and Arad says it will have a Hollywood studio partner.

    Wu says he sees the pic as a “global franchise,” and Arad tells me it’s “designed to be a worldwide tentpole.” The Spider-Man franchise producer has had a “total fascination” The Amazing Spider-Man - UK Premierewith factual stories of the world and Genghis Khan’s is one of them. He feels “it’s definitely a brand and an intellectual historical account of him that’s unbeknownst to a lot of people.” Sequels to the history – or continuations – are eyed.

    Certes, il y a des montagnes d’individus qui fantasment sur « Genghis Khan », mais que des producteurs sino-américains souhaitent en faire une marque mondiale et que la super production ne fasse appel qu’à des acteurs chinois ou américains, ça énerve…