/en

Requiem pour un massacre
▻https://fr.wikipedia.org/wiki/Requiem_pour_un_massacre

https://upload.wikimedia.org/wikipedia/en/0/08/Come_and_See_%28poster%29.jpg

Come And See by Elem Klimov (1985)
▻https://archive.org/details/y-2mate.is-come-and-see-war-film-full-movie-zj-ii-ap-n-6cfg-1080pp-17104191

▻https://de.wikipedia.org/wiki/Komm_und_sieh

... der Titel wurde geändert, ursprünglich sollte er Tötet Hitler heißen. Der Titel des Films leitet sich aus dem 6. Kapitel der Offenbarung des Johannes ab. Der Ausruf „komm und sieh“ (in den Versen 1, 3, 5 und 7) bildet dort die Aufforderung, die Verheerungen zu betrachten, die durch die vier Reiter der Apokalypse angerichtet werden.

Les événements et personnages historiques

Massacre de Khatyn
▻https://fr.wikipedia.org/wiki/Massacre_de_Khatyn

Chatyn
▻https://de.wikipedia.org/wiki/Chatyn#Massaker_der_SS

https://upload.wikimedia.org/wikipedia/commons/e/e6/Khatyn_-_Villages.jpg

In Chatyn wurde 1969 die Nationale Gedenkstätte der Republik Belarus eröffnet, die an die Zerstörung von 5295 weißrussischen Dörfern während des Zweiten Weltkriegs und die Opfer der nationalsozialistischen Kriegsverbrechen erinnert. Manchmal wird spekuliert, Chatyn könnte wegen der Ähnlichkeit des Ortsnamens zum Ortsnamen Katyn, der in Polen für die Ermordung tausender polnischer Offiziere durch den NKWD 1940 steht, als Ort für die Gedenkstätte ausgewählt worden sein.1974 besuchte der damalige US-Präsident Richard Nixon die Gedenkstätte von Chatyn.
Strafverfolgung

In Deutschland wurde nie jemand für diesen Massenmord strafrechtlich belangt. Ende 1975 stellte die Staatsanwaltschaft Itzehoe, der der Bundesgerichtshof den Fall übergeben hatte, ein Ermittlungsverfahren dazu ein. Der Prozess gegen den Kommandeur des Schutzmannschafts-Bataillons, den Ukrainer Hryhorij N. Wasjura, fand 1986 statt.

Künstlerische Verarbeitung und Gedenken

Die Geschichte mehrerer solcher Dörfer beschreiben Augenzeugenberichte, die von Ales Adamowitsch und Janka Bryl zu einem Buch zusammengestellt wurden, das unter dem russischen Titel Ich bin aus einem verbrannten Dorf … (russ.: Я из огненной деревни, belaruss.: Я з вогненнай вёскі …) bekannt wurde. Das Massaker von Chatyn wurde von Adamowitsch auch in seinem 1972 zunächst auf Russisch, 1976 auch auf Belarussisch erschienenen Roman Хатынская аповесць (dt.: Die Erzählung von Chatyn) behandelt, der später als Grundlage für das Drehbuch zu dem Film Komm und sieh (russisch Иди́ и смотри́ / Idi i smotri) diente.

In der DDR war Chatyn Bestandteil des Geschichtsunterricht, insbesondere die von den deutschen Soldaten selbst produzierten Filmaufnahmen des Einsatzes wurden als Beleg für die Grausamkeit des NS-Regimes genutzt.

Hryhoriy Vasiura
▻https://en.wikipedia.org/wiki/Hryhoriy_Vasiura

https://upload.wikimedia.org/wikipedia/en/2/21/Vasiura_Hryhoriy.jpg

Hryhoriy Mykytovych Vasiura (Ukrainian: Григорій Микитович Васюра, Russian: Григорий Никитич Васюра; 15 February 1915 – 2 October 1987) was a Soviet senior lieutenant in the Red Army who was captured during the Nazi invasion of the USSR in 1941 and subsequently volunteered for service in the Schutzmannschaft (the Nazi collaborationist auxiliary police) and the Waffen-SS. Vasiura’s wartime activities were not fully revealed until the mid-1980s, when he was convicted as a war criminal by a Soviet military court and executed in 1987 for his role in the Khatyn massacre.
Biography

Early life and Soviet military

Vasiura was born on 9 February 1915 (according to other data, in 1913) in the city of Chyhyryn (now Cherkasy Region, Ukraine). He worked as a school teacher before World War II. In 1936, he graduated from the Kiev Military School of Communications.

By the beginning of the Nazi invasion of the USSR in June 1941, Vasiura commanded a communication squad of the 67th Rifle Division (according to data of his war prisoner card, he served in the artillery forces). During the battle of Liepāja on June 28, he was wounded in the thigh and captured.

Vasiura was imprisoned in the camp Stalag III-A. While in captivity he agreed to collaborate with the Germans, and in February 1942 he was sent to the school of propagandists (first in Wustrau, later in Wutzetz) organized within the camp Stalag III-D under the authority of the Reich Ministry for the Occupied Eastern Territories.
Service in the ranks of punitive forces

After graduating from the school of propagandists in October 1942, Vasiura was sent to Kiev, where he joined the 118th Schutzmannschaft battalion composed of former Soviet soldiers and Ukrainian collaborators. Some sources state that along with other members of the unit he took part in executions of Jews in Babi Yar.

Vasiura quickly advanced in the service. From platoon commander, he was promoted to chief of staff over his predecessor in December 1942. The unit had a double leadership: German Major Erich Körner was in charge, while Vasiura supervised the battalion on a daily basis. That same month, the unit was transferred to the occupied Byelorussian SSR to conduct punitive operations against partisans. The battalion first arrived at Minsk, and then deployed to the town of Pleshchenitsy.

From January 1943 to July 1944, Vasiura and his battalion conducted dozens of pacification actions – including operations Hornung, Draufgänger, Cottbus, Hermann and Wandsbeck – that were part of the “dead zone” policy of annihilating hundreds of Belarusian villages in order to remove the support base for the alleged partisans. 60 major and 80 smaller actions affected 627 villages across occupied Belarus.

Khatyn massacre

On the morning of 22 March 1943, three vehicles with the 118th battalion staff were ambushed by “Uncle Vasya’s” partisan squad near the village of Khatyn. Partisans killed Hans Woellke, the hauptmann (captain) of the auxiliary police and commander of the first battalion’s company, who was on his way to the Minsk airport. He was well known as the shot-put champion of the 1936 Olympics.[7] Hitler knew him personally.

Woellke’s death enraged the policemen, who suspected local peasants of helping the partisans. On the Pleshchenitsy–Logoysk road they stopped 50 inhabitants of the village of Kozyri, and killed 26 of them.[8][9] Soon the 118th battalion and SS-Sturmbrigade Dirlewanger surrounded the village of Khatyn. Following Körner’s orders, the soldiers under Vasiura’s direction forced the peasants into a barn which they set on fire. They shot everybody who tried to escape. In total, 149 people died (including 75 children).

Later war crimes in Belarus[edit]

Vasiura continued serving in the 118th battalion in Belarus.

On 13 May 1943 he commanded a unit in a battle against partisans for the village of Dalkovichi, and on May 27, his battalion executed 78 people in the village of Osovi.[10] Then, within the punitive operation Cottbus, the unit massacred residents of the village of Vileika and its suburbs.[13] Afterwards they burned the villages of Makovie and Uborok, where nobody was left alive, and then executed 50 Jews in the village of Kaminska Sloboda.

Vasiura later transferred to the 76th Waffen Grenadier Regiment of the 30th Grenadier SS-Division, where he fought until the end of the war. Supposedly, his regiment was smashed in France, where some part of the 118th Schutzmannschaft battalion went over to French partisans.

Körner hid the civilian deaths, reporting to his superiors that the 118th battalion fought only against numerous partisan squads. This was due to the decree, issued on 18 November 1942, that forbade involving locals in criminal liability because many villages were “under partisans’ oppression”.[citation needed]
Post-war times

While at the Soviet filtration camp, Vasiura hid the fact of his service in the auxiliary police and SS. In 1952, the Kiev Military Tribunal sentenced him to 25 years imprisonment, but on 17 September 1955 he was amnestied in accordance with a decree issued by the Presidium of the Supreme Soviet. Usually, Vasiura explained his post-war imprisonment by the fact that he had previously been taken prisoner by the Germans, and obtained an official certificate confirming this.

Vasiura moved to the village Velyka Dymerka (Brovary District, Kyiv Region) and became the economic director of the Velikodymersky state farm. The farm was quite successful under his leadership. However, farm-workers sometimes complained about Vasiura’s heavy-handed management as he would cruelly beat the employees. He built a big house, was encouraged several times for conscientious work, and received a membership of the Communist Party of the Soviet Union (CPSU). In 1984, he was awarded the medal Veteran of Labour. He married, and two of his daughters were school teachers.

Vasiura became an honorary cadet of the Kiev Military School of Communications. He would give patriotic speeches in front of cadets and pioneers, making reference to his fictional battle feats, pretending that he was a Red Army veteran.

Detention and trial

In 1985, Vasiura demanded the Order of the Patriotic War as a veteran. In the archives, employees found only the fact that he went missing in June 1941. Further searches in the archives forced them to review some results of the interrogation of Vasyl Meleshko, Vasiura’s former fellow soldier, who was executed in 1975 for collaboration with the Nazis and participation in the burning of Khatyn. A criminal case was opened “due to the newly discovered circumstances”. In November 1986, Vasiura was arrested and transferred to Minsk.

With almost no survivors of the Khatyn massacre, the 26 witnesses were former soldiers of the 118th Schutzmannschaft battalion, most of whom had already served their sentences in Soviet camps and prisons.
The death sentence to Vasiura handed down by the Tribunal of the Belorussian Military District on 26 December 1986.

Vasiura initially denied his guilt; he claimed that he did not participate in the punitive operation and did not kill any civilians. But the witnesses all testified that Vasiura gave them orders to kill the villagers. Transcripts of the court case totaled 14 volumes, and the investigators managed to reconstruct the events of 22 March 1943, with accuracy to the minute. Irrefutable evidence of his participation in these military crimes, particularly in the episode at Khatyn, was found.

When Vasiura realized that there was no point denying it, he confessed, shouting, “Yes, I burned your Khatyn!” On 26 December 1986 the Tribunal of the Belorussian Military District, headed by Judge Viktor Glazkov, sentenced Vasiura to death by shooting. He was executed by shooting at Pishchalauski Castle on 2 October 1987.

The trial was private; only two correspondents – of the newspaper Izvestiya and the agency BelTA – were assigned to report on it. They completed their articles but were later informed that the materials would not be published. Glazkov claimed that this happened due to the direct involvement of the general secretary of the Communist Party of Ukraine, Volodymyr Shcherbytsky, and the Communist Party of Byelorussia First Secretary Mikalai Sliunkov. Both were concerned that a public trial of a Ukrainian war criminal would undermine the official discourse of the brotherhood between Soviet peoples.

Vasiura was buried in a forest near Logoysk, in the same place where many of his victims lay. There are papers in the archives which contain the coordinates of the place where his body was buried. He has no grave marker.

The Belarusian government declassified the records of the trial in March 2008.

See also
Come and See
Generalplan Ost
Belarusian Auxiliary Police
Kaminski Brigade
Oskar Dirlewanger
Volodymyr Katriuk
Antonina Makarova
Feodor Fedorenko
John Demjanjuk

External links

“Declassified History. The Executioners of Khatyn”, a documentary by the channel Russia-Cultura, 2014 (in Russian)

Bibliography

Oushakine, Serguei Alex (2013). “Postcolonial Estrangements: Claiming a Space between Stalin and Hitler”. Rites of Place: Public Commemoration in Russia and Eastern Europe.
Rudling, Per Anders (2011). “Terror and Local Collaboration in Occupied Belarus: The Case of Schutzmannschaft Battalion 118. Part I: Background”. Historical Yearbook. Bucharest: Romanian Academy “Nicolae Iorga” Historical Institute. VIII: 195–214.
Rudling, Per Anders (2012). “The Khatyn Massacre in Belorussia: A Historical Controversy Revisited” (PDF). Holocaust and Genocide Studies. 26 (1): 29–58.
Laputska, Valeria (2016). “World War II Criminals in Belarusian Internet Mass-Media: The Cases of Anthony Sawoniuk and Vladimir Katriuk” (PDF). The Journal of Belarusian Studies.
Singh, Shantanu (2017). “Khatyn Massacre: One of The Worst Nazi Atrocities”. Catharsis Magazine.

References

^ Jump up to: a b “Хатынь (Беларусь)”. vid1.ria.ru. Retrieved 2022-03-31.[permanent dead link]
^ Registrar of Canadian Citizenship, Canada: Minister of Citizenship and Immigration v. Katriuk. Reasons for Judgement. Docket: T-2409-96 including brief history of Battalion 118.
^ ""Khatyn" – Genocide policy | Punitive operations | The 118th police battalion". www.khatyn.by. Archived from the original on April 21, 2017. Retrieved April 5, 2018.
^ Oushakine, Serguei Alex (2013). “Postcolonial Estrangements: Claiming a Space between Stalin and Hitler”. Rites of Place: Public Commemoration in Russia and Eastern Europe.: 285–315. doi:10.2307/j.ctv8pzbhw.18.
^ Jump up to: a b Rudling, Per Anders (2011). “Terror and Local Collaboration in Occupied Belarus: The Case of Schutzmannschaft Battalion 118. Part I: Background”. Historical Yearbook. VIII. Bucharest: Romanian Academy “Nicolae Iorga” Historical Institute: 195–214. Archived from the original on September 26, 2015.
^ ""Khatyn" – Genocide policy | Genocide policy". Khatyn.by. Archived from the original on January 10, 2018. Retrieved April 5, 2018.
^ “Hans Woellke Bio, Stats, and Results”. Olympics at Sports-Reference.com. Archived from the original on February 6, 2018. Retrieved April 5, 2018.
^ “Belarus Marks 75th Anniversary of Khatyn Tragedy. 5 Facts You Should Know”. BelarusFeed. March 22, 2018. Archived from the original on 2018-04-05. Retrieved 2018-04-05.
^ Jump up to: a b “Witness testimonies on Nazi collaborator Vladimir Katriuk’s (1921–2015) involvement in Khatyn Massacre”. The Embassy of the Russian Federation in Canada. Archived from the original on April 27, 2017.
^ Jump up to: a b c d Rudling, P. A. (April 1, 2012). “The Khatyn Massacre in Belorussia: A Historical Controversy Revisited” (PDF). Holocaust and Genocide Studies. 26 (1): 29–58. doi:10.1093/hgs/dcs011. ISSN 8756-6583. S2CID 145387159. Archived from the original (PDF) on April 5, 2018.
^ Singh, Shantanu (April 23, 2017). “Khatyn Massacre: One of The Worst Nazi Atrocities”. Catharsis Magazine. Archived from the original on April 3, 2018. Retrieved April 3, 2018.
^ Dsygowbrodski, Dmitri (June 21, 2016). “Wer waren die mörder von Chatyn?”. Sascha’s Welt (in German). Archived from the original on April 5, 2018. Retrieved April 5, 2018.
^ Walke, Anika (August 13, 2015). Pioneers and Partisans: An Oral History of Nazi Genocide in Belorussia. Oxford University Press. p. 109. ISBN 9780190463588.
^ Hately-Broad, Barbara (February 1, 2005). Prisoners of War, Prisoners of Peace: Captivity, Homecoming and Memory in World War II. Bloomsbury Publishing. p. 131. ISBN 9781845207243.
^ Matas, David (April 17, 2012). “Is reconciliation for the Holocaust possible?”. Searching for Raoul Wallenberg. Archived from the original on 2015-12-26. Retrieved 2018-04-05.

#Russie #Biélorussie #guerre #nazis #SS #partisans #antifascisme

Vous ne trouvez pas que ça manque de Carole King, sur Seenthis ?
▻https://www.youtube.com/watch?v=MOyvYnkdEcc

Affaire Judith Godrèche : « Les attaques contre le cinéma d’auteur et les “Cahiers du cinéma” sont infondées et déplacées »
▻https://www.lemonde.fr/idees/article/2024/03/16/affaire-judith-godreche-les-attaques-contre-le-cinema-d-auteur-et-les-cahier

Les accusations de Judith Godrèche contre Benoît Jacquot et Jacques Doillon, ses reproches et les questions adressés au milieu du cinéma ont eu pour effet secondaire de virulentes attaques contre le cinéma d’auteur, la politique qui l’a promu, la Nouvelle Vague et les Cahiers du cinéma. Ces attaques surabondent dans les journaux, sur les réseaux sociaux, dans diverses revues en ligne, à la radio et à la télévision. L’expression la plus concise en a été donnée par Laure Murat dans une tribune au Monde, le 17 février, au demeurant précise et mesurée, avec une formule reprise comme accroche par le journal : « A travers Jacquot et Doillon, c’est symboliquement le cinéma d’auteur, consacrant la toute-puissance du metteur en scène, qui se trouve visé. »

Je tiens à dire qu’il s’agit là d’un contresens, ancien mais aujourd’hui partout repris, sur ce que signifient le cinéma d’auteur et la mise en scène qui en est inséparable. La notion d’auteur de cinéma, dont on peut trouver les prémices chez Louis Delluc, a été promue comme politique par les Cahiers du cinéma en 1955, et la première mention du terme se trouve sous la plume de François Truffaut dans le numéro de février.
Or, contrairement à ce qui se dit ou s’écrit ici ou là, cette politique n’a jamais consisté à promouvoir la toute-puissance d’un auteur majusculé (ou masculin : elle valait aussi bien pour Agnès Varda, Marguerite Duras, Vera Chytilova ou Shirley Clarke…), mais bien celle de la mise en scène. Pour le dire plus clairement, elle affirmait que le véritable auteur d’un film n’était ni le scénariste, ni l’actrice ou l’acteur principal, ni le directeur de la photographie ou le producteur, mais le metteur en scène. La mise en scène étant entendue non comme simple mise en image ornementale d’une histoire préexistante, mais comme construction spatio-temporelle d’un monde d’images et de sons peuplé de corps parlant, agissant, subissant, regardant ou rêvant. Et dans sa manifestation la plus haute, l’invention – pour reprendre Merleau-Ponty parlant de Cézanne – d’une forme qui pense.

Intimidation et terreur

Dans l’expression « politique des auteurs », c’est au terme toujours oublié de « politique » qu’il faut imputer les excès, les injustices et les provocations qui ont marqué ce moment de l’histoire du cinéma. Croit-on vraiment les tenants de cette politique assez stupides pour ignorer que la réalisation d’un film résulte d’un travail collectif et que certains doivent une grande partie de leur beauté à l’excellence de l’interprétation (celle par exemple de James Dean, sur qui François Truffaut a écrit un long panégyrique) ou à la griffe d’un producteur, Val Lewton, David Selznick ou Irving Thalberg ? Fallait-il les prendre au sérieux, le faisaient-ils eux-mêmes quand ils proclamaient que le meilleur film de l’année à venir serait celui de Jean Renoir, dont le tournage allait commencer huit jours plus tard ?

Cette intimidation et même cette terreur que les tenants de la politique des auteurs faisaient régner au sein de la profession étaient inséparables d’un combat, parfois très dur, que le terme « politique » résumait, pour imposer certains noms : Howard Hawks plutôt que Fred Zinnemann ou George Stevens ; Nicholas Ray, souvent tenu par ses confrères comme un piètre technicien aux mises en scène bâclées ; Samuel Fuller, vilipendé par la critique communiste comme cinéaste fasciste et à qui il fallait rendre justice.

Et c’est, paradoxalement, appliquée au cinéma hollywoodien que la politique des auteurs a été la plus féconde, là où les beautés, les grâces et les charmes d’un film devaient être arrachés de haute lutte à un système de production souvent écrasant par des cinéastes servants de ce système : tenus de filmer un scénario parfois médiocre, obligés de composer avec des acteurs qui ne leur convenaient pas, astreints à des durées de tournage parfois très serrées dans des conditions économiques précaires, dépourvus enfin de droit de regard sur le montage final. C’est sur ce fond d’impouvoir que se manifestaient les qualités du réalisateur, véritable auteur du film.

Surenchère dans la repentance

On voit mal, à la lumière de ces exemples, en quoi la politique des auteurs pouvait consacrer une toute-puissance de l’auteur en majesté, et moins encore participer, comme l’écrit le chapeau de la tribune de Laure Murat, d’un « système opératoire de prédation » et de violences à l’encontre des femmes. Encore s’agit-il là d’un article pondéré, ce qui n’est pas, tant s’en faut, toujours le cas. On a ainsi pu entendre dire, le 8 février, sur une radio de grande audience, que la Nouvelle Vague avait non seulement favorisé les violences faites aux femmes, mais ouvert la voie à la pédocriminalité. Et le plus inquiétant n’est pas là : c’est – témoignant du climat étrange d’intimidation et de surenchère dans la repentance qui règne en nos contrées depuis quelques semaines – que personne n’ait trouvé à redire à ces déclarations diffamatoires sur une radio de service public.

La focalisation d’attaques d’une violence parfois inouïe contre le cinéma d’auteur et les Cahiers du cinéma, parce que les films de Benoît Jacquot et Jacques Doillon ont pu y être défendus, est non seulement infondée, mais proprement déplacée. Il n’est pas nécessaire d’être un grand historien pour savoir que le cinéma a connu, sans attendre la Nouvelle Vague, des réalisateurs autoritaires, abusifs, violents ou tyranniques, de Henri-Georges Clouzot à Sam Peckinpah, et parfois très grands, comme Otto Preminger ou Erich von Stroheim. Et il suffit de lire Hollywood Babylone (1975), de Kenneth Anger, pour voir se déployer un incroyable panorama de perversions, turpitudes, dépravations, vices, emprises, violences, disparitions, viols et jusqu’à des crimes parfois restés impunis, où aucune trace d’influence de la politique des auteurs n’a été trouvée.

Un premier contre-feu vient heureusement d’être allumé, qui pourrait donner un coup d’arrêt au déferlement vindicatif en cours. Un malicieux tour de l’histoire a voulu qu’on le doive à celle par qui le scandale est arrivé, Judith Godrèche. Lors de la Nuit des César, elle a joliment conclu son intervention avec quelques répliques de Céline et Julie vont en bateau (1974), de Jacques Rivette. Rivette : le tenant le plus radical de la politique des auteurs et son plus brillant théoricien, par ailleurs le metteur en scène le moins prédateur qui se puisse imaginer.

Jean Narboni est ancien rédacteur en chef des Cahiers du #cinéma, enseignant à l’université Paris-VIII et à la Fémis, directeur de la collection Cahiers du cinéma/Gallimard. Il a notamment écrit « La Grande Illusion de Céline » ( Capricci, 2021).

"I’m in love with Magaret Thatcher". L’entrée en scène de la "voleuse de lait".
▻https://lhistgeobox.blogspot.com/2024/03/im-in-love-with-magaret-thatcher.html

« En accord avec Ronald Reagan (6), qui vient d’accéder à la présidence des Etats-Unis en 1981, Thatcher encourage la compétition entre individus, réduisant autant que possible les aides de l’Etat. Pour elle, "la société n’existe pas. Il existe un tissu vivant d’hommes et de femmes, et la qualité de nos vies dépend de la disposition de chacun de nous à se prendre en main." Reagan dénonce les "welfare queens", les reines de l’aide sociale, des profiteuses qui feraient des gosses pour vivre aux crochets de la société. Au fil des discours, elle s’emploie à dessiner le portrait du mauvais pauvre, qui prend les traits du chômeur bénéficiant d’aides indues qui l’entretiendraient dans l’oisiveté. "Le chômage est une injure à la rationalité économique. La mentalité qui en résulte est que les chômeurs se contentent de vivre aux dépens de l’Etat, sans vraiment ressentir la nécessité de bouger ou de trouver du travail", dixit Maggie.

https://upload.wikimedia.org/wikipedia/en/a/a7/Im_in_love_with_Margaret_Thatcher_cover.jpeg

En 1965, Bob Dylan publie "Maggie’s farm". Les paroles, qui ne se réfèrent pas à Thatcher, décrivent pourtant l’exploitation dont sont victimes ceux qui y sont employés, comme une métaphore de l’Angleterre sous la férule de Maggie. Les Blues Band et les Specials reprennent le titre dont ils adaptent les paroles au contexte britannique. Chez les premiers, ce n’est plus la garde nationale qui est en faction devant la chambre du papa de Maggie, mais le Special Patrol Group, l’unité de police métropolitaine de Londres en charge de la répression et coutumière des bavures. Si la victoire de Thatcher en 1979 s’est accompagnée d’un effondrement du vote du National Front, c’est aussi parce que la conservatrice a repris à son compte les idées racistes du parti d’extrême-droite dans son programme de campagne, une récupération que dénonçait déjà le dub poet LKJ, fustigeant le "show raciste" de Maggie dans son titre "It Dread inna England". "Quoi qu’ils en disent, quoi qu’il arrive, nous, Africains, Idiens et Caribéens, nous sommes aujourd’hui ici pour rester, dans cette Angleterre." »

Bientôt
▻https://en.wikipedia.org/wiki/Year_of_the_Dragon

https://txsl.de/IMG/logo/new-year-8262467_1280-2.jpg?1704651146

10.2.2024 - 28.1.2025

Chinesisches Neujahrsfest / 春節
▻https://de.wikipedia.org/wiki/Chinesisches_Neujahrsfest

https://upload.wikimedia.org/wikipedia/commons/0/00/Dragon_in_Chinatown_NYC_Lunar_New_Year.jpg

Chinesische Astrologie / 中國占星術
▻https://de.wikipedia.org/wiki/Chinesische_Astrologie#Z%C3%A4hlung_ab_Jahresbeginn
▻https://fr.wikipedia.org/wiki/Astrologie_chinoise
▻https://en.wikipedia.org/wiki/Chinese_astrology
▻https://zh.wikipedia.org/wiki/%E4%B8%AD%E5%9C%8B%E5%8D%A0%E6%98%9F%E8%A1%93

Chinesischer Kalender / 農曆
▻https://de.wikipedia.org/wiki/Chinesischer_Kalender#Der_60-Jahre-Zyklus
▻https://fr.wikipedia.org/wiki/Calendrier_chinois
▻https://en.wikipedia.org/wiki/Chinese_calendar
▻https://zh.wikipedia.org/wiki/%E8%BE%B2%E6%9B%86

Jahr des Drachen (Film)
▻https://de.wikipedia.org/wiki/Jahr_des_Drachen_(Film)

Jahr des Drachen ist ein 2012 von Regisseur Torsten C. Fischer inszeniertes deutsches Filmdrama

Im Jahr des Drachen / 龙年 (电影) / 龍年
▻https://de.wikipedia.org/wiki/Im_Jahr_des_Drachen

Im Jahr des Drachen (Originaltitel: Year of the Dragon, alternativ: Manhattan Massaker, auch Chinatown Mafia) ist ein US-amerikanischer Thriller von Michael Cimino aus dem Jahr 1985. Er ist eine Verfilmung eines Kriminalromans von Robert Daley.

▻https://fr.wikipedia.org/wiki/L%27Ann%C3%A9e_du_dragon
▻https://en.wikipedia.org/wiki/Year_of_the_Dragon_(film)
▻https://zh.wikipedia.org/wiki/%E9%BE%99%E5%B9%B4_(%E7%94%B5%E5%BD%B1)

Dragon (astrologie chinoise) / 辰
▻https://fr.wikipedia.org/wiki/Dragon_(astrologie_chinoise)
▻https://en.wikipedia.org/wiki/Dragon_(zodiac)
▻https://zh.wikipedia.org/wiki/%E8%BE%B0

17 February 1988 5 February 1989 Earth Dragon
10 February 2024 28 January 2025 Wood Dragon

Il y a 36 ans

Rotes Kornfeld / 红高粱
▻https://de.wikipedia.org/wiki/Rotes_Kornfeld

https://upload.wikimedia.org/wikipedia/en/c/ca/Red_Sorghum_movie_poster.jpg

Der chinesische Film Rotes Kornfeld (Originaltitel: chinesisch 红高粱 / 红高粱, Pinyin Hóng Gāoliang – „Rotes Sorghum“; englischer Titel: Red Sorghum) ist das erste Regiewerk von Zhang Yimou, der vorher Kameramann war. Er wurde 1988 auf der Berlinale mit dem Goldenen Bären ausgezeichnet, was in China große Kontroversen hervorrief.

▻https://fr.wikipedia.org/wiki/Le_Sorgho_rouge_(film)
▻https://en.wikipedia.org/wiki/Red_Sorghum_(film)
▻https://zh.wikipedia.org/wiki/%E7%BA%A2%E9%AB%98%E7%B2%B1_(%E7%94%B5%E5%BD%B1)

38. Internationale Filmfestspiele Berlin, 12. – 23. Februar 1988
▻https://www.berlinale.de/de/archiv/chroniken/1988.html

https://www.berlinale.de/media/60-jubilaeum/60jahrebilder/bilder_1988/60_plakat1988_0002_ORG.jpg

#Chine #astrologie #calendrier #dragon #1988 #2024 #film #histoire

English / Chinese dictionary
▻https://www.mdbg.net/chinese/dictionary?page=worddict&wdrst=1&wdqb=Year+of+the+dragon

SYDRON
▻https://sydron.com/our-story

The taxi of the future will be a combat-ready dual-use vehicle. Presumably there is al link to the official terminator’s participation.

2022
From 2022 we started to assemble the best team from Poland and Ukraine. Specialist in aviation and drone development, battery, IT and other deep-tech industry. We combine specialists with military experience and engineers with science backgrounds to create the best product.

2023
In 2023 together with Polish Aviation Authorities (EU) and certifying organizations we developed a 4,5 year certification plan for (SYDRON model 2), and a 2,5 plan for (SYDRON model 1 ultra light). With science partners such as Rzeszow Technical University department Aviation and Aviation Institute Lukasiewicz we are preparing a test and R&D process which can help us to achieve all milestones. Receiving a huge support working together with international organizations like Port of Barcelona (Spain) and ecological organizations like Altasea Port of Los Angeles (USA), 7-th generation advisers (USA).

2023
With Terry Tamminen, CEO of AltaSea at the Port of Los Angeles and former Chief of California Environmental Protection Agency & CEO of the Leonardo DiCaprio Foundation, also served as Environmental Advisor to President Obama and Governor Arnold Schwarzenegger USA. Cooperation with city of Rzeszow and PAIH…

Ukraine background, names of developers hidden.

+ 20 ENGINEERS with a background in science and military expertise

Maciej K. Senior Avionics Specialist
Mateusz M. Construction Engineer
Aleksandr O. Aviation Specialist
Maciej K. Senior Avionics Specialist

Design department with experience in R&D for aircraft and aeronautical engineering.
Our team consists of specialists with a background in designing hybrid-driveclass aircraft, military drone development and lightweight automotive structures.
They are responsible for the overall structural construction.
...

1 person drone

▻https://sydron.com/wp-content/uploads/2023/09/sydron-i-baner-1920_1080.webp
The first premium private electric VTOL vehicle

I’d rather call Bruce Willis and his taxi from The Fifth Element.

https://upload.wikimedia.org/wikipedia/en/3/38/Fifth_Element_Circles_of_Power.png

2 person drone or pilot vehicle, for pilot / air gunner

▻https://sydron.com/wp-content/uploads/2023/10/baner_001-1920_1080.webp
SYDRON Model 2, For two passengers
The first premium private electric VTOL vehicle, designed for two passengers (licensing pilot and passenger). SYDRON seamlessly blends the flexibility of an ultralight helicopter with cutting-edge eco-friendly technology, ensuring zero emissions. Its compact size allows for versatile journeys, and its whisper-quiet operation is perfectly suited for urban environments.

... so it goes ...

Heraklit
▻https://de.wikipedia.org/wiki/Heraklit

„Krieg ist Vater von allen, König von allen.[105] Die einen macht er zu Göttern, die anderen zu Menschen, die einen zu Sklaven, die anderen zu Freien.“

greek

Πόλεμος πάντων μὲν πατήρ ἐστί, πάντων δὲ βασιλεύς, καὶ τοὺς μὲν θεοὺς ἔδειξε τοὺς δὲ ἀνθρώπους, τοὺς μὲν δούλους ἐποίησε τοὺς δὲ ἐλευθέρους

#Polen #Ukraine #Drohnen #Taxi #marketing #wtf

The Late Great Planet Earth
▻https://en.m.wikipedia.org/wiki/The_Late_Great_Planet_Earth
Dans ce livre vous apprenez pourquoi il faut soutenir Israël. Sans ses jufs the holy land n’est pas prêt pour l’ultime combat entre Gog et Magog précédant l’enlèvement et la rédemption finale.

On va tous clamser mais seulement moi et mes fidèles réssusciterons. En attendant il faudrait me donner tout votre argent, vos femmes et vos autres possessions. Qu’on s’amuse un peu ;-)
Vive l’apocalypse !

https://upload.wikimedia.org/wikipedia/en/9/98/The_Late%2C_Great_Planet_Earth_cover.jpg

The Late Great Planet Earth is a treatment of literalist, premillennial, dispensational eschatology. As such, it compared end-time prophecies in the Bible with then-current events in an attempt to predict future scenarios resulting in the rapture of believers before the tribulation and Second Coming of Jesus to establish his thousand-year (i.e. millennial) kingdom on Earth. Emphasizing various passages in the books of Daniel, Ezekiel and Revelation, Lindsey originally suggested the possibility that these climactic events might occur during the 1980s, which he interpreted as one generation from the foundation of modern Israel during 1948, a major event according to some conservative evangelical schools of eschatological thought. Cover art of the Bantam edition suggested that the 1970s were the “era of the Antichrist as foretold by Moses and Jesus,” and termed the book “a penetrating look at incredible ancient prophecies involving this generation.” Descriptions of alleged “fulfilled” prophecy were offered as proof of the infallibility of God’s word, and evidence that “unfulfilled” prophecies would soon find their denouement in God’s plan for the planet.

He cited an increase in the frequency of famines, wars and earthquakes, as major events just prior to the end of the world. He also foretold a Soviet invasion of Israel (War of Gog and Magog). Lindsey also predicted that the European Economic Community, which preceded the European Union, was destined (according to Biblical prophecy) to become a “United States of Europe”, which in turn he says is destined to become a “Revived Roman Empire” ruled by the Antichrist. Lindsey wrote that he had concluded, since there was no apparent mention of America in the books of Daniel or Revelation, that America would not be a major geopolitical power by the time the tribulations of the end times arrived. He found little in the Bible that could represent the U.S., but he suggested that Ezekiel 38:13 could be speaking of the U.S. in part.

Although Lindsey did not claim to know the dates of future events with any certainty, he suggested that Matthew 24:32-34 indicated that Jesus’ return might be within “one generation” of the rebirth of the state of Israel, and the rebuilding of the Jewish Temple, and Lindsey asserted that “in the Bible” one generation is forty years. Some readers accepted this as an indication that the Tribulation or the Rapture would occur no later than 1988. In his 1980 work The 1980s: Countdown to Armageddon, Lindsey predicted that “the decade of the 1980s could very well be the last decade of history as we know it”.

The Late Great Planet Earth was the first Christian prophecy book to be published by a secular publisher (Bantam, 1973) and sell many copies. 28 million copies had sold by 1990..

Je n"ai d’abord pas voulu y croire mais il est documenté que l’imbécile de Bush junior a fait de bric-à-brac religieux sa ligne de mire quand il a lancé sa guerre contre la terreur.

A propos de l’édition de 2016

Author(s): Hal Lindsey; Carole C. Carlson

Description:

The impact of The Late Great Planet Earth cannot be overstated. The New York Times called it the “no. 1 non-fiction bestseller of the decade.” For Christians and non-Christians of the 1970s, Hal Lindsey’s blockbuster served as a wake-up call on events soon to come and events already unfolding — all leading up to the greatest event of all: the return of Jesus Christ. The years since have confirmed Lindsey’s insights into what biblical prophecy says about the times we live in. Whether you’re a church-going believer or someone who wouldn’t darken the door of a Christian institution, the Bible has much to tell you about the imminent future of this planet. In the midst of an out-of-control generation, it reveals a grand design that’s unfolding exactly according to plan. The rebirth of Israel. The threat of war in the Middle East. An increase in natural catastrophes. The revival of Satanism and witchcraft. These and other signs, foreseen by prophets from Moses to Jesus, portend the coming of an antichrist . . . of a war which will bring humanity to the brink of destruction . . . and of incredible deliverance for a desperate, dying planet.

#guerre #religiin #prohéties #USA #Israël #Palestine #christianisme #judaïsme #wtf #parousie #sionisme_chrétien

Flucht vor der Junta : DDR-Rettungsaktionen für Antifaschistinnen und Antifaschisten aus Chile
▻https://www.youtube.com/watch?v=g4HFqxWywuE&pp=ygURUnVkb2xmIEhlcnogQ2hpbGU%3D

Mehr als 60 Gäste in der jW-Maigalerie und etwa 2.500 Nutzer des Livestreams verfolgten am Donnerstag abend ein Gespräch zwischen dem früheren Offizier der DDR-Auslandsaufklärung Rudolf Herz (M.) und Verleger Frank Schumann (l.) unter der Moderation von jW-Autor Arnold Schölzel (r.). Herz half ab Oktober 1973 in Chile, Verbindungen ins Ausland aufrechtzuerhalten und bei der Flucht eines hochrangigen Politikers der Unidad Popular. In den nächsten Tagen erscheinen im Verlag am Park seine Erinnerungen: »Ich war OibE ›Kern‹ in Chile«.

Ich war OibE ›Kern‹ in Chile« 
▻https://www.eulenspiegel.com/verlage/verlag-am-park/titel/ich-war-oibe-kern-in-chile.html

https://www.eulenspiegel.com/images/verlag/cover/mittel/9783897933736.jpg

La notoire Stasi partageait son caractère à double tranchant avec toutes les institutions policières et services secrets des pays à vocation paisible et démocratique. Elle était à la fois un appareil de surveillance et de répression et un organisme capable de défendre des personnes en danger.
La DDR (RDA, République Démocratique d’Allemagne) a ainsi aidé les victimes de la dictature des colonels en Grèce entre 1967 et 1974 comme celles du régime Pinochet au Chili à partir du 11.9.1973.
Ce livre raconte la mission de sauvetage de l’officier de la section du renseignement extérieur HVA Rudolf Herz au coeur du Chili de 1973.

Erinnerungen an den Putsch 1973
240 Seiten, 12,5 x 21 cm, broschiert mit Abbildungen, erscheint 18. September 2023, Buch 18,– €, ISBN 978-3-89793-373-6

Im Herbst 1973, nach dem Putsch, schickte die Auslandsaufklärung den »Offizier im besonderen Einsatz« (OibE) Rudolf Herz nach Chile. Sein Deckname: Kern, seine Legende: Außenhändler, seine Mission: gefährdete Chilenen vor der Junta in Sicherheit und außer Landes bringen. Zweimal war er im Einsatz – von 1973 bis 1975 und von 1978 bis 1983. Herz gehörte zu jenen, die in Chile den Opfern des faschistischen Terrors halfen und im Auftrag der DDR das Überleben sicherten. Darüber schreibt er. Herz alias Kern gehört zu den wenigen, die noch aus eigener Erinnerung berichten können. Authentisch, analytisch, anschaulich und lebendig.

https://upload.wikimedia.org/wikipedia/commons/thumb/0/09/Emblem_of_the_Stasi.svg/512px-Emblem_of_the_Stasi.svg.png

Missing
▻https://fr.m.wikipedia.org/wiki/Missing_(film,_1982)

https://upload.wikimedia.org/wikipedia/en/b/b4/Missing_1982_film.jpg

Le scénario est adapté du roman homonyme de Thomas Hauser, lui-même inspiré de l’histoire vraie d’un journaliste américain, Charles Horman (en). Horman a effectivement disparu lors du coup d’État du 11 septembre 1973, mené par le général Augusto Pinochet, qui renverse le gouvernement du président chilien Salvador Allende.

#DDR #Chili #antifascisme #stasi #vidéo #histoire #témoignage

CORONATION
▻https://gutenberg.org/cache/epub/972/pg972-images.html

n. The ceremony of investing a sovereign with the outward and visible signs of his divine right to be blown skyhigh with a dynamite bomb.

https://upload.wikimedia.org/wikipedia/en/d/d5/Cynics_Word_Book.jpg

Ambrose Bierce, The Cynic’s Word Book, 1906, The Devils Dictionary, 1911
▻https://en.m.wikipedia.org/wiki/The_Devil%27s_Dictionary

#philosophie #parodie #humiur #cynisme

Gewalt gegen Arme in Kenia
▻https://www.jungewelt.de/artikel/455210.nicht-genug-zum-leben-gewalt-gegen-arme-in-kenia.html

Violence policière au Kenia - 27 morts pendant les manifestation depuis le début de l’année. La règle générale confirmée : plus les manifestations ont des chances de changer quelque chose, plus les réactions du pouvoirs sont violents.

(20.7.2023) von Ina Sembdner - Nachdem Kenias Präsident William Ruto kürzlich ein Finanzgesetz verabschiedet hatte, das neue Steuern vorsieht, kommt es in dem ostafrikanischen Land regelmäßig zu Protesten und Gewalt. Viele Kenianer hatten Ruto im vergangenen Jahr gewählt, weil er versprochen hatte, die Lebenshaltungskosten zu senken – und sie sind bei anhaltend hoher Inflation und ausufernder Erwerbslosigkeit bitter enttäuscht worden. Der Internationale Währungsfonds (IWF) wiederum zeigte sich diese Woche erfreut über die Verabschiedung des Gesetzes: Es sei ein »entscheidender« Schritt zur Verringerung der kenianischen Schuldenlast. Ungeachtet der Proteste traf Ruto am Mittwoch denn auch mit der US-Handelsbeauftragen Katherine Tai zusammen, um Washington von den wirtschaftlichen Potentialen Kenias zu überzeugen, wie die US-Agentur AP berichtete.

Am selben Tag kamen nach Angaben der Organisation »Independent Medico-Legal Unit« sechs Demonstranten durch Polizeischüsse ums Leben. Insgesamt seien in diesem Jahr bei drei Demonstrationen, zu denen die Opposition aufgerufen hatte, 27 Menschen von der Polizei erschossen worden. Der kenianische Ärzteverband hatte bereits vor den Protesten am Mittwoch erklärt, dass seine Mitglieder in den vergangenen Monaten »Hunderte von verletzten Kenianern« versorgt hätten und es »Dutzende von Todesopfern« gegeben habe. Vom Innenministerium hieß es, mehr als 300 Personen seien festgenommen worden – sie sollen unter anderem wegen Plünderungen, Zerstörung von Eigentum und Angriffen auf die Polizei angeklagt werden. Weniger gründlich geht die Behörde bei der Meldung von Todesfällen vor. So klagte der Beauftragte der Unabhängigen Polizeiaufsichtsbehörde, John Waiganjo, am Donnerstag gegenüber dem lokalen Sender NTV, dass die Organisation »keine Meldungen erhalten hat, wie wir sollten, und ich denke, es ist wichtig, darauf hinzuweisen«.

Der langjährige Oppositionsführer Raila Odinga hatte zu den Protesten an drei aufeinanderfolgenden Tagen gegen die Politik der Regierung aufgerufen. Am Mittwoch abend forderte seine Partei Azimio die Kenianer auf, »morgen in noch größerer Zahl« auf die Straße zu gehen, wie AFP meldete. Präsident Ruto peitschte dagegen der Polizei ein, »standhaft gegenüber Kriminellen, Banden, Anarchisten und allen Leuten, die Chaos verursachen wollen«, zu sein.

#Kenia #police #violence_policière

bell hooks, All about Love : New Visions
▻https://en.m.wikipedia.org/wiki/All_About_Love:_New_Visions

THERE ARE NOT many public discussions of love in our culture right now. At best, popular culture is the one domain in which our longing for love is talked about. Movies, music, magazines, and books are the place where we turn to hear our yearnings for love expressed. Yet the
talk is not the life-affirming discourse of the sixties and seventies, which urged us to believe" All you need is love."

https://upload.wikimedia.org/wikipedia/en/3/37/Allaboutlove.jpg

Publisher: William Morrow, Paperbacks, Year: 2001, ISBN: 0060959479,9780060959470

Description:
"The word “love” is most often defined as a noun, yet...we would all love to better if we used it as a verb," writes bell hooks as she comes out fighting and on fire in All About Love. Here, at her most provacative and intensely personel, the renowned scholar, cultural critic, and feminist skewers our view of love as romance. In its place she offers a proactive new ethic for a people and a society bereft with lovelessness.As bell hooks uses her incisive mind and razor-sharp pen to explode th question “What is love?” her answers strike at both the mind and heart. In thirteen concise chapters, hooks examines her own search for emotional connection and society’s failure to provide a model for learning to love. Razing the cultural paradigm that the ideal love is infused with sex and desire, she provides a new path to love that is sacred, redemptive, and healing for the individuals and for a nation. The Utne Reader declared bell hooks one of the “100 Visionaries Who Can Change Your Life.” All About Love is a powerful affirmation of just how profoundly she can.

#société #amour #USA #féminisme

L’Office of Price Administration contre les marchés libres
▻https://en.m.wikipedia.org/wiki/Office_of_Price_Administration
Wikipedia propose un article très complet sur un chapître étonnant de l’histoire économique des États Unis. On y découvre comment la régulation officielle des prix a été rendu inoffensive par une combinaison de lobbying et de propagande commerciale.

https://upload.wikimedia.org/wikipedia/commons/thumb/4/42/%22Help_Your_OPA_Fight_Inflation%22_-_NARA_-_514468.jpg/705px-%22Help_Your_OPA_Fight_Inflation%22_-_NARA_-_514468.jpg

The Office of Price Administration (OPA) was established within the Office for Emergency Management of the United States government by Executive Order 8875 on August 28, 1941. The functions of the OPA were originally to control money (price controls) and rents after the outbreak of World War II.

Le système pourtant très efficace n’a pas survécu l’immédiat après-guerre. Il a été combattu par le grand capital qui voulait s’émanciper de l’état sourde d’énormes profits de guerre. Là il ne représentait plus qu’un frein à la croissance économique que le garant de profits d’avant.

Comme figure de proue et écran de fumée publicitaire leur système économique a pondu l’incarnation d’un personnage de bande et dessin animée arch-ennemi populaire de la régulation des prix. Earl William Muntz popularisait l’image d’un Bugs Bunny des affaires fou et indestructible sur lequel petits employés et affairistes pouvaient projeter leurs rêves de réussite et d’évasion du carcan provincial.

Madman Muntz
▻https://en.m.wikipedia.org/wiki/Madman_Muntz

https://upload.wikimedia.org/wikipedia/en/4/4c/Earlmuntz.jpg

Après la guerre l’OPA a tenté en vain d’imposer des prix de vente pour les voitures d’occasion à l’homme d’affaires qui jouait au rebelle anti-instituionnel « Madman Muntz ». Pendant quarante ans cet énergumène a gagné et perdu des millions d’abord comme vendeur de voitures puis en inventant et commercialisant des produits de consommation innovants.

Muntz TV Commercial I 1952 ▻https://www.youtube.com/watch?v=r0eeAoBz1XI&t=57s

Stereo-Pak
▻https://en.m.wikipedia.org/wiki/Stereo-Pak

https://upload.wikimedia.org/wikipedia/en/6/6e/Stereo-pak_advertisement.jpg

https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/312722497_5695395953850410_3803357252472864311_n.jpg?stp=cp1_dst-jpg_p526x296&_nc_cat=107&ccb=1-7&_nc_sid=110474&_nc_ohc=i9UoWr92uoUAX_H_ZwE&_nc_ht=scontent-ham3-1.xx&oh=00_AfDyZe_E38YHY3UKQEUz0oB31shDu8Zh2XDaDWlZWO4NVA&oe=649432AA

https://scontent-ham3-1.xx.fbcdn.net/v/t39.30808-6/312359135_5695395957183743_1150839375506159053_n.jpg?stp=dst-jpg_p168x128&_nc_cat=105&ccb=1-7&_nc_sid=110474&_nc_ohc=DMy4btqees8AX-t5_wT&_nc_ht=scontent-ham3-1.xx&oh=00_AfBCk-npn9Td_Tf9aQNWL-TqReHXl8SFi2C4nQHXlAJJ3w&oe=6494B76D

Muntz-Jet
▻https://en.m.wikipedia.org/wiki/Muntz_Jet

https://upload.wikimedia.org/wikipedia/commons/9/9a/1951_Muntz.jpg

Technicolor Compact Video Cassette (CVC)
▻https://en.m.wikipedia.org/wiki/Compact_Video_Cassette

https://upload.wikimedia.org/wikipedia/commons/thumb/f/f5/Technicolor_CVC_Videocassette_recorder_with_monitor_at_DC_Video.jpg/1024px-Technicolor_CVC_Videocassette_recorder_with_monitor_at_DC_Video.jpg

L’investissemenr de Madman Muntz dans le système vidéo CVC conçu pour remplacer le film Super 8 a coulé comme celui de Siemens (DE), Grundig (DE), Thompson (FR) et Funai (JP). A cause de la piètre qualité des caméras mais surtout à cause du marketing international par le Japonais JVC-Panasonic-Matsushita pour le concurrent VHS, les ventes d’appareils CVC n’ont jamais décollé. Video 2000 des Européens Grundig et Philips comme le système Betamax du Japonais Sony ont également perdu contre VHS. Sony a pu rentabiliser une partie de son investissement en développant Betamax (1975) vers le système professionnel Betacam (1982) qui s’est imposé comme format standardisé pour les reportages et films de télévision dans le monde entier jusque dans les années 2000.

▻https://en.wikipedia.org/wiki/Betacam

https://upload.wikimedia.org/wikipedia/commons/4/4c/Betacam_betamax_tapes.jpg

C’est à partir des années 1980 que la domination mondiale de l’industrie états-unienne touche à sa fin au profit des entreprises asiatiques. Muntz continue à gagner beaucoup d’argent comme vendeur mais chacun de ses investissements dans la production n’a été profitable pendant une brève période ou s’est révélé comme déficitaire dès l’introduction sur le marché. Le petit millionaire perdait à chaque fois qu’il essayait de jouer dans la cour de grands.

Earl William « Madman » Muntz est mort en 1987 après avoir cassé une dernière fois les prix. D’après les témoignages à ce moment il vendait les premiers téléphones portables à mille Dollars seulement quand ses concurrents en commercialisaient encore pour trois mille .

https://alchetron.com/cdn/madman-muntz-380c7f08-e8f0-46cc-9dd4-f3d0fea66c0-resize-750.jpeg

Au moment de sa mort la politique économique des reaganomics battait son plein et on ne se souvenait plus que dans un passé lointain les États Unis avaient protégé leurs citoyens par l’ Office of Price Administration et une assurance maladie accessible à la grande majorité.

▻https://en.m.wikipedia.org/wiki/Health_insurance_in_the_United_States

Between 1940 and 1960, the total number of people enrolled in health insurance plans grew seven-fold, from 20,662,000 to 142,334,000, and by 1958, 75% of Americans had some form of health coverage. By 1976 85.9% of the employed population 17-64 years of age had hospital insurance while 84.2% had surgical insurance.

#USA #guerre #économie #économie_planifiée #histoire #technologie #marketing #télévision

How Hollywood’s Anti-Communist Crackdown Made TV and Movies Bland and Boring
▻https://jacobin.com/2023/06/hollywood-anti-communism-crackdown-blacklist-vera-caspary-mccarthyism-tv-fi

https://upload.wikimedia.org/wikipedia/en/9/9a/Vera_Caspary.jpg

La répressession anticommuniste aux États Unis pendant les années quarante et cinquante a rendu particulièrement ininteressants les films de l’époque suite à la persécution des créateurs les plus originaux comme Chaplin. Quelques films exceptionnels en confirment la règle. Cet article raconte l’histoire de Vera Caspary qui a écrit quelques scénarios remarquables de l’époque.

▻https://en.m.wikipedia.org/wiki/Vera_Caspary

8.6.2023 by By Eileen Jones - The current Writers Guild of America strike reminds us of the lasting effects of major political and labor action in the entertainment industry on the kind of material that gets produced. The most dramatic instance of this is, of course, the 1950s McCarthyist red-baiting, which resulted in the Hollywood blacklist. Not only did the anti-communist witch hunts directly alter the course of hundreds of lives, but they also radically impacted film and television as a medium — and, consequently, the whole culture.

The conformity and conservatism of the 1950s were manifest across all mainstream media, but especially in sanitized television shows celebrating the American, white, middle-class nuclear family — think Leave It to Beaver, Father Knows Best, and The Adventures of Ozzie and Harriet. These shows imprinted themselves on the conservative political imagination. When politicians urge us, as Ronald Reagan did when first running for president, to “make America great again,” the ideal in their minds is the one modeled by these fantasy shows.

But contrary to popular understanding, the conservatism of the ’50s isn’t simply “old-fashioned.” It came on the heels of a somewhat more progressive period in film and television, which drew to a close with the intensification of Hollywood red-baiting.

The life of novelist and filmmaker Vera Caspary demonstrates the shift. A woman and a socialist, Caspary always had to face down censorship, even before the second Red Scare. But as her story shows, the blacklist was something more comprehensive and insurmountable, not only derailing individual careers but killing entire genres that lent themselves to social critique.

Before the Blacklist

In her 2018 book The Broadcast 41: Women and the Anti-communist Blacklist, Carol A. Stabile describes the life and career trajectories of the forty-one women, mainly writers and actors, who were blacklisted or graylisted during the witch hunt era of the late 1940s and ’50s.

The stories of blacklisted and graylisted men are more well known. They included writers like Dalton Trumbo, Dashiell Hammett, and Langston Hughes; directors like Charlie Chaplin and Orson Welles; actors like John Garfield and Burgess Meredith; singers like Paul Robeson and Pete Seeger; composers like Leonard Bernstein, and roughly a hundred more.

The culture is far less familiar with blacklisted and graylisted women’s stories, though there were several dozen of them. Many of them built major careers in the 1930s and ’40s only to be professionally derailed by anti-communist fanatics. These women all fell somewhere on the political spectrum then termed “progressive,” which spanned from committed “reds,” i.e., Communists and socialists, through left-leaning “pinks,” who joined organizations and supported causes like labor unions, racial justice, refugee rights, and opposition to the international rise of fascism.

Among their ranks were writers Dorothy Parker, Lillian Hellman, and Vera Caspary; writer-actor Ruth Gordon; actors Judy Holliday, Lee Grant, Anne Revere, Rose Hobart, Marsha Hunt, Jean Muir, Aline MacMahon, Fredi Washington, Pert Kelton, and Margo; legendary acting teachers as well as actors Uta Hagen and Stella Adler; singers Lena Horne and Hazel Scott; and entertainer Gypsy Rose Lee.

Given the racial hatred, antisemitism, and xenophobia underpinning so much of the anti-Communist witch hunt, it was no coincidence that, of the forty-one women blacklisted, more than a third were Jewish. Four — Horne, Scott, Washington, and composer Shirley Graham Du Bois (second wife of W. E. B. Du Bois) — were black women. One, Margo, was Mexican-American. Sabile writes, “Most of the women listed in Red Channels” — the main publication associated with the ensuing blacklist, created in 1950 by three anti-communist idealogues and ex-FBI agents — “were from working class or immigrant backgrounds (sometimes both).”

Almost all of the women were New York City–based, though many wound up doing stints in Hollywood. They were often friends and colleagues with each other, and many were members of the same Popular Front organizations and supporters of the same causes. They’d made great strides on the stage and in radio and films, and were very hopeful about a progressive future for the new medium of television.

Television, a mass medium with the potential to reach into the homes of who knew how many millions of viewers, became a hard-fought battleground — one that reflected the broader political dynamics of the time period. Ultimately, the bland and blinding traditionalism of so much 1950s television is a result of the era’s successful assault on political progressives. As Sabile notes, “Contrary to popular belief, the images that appeared on American television after 1950 were not simply reflections of American culture. They were products of suppression, fear, and eventually self-censorship.”

Caspary’s trajectory illustrates both the victories progressive women secured before the ’50s and the erosion of those achievements. Caspary’s writing career was dedicated to representing the life experiences of single, independent women such as herself, reflected most strikingly in Laura Hunt, protagonist of her sensationally successful novel Laura.

Caspary had what Sabile called an “anti-romance” tendency in her writing, a refusal to deal in clichéd love-and-marriage plots combined with a bracing frankness about the active sex lives of single working women. Caspary herself, in her life and in her autobiography The Secrets of Grown-Ups, was open about her innumerable love affairs. She didn’t wed until she was in her forties, and as her Austrian-American film producer husband Isadore Goldsmith’s career faltered, she took over the breadwinner role throughout their long and happy marriage.

Caspary came from a prosperous family of German-Jewish and Russian-Jewish immigrants, and her father and grandfather were both self-proclaimed socialists. As Caspary put it in her autobiography, “The skeleton in my closet carries a hammer and sickle.”

When her father went bankrupt in the 1920s, Caspary undertook to support not only herself but also her mother by “pounding money out of a typewriter.” She claimed to have been politically radicalized by the Depression, as many were. But her investment in progressive causes was manifest in her writing from the beginning. Her first novel was a sympathetic account of the life of a young black woman who could pass for white, called The White Girl (1929), which was well-received in the black press.

She was a member of the Communist Party of the USA for a few years, but felt uncomfortable with doctrinaire party membership, and quit after Stalin’s nonaggression pact with Adolf Hitler in 1939. But she continued to be active in Popular Front causes, all of which were listed in the dossier of accusations presented to her when she was called into a studio executive’s office at MGM in 1951.

Though she was fortunate in never being called to testify before House Un-American Activities Committee (HUAC), and thus was never blacklisted outright, studio fears that her left-wing past would come out led executives to phase out the career of one of their highest paid writers — a textbook case of graylisting, which was just as devastating as blacklisting only more insidious. Caspary and her husband fled to Europe for years, and fortunately she was able to keep them both going financially, mainly through her work as a popular novelist.

If we look at two films based on Caspary’s books, we can see indications of the political climate’s impact on her career. One was her greatest success, Laura (1944), which was in production in the early 1940s during World War II when film noir, with its built-in critique of American society, was on the rise, along with what seemed then to be a progressive political arc. Laura, with its vivid, unreliable voice-over narration, extensive flashback structure, and an ambiguous femme fatale figure in the central role, helped define the form. It was one of the backlog of early American noirs received with rapture by French film critics at the end of World War II, when they named the new genre they saw developing.

The other Caspary adaptation, The Blue Gardenia (1953), based on Caspary’s novella The Gardenia, was also a film noir, made late in the genre’s main cycle of films. It was made during the depths of the blacklist, when Caspary had already fled the country to escape the attentions of HUAC. Though it’s a generally excellent film made by Fritz Lang, it was badly received and hardly created a ripple. The number of noirs in production during the 1950s was dwindling under the impact of censorship focused on eradicating “subversive” material in films.

Even getting Laura made was no picnic, and that was during the “prosperous and tolerant” 1940s that Caspary claimed all Hollywood leftists of her generation felt nostalgic for. Director Otto Preminger, overseeing the adaptation, insisted that the lead character had no substance and was only a cipher invested with importance by the male fantasies swirling around her: “She’s nothing, a nonentity.” This statement enraged Caspary, whose book was meant to be a celebration of a thirty-year-old career women leading an exciting, independent, sexually active life, which stirs up a whirlwind of murderous desire and envy around her.

Even the famous painted portrait of Laura, in Caspary’s description is nothing like the sweet, winsome, romantic portrait of pliant twentysomething Gene Tierney in the movie. Instead, it emphasizes the besotted male painter’s failure to capture her essence, except for two qualities: her tilted fawn-like eyes and, as Waldo Lydecker — the waspish, erudite columnist and radio star obsessed with Laura — put it, “the fluid sense of restlessness in the position of her body, perched on the arm of the chair, a pair of yellow gloves in one hand, a green hunter’s hat in the other.” Note the evocation of helpless prey (the fawn eyes) and predator (the hunter’s cap) as a way of indicating Laura’s complexity, which keeps the reader thinking of her as both possible murderer and possible murderer’s victim.

When detective Mark McPherson wonders why Laura wasn’t married considering she “wasn’t a bad-looking dame,” Lydecker says, “Marriage wasn’t her career. She had her career, she made plenty of money, and there were always men to squire and admire her.”

Caspary borrowed elements from Wilkie Collins’s novels The Woman in White and The Moonstone, such as the device of examining a murder mystery through the contradictory first-person accounts of those suspected of or investigating a murder. She included among the various men’s accounts a major section drawn from Laura’s diary, confessing how she was trying to navigate not only her own shifting desires but the frightening hostility and manipulative behaviors underlying the desires of the men surrounding her.

Caspary, who clearly based the main character on herself, had heated arguments with Preminger about the first draft of the script, especially what he was doing to the character of Laura, “turning her into the Hollywood version of a cute career girl.” There was nearly a public brawl over the film when Caspary and Preminger happened to meet at the Stork Club after its triumphant opening.

Nevertheless, Caspary claimed to have liked the rewritten script and the way the film ultimately turned out, insisting that Preminger had at least partly incorporated her point of view, though he denied it vociferously. Caspary lost some battles. For example, Laura’s first-person narration was never used in the film; only the character who turns out to be the killer, Lydecker, provides voice-over narration, in the extended flashback sequence describing an extremely biased version of his relationship with Laura. Still, it’s a great film, and retains at least some of what Caspary meant to convey about Laura’s struggle to maintain a coherent sense of herself in a world defined by men.

After the Blacklist

The success of Laura kept Caspary writing noirish murder mysteries, and she sold her novella The Gardenia (1952) to Warner Brothers Studio almost immediately upon publication. The film title was changed to The Blue Gardenia to evoke the 1947 “Black Dahlia” murder of aspiring Hollywood actor Elizabeth Short, thus evoking a notorious case of misogynistic fury that riveted the public.

Like Laura, The Gardenia is also about a young working woman who becomes a suspect in a murder, but in this case, the murder is motivated by a man’s date-rape attempt, and the protagonist really did it, accidentally killing him while trying to fight him off. Called Agnes in the book and Norah in the 1953 film (played by Anne Baxter), she’s a telephone operator, one of dozens working a huge Los Angeles switchboard. She’s living in a cramped apartment with female housemates who have much more exciting sex lives than she does. In the book, Agnes is a mousy, repressed, fearful young woman who was raised in a religious household, doesn’t drink, never goes out on dates, and deplores what she sees as her friends’ obsession with men. Eventually loneliness drives her out on the date that ends so disastrously.

In the film, Norah’s homebody ways are attributed to her total dedication to her boyfriend who’s off fighting the Korean War, and it’s only a “Dear Jane” rejection letter from him that sends her out on a date with the notorious ladies’ man Harry Prebble (Raymond Burr). Drunk on too many cocktails pressed on her by Prebble, she doesn’t remember actually killing him.

She’s tormented by guilt and terror as the murder investigation is given lurid coverage in all the newspapers, and she falls for the appeals of a newspaper columnist (Richard Conte) who writes a “Letter to an Unknown Murderess,” offering to help the anonymous young woman about to be arrested by police. He has no intention of really helping her, but winds up falling in love with her anyway, because she’s so different from the type of scarlet woman he expected to meet. But then, so is Harry Prebble’s quiet, desperate, pregnant ex-girlfriend (Ruth Storey) who works a similarly underpaid job as a record store clerk and, it turns out, actually killed Prebble in a bitter encounter after Norah ran from the apartment.

Cleared of murder charges, Norah emerges from jail and seems to reject the overtures of the betraying newspaper columnist as she passes him by, accompanied by her roommates. There’s actually a thrilling moment of female solidarity implied by their striding off together — right before Norah confides to them that she’s only “playing hard to get” as they advised. She intends to make the newspaperman work for her forgiveness. This is the tacked-on romantic happy ending so sadly familiar to admirers of film noir. The film ends on the newspaper columnist’s confident smirk as he watches Norah walk off.

From the screenplay, you’d never know that Caspary’s original story is about the storm of male hostility toward independent working women with sex lives. Date-rape and murder and corrupt betrayal are not treated as serious subjects, but light shots fired in “the battle of the sexes.”

Fritz Lang made something nicely disturbing of it, however. He leans into the jokey, sprightly tone, so at odds with the subject matter, in a way that produces a jarring and eerie dissonance. Combined with the characteristic film noir shooting style by master of shadow-play Nicholas Musuraca (Cat People [1942], The Locket [1946], Out of the Past [1947]), Lang achieves a more deranged affect than if he hadn’t been pushed into such tonal contradictions. Lang actually does something similar in dealing with murderous male misogyny in While the City Sleeps (1956) as well, which together with The Blue Gardenia and Beyond a Reasonable Doubt (1956), comprise his unsettling “newspaper trilogy” of the 1950s.

Caspary’s novella The Gardenia ends quite differently than the film, with the newspaperman refusing to believe a young woman he’s attracted to could possibly have killed Harry Prebble. But she admits it, and becomes a kind of public heroine in confessing to the murder she committed and facing the consequences. By then she’s transformed herself, dyed her hair and changed her appearance in earlier attempts to escape police detection, and found it unexpectedly liberating as she leaves her timid self-image behind. In finally “confronting good and evil” instead of hiding from all possibility of “sin,” she’s cast off her mother’s fear-filled religiosity and become an adult.

Caspary makes no mention at all of The Blue Gardenia in her autobiography, though Lang was a friend of hers and her husband’s. Lang himself didn’t seem to remember it with any affection, though he loved Anne Baxter’s performance in the lead role. When Peter Bogdanovich in his book Fritz Lang in America was struck by the “venomous picture of American life” created by the film, Lang responded that he was probably feeling venomous because he had only twenty days to shoot the tightly budgeted movie. And besides, it was “my first picture after the McCarthy business,” which included the flight of his friends to Europe to escape persecution. To say the least, the blacklist made Hollywood a nightmarish place to live and work, even for the nominally successful. In 1960, Lang himself went back to Germany to make his last films.

Though the film noir genre was on the wane, it managed to keep going through the 1950s, often using devices that placated the censors. Writers and directors resorted to common tactics like the sudden, unconvincing happy endings that seemed to restore “normalcy,” take back critiques of American society, and show through strained narrative twists that the protagonist was actually innocent all along, so that the “real villain” could be punished with either death or arrest.

Framing devices were also popular in “semi-documentary” film noir variations that celebrated crime-busting authority figures, sometimes with formal tributes to the heroic “G-men” of the FBI, and to police officers of the New York Police Department, the Los Angeles Police Department, and the San Francisco Police Department. The whole middle of these movies could be even darker, harsher, and more violent, labyrinthian, and reflective of American societal malaise than 1940s noir, as long as the framing device made the case that the system worked to keep all those disturbing forces in check.

With her success tied to the startling 1940s popularity of film noir, the most subversive of all genres, it’s no wonder Caspary’s Hollywood career dwindled with it — and that the genre itself, with its bracing tendency to look into the dark heart of American culture, could be counted as yet another casualty of the blacklist.

NYPL Research Catalog
▻https://www.nypl.org/research

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#librairies #USA #New_York #libre_accès #public_domain

Durch Gefangenenaustausch : US-Basketballerin Brittney Griner kommt aus russischem Straflager frei
▻https://www.tagesspiegel.de/politik/durch-gefangenenaustausch-mit-russland-us-basketballerin-griner-frei-89

https://upload.wikimedia.org/wikipedia/en/9/92/Lordofwar.jpg

Die in Russland zu neun Jahren Haft verurteilte US-Basketballerin Brittney Griner ist in einem Gefangenenaustausch freigelassen worden. Sie wurde gegen den in den USA inhaftierten russischen Waffenhändler Viktor But ausgetauscht, wie das russische Außenministerium in Moskau am Donnerstag mitteilte.

US-Präsident Joe Biden bestätigt die Freilassung aus russischer Haft. Er habe mit ihr gesprochen. „Sie ist sicher. Sie ist im Flugzeug. Sie ist auf dem Weg nach Hause“, teilt Biden auf Twitter mit.

Der Freilassung sind nach Angaben Bidens „akribische, intensive Verhandlungen“ vorausgegangen. Griner sei jetzt froh, auf dem Weg nach Hause zu sein, sagt er. Sie sei in Russland einem Schauverfahren ausgesetzt gewesen. Biden kündigt an, sich weiterhin für die Freilassung von US-Bürgern in russischer Gefangenschaft einzusetzen, wie dem ehemaligen Soldaten Paul Whelan. „Wir geben nicht auf.“

Griner war in Russland wegen Drogenbesitzes verurteilt worden. Unlängst war die zweimalige Olympiasiegerin in eine Strafkolonie rund 500 Kilometer südöstlich von Moskau verlegt worden. Bei ihrem Prozess sagte Griner, die in der US-Nebensaison Basketball für ein russisches Team spielte, dass sie Cannabis zur Linderung von Sportverletzungen verwendet habe. Sie habe aber nicht gegen das Gesetz verstoßen wollen.

Die Athletin hatte nach Feststellung der Justiz bei einer Gepäckkontrolle am Moskauer Flughafen Scheremetjewo sogenannte Vape-Kartuschen und Haschisch-Öl bei sich. Es soll sich um 0,5 Gramm gehandelt haben. Dies wurde als illegaler Drogenbesitz und versuchter Schmuggel gewertet. Das Gericht sah keine mildernden Umstände. Griner hatte sich schuldig bekannt. Washington hatte Moskau von Anfang an ein politisch motiviertes Verfahren vorgeworfen - vor allem wegen des hohen Strafmaßes.

Bout war 2012 von einem Gericht in Manhattan zu 25 Jahren Gefängnis verurteilt worden. Der heute 55-Jährige wurde 2008 in Bangkok in Zusammenhang mit mehreren Vergehen beim Waffenhandel festgenommen. Er wurde von Thailand an die USA ausgeliefert und dort 2012 verurteilt. Seither bemüht sich Russland um seine Freilassung.

Fast zwei Jahrzehnte lang galt Bout als einer der berüchtigsten Waffenhändler der Welt. Er verkaufte Rüstungsgüter an sogenannte Schurkenstaaten, Rebellengruppen und regionale Kriegsherren in Afrika, Asien und Südamerika. Weil er ein Meister darin war, Sanktionen zu umgehen, wurde er „Händler des Todes“ und „Sanktionenknacker“ genannt.

Der Austausch der beiden fand den russischen Angaben zufolge auf einem Flughafen in Abu Dhabi statt. Die Verhandlungen hatten seit Monaten angedauert. Russland und die USA hatten bereits in der Vergangenheit ungeachtet der Spannungen im Zuge des russischen Angriffskriegs in der Ukraine Gefangene ausgetauscht.

#USA #Russie #commerce #Victor_Bout

Urmqui Road

#Shanghai, the “#Urumqi_Road” road sign was removed because its name symbolizes the major fire that broke out in Urumqi, in order to prevent people from continuing to hold commemorative activities on this road.

https://i.imgur.com/U1pw7ED.jpg

2022 Ürümqi fire

On 24 November 2022, a fire broke out in a residential high-rise in Ürümqi, Xinjiang, China. Ten people were killed and an additional nine were injured. There were questions as to whether China’s strict enforcement of the zero-COVID policy meant that the residents could not leave the building or interfered with the efforts of firefighters.

https://upload.wikimedia.org/wikipedia/en/thumb/3/36/%C3%9Cr%C3%BCmqi_fire_2022.png/240px-%C3%9Cr%C3%BCmqi_fire_2022.png

▻https://twitter.com/TGTM_Official/status/1596890839761854464
#toponymie

Demi-lune

https://upload.wikimedia.org/wikipedia/en/thumb/5/51/Half_Moon_poster.jpg/220px-Half_Moon_poster.jpg

Mamo, un chanteur kurde d’#Irak qui vit au #Kurdistan_iranien, veut donner un dernier concert dans son pays. Mais il n’a pas l’autorisation de pénétrer sur ce territoire. Kako, un de ses fans, va l’aider à réaliser son objectif.

▻https://fr.wikipedia.org/wiki/Demi-lune_(film)
#film #migrations #musique #Iran #kurdes #frontières

Le Mandat

https://upload.wikimedia.org/wikipedia/en/f/fc/Mandabi_poster_%28French%29.jpg

Le jour où le facteur apporte à Ibrahima Dieng un mandat de 25 000 francs CFA de la part de son neveu, immigré à Paris, Ibrahima se montre généreux. Dans le quartier la nouvelle se répand et il aide sa famille et ses voisins, mais sans carte d’identité la poste refuse de lui remettre l’argent, ce qui est l’origine d’un long parcours du combattant dans les méandres de l’administration sénégalaise.

▻https://fr.wikipedia.org/wiki/Le_Mandat
#remittances #migrations #Sénégal

Tous les autres s’appellent Ali

https://upload.wikimedia.org/wikipedia/en/e/e5/Alifeareats.jpg

Dans l’Allemagne des années 1970, un immigré marocain et une veuve allemande d’un certain âge tombent amoureux l’un de l’autre. Ils vivent ensemble pendant quelque temps, puis finissent par se marier pour régulariser leur situation. Ils sont quand même victimes des jalousies de tous ceux qui les entourent et du racisme au quotidien dans une Allemagne hostile aux immigrés. Cette situation s’améliore malgré tout avec le temps, mais d’autres problèmes au sein même du couple les attendent.

▻https://fr.wikipedia.org/wiki/Tous_les_autres_s%27appellent_Ali
#migrations #film #régularisation #amour #racisme #racisme_quotidien #couples_mixtes #Allemagne

Benzinpreis Schockdoktrin revisited
►https://en.wikipedia.org/wiki/The_Shock_Doctrine

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Kein aktueller Link dieses Mal sondern eine Überlegung: Wie wäre es, wenn die Benzinsubventionen und anderen „Erleichterungen“ welche die deutsche Bundesregierung angesichts der Kriegs- und Spekulationsexzesse ausreicht, Teil des üblichen Drehbuchs wären, mit dem unerwünschtes Volk ausgekehrt und große Investitionen für noch größere Profite vorbereitet werden?

Die geplanten Rüstungsausgaben in Höhe von 100 Milliarden Euro sprechen eine deutliche Sprache.

Naomi Klein hat das bereits im Jahr 2007 in The Shock Doctrine, The Rise of Disaster Capitalism am Beispiel der Überschwemmung von New Orleans in #Louisiana, #USA beschrieben.

Die Zerstörung des Taxigewerbes muss auch in diesem Zusammenhang betrachtet werden.

Blank Is Beautiful, THREE DECADES OF ERASING AND REMAKING THE WORLD
...
The news racing around the shelter that day was that Richard Baker , a prominent Republican congressman from this city, had told a group of lobbyists, “We finally cleaned up public housing in New Orleans. We couldn’t do it, but God did .”

Joseph Canizaro, one of New Orleans’ wealthiest developers, had just expressed a similar sentiment: “I think we have a clean sheet to start again. And with that clean sheet we have some very big opportunities.”

All that week the Louisiana State Legislature in Baton Rouge had been crawling with corporate lobbyists helping to lock in those big opportunities: lower taxes, fewer regulations, cheaper workers and a “smaller, safer city”—which in practice meant plans to level the public housing projects and replace them with condos. Hearing all the talk of “fresh starts” and “clean sheets,” you could almost forget the toxic stew of rubble, chemical outflows and human remains just a few miles down the highway.

Over at the shelter, Jamar could think of nothing else. “I really don’t see it as cleaning up the city. What I see is that a lot of people got killed uptown. People who shouldn’t have died.”

He was speaking quietly, but an older man in line in front of us overheard and whipped around. “What is wrong with these people in Baton Rouge? This isn’t an opportunity. It’s a goddamned tragedy. Are they blind?”

Richard Baker verrät seine, in Kapitalkreisen weit verbreitete, Wahrnehmung der unsichtbaren Hand : Es ist die Hand Gottes, die für ein gut bestelltes, fruchtbares Feld sorgt, alle Schädlinge ausmerzt und Dollarblumen aus den faulenden Kadavern seiner Opfer sprießen läßt.

Arme Menschen fragen, wie Gott millionenfache Schicksalsschläge zulassen kann. Millionär Richard Baker gibt ihnen die aufrichtige wie unbarmherzige Antwort. Gott ist der Herrschergott, der Gott seiner Klasse.

Die aktuelle SPD-Bürgermeisterin Berlins steht mit oder ohne religiöse Begründung für exakt diese Politik: Mehr bauen, mehr teure, profitable Wohnungen, eine besser gekehrte, saubere, von ihren dreckigen Armen befreite Stadt.

Richard Baker
▻https://en.wikipedia.org/wiki/Richard_Baker_(American_politician)#Hurricane_Katrina

Richard Baker Net Worth
▻https://wallmine.com/people/20180/richard-a-baker

The estimated Net Worth of Richard A. Baker is at least $7.03 Million dollars as of 31 October 2019. Mr. Baker owns over 50,000 units of Retail Opportunity Investments Corp stock worth over $5,192,955 and over the last 11 years he sold ROIC stock worth over $933,000. In addition, he makes $903,717 as Non-Executive Chairman of the Board at Retail Opportunity Investments Corp.

#Krieg #Kapitalismus #Stadtentwicklung #Immobilien #Wohnen #Treibstoff #Diesel #Benzin #Taxi #Deutschland #Ukraine #Russland