very well put(via class-struggle-anarchism)
What is it about the nature of Zionism, its racism, and its colonial policies that continues to escape the understanding of many European intellectuals on the left? Why have the Palestinians received so little sympathy from prominent leftist intellectuals such as Jean- Paul Sartre and Michel Foucault or only contingent sympathy from others like Jacques Derrida, Pierre Bourdieu, Etienne Balibar, and Slavoj Zizek? Edward Said wrote once about his encounters with Sartre and Foucault (who were anti-Palestinian) and with Gilles Deleuze (who was anti-Zionist) in this regard. The intellectual and political commitments inaugurated by a pro-Zionist Sartre and observed by Said, however, remain emblematic of many of the attitudes of leftist and liberal European intellectuals today.
An old but very important article by Joseph Massad from 2003
Cuba 1993, René Burri
Graffiti against badger cull in Brighton.
Zapatista stencil in Brighton
Mbissine Thérèse Diop in La Noire De…(Black Girl) Ousmane Sembène, Senegal, 1966
stills from War Witch
Trailer Movie: Leo (2012)
LEO is a charming and beguiling adult fairy-tale set in Nairobi, a Metropolitan City in Kenya that is a melting pot of East African culture, art, politics and commerce. It is a story about Maasai boy, raised in a low-income home, achieving his dream against all odds.
The story concerns, at least initially, the theft of a diamond from a Rhodesian mining concern. The diamond is called ‘the rose of Rhodesia’, but Shaw develop this into a deeper metaphor, as Rose is the name of a gold prospector’s daughter (played by Edna Flugrath, Harold Shaw’s wife), who falls in love with Fred Winter, the overseer who has stolen the diamond, before transferring her affections to a missionary’s son, Jack Morel, played by M.A. Wetherell. Jack is friendly with Mofti, son of the chieftan Ushakapilla, and a white rose is exchanged as a symbol of their friendship. Ushakapilla is planning an uprising against white rule, and expects his reluctant son to adopt the cause, but after Mofti’s accidental death and news that his people’s ancestral lands has been granted to them by the “great white Chief”, Ushakapilla relents. Rose returns the diamond to the mining corporation (it had been found by one of Ushakapilla’s men), and therewardmoney enables she and Jack to marry.
The Rose of Rhodesia is distinguished in particular by its portrayal of Africans. The African parts were taken by members of the M’fengu people, with Ushakapilla played by ‘Chief’ Kentani (probably a local headman) and Mofti by ‘Prince’ Yumi (possibly a migrant worker or student). The portrayals are sympathetic and convincing, and the friendship between Mofti and Jack Morel affecting and unforced. The theme of African discontent over loss of lands reflects genuine feelings of the time, and the potential for uprising was one that greatly exercised white authorities at the time (to the degree that the film could never have been made in Rhodesia itself, where the authorities greatly feared cinema’s subversive potential, and was instead filmed at Sea Point studio in Cape Town and by the spectacular Bawa Falls in Eastern Cape – none of the film was made in Rhodesia). It may be felt that the films shies away from what seems to be its initial interest – to depict African versus white tensions – by playing it safe with a story of diamond stealing. via
for more information, check out The Bioscope
*in German. English subtitles in a separate transcript here
still from Kirikou
Le Prix du Pardon (The Price of Forgiveness), Mansour Sora Wade, 2001
Fyodor Dostoyevsky, Crime and Punishment