[Marxism] Behind the betrayal of the Irish freedom struggle

[Philip Ferguson via Marxism]

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I wrote this way back in 2005.  Since then there has been a development of
a number of new socialist-republican groups, which is encouraging -
although it would be more so if they cpoul find ways to work together more.

https://theirishrevolution.wordpress.com/2011/08/17/behind-the-betrayal-of-the-irish-freedom-struggl/




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[Marxism] Thinking of Irish political prisonrs this Xmas

[Philip Ferguson via Marxism]

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On the petty nasty behaviour of the Maghaberry prison administration:
https://theirishrevolution.wordpress.com/2016/07/22/maghaberry-prison-administration-steps-up-aggression/

and, more recently:
https://theirishrevolution.wordpress.com/2018/11/07/roe-4-prisoners-on-upsurge-in-harassment-against-our-visitors/

And the prison struggle more widely:
https://theirishrevolution.wordpress.com/2018/10/11/republican-pows-and-the-struggle-in-maghaberry-today/

Phil




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[Marxism] Death by puberty?

[Philip Ferguson via Marxism]

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*A critical take on the issue of transgender children and medical
intervention *

https://rdln.wordpress.com/2018/12/20/death-by-puberty/




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Re: [Marxism] There’s a Voice Missing in Alfonso Cuarón’s “Roma”

[Richard Fidler via Marxism]

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A similar take on Roma, along with some other films of 2018...

21 Dec 2018
The Globe and Mail 

For women in film, 2018 was a year of dirty laundry
By Kate Taylor

Movies such as Roma aim to celebrate their female characters, but can’t escape 
the limitations of being told from a male perspective

 Alfonso Cuaron’s black-and-white drama Roma stars Yalitza Aparicio as Cleo, a 
housekeeper in 1970s Mexico, and is dedicated to Cuaron’s childhood nanny, 
‘Libo.’ The film is visually exquisite and Oscar-worthy, but it fails to fully 
examine Cleo – or Libo’s – life experience.

As the year draws to a close, I have been catching up with the rave reviews of 
Alfonso Cuaron’s Roma, the black-andwhite drama based on the director’s 
memories of Mexico City in the 1970s and dedicated to “Libo,” his childhood 
nanny. Focused on the stoical Cleo, the hardworking Mixtec housekeeper and 
caregiver for a family of six that is coming apart at the seams, it’s visually 
exquisite, a shoo-in for the best-foreign-language Oscar, and a film sure to 
reinvigorate complaints that subtitled movies are so seldom nominated for best 
picture.

But as critics discussed the almost mystical imagery surrounding the 
self-sacrificing Cleo (Yalitza Aparicio), who proves ready to risk her life for 
her employer’s children in the film’s melodramatic climax, I found few reviews 
that echoed my own reactions. I can be a literal-minded viewer and couldn’t 
help noticing that nobody in this household ever walks the dog– and that in 
Mexico in 1970, domestic labour was apparently so cheap that upper middle- 
families had maids rather than washing machines.

There is an early scene in Roma in which Cleo climbs to the roof to scrub the 
laundry by hand and we see other maids, on neighbouring rooftops, doing the 
same, hanging the clothes to dry in the sun. The youngest of the family joins 
the servant and, annoyed a this older brother over a gunfight game gone wrong, 
plays at being dead. To coax him out of his sulks, Cleo joins him and the two 
lay together on a skylight, faces to the sun. “I like being dead,” Cleo says.

Writing on that scene in a sensitive review in The New Yorker, critic Anthony 
Lane commented on the nanny’s empathetic ability to enter the child’s 
imagination. I had taken her devotion to her charges for granted; my main 
reaction was that her remark indicated this was probably her first and only 
chance that day to put her feet up. Few reviews of Roma dwell on the exhausting 
domestic labour Cleo performs, giving Cuaron a pass as he idolizes his own 
servant in a way that exalts her without fully examining her experience.

Cleo was but one of 2018’s magical nannies; the other was Mary Poppins in a 
rather different but no less popular outing. Whether they were maids, 
mistresses or monarchs, there were many powerful female protagonists on film 
this year, from the deceptively self-effacing literary spouse Glenn Close 
played in The Wife to Saoirse Ronan’s fiery title character in Mary Queen of 
Scots. Hollywood wisdom has long held that male characters are safer bet sat 
the box office because men prefer male stories while female audiences will come 
along for the ride. In November, however, a study sponsored by the U.S. talent 
agency Creative Artists busted that myth, finding that from 2014-17 movies of 
all budget levels with a female lead actually generated more money at the box 
office. In 2018, as women turned criminal in action movies such as Widows and 
Ocean’s 8, there was a strong sense that female was the flavour of the year – 
but, of course, both those titles were directed by men.

In September, accepting an Emmy for directing Transparent, the TV show’s 
creator Jill Soloway issued a call to “Topple the patriarchy!” That slogan is 
actually a movement Soloway has launched, and if you check out its website, 
you’ll be surprised by its demands: that no men be allowed to make movies or TV 
shows (or any other art form) for 50 years. It’s more a political provocation 
than a practical suggestion. The point is that the forms, the images and the 
vocabulary of what we see on our screens have been shaped by an overwhelmingly 
male creative class to the point where it may be very difficult for other 
creators to imagine their own ways of seeing and telling within that system.

The manifesto also oversimplifies authorship: Auteur theory to the contrary, 
most movies aren’t made by a single (male) genius.

Take two recent girl-power art films as examples. The revisionist Mary Queen of 
Scots is based on a script written by a man (Beau Willimon) from a book written 
by a man (John Guy), but the film is 

[Marxism] A tumultuous week began with a phone call between Trump and the Turkish president - The Washington Post

[Louis Proyect via Marxism]

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Past presidencies have relied heavily on think-tanks for foreign policy 
initiatives. For example, George W. Bush relied on the Project for the 
New American Century and Obama on Center for American Progress. Trump, 
on the other hand, seems to wing it as this article indicates. 
Basically, he is a one-man show and almost certainly to be opposed by 
even more Republican power-brokers in 2020 than in 2016, unless of 
course he isn't in prison by then.


https://www.washingtonpost.com/world/national-security/a-tumultuous-week-began-with-a-phone-call-between-trump-and-the-turkish-president/2018/12/21/8f49b562-0542-11e9-9122-82e98f91ee6f_story.html
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[Marxism] There’s a Voice Missing in Alfonso Cuarón’s “Roma”

[Louis Proyect via Marxism]

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(Not sure whether I will get around to torpedoing Alfonso Cuaron's 
"Roma", especially after reading this stellar take-down. When I went to 
Bard, there were any number of wealthier Jewish students who spoke 
fondly of their African-American maids, who were like mothers to them. 
Behind their backs, they were called "schvartzes", the Yiddish word for 
blacks--a slur. I couldn't help thinking of this watching Cuaron's film. 
Maybe it got such rave reviews because it reminded so many critics of 
their own beloved "schvartze".)



The New Yorker, December 18, 2018
There’s a Voice Missing in Alfonso Cuarón’s “Roma”
By Richard Brody

“Roma,” written and directed by Alfonso Cuarón, centers on Cleo (Yalitza 
Aparicio), whom Cuarón modelled after his own impactful nanny but whom 
he reduces to a bland and blank trope.Photograph by Carlos Somonte
Even noteworthy filmmakers may not see what they’re doing. They can 
reveal crucial aspects of their work inadvertently, bringing to light 
the cinematic unconscious, hinting at what a movie could and should have 
been. That’s what Alfonso Cuarón, the writer and director of “Roma,” did 
in an interview for a recent magazine article. Set in Mexico City in 
1970-71, “Roma” depicts a family much like the one in which he was 
raised and is centered on a domestic worker, both maid and nanny, named 
Cleo Gutiérrez (Yalitza Aparicio); the character, Cuarón has said, is 
based on a woman named Libo Rodríguez, who played a similar role in his 
childhood (and to whom the movie is dedicated).


In the article, the journalist Kristopher Tapley conveys the substance 
of Cuarón’s inspiration for “Roma”: “Rodríguez would talk to Cuarón 
about her hardships as a girl, about feeling cold or hungry. But as a 
little boy, he would look at those stories almost like adventures. She 
would tell him about her father, who used to play an ancient 
Mesoamerican ballgame that’s almost lost to the ages now, or about witch 
doctors who would try to cure people in her village. To him it was all 
very exciting.”


Watching “Roma,” one awaits such illuminating details about Cleo’s life 
outside of her employer’s family, and such a generously forthcoming and 
personal relationship between Cleo and the children in her care. There’s 
nothing of this sort in the movie; Cleo hardly speaks more than a 
sentence or two at a time and says nothing at all about life in her 
village, her childhood, her family. She’s a loving and caring young 
woman, and the warmth of her feelings for the family she works for—and 
theirs for her—is apparent throughout. But Cleo remains a cipher; her 
interests and experiences—her inner life—remain inaccessible to Cuarón. 
He not only fails to imagine who the character of Cleo is but fails to 
include the specifics of who Libo was for him when he was a child.


In the process, he turns the character of Cleo into a stereotype that’s 
all too common in movies made by upper-middle-class and intellectual 
filmmakers about working people: a strong, silent, long-enduring, and 
all-tolerating type, deprived of discourse, a silent angel whose 
inability or unwillingness to express herself is held up as a mark of 
her stoic virtue. (It’s endemic to the cinema and even leaves its scars 
on better movies than “Roma,” including some others from this year, such 
as “Leave No Trace” and “The Rider.”) The silent nobility of the working 
poor takes its place in a demagogic circle of virtue sharing that links 
filmmakers (who, if they offer working people a chance to speak, do so 
only in order to look askance at them, as happens in “Roma” with one 
talkative but villainous poor man) with their art-house audiences, who 
are similarly pleased to share in the exaltation of heroes who do manual 
labor without having to look closely or deeply at elements of their 
heroes’ lives that don’t elicit either praise or pity.


That effacement of Cleo’s character, her reduction to a bland and blank 
trope that burnishes the director’s conscience while smothering her 
consciousness and his own, is the essential and crucial failure of 
“Roma.” It sets the tone for the movie’s aesthetic and hollows it out, 
reducing Cuarón’s worthwhile intentions and evident passions to vain 
gestures.


“Roma” is the story of a family in Mexico City’s Colonia Roma 
neighborhood (where Cuarón grew up): father, Antonio (Fernando 
Grediaga), a doctor; mother, Sofía (Marina de Tavira), a biochemist who 
is running the household and not working; grandmother, Teresa (Verónica 
García), who is Sofía's mother; and four children (a girl and three 
boys), ranging, seemingly, from about six to about twelve. And then 
there’s 

[Marxism] With 10, 000 People on the Streets, The Slave Law Means a New Phase | Lefteast

[Louis Proyect via Marxism]

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http://www.criticatac.ro/lefteast/with-1-people-on-the-streets-the-slave-law-means-a-new-phase/
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[Marxism] Lyndon LaRouche Is Still Alive and He’s Been Hobnobbing With Roger Stone – Mother Jones

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https://www.motherjones.com/politics/2018/12/lyndon-larouche-roger-stone-russia-robert-mueller/
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Re: [Marxism] Capitalism, Communism, Christianity - and Christmas | Roland Boer | Culture Matters

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On 12/22/18 11:33 AM, Kevin Lindemann and Cathy Campo via Marxism wrote:


https://www.culturematters.org.uk/index.php/culture/religion/item/2959-roland-boer



Roland Boer and Grover Furr constitute the unreconstructed Stalinist 
wing of the left that has largely been bypassed by young people today 
except for the Maoist groupies who hardly exist outside of the net. 
Recently, one of the best known of them, the Red Guards based in Austin, 
dissolved.


Frankly, those on the left who have given Boer some traction need to 
have their head examined especially HM that published one of his addled 
books on Christianity and Marxism. I know a bit about this theology 
crap, having majored in religion in Bard with a senior thesis on St. 
Augustine's City of God.


Boer is a deeply reactionary figure in my view, reminding me in many 
ways of the Bloomsbury intellectuals who lionized Stalin in the 1930s. A 
recent blog post on Boer's Stalin's Mustache blog defends the crackdown 
on Maoist students who have taken up the cause of workers.


Besides HM, you have the Isaac Deutscher prize jury presenting him with 
an award a few years ago. Poor Isaac Deutscher, even with his 
adaptations to Stalinism, must have been spinning in his grave over this.


https://louisproyect.org/2014/11/13/roland-fucking-boer/
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[Marxism] Thousands protest in Istanbul, evoke Yellow Vests

[Fred Murphy via Marxism]

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https://www.france24.com/en/20181222-thousands-protest-istanbul-against-higher-living-costs

 “Thousands of protesters on Saturday took to the streets in Istanbul to
demonstrate against the rising cost of living and crippling inflation in
Turkey.

“Surrounded by a heavy police presence, the protesters held banners with
references to the "yellow vest" movement in France, which began as a
demonstration against fuel price hikes but snowballed into anti-government
protests, an AFP correspondent reported.

“The protest, organised by the KESK, a confederation of public service
workers unions, drew people from all over Turkey including the northwestern
provinces of Edirne, Bursa and Yalova, the correspondent said.

“They shouted "work, bread, freedom" and also carried banners saying "the
crisis is theirs, the street is ours" and "Haziran" which means June in
Turkish.

“June refers to the mass 2013 demonstrations against President Recep Tayyip
Erdogan's rule sparked by the planned redevelopment of Gezi Park in
Istanbul”
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[Marxism] Fundraiser by Ed Rampell : Marx @ 200:The Marxist Movie Series

[Louis Proyect via Marxism]

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https://www.gofundme.com/marx-200-the-marxist-movie-serie
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[Marxism] Capitalism, Communism, Christianity - and Christmas | Roland Boer | Culture Matters

[Kevin Lindemann and Cathy Campo via Marxism]

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https://www.culturematters.org.uk/index.php/culture/religion/item/2959-roland-boer


Sent from my iPhone

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[Marxism] The Revolt Against Orbán

[Louis Proyect via Marxism]

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AN INTERVIEW WITH G. M. TAMÁS

Hungary has been gripped by mass protests against Viktor Orbán’s 'slave 
law' on overtime. It's the biggest challenge yet to the far-right 
government.


https://jacobinmag.com/2018/12/hungary-protests-viktor-orban-work-overtime
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[Marxism] Amazon's last minute capacity

[Andrew Pollack via Marxism]

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... but an expropriated Amazon's infrastructure under democratic control
would easily resolve any technical difficulties facing a new socialist
distribution program (and WITHOUT the back-breaking labor currently
dominant).
https://www.nytimes.com/2018/12/21/technology/amazon-last-minute-gifts-shopping.html
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[Marxism] Sulome Anderson Admits Her Supposed Hezbollah Source Is 'Incredibly Unreliable' - Grayzone Project

[Louis Proyect via Marxism]

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The feud between Anderson and Blumenthal started over his attack on her 
reporting from Lebanon. I honestly don't find anything libelous in this 
article but let's see how it plays out.



https://grayzoneproject.com/2018/05/10/sulome-anderson-hezbollah-source-unreliable/
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[Marxism] Sulome Anderson’s Lawsuit: An Anarcho-Neocon McCarthyist State Department COINTELPRO Regime Change…

[Louis Proyect via Marxism]

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https://medium.com/@AxBlumenthal/sulome-andersons-lawsuit-an-anarcho-neocon-mccarthyist-state-department-cointelpro-regime-change-f18c894a24a0
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Re: [Marxism] Why I?m Suing Max Blumenthal and Benjamin Norton ? Sulome Anderson ? Medium

[mkaradjis via Marxism]

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I completely agree. I don't know what these clowns wrote exactly but if, as
she claims they slander her as an Israeli or US agent while she does
reporting work in the Mideast, I hope she sues their areas of.

On Sat, 22 Dec. 2018, 3:59 am John Reimann via Marxism <
marxism@lists.csbs.utah.edu wrote:

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>
> I'm not against it at all. She is absolutely doing the right thing. How
> else can reporters like her protect herself? Simply combatting their lies
> by writing the truth has zero effect. None. This is not a matter of a
> political difference; this is a matter of agents of a repressive government
> - the Putin regime - trying to silence a reporter. My only criticism of her
> is that she's reluctant to do so.
>
> John Reimann
>
> --
> *“In politics, abstract terms conceal treachery.” *from "The Black
> Jacobins" by C. L. R. James
> Check out:https:http://oaklandsocialist.com also on Facebook
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[Marxism] Notes on the Global Condition: Climate Change and Island Sovereignty – ADAM TOOZE

[Louis Proyect via Marxism]

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https://adamtooze.com/2018/12/21/notes-on-the-global-condition-climate-change-and-island-sovereignty/
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[Marxism] Capitalism's Organic Crisis

[Louis Proyect via Marxism]

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Contemporary capitalism is faced with an organic crisis in the fullest 
possible sense of the term, one that encompasses not just the political 
and economic contradictions Gramsci described but also the biological 
terrain upon which social life ultimately depends.


https://www.versobooks.com/blogs/4141-capitalism-s-organic-crisis
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[Marxism] Retreating ISIS army smuggled a fortune in cash and gold out of Iraq and Syria - The Washington Post

[Louis Proyect via Marxism]

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All those stupid articles by Norton, Blumenthal, et al about how Saudi 
Arabia was funding ISIS. Anybody who spends 5 minutes doing some 
research understands that it was self-financing through a combination of 
removing money from banks, taxing merchants selling oil from territory 
under their control. Here's the latest evidence:


https://www.washingtonpost.com/world/national-security/retreating-isis-army-smuggled-a-fortune-in-cash-and-gold-out-of-iraq-and-syria/2018/12/21/95087ffc-054b-11e9-9122-82e98f91ee6f_story.html
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[Marxism] ANC Deputy Julio Escalona: ‘The People are Angry Because They Consider that We Aren’t Doing Our Job’ | Venezuelanalysis.com

[Louis Proyect via Marxism]

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https://venezuelanalysis.com/news/14195
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