#arlette thomas

[garadinervi]

Roman Cieslewicz, Gorki les derniers, 1977 [Centre Pompidou, Paris. © Adagp, Paris. Photo: Piotr Trawinski]

[laurent-bigot]

[rediffusion] PATTES BLANCHES – Jean Grémillon (1949)

Pattes Blanches, entrepris de façon quasi impromptue présente a priori tous les inconvénients d’une commande : le scénario d’Anouilh devait être réalisé par le dramaturge lui-même, s’il n’en avait été empêché par des problèmes de santé à la veille du tournage. Grémillon reprend donc le projet “au vol” mais y fait quand même un certain nombre de modifications ; l’histoire qui se passait au…

[foundfamilyappreciation]

Hello and welcome to the second Found Family Face-off! This time it's siblings! As mentioned in the intro post, this is for siblings of different genders, as there will future tournaments for brothers and sisters respectively to give as many found siblings as possible to be included! Anyway, please meet your contestants and round 1 match ups below:

*Please don't clown on this post and argue against why certain characters can't be found siblings (aside from if they're in an explicitly canon romantic relationship that I missed while trying to vet them). Please respect that these are people's headcanons and they might not align with yours (heck, some of these even I don't agree with but again, that's just my opinion) and that this is just for fun etc.

Group A

Ahsoka Tano & Rex VS Ahsoka Tano & Anakin Skywalker (Star Wars)

Garrazeb Orrelios, Sabine Wren & Ezra Bridger VS Cassian Andor, Jyn Erso & Bodhi Rook (Star Wars)

Kilindi Matako & Maul VS Cal Kestis & Merrin (Star Wars)

Michael Burnham & Saru (Star Trek: Discovery) VS Mako Mori & Raleigh Beckett (Pacific Rim)

Tegan Jovanka & Vislor Turlough VS 10th Doctor & Donna Noble (Doctor Who)

Luke Smith & Sky Smith VS Luke Smith & Maria Jackson (The Sarah Jane Adventures)

Aidan Waite, Josh Levison & Sally Malik (Being Human U.S.) VS Steve Jinks & Claudia Donovan (Warehouse 13)

Amanda Brotzman & Vogel (Dirk Gently's Holistic Detective Agency) VS Wednesday Addams & Eugene Ottinger (Wednesday)

Group B

Parker & Eliot Spencer (Leverage) VS Inej Ghafa & Jesper Fahey (Six of Crows/Shadow and Bone)

Duke Thomas & Cassandra Cain (DC Comics) VS Will Byers & Jane "El" Hopper (Stranger Things)

Angus MacGyver, Wilt Bozer, Riley Davis & Sam Cage (MacGyver 2016) VS Josh Lyman, Toby Ziegler, CJ Cregg, Sam Seaborn & Charlie Young (The West Wing)

Malcolm Bright, J.T. Tarmell & Dani Powell (Prodigal Son) VS Kate Beckett, Javier Esposito & Kevin Ryan (Castle)

Jake Peralta + Rosa Diaz (Brooklyn Nine-Nine) VS Meredith Grey + Alex Karev (Grey's Anatomy)

Fig Faeth, Adaine Abernant, Fabian Aramais Seacaster, Gorgug Thistlespring, Riz Gukgak & Kristen Applebees (Dimension 20: Fantasy High) VS Travis Killian & The Doctor (The Game of Rassilon)

Meriadoc Brandybuck & Eowyn (The Lord of the Rings) VS Lester Papadopoulos & Meg McCaffrey (Trials of Apollo)

Alanna of Trebond, Gareth of Naxen & Raoul of Goldenlake (Song of the Lioness) VS Keladry of Mindelan, Neal of Queenscove (Protector of the Small) VS Sandry fa Toren, Tris Chandler, Daja Kisubo & Briar Moss (Circle of Magic)

Group C

Katara & Zuko VS Toph & Zuko (Avatar: The Last Airbender)

Sokka & Toph VS Aang & Toph (Avatar: The Last Airbender)

Korra & the Air kids (The Legend of Korra) VS April O'Neil + the Ninja Turtles (Rise of the Teenage Mutant Ninja Turtles)

Sprig Plantar & Anne Boonchuy (Amphibia) VS Hiccup Haddock & Heather (How to Train Your Dragon: Race to the Edge)

Luz Noceda & Hunter VS Luz Noceda & Gus Porter & Willow Park (The Owl House)

Luz Noceda & King Clawthorne (The Owl House) VS Rayla & Ezran (The Dragon Prince)

Lilo Pelekai & Stitch (Lilo and Stitch) VS Luca Paguro, Giulia Marcovaldo & Alberto Scorfano (Luca)

Hisirdoux "Douxie" Casperan & Claire Nuñez VS Hisirdoux "Douxie" Casperan & Nari (Tales of Arcadia)

Group D

Roronoa Zoro & Nami VS Roronoa Zoro & Perona (One Piece)

Kyōka Izumi & Atsushi Nakajima (Bungo Stray Dogs) VS Phoenix Wright & Maya Fey (Ace Attorney)

Miles Edgeworth & Franziska Von Karma VS Miles Edgeworth & Kay Faraday (Ace Attorney)

Sento Kiryu & Misora Isurugi (Kamen Rider Build) VS Mikasa Ackermann and Armin Arlett (Attack on Titan)

Shadow the Hedgehog & Maria Robotnik (Sonic the Hedgehog) VS Lucas, Kumatora & Duster (MOTHER 3)

Junpei Iori & Female protagonist/Kotone Shiomi (Persona 3) VS Ren Amamiya/Akira Kurusu & Futaba Sakura (Persona 5)

Sombra & Cassidy VS Baptist & Sombra (Overwatch)

Beauregard Lionett & Fjord VS Beauregard Lionett & Caleb Widogast (Critical Role)

Also! To help me out and get the brackets done and published sooner, here's a list of contestants that I haven't found picture for and would super appreciate help in tracking them down. Massive shout out to those who sent in pics with their submissions, yall are MVPs.

(Need the ones that aren't highlighted)

Feel free to submit them via ask, submission or by reblogging and adding them to this post. Thanks in advance!

[saa-na]

The Allure of the Archives by Arlette Farge 1989. Translated by Thomas Scott-Railton 2013.

[projectourworld]

We take so much for granted, never thinking, never imagining for just one minute that this could easily be us, in the near future.

Nyiragongo territory in Goma, the Democratic Republic of the Congo. Thomas Tumusifu Buregeya, 22, repairs his mother’s tent at a camp for internally displaced people.

Photograph: Arlette Bashizi/Reuters #displaced #people

[bspolink1348]

Les nouveautés de la semaine (19/12/2022)

A la une : Émotions, travail et sciences sociales / Régine Bercot, Aurélie Jeantet et Albena Tcholakova (sous la direction de)

Cote de rangement : HM 1033 E 265773 / Domaine : Sciences du Travail

"En quoi la prise en compte des émotions permet-elle de mieux analyser les dynamiques au travail ? La pluralité des chapitres vise à répondre théoriquement et concrètement à la question en montrant que les émotions dialoguent avec le sens du travail et son organisation, impulsent ou réduisent les potentiels d’action. Les lecteurs auront accès à une traduction inédite d’un très beau texte de la grande sociologue américaine Arlie Russell Hochschild. La manière dont le discute Christophe Dejours met en saillie les différences de préoccupations et de concepts entre sociologie et psychanalyse. En outre, plusieurs chercheurs et praticiens disent comment la prise en compte des émotions s’articule avec les corpus de leur discipline. Sociologues, anthropologue, historienne, cliniciens nous livrent la manière dont ils et elles s’appuient sur l’existence des émotions dans le travail pour fonder leurs repères, leur approche et leur contribution à l’analyse des mondes sociaux et particulièrement du travail. Ainsi, la visibilité des émotions ou son invisibilité peuvent constituer un indicateur très pertinent pour l’historienne, nous explique Arlette Farge. Les émotions jouent comme révélateur des conditions de travail et participent activement des spécificités professionnelles. L’expression des émotions est sociale et genrée (Angelo Soares). Elles peuvent être prises dans des rapports de domination et instrumentalisées par autrui pour conduire à des comportements particuliers, ainsi qu’en témoigne Patricia Paperman. Elles supposent toujours une activité de travail spécifique pour les assumer, les mettre à distance, les exprimer ou les taire selon les contextes et les situations. Cela peut conduire, lorsque l’organisation du travail est pathogène, à une désaffection, risquée pour le sujet (Thomas Périlleux). On pense couramment à la dimension individuelle de ce travail sur les émotions mais l’ouvrage montre qu’il fait l’objet d’une appropriation collective (Julien Bernard) et parfois institutionnalisée comme dans les hôpitaux (Michel Castra), ce qui permet de penser qu’une prise en charge organisationnelle des émotions est possible. À quand sa généralisation ?" - Quatrième de couverture

---------------------------------------

Sciences politiques

Naissance d'une nation européenne : réflexions sur la question ukrainienne / Olivier Weber

Cote de rangement : DK 508 .57.E9 W 265772

L'invasion de l'Ukraine : histoires, conflits et résistances populaires / Karine Clément, Denys Gorbach, Hanna Perekhoda, Catherine Samary, Tony Wood

Cote de rangement : DK 508 .852 I 265782

Developments in Russian politics 9 / edited by Richard Sakwa, Henry E. Hale and Stephen White

Cote de rangement : DK 510 .763 D 265784

Radical empathy : finding a path to bridging racial divides / Terri E. Givens

Cote de rangement : E 185 .615 G 265787

Comment devenir dictateur : le culte de la personnalité aux XXe siècle / Frank Dikötter

Cote de rangement : JC 495 D 265777

Quantum international relations : a human science for world politics / edited by James Der Derian and Alexander Wendt

Cote de rangement : JZ 1254 Q 265783

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Sociologie

Promesses alimentaires : injonctions, bricolages, résistances / sous la direction de Tristan Fournier et Sébastien Dalgalarrondo

Cote de rangement : GT 2850 P 265771

Playtime : comment le jeu transforme le monde / Aurélien Fouillet

Cote de rangement : GV 1201 .38 F 265776

Claude Dubar : une sociologie pour l'intelligibilité du social / Mokhtar Kaddouri, Marie-Christine Vermelle, Zaihia Zeroulou, Aurélia Mardon (dir.)

Cote de rangement : HM 479 .D72 C 265779

The origins of unfairness : social categories and cultural evolution / Cailin O'Connor

Cote de rangement : HM 821 O 265791

Les visages de l'État social : assistantes sociales et familles populaires durant l'entre-deux-guerres / Lola Zappi

Cote de rangement : HV 40 .46 Z 265775

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Philosophie

Walter Benjamin : critique en temps de crise / Philippe Ivernel

Cote de rangement : B 3209 .B584 I 265780

L'identité humaine en dialogue / Claude Romano

Cote de rangement : BD 438 .5 R 265781

Theory of the gimmick : aesthetic judgment and capitalist form / Sianne Ngai

Cote de rangement : BH 201 N 265789

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Communication

Tenir sa langue : le langage, lieu de lutte féministe / Julie Abbou

Cote de rangement : P 120 .S48 A 265778

A tactical guide to science journalism : lessons from the front lines / edited by Deborah Blum, Ashley Smart, and Tom Zeller Jr.

Cote de rangement : PN 4784 .T3 T 265786

---------------------------------------

Gestion

Trafficking data : how China is winning the battle for digital sovereignty / Aynne Kokas

Cote de rangement : HD 30 .3815 K 265790

---------------------------------------

Santé

Pilule : défaire l'évidence / Alexandra Roux

Cote de rangement : RG 175 .5 R 265774

---------------------------------------

Économie

Achieving a just transition to a low-carbon economy / Raphael J. Heffron

Cote de rangement : HC 79 .E5 H 265785

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Sciences du travail

Work and personality change : what we do makes who we are / Ying Wang, Chia-Huei Wu

Cote de rangement : BF 698 .9.03 W 265794

Where's the 'human' in human resource management ? : Managing work in the 21st century / Michael Gold and Chris Smith

Cote de rangement : HF 5549 G 265793

---------------------------------------

Finance

Why international cooperation is failing : how the clash of capitalisms undermines the regulation of finance / Thomas Kalinowski

Cote de rangement : HG 3881 K 265792

---------------------------------------

Migrations

Navigating the European migration regime : male migrants, interrupted journeys and precarious lives / Anna Wyss

Cote de rangement : JV 7590 W 265788

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Tous ces ouvrages sont exposés sur le présentoir des nouveautés de la BSPO. Ceux-ci pourront être empruntés à domicile à partir du 16 janvier 2023.

[rachelmygod]

Pattes blanches (Jean Grémillon, 1949)

[aristicalli]

All is fair in love and war

[akamatthewmurdock]

IN 1922, I MURDERED MY WIFE.

[jamieroxxartist]

✔ Mark Your Calendars: Monday July 18 on 🎨#JamieRoxx’s Pop Roxx Radio 🎙️#TalkShow and 🎧#Podcast w/ Featured Guest:

Arlette Thomas-Fletcher, #Writer, #Director (The Lonesome Trail; #Movie | #Family, #Western)

☎ Lines will be open (347) 850.8598 Call in with your Questions and Comments Live on the Air.

● Click here to Set a Reminder: http://tobtr.com/12121163

Pop Art Painter Jamie #Roxx (www.JamieRoxx.us) welcomes #ArletteThomasFletcher, Writer, Director (The Lonesome Trail; Movie | Family, Western) to the Show!

● WEB: www.thelonesometrail.com ● FB: @TheLonesomeTrail ● TW: @FruitstheSpirit

Based on the book by Arlette Thomas-Fletcher, #TheLonesomeTrail saddles up for a digital release July 12 from Gravitas Ventures.

The award-winning western marks the directorial debut of author Arlette Thomas-Fletcher, a “Trail Blazer” in every sense of the word as she is the first African American, woman to write, produce, direct and executive produce a western movie. Thomas-Fletcher’s love for horses and westerns stems from her childhood where she grew up around farming, horses, watching western movies and television shows with her father at a very young age.

The film stars #PeterWray, #DonaldImm, #ColinMcHugh, #KellyRussellSchwartz, #LamontEaster (Homeland), (We Own This City)’s #AntoinetteGreene, #JohnnyAlonso (What Death Leaves Behind), and #VivianYoonLee (The Substitutes).

Synopsis : The story begins when a cattle baron starts using trail hands to terrorize homesteaders in a small mining town a preacher comes to the rescue. With a Bible, not a gun this man is able to sway the homesteaders into standing their ground for their rights to free land. The homesteaders are rallied by preacher Carson to hold their position and not be frightened away by the constant barrage of raids on their families. Mike McCray the cattle baron doesn't stand for the resistance claps back and causes much damage to the preacher’s family and homesteaders. Frustrated with the outcome, one of the preacher’s own family members turns against him and sides with the McCray clan.

Arlette Thomas-Fletcher, a resident of Reisterstown, Maryland has been writing, producing and directing award-winning Christian-based plays, music videos and short films for more than a decade. Thomas-Fletcher is the first African American to serve as the president of the Women In Film and Video chapter in Maryland and the owner of Fruits of The Spirit Production LLC company. THE LONESOME TRAIL, an original script written, directed and produced by Thomas-Fletcher, has already started making a buzz by winning “Best Screenplay” at the Christian Film Festival and receiving awards from the Global Independent Film Awards for Best Screenplay, Best Director, and Best Feature Historical Film.

● Media Inquiries: October Coast www.octobercoastpr.com

[surrealistnyc]

A Spark in Search of a Powderkeg

Rebellion is its own justification, completely independent of the chance it has to modify the state of affairs that gives rise to it. It’s a spark in the wind, but a spark in search of a powder keg.

André Breton

If only one thing has brought me joy in the last few weeks, it began when the matriarchs at Unist’ot’en burned the Canadian flag and declared reconciliation is dead. Like wildfire, it swept through the hearts of youth across the territories. Reconciliation was a distraction, a way for them to dangle a carrot in front of us and trick us into behaving. Do we not have a right to the land stolen from our ancestors? It’s time to shut everything the fuck down!

Tawinikay (aka Southern Wind Woman)

The toxic cargo carried in Canadian pipelines, whether it be tar sands oil or fracked liquid natural gas (LNG), is, according to all serious climate scientists, a major, perhaps even decisive contribution to global warming, i.e. ecological catastrophe.   Meant to fuel industrial expansion, the pipelines have themselves become fuel for revolt. Designed to move these dirty fossil fuels from one location to another, they are a crucial element in normalizing the dubious paradise of unlimited growth in awe of which all obedient consumer/citizens are supposed to genuflect. In what the colonial mapmakers have called British Columbia (BC), resource extraction has always been the name of the game. However, the emergence in February of this year of a widespread oppositional network ranging from “land back” Indigenous warriors to elder traditionalists and from Extinction Rebellion activists to anarchist insurrectionaries was heartening. Railways, highways and ferries were blockaded, provincial legislatures, government administrative offices, banks and corporate headquarters were occupied. The catalyst for this rebellion was a widespread Indigenous uprising that refused the illusory promises of reconciliation. Together, these rebel forces disrupted business as usual in solidarity with the Unist’ot’en Big Frog clan of the Wet’suwet’en tribal house.

       ​As objective chance would have it, the primary Indigenous land defense camp is situated not far from the same Hazelton, B.C. area to which surrealist Kurt Seligmann and his wife Arlette had journeyed in 1938. During that time, they visited Gitxsan and Wet’suwet’en villages, marveled at the imaginative power of the totem poles and ceremonial objects, made field notes, shot 16mm film, collected stories and recorded mythic histories. Now, in 2020, growing numbers of these same Indigenous peoples have been threatening to bring the Canadian economy to a grinding halt. Unwilling to be bought off by corporate petrodollars or mollified by a legal system that has never done anything but pacify, brutalize, or betray them in the process of stealing their land, Indigenous peoples passionately fought back against the forces of colonial law and order in a radical whirlwind of willful disobedience and social disruption. One action built upon another in creating a rolling momentum that seemed unstoppable. When one railroad blockade would be busted by the Royal Canadian Mounted Police (RCMP), another would spring up in its place elsewhere extending the frontlines of the battle all across the continent. Then the debilitating Covid-19 virus arrived to compound the damage that had previously been done to the capitalist economy by the incendiary virus of revolt. The resistance of these Indigenous communities against the pipelines concerns all of us, worldwide, since they are on the front lines of the struggle to prevent cataclysmic climate change.

       ​In the future, a key question will be whether Canadian authorities can successfully put the genie of Indigenous rebellion back in the colonial bottle of “reconciliation”. As surrealists, we hope they will not, and we stand in solidarity with the unreconciled insurgent spirit of defiant Indigenous resistance. A new reality is to be invented and lived instead of the one that today as yesterday imposes its environmental miserabilism and its colonialist and racist hierarchies.  As surrealists, we honor our historical affinity with the Kwakwaka’wakw Peace Dance headdress that for so long had occupied a place of reverence in André Breton’s study during his lifetime before being ceremoniously returned in 2003 to Alert Bay on Cormorant Island by his daughter, Aube Elléouet, in keeping with her father’s wishes. With this former correspondence in mind, we presently assert that our ongoing desire to manifest the emancipation of the human community as distinctively undertaken in the surrealist domain of intervention is in perfect harmony with the fight of the Indigenous communities of the Americas against globalized Western Civilisation and its ecocidal folly.

                                                                                                               Surrealists in the United States: Gale Ahrens, Will Alexander, Andy Alper, Byron Baker, J.K. Bogartte, Eric Bragg, Thom Burns, Max Cafard, Casi Cline, Steven Cline, Jennifer Cohen, Laura Corsiglia, David Coulter, Jean-Jacques Dauben, Rikki Ducornet, Terri Engels, Barrett John Erickson, Alice Farley, Natalia Fernandez, Brandon Freels, Beth Garon, Paul Garon, Robert Green, Maurice Greenia, Brigitte Nicole Grice, Janice Hathaway, Dale Houstman, Karl Howeth, Joseph Jablonski, Timothy Robert Johnson, Robin D.G. Kelly, Paul McRandle, Irene Plazewska, Theresa Plese, Michael Stone-Richards, David Roediger, Penelope Rosemont, LaDonna Smith, Tamara Smith, Steve Smith, Abigail Susik, Sasha Vlad, Richard Waara, Joel Williams, Craig S. Wilson

Surrealists in the UK: Jay Blackwood, Paul Cowdell, Jill Fenton, Rachel Fijalkowski, Krzysztof Fijalkowski, Merl Fluin, Kathy Fox, Lorna Kirin, Rob Marsden, Douglas Park, Michel Remy, Wedgwood Steventon, Frank Wright, the Leeds Surrealist Group (Gareth Brown, Stephen J. Clark, Kenneth Cox, Luke Dominey, Amalia Higham, Bill Howe, Sarah Metcalf, Peter Overton, Jonathan Tarry, Martin Trippett), the London Surrealist Group (Stuart Inman, Philip Kane, Timothy B. Layden, Jane Sparkes, Darren Thomas) and the surrealists of Wales (Jean Bonnin, Neil Combs, David Greenslade, Jeremy Over, John Richardson, John Welson)

Surrealists in Paris: Ody Saban and The Surrealist Group of Paris (Elise Aru, Michèle Bachelet, Anny Bonnin, Massimo Borghese, Claude-Lucien Cauët, Taisiia Cherkasova, Sylwia Chrostowska, Hervé Delabarre, Alfredo Fernandes, Joël Gayraud, Régis Gayraud, Guy Girard, Michael Löwy, Pierre-André Sauvageot, Bertrand Schmitt, Sylvain Tanquerel, Virginia Tentindo, Michel Zimbacca)

Surrealists in Canada: Montréal (Jacques Desbiens, Peter Dube, Sabatini Lasiesta, Bernar Sancha), Toronto (Beatriz Hausner, Sherri Higgins), Québec City (David Nadeau), Victoria (Erik Volet), the Ottawa Surrealist Group (Jason Abdelhadi, Lake, Patrick Provonost) and the Inner Island Surrealist Group (as.matta, Jesse Gentes, Sheila Nopper, Ron Sakolsky)

The Surrealist Group of Madrid: Eugenio Castro, Andrés Devesa, Jesús Garcia Rodriguez, Vicente Gutiérrez Escudero, Lurdes Martinez, Noé Ortega, Antonio Ramirez, Jose Manuel Rojo, María Santana, Angel Zapata

Surrealists in Sweden: Johannes Bergmark, Erik Bohman, Kalle Eklund, Mattias Forshage, Riyota Kasamatsu, Michael Lundberg, Emma Lundenmark, Maja Lundgren, Kristoffer Noheden, Sebastian Osorio

Surrealists in Holland: Jan Bervoets, Elizé Bleys, Josse De Haan, Rik Lina, Hans Plomp, Pieter Schermer, Wijnand Steemers, Laurens Vancrevel, Her de Vries, Bastiaan Van der Velden

Surrealists in Brazil: Alex Januario, Mário Aldo Barnabé, Diego Cardoso, Elvio Fernandes, Beau Gomez, Rodrigo Qohen, Sergio Lima, Natan Schäfer, Renato Souza

Surrealists in Chile: Jaime Alfaro, Magdalena Benavente, Jorge Herrera F., Miguel Ángel Huerta, Ximena Olguín, Enrique de Santiago, Andrés Soto, Claudia Vila

 The Middle East and North Africa Surrealist Group: Algeria (Onfwan Foud), Egypt (Yasser Abdelkawy, Mohsen El-Belasy, Ghadah Kamal), Iraq (Miechel Al Raie), Syria (Tahani Jalloul), and Palestine (Fakhry Ratrout)

Surrealists in Prague: Frantisek Dryje, Joe Grim Feinberg, Katerina Pinosova, Martin Stejskal, Jan Svankmajer

The Athens Surrealist Group (Elias Melios, Sotiris Liontos, Nikos Stabakis, Theoni Tambaki, Thomas Typaldos, Marianna Xanthopoulou)

Surrealists in Costa Rica: Gaetano Andreoni, Amirah Gazel, Miguel Lohlé, Denis Magarman, Alfonso Peña

Surrealists in Buenos Aires: Silvia Guiard, Luís Conde, Alejandro Michel

Surrealists in Australia: Anthony Redmond, Michael Vandelaar, Tim White

Surrealists in Portugal: Miguel de Carvalho, Luiz Morgadinho

Surrealists in Bucharest (Dan Stanciu), Mexico (Susana Wald), and the Canary Islands (Jose Miguel Perez Corales)

 Postscript: During the process of gathering signatures for the above declaration, we were inspired to see its uncompromising stance against white supremacy and police repression reflected in the brightly sparkling flames of the Minneapolis uprising that lit a powder keg of pent-up rage and incited an earth-shaking eruption of spontaneous rebellion in the streets of America. It was only fitting that in solidarity with the uprising about police brutality kicked off by George Floyd’s execution/lynching at the hands of the police, anti-racism protestors in the United States would take direct action by beheading or bringing down statues of Christopher Columbus, genocidal symbol of the colonial expropriation of Native American lands. (Guy Girard, Michael Löwy, Penelope Rosemont, and Ron Sakolsky, June 18, 2020).

[genderqueerjacobin]

My booklist

From my old syllabus:

The Old Regime and the French Revolution, ed. Keith Michael Baker (Chicago, 1986)

Ending the French Revolution: Violence, Justice, and Repression from the Terror to Napoleon, Howard G. Brown (Virginia, 2006)

The Family on Trial in Revolutionary France, Suzanne Desan (California, 2004)

The French Revolution in Global Perspective, ed. Suzanne Desan, Lynn Hunt, and William Max Nelson (Cornell, 2013)

The Oxford History of the French Revolution, William Doyle (Oxford UP, 2002, 2nd Edition)

A Colony of Citizens: Revolution and Slave Emancipation in the French Caribbean, 1787-1804, Laurent Dubois (North Carolina, 2004)

The King’s Trial: Louis XVI vs. the French Revolution, David Jordan (California, 2004, 25th Anniversary Edition)

From Deficit to Deluge: The Origins of the French Revolution, ed. Thomas E. Kaiser and Dale K. Van Kley (Stanford UP, 2011)

The French Revolution: Recent Debates and New Controversies, ed. Gary Kates (Routledge, 2006, 2nd Edition)

Choosing Terror: Virtue, Friendship, and Authenticity in the French Revolution, Marisa Linton (Oxford UP, 2017)

The Coming of the Terror in the French Revolution, Timothy Tackett (Harvard UP, 2015)

There are also some articles and things I have on my computer that I’ll be reading, which I’ll post about when I read them.  

I still have my old syllabus from this class so I’m going to try to follow the readings as they were scheduled, but I don’t have all the books (what I don’t have I’m ordering, if inexpensive, or getting from the library) and might not have access to all the articles anymore, so we’ll see when we get there.  

I’m also going to (re)read some books I either used for my final paper or have picked up/been interested in reading since I took this class.  They include (rereads bolded):

The Terror: The Merciless War for Freedom in Revolutionary France, David Andress (Farrar, Strous, and Giroux, 2005)

The French Revolution and the People, David Andress (Bloomsbury Academic, 2004)

Scripting Revolution: A Historical Approach to the Comparative Study of Revolutions, ed. Keith Michael Baker and Dan Edelstein (Standford UP, 2015)

The Forbidden Bestsellers of Pre-Revolutionary France, Robert Darnton (W.W. Norton Company, 1996)

The Literary Underground of the Old Regime, Robert Darnton (Harvard UP, 1985)

The Terror of Natural Right: Republicanism, the Cult of Nature, and the French Revolution, Dan Edelstein (Chicago, 2010)

Subversive Words: Public Opinion in Eighteenth Century France, Arlette Farge, trans. Rosemary Morris (Pennsylvania State UP, 1992)

Goodness Beyond Virtue: Jacobins During the French Revolution, Patrice LR Higonnet (Harvard UP, 1998)

Martyrdom and Terrorism: Pre-Modern to Contemporary Perspectives, ed. Dominic Janes (Oxford UP, 2014) (only the chapters on the French Revolution, obviously)

Robespierre: A Revolutionary Life, Peter McPhee (Yale UP, 2012?)

Liberty: The Lives and Times of Six Women in Revolutionary France, Lucy Moore (Harper Perennial, 2007)

The Twelve Who Ruled: The Year of Terror in the French Revolution, R.R. Palmer (idk what edition yet--possibly the Princeton Classics reprint, 2017)

Citizens: A Chronicle of the French Revolution, Simon Schama (Vintage reprint, 1990?)

Fatal Purity: Robespierre and the French Revolution, Ruth Scurr (Holt Paperbacks, 2006)

In Defence of the Terror: Liberty or Death in the French Revolution, Sophie Wahnich, trans. David Fernbach (Verso, 2015, first published as La liberté ou la mort: Essai sur la Terreur et la terrorisme)

Phantom Terror: The Threat of Revolution and Repression of Liberty, 1789-1848, Adam Zamoyski (Basic Books, 2015)

Obviously this is a lot and I don’t think I can finish the syllabus reread AND the extras in the space of one semester, which is fine!  I fully expect this list to grow and hopefully lead to years of happy armchair scholarship.  

Reread starts August 28, 2019!

[ashleylikeshorror]

Stephen King’s “1922″: A Comparison Between the Novel & Netflix’s Adaptation

“In the end we are all caught in devices of our own making.” 

It was that time again to find another book to read during those evenings where everyone in the home was off doing their own thing. Not wanting anything too long, I picked up Stephen King’s “Full Dark, No Stars.” The book features four short stories, but today I’ll be discussing only the first out of the four, as well as how I feel about the 2017 Netflix adaptation of it. 

As always: SPOILERS AHEAD  (Just to be clear, these spoilers will only be about 1922, and not any of the other three short stories from Full Dark, No Stars.)

The Novel 

I’ll be as blunt as I can possibly be. 1922 was one of the better things I’ve read in too long of a fucking time. When starting this portion of my post, I erased my first couple sentences because they were cheesy (albeit true), generic bullshit along the lines of “wow”, “simply brilliant”, or “Stephen King has done it again.” 

Our story starts out in the year of 1922 (surprising, eh?) and follows a certain sort of unfortunate fellow (of his own creation) named Wilfred James. If this story were told in any other format outside of being in the first person, I’m not sure how it would have turned out. It was because of that first person style of narration that 1922 carried along with it a certain sense of dread that had you both wanting Wilf to do better, all while resenting him for the bullshit he’d brought upon nearly everyone around him.

What I particularly loved about this book that kept me looking for any excuse to leave the comfort of my husband’s arms to let him do his own thing was the grit of it, and the eerily depicted depth of what guilt can do to a person. As his wife haunted him from the grave it was thoroughly appreciated that no one else could see just how miserable Wilf was. That even though his son was undoubtedly dragged along for the ride, no one was more tormented, dejected, nor beside himself than our narrator. And it was rightfully so as he had no one to blame other than himself. 

As the chain of events began to happen, I began to question myself if the punishment fit the crime. Even though it went unsaid, in his reality I imagine Mr. James was asking himself the same thing as well, eventually dismissing the thought because what would it matter? “What’s done is done.” Indeed. What had been done was done; the grave had been dug. The same grave appearing too small for a family plus whoever else, yet somehow managing to encompass all as though it were a clown car.  

Irony in any other case would have been welcomed with open arms for assholes like Wilfred James. In this case, it stung deep. Not for him, but for what was lost in effort to escape such fate. This irony stuck with me days after finishing the story. Hell - even now it’s bringing up a dull, warm, sad pit in my chest. Following the irony, the ending itself was a genuinely twisted phantasmagoria. Picturing it in my head while reading it next to my husband left my mouth agape to the point my husband chucked and had asked me what was going on since I’d been his TL;DR of the story for every section of it I’d read.  

The Film

*This is where the spoilers come in. Head’s up.  

Standalone, this might have a decent enough movie had it not been taking directly from any novel. However, that’s not the case, now is it? What I felt Netflix decided to give us was something I’m not sure was made with any plausible sort of good intention along the lines of “Stephen King fans are going to love this!”  It seemed more like “Eh, people eat Stephen King shit up like Thanksgiving dinner, so put the basics of the book on screen and wham-Done!” 

The film begins, and for about the first 45 mins of the film, stays true to the book down to the last detail (the ones they chose to show, at least). It was just as painful seeing Elphis fall down the well and groan for help as it was to read it. Details are fantastic and all, but not if the dread you loved in the novel is depicted absolutely nowhere. Where was that same atmosphere that had me hooked for all those many pages? 

Now don’t get me wrong, every single actor n’ actress did their part quite well. Thomas Jane made an excellent Wilfred James despite what I’d thought he’d might be. What was missing was a connection. I felt like I was just watching events happen. I wasn’t invested. I sat down every bit excited to see something that depressed me in all the ways it should depress anyone come to light on screen, only to feel unattached to anyone. Even if were someone else who saw 1922 and felt the same as me, unattached, at the very least they should’ve felt attached to their narrator, the protagonist, no matter if that attachment is wanting to see that Wilf get his just desserts, or wanting him to be the victor despite the tragedy he’s caused everyone. 

Again, standalone, this might have been a “just alright” sorta film, but because I knew what to expect, I wasn’t happy. I wasn’t happy for three main reasons which you better believe I’m going to go into here, as I immediately and beyond audibly bitched my television out after the credits began to roll. 

Reason One: The misrepresentation of Wilfred’s guilt; specifically the lack of Arlette’s taunting. The entire novel we’re graced with biting sarcasm from what Wilf was picturing his undead Arlette saying to him from beyond the grave. There was none of that torment anywhere - ANYWHERE - in the film. It were those comments in Wilf’s mind that accrued that anguish, that helped expedite his descent into madness, as well as what added to the grotesque depictions of rats, providing the gravitas of why they were there. Instead, what we’re given in the film was the one moment Arlette spoke to Wilf, which seemed more of a parental discussion than “Was it worth it, WIlf?” 

Reason Two: Progression. The hour and forty two minutes this movie plays goes by quite fast. Faster than it should resulting in it not doing any real favors for the sourced material. Stephen King’s plethora of fiction is not shy of resulting in two and a half hour, or even three plus hour long renditions on screen. I don’t give a fickedy-fackled-fuck how many pages 1922 was. It needed more than an hour and forty two minutes to secure any possible chance of maintaining the same dread as the story it was made after. It’s a whole-hearted belief of mine that it is this reason I wasn’t able to feel close with any of the characters as I once had before. Due to the length of the film, we hadn’t been given the appropriate time to know our characters, nor truly see the hard work that went into the development of the things being planned and executed as they were. 

Reason Three: How Netflix had chosen to change the ending. Don’t even start giving me that same horseshit I’ve already read up on about how it’s an open ending wherein Wilf could have taken his own life. “We don’t know for sure the spirits of those scorned took him.”  One of the reasons I was so ecstatic to see this movie was to see how the original written ending translated on screen. The film had been teasing us with the rats, his guilt, closing in on him through a hole in the wall of his hotel room. That built up tension made your intuition fly off the charts with that assured notion some shit was going to go down, and knowing what to expect, I was more than one hundred percent let the fuck down. 

The rats were supposed to eat him. The rats were supposed to eat him amidst him writing the last of his confession. The rats were supposed to be finally shown to us as Wilfred biting himself. Why, oh why, Netflix, did you not show us Thomas Jane chowing down on himself? Surely, undoubtedly, CERTAINLY this would have been far more disturbing than three spirits, three corpses coming to claim him. I mean, fuckin’ aye, my dudes. The news article that followed afterwards was what sealed the deal on the ending of the novel  making it that much more disturbing. What Netflix did here seemed like a cheap, half-assed way of ending the movie. I would say they did it to truly push that horror towards the viewer, to leave them an ending that would “stick with em”, but good lord almighty, what a miss. What a frustratingly bad miss. 

Maybe one day I’ll go back and give the movie another shot. Maybe I’ll judge it for what it is, instead of what I wanted it to be. Right now though, I’m just disappointed in the ways the viewer shouldn’t be disappointed. It is for that reasoning alone, that I won’t put a rating today. I’ll rate the book separately just as I will go back and rate the movie (eventually) on its own as what it is later on down the line. 

It just sucks having your hype shat on like that. 

¯\_(ツ)_/¯

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h : John Fahey "The Great San Bernardino Birthday Party" (Guitar Vol. 4: The Great San Bernardino Birthday Party and Other Excursions/Takoma Records/1966) Joseph Spence "The Glory of Love" (Good Morning Mr. Walker/Arhoolie Records-Mississippi Records/1972-2009) ~Joanna Newsom~ "Divers" (Divers/Drag City Records/2015) Ramsey Lewis "Black Bird" (Mother Nature's Son/Cadet/1968) Emmanuelle Parrenin, Jean-Loup Baly, Jean-François Dutertre & Dominique Regef "Sur le pont de Nantes" (Le galant noyé : Ballades et chansons traditionnelles françaises/Le Chant du Monde/1975) Syndrome 81 & Coline Vialle "La ville" (Prisons imaginaires/Destructure-Sabotage/2022) Noël Akchoté & Stefania A. Verità "Le mépris" (Au Bordel - Souvenirs de Paris/Winter & Winter/1999) gnac "Une chanson du crépuscule" (An Evening in the Company of the Vespertine/Vespertine/1997) Arlt "Désennuyons-nous" (La Langue/Almost Musique/2009) Olivier Bloch-Lainé "Des Mots (Les Dromadaires)" (Des Mots/CBS/1976) The Soundcarriers "All These Things" (Wilds/Phosphonic/2022) The Rolling Stones "In Another Land" (Their Satanic Majesties Request/Decca/1967) Source "Nuit d'enfer" (7"/Sonor/196?) Hans Edler "Säg Vad Är Det ?" (Elektron Kukéso/Wah Wah Records/1971-2014) Liaisons Dangereuses "Mystère dans le brouillard" (7"/Mute Records/1981) The New Age Steppers "Love Forever" (The New Age Steppers/On-U Sound Records/1981) Céline Lory, "Écriture automatique - 10/9/2022" Serge Gainsbourg, Michel Colombier & William Klein "No no yes yes" (Mister Freedom OST (EP)/Barclay-Vadim Music/1968-2008) Gloria Barnes "Old Before My Time" (Uptown/Maple Records/1971) Bed "An Itch" (The Newton Plum/Ici d'ailleurs/2001) Scott Walker "The Ballad of Sacco and Vanzetti" (The Moviegoer/Philips/1972) Jacques Doyen, Jacques Lasry & Arlette Thomas "La mort des amants" (Poésie à Mi-Voix/Barclay/1967) Jacques Duvall "Je te hais" (Comme la romaine/Ariola/1983) LCD Soundsystem "Losing my Edge" (12"/Output - DFA Records/2002) https://www.instagram.com/p/Cih_M2eNyQ6/?igshid=NGJjMDIxMWI=

[salonaudiovisualfrancispou-fan]

Disponible en #filmin // Hace siete años que Bernard y Mathilde se conocieron, se enamoraron locamente y se separaron violentamente. El destino los reunirá de nuevo cuando Mathilde, recientemente casada con Philippe, se instala en la casa contigua a la que ocupa Bernard, su mujer Arlette y su pequeño hijo Thomas en la localidad de Grenoble. Bernard ha encontrado la felicidad con Arlette. En cuanto a Mathilde, su marido Philippe, mayor que ella, le ha proporcionado el equilibrio que necesitaba. Inevitablemente se entablan relaciones de vecindad entre las dos parejas. En la campiña de Grenoble todo el mundo se conoce y todo el mundo se encuentra en los mismos lugares, sobre todo en el Club Deportivo. https://www.instagram.com/p/ChuXMXxLvJc/?igshid=NGJjMDIxMWI=

[rachelmygod]

Pattes blanches (Jean Grémillon, 1949)