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“The Present” — A Painful Short Film Tells the Whole Story of What It Means to be Palestinian

Published by Anonymous (not verified) on Thu, 29/04/2021 - 2:31am in

OCCUPIED PALESTINE — “The Present” — a Palestinian film directed by Farah Nabulsi, with Saleh Bakri in the main role — was nominated for an Academy Award in the category of Live Action Short Film. In the end it did not win an Oscar, although it was deserving of one. In his acceptance speech, Travon Free, who won the award for his movie “Two Distant Strangers,” quoted James Baldwin, who said that “the most despicable thing a person can be is indifferent to other people’s pain.”

“The Present” is only about 23 minutes long, yet it encomapses the totality of Palestine and the Palestinian experience. It also shows the indifference that is so prevalent to the pain of Palestinians.

The story is simple; in fact, it could not be more simple. A father, Yusef, played convincingly by Saleh Bakri, wakes up in the morning and takes his daughter Yasmin, played beautifully by Mariam Kanj, to buy a gift for his wife on the day of their anniversary. The gift is a surprise and the two set out happily planning to return and surprise the mother. But they are Palestinians living in Palestine and as such they are not permitted to enjoy even the simplest of pleasures.

The short trip to the store and back is filled with the indignities and humiliation that are part of a Palestinian’s daily life. These indignities are imposed on men, women, and even children. Even a father wanting to spend a special day with his daughter is denied that pleasure because Palestine is occupied and governed by a ruthless militant regime that is not only indifferent to the suffering and the feelings of Palestinians; it humiliates them and makes their life unliveable as a matter of policy.

 

An alternate path

Anyone who has been to Palestine has seen the checkpoints placed on roads where one part of the road, usually the wider part, provides free and easy access to Jews while Palestinians have to go through a narrow path and a checkpoint. Jews walk or drive freely and Palestinians are stopped; they must show their ID cards and quite often are randomly held for hours. Some are killed.

Humiliation, degradation and fear are built into the part of the road through which Palestinians must pass. Israeli soldiers and contractors who operate the checkpoints have long known that security is not their purpose, but rather humiliation and a show of power, such as it may be.

In “The Present,” the father and daughter leave their home, which is walking distance from the checkpoint, to go to the store. As they stand and wait, a car with Israelis drives by and the soldiers wave them through with a smile. I’ve seen and experienced this countless times as I drove through checkpoints. “Shalom, ma nishma,”  Hello, how are things, they say; and I answer back “Yofi hakol beseder,” Great, all is well.

The Present two roads

Scenes from “The Present.” Credit | Native Liberty

For reasons beyond understanding, the soldier at this checkpoint decides to pull Yusef out of the line and make him sit and wait in a cage built next to the road. The young daughter has to sit outside the cage and wait as well. There are no facilities, and no one cares what happens to the Palestinians, be they children or adults.

At last they leave the checkpoint and the daughter straggles behind her father as they walk to the bus stop. Yusef turns to see why his daughter is walking so slowly and he realizes she is embarrassed and uncomfortable because she has wet her pants. Yusef cuddles his daughter and tries to comfort her in this moment of shame and discomfort. They must board the bus like that until they reach a store, where he is able to buy her new clothes and eventually the gift they had gone to buy for Yasmin’s mother.

 

Back pain

Anyone who has suffered from severe chronic back pain, to the point where pain medication is needed constantly, can relate to this movie. In a brilliant aside, Yusef suffers from terrible back pain. In fact, in the very first scene we see him take his meds. Then his wife asks him how his back is doing and he replies, “same as always.”

On top of the indignities, the humiliation, the constant fear of the soldiers, and the ease with which they use their weapons on Palestinians, Yusef is struggling with this constant pain. He had not anticipated that their journey would last as long as it did and therefore he did not have his meds with him when the pain hit. He says nothing but his face says it all.

The Present Back Pain

Scenes from “The Present.” Credit | Native Liberty

At the store, Yusef asks why the pharmacy next door is closed — a death in the family, he is told. “Have you any painkillers?” he asks, “We did but we are sold out,” the lady at the register tells him. Now he knows the pain will remain with him and the day is not yet over.

Yusef and Yasmin proceed to purchase the gift, and return home. But on the way they must still go through the checkpoint, the same checkpoint where they had both already suffered humiliation. Now it is evening, the memories come back; the soldiers remember Yusef and harass him again for no reason; his pain, both physical and emotional, are severe and reach a boiling point.

 

An eerie resemblance

One of the soldiers at the checkpoint bears an eerie resemblance to a solider I had encountered once while traveling with a Palestinian friend. We were traveling in the West Bank to visit a mutual friend and a checkpoint was placed on the road for no explicable reason. The young soldier in charge was white — as in European white — with a beard. He wasn’t tall and he wore his helmet and gun in a clumsy manner. Like the soldier in the movie, he had no reason to stop us from proceeding but he had the power and the gun and so he was king.

The Present IDF Soldiers

Scenes from “The Present.” Credit | Native Liberty

As these words are written, Jerusalem is burning and Israelis are in the streets calling for the killing and forced expulsion of Palestinians. In “The Present,” as throughout all of Palestine, soldiers, police officers, secret police, or Shabak agents, have the power — indeed they are instructed — to harass, humiliate, and take the lives of Palestinians in the most arbitrary fashion. Farah Nabulsi with Saleh Bakri gave the world a glimpse into a day in the life of a Palestinian. How long will the world remain indifferent?

Feature photo | A scene from the 2020 short film, “The Present.” Credit | Native Liberty

Miko Peled is MintPress News contributing writer, published author and human rights activist born in Jerusalem. His latest books are”The General’s Son. Journey of an Israeli in Palestine,” and “Injustice, the Story of the Holy Land Foundation Five.”

The post “The Present” — A Painful Short Film Tells the Whole Story of What It Means to be Palestinian appeared first on MintPress News.

Think the Impossible: Pieter Kooistra documentary

Published by Anonymous (not verified) on Wed, 28/04/2021 - 6:38pm in

by Brigitta Scheepsma Pieter Kooistra, born in Leeuwarden, was not only an artist, but also a world improver. He founded the Kunstuitleen and advocated basic income. With the Fryslân DOK “Think the impossible”, documentary maker Anne van Slageren (info@anderevertoningen.nl) sketches a portrait of Pieter Kooistra. The ideas he developed at the end of the last […]

Wishing Mike All the Best for His Appeal Hearing Today

Published by Anonymous (not verified) on Tue, 27/04/2021 - 6:15pm in

This is just to wish Mike over at Vox Political all the very best of luck for his appeal hearing against the court ruling in favour of Rachel Riley. The proceedings will be screened on YouTube sometime after 10.30 this morning. Mike has the details up on his blog, including the YouTube address. See Riley appeal hearing: at last, the details! | Vox Political (voxpoliticalonline.com) As a long time Star Trek fan, I say this: Qipla! (Klingon for ‘success’).

Rohmer in Quarantine

Published by Anonymous (not verified) on Sun, 25/04/2021 - 12:26am in

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Film


As I embarked on my quarantined viewing project, the films started to reveal themselves as pricklier and more ambiguous than I remembered. Their explorations of what it means to exist in a public space, enmeshed within a web of relations with other people, celebrate the possibilities that emerge from that position just as much as they brood over the dangers that lurk there. They shed light on some of the less salubrious aspects of communal existence that, as we start to stagger back into the world like dazed bears after a long hibernation, we may have overlooked or forgotten.

Hitler’s Propagandakompanien and the Media Support for the Iraq War

Published by Anonymous (not verified) on Wed, 14/04/2021 - 9:44pm in

Postscript are a mail order company specialising in books. Leafing through their catalogue for December 2020, I found one on the propagandakompanien, the Nazi reporters, photojournalists and film crew, who were placed in the German armed forces to provide positive coverage of the War. The book’s entitled The Propagandakompanien: Preparation, Development, Training and the Beginning of the Conflict, by Nicholas Ferard, published by Histoire & Collections. The entry for it in the catalogue reads

Formed in 1938, the ‘Propagandakompanien’ (Pk) comprised motorized units of reporters, film cameramen and photographers, all with military training and attached to Wehrmacht, Waffen SS or Luftwaffe forces. Reproducing many of the unit’s wartime photographs, this volume gives a full account of the organisation of the Pk and describes their work in print, film and radio during campaigns in Poland, France and the Eastern Front.

This is chillingly relevant to contemporary media manipulation and particularly the methods used by the American military-industrial complex to ensure media support for the Iraq invasion. Because they’re almost exactly the same. In their book End Times – The Death of the Fourth Estate, Alexander Cochburn and Jeffrey St. Clair of the radical American magazine Counterpunch collect a series of articles describing the way the American media censored itself and produced biased, propagandistic reporting in order to whip up public support for the Iraq invasion and George Dubya’s wretched ‘War on Terror’. And this included embedding journos in military units so that they would develop a positive sense of fellowship with them and so produce favourable reports.

One of the documentaries about the Nazis shown on the History Channel years ago had the simple title The Nazis – A Warning from History. It’s a good title, and far more relevant than I think the series’ producers realised. Because more and more aspects of the Nazi and Fascists regimes are being adopted by the current right-wing and ‘centrist’ administrations in America and Britain. A few days ago Mike on his blog listed the number of features of Fascism that were in Johnson’s Conservative party. It was a long list, and showed very convincingly that Johnson and the Tories are definitely Fascistic, although obviously they’re not quite appearing in uniform and holding torchlight rallies. Well, not just yet. One of the left-wing, anti-racist YouTubers said in an interview that he noticed several years ago that the Tories were adopting policies previously advanced by the BNP as British politics moved rightward. This is true. We are heading towards a Fascist dictatorship, especially with the Tories’ wretched Crime and Policing Bill which seeks to ban any kind of public demonstration if someone thinks its a nuisance or offensive.

And they’re using the same techniques the Nazis’ used to manipulate the media. Except that in Tory Britain, the media is a willing partner.

Tories Now Want to Set Up Privately Run ‘Secure Schools’

Published by Anonymous (not verified) on Sun, 11/04/2021 - 2:55am in

This is really alarming, considering the appalling record of the outsourcing giants running the privatised prisons. Mike put up a piece yesterday suggesting a possible reason for Gavin Williamson’s absurd statement that pupils’ behaviour had got worse during the lockdown and absence from school. Mike and myself both noted that there was zero evidence for this. In fact a friend of mine, who is a school governor, believed the children at her school were actually better behaved. And it seems this friend isn’t alone. Mike put up a series of quotes from people in education saying very clearly that children’s behaviour hadn’t deteriorated. One of them even said it had improved. Williamson’s statement is thus pure nonsense.

But there is a possible explanation for it in the Tories’ proposed change to the school system, which in fact is a further expansion of the prison-industrial complex. He wants to introduce privately run ‘secure schools’. This sounds to many concerned educationalists like the return of the Young Offenders Institutions. One of those, who oppose this plan, is Zahra Bei, who fears that they will be a ‘fast track to prison’. The Tories have said that they won’t be ‘prisons with education’, but I really don’t put much faith in that considering the Tories appalling record of lying as easily as most people breathe. Private companies have so far been excluded from running such schools, but the government wants to reform this legislation so that they can do so under the guise of charities. This seems to me to be already a scandalous disaster in waiting, considering the mess companies like G4S, Serco and the rest of them have made of running adult prisons and migrant detention centres. It was only a few years ago that conditions in privately run prisons were so appalling that the prisoners were rioting. Private Eye has also run any number of stories in its ‘Footnotes’ or ‘In The Back Column’ about the tragic deaths of young people put in adult prisons, either by their own hand or murdered by their fellow inmates. The Tory plan to start building privately run prison schools seems to me to threaten the further deaths of vulnerable young people. And this is quite apart from the horrors of their predecessors, as depicted in films like Scum.

But I can see more children being unjustly sentenced to these places as the government and the companies running them want to turn a profit and give a nice, fat dividend to the shareholders. The ‘capped crusader’ Michael Moore gave an example of such a glaring miscarriage of justice in his documentary Capitalism – A Love Story. This was the case of a teenage American girl, who was sentenced to a spell in prison. The girl had committed a trivial offence. I can’t remember what it was – it may have been simply bunking off school or underage drinking. It certainly wasn’t anything more serious. It was the kind of crime which over here would be have been punished with a small fine or so many hours community service. Or simply being grounded by her parents and having her playstation taken away for the duration. But no, the beak decided that she was such a dangerous delinquent, that only a spell in the slammer would deter her from a life of crime. Well, actually, not quite. The real reason was that the judge was on the payroll of the private company running the prison. Their profits depend on people being put in them. Hence the incentive for the esteemed lawman to put a teenage girl behind bars.

And I’m afraid the same will happen here. Williamson’s comments about the bad behaviour of all those children coming back to school seems set to prime public opinion for it. The Tories are past masters at exploiting the public’s fear of rising crime, especially by the young. Children haven’t become worse behaved because of the lockdown. In fact, Mike’s probably right when he says that they may even have become more self-disciplined because of it. But Williamson needs people to believe that children’s behaviour has got worse, so that he then has a pretext for locking them up in his new, shiny, privately run educational prisons.

When they run the risk of really getting set on a career as a crime and a lifetime in prison, or brutalised by the staff employed by private companies running the schools or the other inmates, with the dreadful prospect that some will either commit suicide or be killed by the others. Bei has said that the majority of people put in these wretched schools will be young, Black, poor and disabled. That’s a certainty, given that the prison population is generally composed of the poor and those from ethnic minorities. The number of female prisoners in the UK is comparatively small – 4,000 women compared to 80,000 or so men. But women in prison can be particularly vulnerable, especially as the majority of them aren’t violent. It’s been claimed that many of the women currently banged up are for crimes like failure to pay their TV license. But I can imagine a number of girls getting sentenced to these schools as part of Williamson’s campaign to stamp out the entirely imaginary tide of school-age crime he wants us to think is coming.

Disabled Girl Gets Bionic Arms Based on Movie ‘Alita’s’ Heroine

Published by Anonymous (not verified) on Sat, 03/04/2021 - 8:02pm in

Okay, I’m sorry I haven’t put anything up for the past week or so. It’s the usual reasons, I’m afraid: I’ve been busy with other things and for the most part, I simply haven’t found the week’s news inspiring. I felt there was precious little I could add to the excellent coverage and analyses given by Mike and Zelo Street. And so, rather than simply repeating what they had to say, I preferred to keep silent. But there are some stories that do need further comment, and I certainly intend to cover them. But before I do, here’s a more positive, rather heartwarming piece I found on YouTube.

It was put up by the tech company, Open Bionics, which makes state of the art, and very stylish, prosthetic limbs. Narrated by Hollywood director James Cameron, it tells how the company created a pair of superb artificial arms for British teenager Tilly Lockey. Lockey had lost her arms from septicaemia caused by meningitis. But, as Cameron shows, she had never let her disability hold her back, and the video shows Ms. Lockey as a junior school girl painting using an artificial arm. Cameron’s best known as the director of such hits as Aliens, The Terminator, Terminator 2, Avatar and Titanic, but he was also the producer of the film Alita – Battle Angel. Based on the Manga of the same name, Alita is the story of a mysterious cyborg girl, found by a doctor rummaging around the rubbish dump below an airborne city in which Earth’s rich and powerful live, far above ordinary masses, who live in the city below it. The doctor repairs the girl, who has lost her memory. Slowly Alita begins to recover bits of her history, joins the other cyborg players in a murderous sports race, attempts to become one of the cyborg warriors fighting crime and evil in this future world, and is forced to confront the villains controlling this new society from the floating city above it.

Cameron points out that cybernetic limbs are expensive, but the company is working to make them affordable. They’re also trying to make them attractive, which is why they’ve based those they’ve give to Tilly on the arms of Alita’s heroine. As well as getting the arms, the girl also got to attend the film’s premier.

I have a feeling Open Bionics might be based in Bristol. If I’m right, they used to be part of the cybernetics lab at the University of the West of England, which has done some impressive robotics research. The lab set up a commercial company to produce artificial limbs based on characters from Science Fiction movies.

As for Alita, I think it got mixed reviews. Some critics were spooked by the character’s large eyes, but I think that was simply following the artistic conventions of Manga comics and translating it to a live action film. Some critics said that while it wasn’t that good, it was actually far better than some of the rubbish being produced by Hollywood at the time. I’ve got it on video and liked it. There are rumours of a sequel being made, which would be great if they were true. But unfortunately the Coronavirus lockdown has meant that many Hollywood projects have had to be put on hold. The release of Denis Villeneuve’s much-awaited version of Dune has been postponed to October, when hopefully the cinemas will re-open.

The video’s obviously a piece of corporate promotion, but it’s great that the company and its talented engineers are working to make technologically impressive artificial limbs at affordable prices, and that they’ve given them to this spirited young lady. I have a feeling she’s also one of the women featured on the Shake My Beauty YouTube channel, which features other disabled women talking about life with their prosthetic limbs. While also demonstrating that having mechanical arms and legs certainly doesn’t make them less beautiful or capable of enjoying normal, physical activities including sports.

Israel’s Racist Persecution of Black Jews

I’m not surprised that the Blairites in the Labour party had Tony Greenstein thrown out as an anti-Semite in their vile witch-hunt, and the Zionist Jewish establishment hates him with a passion. He’s that most dangerous creature, you see, a self-respecting, passionately socialist and anti-racist Jew, who loathes Zionism as a Jewish form of Fascism. And with a wealth of documented fact at his fingertips, he is more than able to cut through the hasbara – the official Jewish propaganda – and prove it. His articles, frequently reprinting and commenting on stories of persecution and atrocity reported in the Jewish press, convict Zionism as an ideology and the Israeli military and political establishment again and again of crimes against humanity.

He is, like the mighty Jackie Walker, Naomi Wimborne-Idrissi and Ilan Pappe, the ‘wrong kind of Jew’, who must be silenced and persecuted at all costs. Just like the western mainstream media really doesn’t want you to hear such dissident Jewish voices, whether from liberals and the left, or from the extremely traditional. The latter include the ultra-Orthodox Hasidic Jews, who reject modern Israel out of their belief, rooted in the Talmud and the Tanakh, the Hebrew Bible, that Israel can only be restored and her people redeemed by divine action through the Mashiach, the Messiah. This was also the view of some members of Britain’s Jewish establishment. He has quoted a former Chief Rabbi, who also rejected the Israeli state for the same reason. This reverend gentleman believed that not only should and would Israel be redeemed in this way by the God of Abraham, Isaac and Jacob, but the removal of the Palestinians from the newly restored nation would be done through peaceful negotiation and agreement. Israel has done neither. He has also quoted other prominent figures from Britain’s Jewish community, who hated Zionism as a Jewish version of the anti-Semitism they had so staunchly fought against in gentiles. Zionism seemed to these men to be a concession to the prejudiced view that there were profound racial difference between Jew and gentile and the two could never mix. Thus, according to the anti-Semites, they should be kept apart. The ultimate development of this idea was that Jews should be given their own state, to which diaspora Jews should be encouraged or forced to emigrate.

In his latest piece, posted on Saturday, Tony posts and comments on an article by Gavin Lewis, a mixed-race Black British writer, who chillingly describes Israel’s racist persecution of Black Jews. Lewis discusses Israel’s refusal to allowance entry to a Black American Jewish mother, Idit Malka and her son, when they tried to visit the country. They were detained for 10 hours before being deported. Before her departure, an Israeli woman screamed at her that Israel was no country for ‘Cushim’, an Israeli term of abuse for Blacks. In 2013, Haaretz and The Times of Israel reported that over 130,000 Black Jews had been forcibly sterilised by the Israeli authorities, a policy that evokes Nazi eugenics. YTNews in 2009 reported that some Israeli neighbourhoods, such as Ashkelon, who maintained a Whites only police. The Daily Beast also reported in 2017 that Israeli kindergartens also had a policy of segregation, separating White and Black toddlers. The Israeli state has also rejected blood donations from Blacks as ‘unclean’. The San Francisco Bay View National Black Newspaper also reported in 2016 that racial discrimination against Blacks in Israel was so appalling, that 300 Black Jews had declared their intention not to report for reserve service because of official racism against Ethiopian Jews.

The article also discusses the theft of babies born to Yemeni parents, who were sold to Ashkenazi Jewish parents, because of the racist belief that Yemeni Jewish culture was so inferior that it was an unsuitable environment for raising Jewish children. Just as shocking was that many of these innocents had been given an experimental treatment. The hearts of some of the dead babies were surgically removed for study by American doctors curious about the absence of heart disease in Yemen. He also talks about the massive racial hatred against Palestinians and Arabs, including the incident where two Chechen players were hounded out of Beitar Jerusalem football club.

Lewis states unequivocally that Israel is an apartheid state, as Desmond Tutu and former President Jimmy Carter has said, but the IHRA definition of anti-Semitism has ruled that it is anti-Semitic to compare it to Nazism, even though this is clearly warranted by some of its policies. He also describes how Israeli racism is routinely covered up by western politicians. In Britain, Labour’s odious leader, Keir Starmer, sacked Rebecca Long-Bailey from his team after she correctly pointed out that the choke-hold that killed George Floyd had been taught to the police by the Israelis. His action may not be un-adjacent to the fact that Starmer had received a £62,000 donation from a pro-Israeli lobbyist.

The second-class status of Black Britons is also shown in the differences in treatment between them and members of Britain’s gay community regarding visits to potentially hostile countries and regions. In 2016 the British government and media warned gay, bi and trans people not to visit North Carolina. But neither Starmer nor the rest of the political and media class have taken it upon themselves to warn Black Brits of the dangers of visiting the parts of Israel that are off the tourist itineraries.

Over the other side of the pond, America’s politicos and media have thrown their weight behind Israel. CNN even sacked one of their reporters, a Black American, Dr. Marc Lamont Hill, because he publicly sided with the Palestinians. Although he was an American, Hill was considered inferior to the interests of Israel, a foreign country, because of his colour.

In his afterword, Lewis compares contemporary Israel to the White settler societies of the US, Australia, New Zealand, South Africa and Rhodesia, and their respective systems of apartheid, segregation and/ or official policies of limiting or banning non-White immigration. He concludes

Yet, in twenty-first-century, in the form of Israel, Black and Indigenous peoples of the world are expected to put up with variants of these traditional white-settler offenses. And, alarmingly, even parts of the left are threatened into exempting Zionism from the sort of critique and anticolonial resistance leveled against other white-settler societies.

Tony’s introduction to the piece is also worth reading, as he argues that it is a mistake to see Israeli racism purely in terms of White supremacy. It’s a Jewish supremacist state, in which only Jews can be citizens and enjoy full civil rights. He also describes how the Mizrahi Jews, who were Arabic in culture and language, were so maltreated that the once formed a Black Panthers organisation of their own in solidarity with the Black American group. Since then, the Mizrahim have become even more fanatically anti-Arab than the Ashkenazim who founded Israel, who then supported Menachim Begin. At the same time Ethiopian Jews in Israeli have no sympathy for the Palestinians, but wish instead to have racial equality with White Jews of European, or White American descent. Nevertheless, colour prejudice is a major factor. Yemeni Jews were tested to see if they had ‘Negro’ blood, and a group of Ugandan Jews were refused Jewish citizenship because of their colour.

See: Tony Greenstein’s Blog: A racist endeavor: Zionist Israel’s Black Jewish victims of color (azvsas.blogspot.com)

This is horrific stuff, and it’s an indictment of mainstream western politicos and the media that this is not reported and condemned over here. Or if it is, it’s done very half-heartedly. The theft and infanticide of the Yemeni babies is comparable to the Nazi theft of blonde children from Slav parents, such as the Poles, to be brought up by approved, ‘Aryan’, German parents. The Nazis considered these children to be the product of German bloodline amongst conquered, ‘subhuman’ Slavs.

It also bears a horrible similarity to one of the crimes of the Magdalen Laundries in Ireland. These were homes run by the Roman Catholic church for unmarried mothers. These unfortunate women had their babies removed to be sold for adoption to rich Americans while their mothers were forced to work as laundrywomen. But only strong, bonny babies had this good fortune. The weak were left to perish in ‘dying rooms’. Incidentally, when a leading member of the Irish feminist organisation, The Countess Didn’t Fight For This, revealed this during a discussion with Graham Linehan and his conversationalists, Helen Staniland and Arty Morty it reduced the latter to tears. Linehan and his allies have been terribly reviled for their opposition to the transgender craze and accused of transphobia. I believe this to be profoundly wrong – they are moved instead by the great harm transgender ideology is doing to the vulnerable, especially girls and young women. But like Posie Parker, they certainly do not wish to see transpeople themselves assaulted or murdered. Morty is a gay Canadian, deeply immersed in his community. His unostentatious tears over the deaths of children left to die in Eire to me amply demonstrate that he, Linehan and Staniland very definitely do not wish harm on anyone. If the Nazi-like experimentation and mass deaths of the Yemeni children had been performed by a gentile organisation, like the Roman Catholic Church, it would eventually have been exposed across the world. There has been a film about one woman’s experiences of it, Philomena, which I believe stars Steve Coogan as the British reporter who uncovers the heroine and her story. It’s a testament to the institutional power of the Roman Catholic church in Eira that this horrific policy continued until the ’90s. But it was eventually exposed, along with the systematic abuse of children in the Roman Catholic and other churches, including my own, the Anglican Church, across the world. Would the media and politicians have allowed the story to get out if it were instead an Israeli organisation preying on Jews? I somehow doubt it.

Tony’s and Lewis’ articles amply demonstrate that Israel is a profoundly racist state. But anyone who tells the truth about this in the lamestream media or politics over here will be viciously attacked and hounded on the grounds that they are ‘anti-Semitic’. Even if they are decent, self-respecting men and women, who had suffered anti-Semitic abuse and assault themselves, or, if gentiles, because they dared support Jews, Blacks and Asians to live in peace, equality and dignity.

Model-Maker Bill Pearson Talks About His Work on Blake’s 7

Published by Anonymous (not verified) on Fri, 26/02/2021 - 5:56am in

This is another video from the film about the work of the talented peeps behind the models and miniatures used in some of the classic SF films and TV shows, A Sense of Scale. In this short video of about 4 mins in length, the late Bill Pearson talks about his work on the Beeb’s cult SF series, Blake’s 7. He describes the series as the Magnificent 7 in space, and says that the heroes were all bad guys, but not as bad as the people they were fighting against. They were anti-heroes. It’s a fair description, as the heroes were nearly all convicted criminals – Vila was a thief, Jenna a smuggler, Avon an embezzler, Gan a murderer, while Blake was a democratic agitator, a political criminal against the totalitarian, fascistic Federation, who were the real bad guys. Cally, a freedom-fighter from the planet Auron, was the only one who hadn’t been arrested, sentenced and convicted by the Federation she was pledged to overthrow.

Pearson says he was persuaded to join the effects team as he was told it was going to be wonderful and big budget, which it never was. He was recruited to the series as he had impressed the Beeb’s head of special effects with what he had been doing at college, and started work at the Corporation with a couple of episodes of Dr. Who. He was on Blake’s 7 from the start and did most of the spaceships in the last series. He says there were very little miniatures. There were a couple of hero ships, but they’d been built by the time he joined the SFX crew. The London, the ship used in the first episode, ‘The Way Back’, to transport Blake and his future crew to the penal colony of Cygnus Alpha, had already been made by an outside company. Other model-makers on the series included Martin Bower, who also worked on Space 1999 and the film Outland, and who worked on a couple of models of the heroes’ ships, the Liberator. There, and I thought the effects were all done by Matt Irvine and Mike Kelt. He only got involved with the miniatures in the final series. Pearson says that he’s notorious on the internet for making the gun that Avon uses to kill Blake in the very last episode. This, he says, is still around and getting more appreciation. I think here he’s referring to the series, rather than the weapon, as it’s just after that he talks of Blake and his crew as being bad guys and anti-heroes.

Pearson states that model-making for the screen isn’t as glamorous people think. One of the downsides is unemployment and there are many special effects firms now going bankrupt. However, it is the closest we’re going to get to immortality at the moment. A century from now someone’s going to pick up a packet of cereal and get a free 4D recording of Alien, put it in their viewer, and see his work and his name on the credits. And that’s pretty cool. The video also includes stills of Pearson working on some of the models used in the series and on Alien along with the interview.

BLAKE´S 7 (TV) miniature effects – YouTube

Pearson gave the interview in 2012, and the state of the effects industry may have changed somewhat since then, but I don’t doubt that CGI has had a devastating effect on the use of practical effects in movies and television, although they’re still used to a certain extent.

Blake’s 7 was made over forty years ago and was low budget SF. Matt Irvine said once that the money spent on one effect in the cinema was far in excess of what they had to spend on the series. But the show had memorable characters, great actors and some excellent stories. The effects work varied in quality, but the main spaceships, the Liberator and the Scorpio, looked good, as did the three sentient computers in the show, Zen, Slave and Orac. Blake’s 7 is, along with Dr. Who, Thunderbirds and Space 1999, a classic of British SF television and still retains a cult following all these decades later.

Couple of Videos on the Model Work on the BBC SF Comedy, Red Dwarf

Published by Anonymous (not verified) on Wed, 24/02/2021 - 9:33pm in

These are another couple of videos I found on YouTube. In the first, model makers and special effects technicians Bill Pearson and Steve Howarth talk about their work on series 10 of the show. It’s a deleted scene from the film Sense of Scale, which appears to be a movie about the work of model makers like the two. It’s one of a number of videos about the creation of model effects for films and TV series like Red Dwarf, Space: 1999, Alien, Aliens, Outland, Flash Gordon, the 1990’s version of Total Recall, Coneheads, The Fifth Element and The Empire Strikes Back by piercefilm productions.

RED DWARF X miniature effects – YouTube

The second video comes from the channel of someone styling themselves Duane Dibley (the Duke of Dork). As fans of the series will know, this is the stylistically challenged alter ego of the Cat. In it, Bill Pearson talks about his work on series 4 of the show when production was moved to Shepperton. He talks about how some of the props and effects ended up in skips, including one that was damaged by Craig Charles. Money was tight, and so instead of building the scutters from scratch, as they had in the first series, they used parts from radio controlled cars and electric screwdrivers instead. They also recycled props and bits of set from other shows, including a Science Fiction film Ridley Scott had completed filming there. It was only after the series ended that Patterson realised he had never made one of the major vehicles in the show. But his chance finally came when he asked to make one to be given as a prize in a quiz show.

Super Models (Featurette With Red Dwarf Model Maker Bill Pearson) – YouTube

Red Dwarf is one of my favourite SF shows, and one which, in my view, deserves its longevity and cult status. It’s really fascinating to hear from one of the team of talented artists, model makers and technicians which gave this show its great SFX. These still stand up today when miniature work has largely been superseded by CGI. Pearson mentions this in the first video, saying that he’s proud of their work on Red Dwarf, but thinks that he’ll now spend the rest of his life working in low budget projects, because the major films and TV series have gone over to CGI instead. This is a pit, as I’ve a great deal of nostalgia and respect for the practical special effects used in the Science Fiction and Horror movies I grew up with. As spectacular as the CGI graphics can be, there’s still a popular demand for old style practical effects. Harbinger Down, a horror film that came out a couple of years ago, was made using these traditional special effects techniques to cater to audience keen to relive the pleasure of the type of effects they’d enjoyed in Alien and John Carpenter’s The Thing.

Pearson, Howarth and the others, who worked on shows like Red Dwarf are immensely talented artists, and I hope their skills will continue to be in demand by producers and directors, who appreciate the value of good, practical special effects.

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