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The Anarchist Library on torrent

Category: eBooks, Magazines, Audio Books
Description:
The whole archive of theanarchistlibrary.org
Seeders: 14
Leeches: 3

PBS Frontline~The Warning 2009 10 20

Category: News & Current Affairs
Description:
PBS Frontline~The Warning 2009 10 20 599mb / 60 mns "We didn't truly know the dangers of the market, because it was a dark market," says Brooksley Born, the head of an obscure federal regulatory agency -- the Commodity Futures Trading Commission [CFTC] -- who not only warned of the potential for economic meltdown in the late 1990s, but also tried to convince the country's key economic powerbrokers to take actions that could have helped avert the crisis. "They were totally opposed to it," Born says. "That puzzled me. What was it that was in this market that had to be hidden?" In The Warning, veteran FRONTLINE producer Michael Kirk unearths the hidden history of the nation's worst financial crisis since the Great Depression. At the center of it all he finds Brooksley Born, who speaks for the first time on television about her failed campaign to regulate the secretive, multitrillion -dollar derivatives market whose crash helped trigger the financial collapse in the fall of 2008. "I didn't know Brooksley Born," says former SEC Chairman Arthur Levitt, a member of President Clinton's powerful Working Group on Financial Markets. "I was told that she was irascible, difficult, stubborn, unreasonable." Levitt explains how the other principals of the Working Group -- former Fed Chairman Alan Greenspan and former Treasury Secretary Robert Rubin -- convinced him that Born's attempt to regulate the risky derivatives market could lead to financial turmoil, a conclusion he now believes was "clearly a mistake." Born's battle behind closed doors was epic, Kirk finds. The members of the President's Working Group vehemently opposed regulation -- especially when proposed by a Washington outsider like Born. "I walk into Brooksley's office one day; the blood has drained from her face," says Michael Greenberger, a former top official at the CFTC who worked closely with Born. "She's hanging up the telephone; she says to me: 'That was [former Assistant Treasury Secretary] Larry Summers. He says, "You're going to cause the worst financial crisis since the end of World War II."... [He says he has] 13 bankers in his office who informed him of this. Stop, right away. No more.'" Greenspan, Rubin and Summers ultimately prevailed on Congress to stop Born and limit future regulation of derivatives. "Born faced a formidable struggle pushing for regulation at a time when the stock market was booming," Kirk says. "Alan Greenspan was the maestro, and both parties in Washington were united in a belief that the markets would take care of themselves." Now, with many of the same men who shut down Born in key positions in the Obama administration, The Warning reveals the complicated politics that led to this crisis and what it may say about current attempts to prevent the next one. Flash video online: http://www.pbs.org/wgbh/pages/frontline/view/
Seeders: 16
Leeches: 3

America & the Holocaust, Deceit & Indifference (PBS)

Category: Documentary
Description:
Video Codec..........: XviD ISO MPEG-4 Video Bitrate........: 1025kbps Duration.............: 1:25:04 Resolution...........: 528*400 Framerate............: 29.970 Audio Codec..........: 0x0055 MPEG-1 Layer 3 Audio Bitrate........: 110 kbps VBR Audio Channels.......: 2 Filename.............: America and the Holocaust.avi Filesize.............: 733,464,576 No Subtitles http://www.imdb.com/title/tt0195518/ http://www.pbs.org/wgbh/amex/holocaust/ In 1937, a 17-year-old German Jew named Kurt Klein emigrated to the US to escape the growing discrimination against Jews that had become a terrible fact of life following Hitler's rise in 1933. Together with his brother and sister, who had emigrated previously, Klein worked to establish himself so that he could obtain safe passage for his parents out of Germany. America and the Holocaust uses the moving tale of Klein's struggles against a wall of bureaucracy to free his parents to explore the complex social and political factors that led the American government to turn its back on the plight of the Jews. The film is produced by Martin Ostrow. Hal Linden narrates. In 1938, American society had its own political, social, and economic problems, including a long-standing--and rising--anti-Semitism. Despite stories coming from Europe about a campaign to force Jews out of Germany and about the horrors of Kristallnacht ("the night of broken glass"), the majority of Americans were fearful that an influx of immigrants would only aggravate the serious unemployment problem brought on by the Depression. More than 100 anti-Semitic organizations blanketed the US with propaganda blaming Jews for all America's ills. Businesses discriminated against Jews, refusing them jobs. Signs at private beaches bore the words "No Jews or Dogs allowed" and certain hotels and housing developments proudly proclaimed themselves "Restricted." Even the government was not immune from anti-Semitic sentiments. While the Kleins were struggling to obtain visas from the American consulate, the State Department ordered its consuls to stall the process. "Even though we continued our attempts to get our parents out--because we knew that they were in the unoccupied part of France which was still not totally under German control--everything we did for them turned into nothing," recalls Kurt Klein. "The State Department probably had a greater degree of anti-Semitism than others, particularly in the immigration section," says former Treasury Department employee Edward Bernstein. "Their attitude was, `If we're patient, we find that the problems of the Jews in Germany are not really life-threatening." But for Kurt Klein and other German-American Jews with relatives overseas, patience was a commodity they couldn't afford. By the end of 1941, the Nazis had murdered half a million Jews. Although trains regularly headed to fully operational killing centers by the spring of 1942, the "final solution" was still a well-guarded secret. That summer the State Department was advised by Gerhart Reigner, the representative of a Jewish organization in Geneva, of Nazi plans to exterminate all the Jews in Europe. Their response was to dismiss the information, calling it "a wild rumor inspired by Jewish fears." "The State Department was actively blocking information about the genocide, " says historian David Wyman. "Roosevelt refused to focus on the issue. The American churches were largely silent...and the press had little to say--and buried that little on the inner pages. So it fell to Jewish activists to bring the information to the American public." It took protests and petitions from Jewish organizations and finally the Treasury Department, headed by Henry Morgenthau, to uncover the State Department's deliberate obstruction of rescue. "Secretary Morgenthau, who valued above all else his relationship with the president, nevertheless felt he had to put himself on the line and be the spokesman on this issue," recalls John Pehle of the Treasury Department. At last, on January 16, 1944, President Franklin Roosevelt met with Morgenthau in the Oval Office. Six days later, Roosevelt officially reversed the government's policy of obstruction. He signed Executive Order 9417, creating the War Refugee Board, which was instructed to "take all measures to rescue victims of enemy oppression in imminent danger of death." "In the end, the War Refugee Board played a vital role in saving the lives of 200,000 Jews," says Wyman, "a very valuable contribution, to be sure. But the number is terribly small compared to the total of six million killed. The Board did prove that a few good people--Christians and Jews--could finally break through the walls of indifference. The great shame is that if Roosevelt had created the board a year earlier [it] could have saved tens of thousands, even hundreds of thousands more--and in the process, have rescued the conscience of the nation."
Seeders: 35
Leeches: 13

Audio Anarchy

Category: eBooks, Magazines, Audio Books
Description:
audioanarchy.org::::::::::::::::::\"Anti-work essays\"::::::::::::::::::\"Why do we work? From necessity or love? If the former, then our world is failing us, we are being exploited, being made slaves for the benefit of others. The ethic that work is a \'good thing\' is a throwback to a Victorian mentality of puritanical pain and denial of our humanity, an ethic that is so far removed from the reality of our human nature as to be pathological.\"A collection of essays written from the anti-work perspective. These essays investigate concepts of freedom, compulsory labor, the \'work ethic\', the wages system, employment, and \'occupations.\' :::::::::::::::::::::::::::::\"Days of war, nights of love\":::::::::::::::::::::::::::::\"Less of a novel and more of an exploded manifesto, Days of War, Nights of Love might be just what we need. It is the type of book you\'d thumb through in the store and actually want to buy (or steal)... Topics range from anarchy to hierarchy, work to sex, alienation to liberation and technology, but every page burns with a passion for a freer life... When you make it to the end, the personal testimonials about not working and the closing art pieces become an aria of voices urging you to close the book and live. Glorious, even for the most cynical reader. What more can we ask from a book?\" - Clamor Magazine #6, Dec.00/Jan.01:::::::::::::::::::::\"Emma Goldman essays\":::::::::::::::::::::\"In the eighteen-nineties and for years thereafter, America reverberated with the name of the \'notorious Anarchist,\' feminist, revolutionist and agitator, Emma Goldman. A Russian Jewish immigrant at the age of 17, she moved by her own efforts from seamstress in a clothing factory to internationally known radical lecturer, writer, editor and friend of the oppressed. ...a collection of her remarkably penetrating essays, far in advance of their time, originally published by the Mother Earth press which she founded.\"::::::::::::::::::::::::::::::::::::::::::::\"Thoughts on (the) society of the spectacle\"::::::::::::::::::::::::::::::::::::::::::::\"The whole life of those societies in which modern conditions of production prevail presents itself as an immense accumulation of spectacles. All that once was directly lived has become mere representation.\"Instead of a direct recording of the text, here a collection of people read some of their favorite aphorisms, and tell stories about how those aphorisms relate to their lives. :::::::::::::::::::::::::::::::::\"Against the logic of submission\":::::::::::::::::::::::::::::::::\"Submission to domination is enforced not solely, nor even most significantly, through blatant repression, but rather through subtle manipulations worked into the fabric of everyday social relationships. These manipulations ? ingrained in the social fabric not because domination is everywhere and nowhere, but because the institutions of domination create rules, laws, mores and customs that enforce such manipulations ? create a logic of submission, an often unconscious tendency to justify resignation and subservience in one\'s everyday relations in the world. For this reason, it is necessary for those who are serious about developing an anarchist insurrectional project to confront this tendency wherever it appears ? in their lives, their relationships and the ideas and practices of the struggles in which they participate. Such a confrontation is not a matter of therapy, which itself partakes of the logic of submission, but of defiant refusal.\":::::::::::::::::::::::\"The anarchist tension\":::::::::::::::::::::::\"Anarchism is not a concept that can be locked up in a word like a gravestone. It is not a political theory. It is a way of conceiving life. And life, young or old as we may be, is not something definitive: it is a stake we must play day after day. When we wake up in the morning and put our feet on the ground we must have a good reason for getting up. If we don\'t it makes no difference whether we are anarchists or not. We might as well stay in bed and sleep.\"Alfredo M. Bonanno, an Italian anarchist currently serving six years for charges related to the famous \"Marini Trial,\" writes about insurrectionary anarchism.
Seeders: 0
Leeches: 0

Network (Lumet, 1976)[+Extras]-aNaRCHo

Category: Misc
Description:
THIS IS MY PERSONAL FAVOURITE FILM, AND IN MY OPINION THE BEST FILM EVER MADE! SIDNEY LUMET'S MASTERPIECE...FROM THE 2-DISC SPECIAL EDITION... Network (Lumet, 1976)[+Extras]-aNaRCHo (FILM IS IN ENGLISH, ENGLISH AND FRENCH SUBTITLES INCLUDED) Essay by Greg Ng from Senses of Cinema The 1970s in Hollywood were a fertile time. The emergence of the director, as a legitimate artist in his or her own right, shifted focus from the studios, which by the '60s had grown formulaic and unadventurous in their output, to a new generation of writers and directors, whose concerns and experience were markedly different from the conservative voice of the movie industry at that point. Due in part to falling profits and the rise of television, a vacuum arose in the industry that opened the door for fresh ideas. Hollywood was redirected and, as a result, American cinema entered a new age – an age when box-office success did not necessarily preclude sophisticated content in a movie, an age when political discourse was not relegated to non-existence or tokenism, or a niche-market. The period between 1969 and the beginning of the 1980s saw American cinema, inspired as it was by international filmmaking (such as the French New Wave), offering critical, ambiguous and highly artful movies. At its most ambitious, the New Hollywood was a movement intended to cut film free of its evil twin, commerce, by enabling it to fly high through the thin air of art. The filmmakers of the '70s hoped to overthrow the studio system, or at least render it irrelevant, by democratising filmmaking, putting it in the hands of anyone with talent and determination. However, as the decade passed, the promise of real change receded; the status quo prevailed. As Peter Biskind puts it, in his book Easy Riders and Raging Bulls: How the Sex 'N' Drugs 'N' Rock 'N' Roll Generation Saved Hollywood, although the decade of the 70s contains shining monuments to its great directors, the cultural revolution of that decade, like the political revolution of the 60s, ultimately failed. Robin Wood, in Hollywood: from Vietnam to Reagan, argues that the Vietnam War, among other things, focussed Western society's dissenting voices, simultaneously discrediting 'the system' and emboldening the dissenters. However, like Biskind, Wood acknowledges “this generalized crisis in ideological confidence never issued in revolution. No coherent social/economic program emerged.” Commercial imperatives once more came to play their part in shaping the output of the industry, as previously fêted directors suffered box office losses and investment money turned to more secure propositions. Thus, a central tenet of political economy – i.e., the inherent censorship of the mass market – prevailed. Ironically, one of the films that stands as a testament to '70s Hollywood's freedom and ambition, Sidney Lumet's Network (1976), depicts precisely this phenomenon. Network is an example of a hugely successful and critically acclaimed feature film that offers a critique of television, ideology, radical chic and the consequences of American-led post-war capitalism, whilst being funny – no mean feat, and something only barely achieved in the current day by the likes of Michael Moore, et al. Lumet's direction and Paddy Chayefsky's script lambaste the ills of the modern world (couched within the fast-paced soliloquies delivered by the stellar cast of Peter Finch, Faye Dunaway, Robert Duvall and William Holden) and are oft times prescient, predicting the rise of 'reality television', and the subsequent decline of both production and social values. One of the central themes of Network – the decay of society and of love, concurrent with a plunge in standards and morality of the audience, which represents the world (in keeping with the mindset of both the film and its characters) – proves salutary in explaining what happened to Hollywood after the '70s. Just as the collapse of the old studio system in the '60s was precipitated by a change in demography and values, so too has a drift toward social conservatism and the continuing project of marketising everything affected our age. When Howard Beale (Peter Finch), the ageing news anchor for Union Broadcasting System, is fired due to poor ratings, he announces to his friend and network executive Max Schumacher (William Holden) that he intends to “blow my brains out, right on the air, right in the middle of the 7 o'clock news”. Schumacher replies, “You'll get a hell of a rating. I'll guarantee you that. 50 share, easy.” He facetiously begins to run with the idea: “We could make a series out of it. 'Suicide of the Week.' Oh, hell, why limit ourselves: 'Execution of the week.'” Beale joins in, “Terrorist of the Week”, and Max's eyes get distant; he temporarily becomes the visionary commercial television producer: I love it. Suicides. Assassinations. Mad bombers. Mafia hit men. Automobile smash ups. The death hour. Great Sunday night show for the whole family to see. It'd knock fucking Disney right off the air. The joke, these days, has poignancy. Chayefsky's blistering script seems aimed fairly and squarely at commercial television, and its producers. Network is presented as a voracious predator that consumes everything in sight for the sake of audience share. Nothing is sacred – not least of all love, as is demonstrated amply by the soulless programming executive, Diana Christensen (Faye Dunaway). “The only reality she knows comes at her over the television.” Network portrays a dark vision of an industry that has largely come to be. The dumbing-down of the news, from informative to entertaining (“television is showbiz”, says Christensen to Schumacher) is prescient of the rise, in the late 20th century and early 21st, of infotainment. The UBS news is transformed into a near-variety show, with a soothsayer, a psychic detective and the star, the “Mad prophet of the airwaves”, Howard Beale. The disturbing thing about this, for Chayefsky, runs along the lines of neo-Marxist criticism of the day. To quote Stuart Hall: the cultural industries do have the power constantly to rework and reshape what they represent; and, by repetition and selection, impose and implant such definitions of ourselves as fit more easily the descriptions of the dominant or preferred culture. That is what the concentration of cultural power – the means of culture-making in the heads of the few – actually means. Television's ruthlessness and its lack of discernment in its search for ratings, as joked about by Schumacher and his 'death hour' idea, has fulfilled his prophecy. 'Reality television' abounds, with its low production costs and supposed interactivity – its invitation for audiences to spectate at someone's demise, and even play a part in it. Network satirises 'the revolutionary underground', and the script dextrously portrays the ease with which the likes of Christensen incorporate such movements into a commercial framework, in order to make them a marketable commodity. Says Diana, to her staff, as she pitches the idea of what we would now call a reality television show, Look, you've got a bunch of hob-goblin radicals, calling themselves the Ecumenical Liberation Army who go around taking home movies of themselves robbing banks! Maybe they'll take movies of themselves kidnapping heiresses, um, hijacking 747s, bombing bridges, assassinating ambassadors! She goes on to tell them, “I want angry shows. I don't want conventional programming on this network. I want counter-culture. I want anti-establishment.” Christensen, television incarnate, has, as such, the mind of the market. She slots, programmes and categorises everything, reducing totalities to glib, trite, preclusive stereotypes (or soundbites). At her meeting in Los Angeles, with the aforementioned hob-goblin radicals, she introduces herself: “Hi. I'm Diana Christensen – a racist lackey of the imperialist ruling circles.” “And I'm Lorraine Hobbs – a bad-ass Commie nigger”, comes the reply. Her idea is staggering and speaks of the sheer hubris of unfettered, market capitalism – as immanent in television itself. Without a moral concern in her body, Christensen pitches: “Each week, we open, with an authentic act of political terrorism.” The concept, in 1976, may have been preposterous. But in 2005 it is quite literally inconceivable. There's a war going on – let's not forget – a war on terrorism. And in wartime, as they say, the first casualty is the truth. The adage here is admittedly stretched, but the degree of self-censorship that began, and has prevailed, across the world's media since 2001 is evident. Hollywood seems nowhere near touching subjects like this, much less laughing at it. It's not just the subject matter; it's the way it is delivered. Lorraine Hobbs answers back to Diana's pitch with uncertainty: The Ecumenical Liberation Army is an ultra-left sect, creating political confusion with wildcat violence and pseudo-insurrectionary acts, which the Communist Party does not endorse. The American people are not yet ready for open revolt. We would not want to produce a television show that celebrates historically deviational terrorism. Chayefsky's script is simply much more ambitious, and verbose, than anything Hollywood offers up for contention these days. Network's assumption that audiences could respond positively to what is essentially a dense, wordy screenplay, set amongst current events and asking uncomfortable questions, was vindicated. It won three Academy Awards, including Best Screenplay. Hollywood's 'best and brightest' have rarely offered much in the way of criticism since the terrorist attacks of September 2001. One cannot help but think of Christensen's pitch here; might we assume that '911' would have gotten the Network nod, as entertainment? In fact, the years that followed saw Hollywood directors, such as Ridley Scott, supplicate themselves to the Pentagon message, with films that glorified American actions around the world and supported the US government's view of history. With the release of 1969's Easy Rider (Dennis Hopper), American cinema came of age. The late 60s had seen a crisis in the studio-dominated film industry: attendances were down and the old men who ran [the studios] were increasingly out of touch with the vast baby boom audience that was coming of age in the '60s, an audience that was rapidly becoming radicalised and disaffected from its elders. The influence of the French New Wave, among others, provided inspiration for aspiring auteurs like Martin Scorsese, Robert Altman, Sidney Lumet and Terrence Malick, to name but a few. The late 1960s saw a break from the old, studio-dominated conventions of film making, and for the first time placed the director in lights, over and above the studio, and producer. By the time of the late 70s, after the critical (and sometimes commercial) successes of films like Taxi Driver (Scorsese, 1976), et al, the 'voice' of the new directors was sounding more confidently. Network is nothing if not a collection of polemics. As New Yorker film critic Pauline Kael said, “Chayefsky isn't writing a farce: he's telling us a thing or two.” Howard Beale's “latter day prophet, denouncing the hypocrisies of our time” takes to the air with paternalistic sermons: Because less than three percent of you read books. Because less than fifteen percent of you read newspapers. Because the only truth you know is what you get from over this tube. Right now there is a whole, an entire generation that never knew anything that didn't come out of this tube. Kael savages Chayefsky's preachiness here and decries the tendency of the time towards “vindictive, moralizing condescension”, citing “Beale's denunciations of the illiterate public (Chayefsky apparently thinks that not reading is proof of soullessness).” She continues to assert that television has not rendered people soulless, just as cinema did not, or the theatre. The film treats us to the high farce of the nominally 'revolutionary' Ecumenical Liberation Army in contractual negotiations with their lawyers and UBS's – an extremely comical (if dark) satire of the fickle nature of the expedient marriage of the political and the commercial. When Beale uses his nightly tirade to denounce the fact that “the Arabs control 60 billion dollars of this country”, and rants an extensive list of Arab interests in US capital, including “com[ing] back at us with our own dollars to buy General Motors, IBM”, et al, he blows the deal for Frank Hackett, the corporate head of UBS (played perfectly by Robert Duvall), the show and his own career. Michael Moore's Palme d'Or winning 'documentary', Fahrenheit 911, essentially spoke to the same phenomenon – that is, the coincidence of US and Saudi corporate interests, and its enmeshment with foreign policy, and the challenge to the notion of national sovereignty this presents . However, Moore's treatment is characteristically shallow, and not given any sense of historical context. Without an acknowledgement of the history of the US-Saudi relationship or of the role America has played in promoting the very system that allows for the situation he bemoans, Moore himself turns into the populist evangelical that Peter Finch portrays with finesse in Network. Network's ultimate concern – the negative impact of corporate culture and the mass market on society, and the processes by which it affects this – is essentially a mirror for what happened in Hollywood after the 1970s. By the end of what was a dazzling period of innovation and artfulness – delivering films such as Easy Rider, M*A*S*H* (Altman, 1970), Badlands (Malick, 1973), The Conversation (Coppola, 1974), Mean Streets (Scorsese, 1973) and Network, Hollywood succumbed to commercial pressures – eschewing unhappy endings and highly political content and commentary in its films for 'the blockbuster' – usually dated to the release of Steven Spielberg's Jaws, in 1980. Film narratives switched back to happy endings, resolution and dominant societal paradigms reasserted themselves. One only need look at the young George Lucas' spectacular rise to fame with Star Wars (1977), an overly simplified fairy tale of 'good vs. evil'. (11) Gone was the subtlety and sophistication of Taxi Driver or Badlands, with their confused and often violent protagonists, and their near-nihilistic challenges to bourgeois morality, and back were the classical 'heroes' of the big screen, whose essential goodness was never in doubt and who always triumphed over the 'bad guys'. As Biskind suggests, the flowering of American cinema, only too brief, had ended – and Spielberg had 'won'. Because the fact of the matter is that although individual revolutionaries succeeded, the revolution failed. [...] As Coppola later recognized, the market selected and shaped these directors, snuffing out the careers of those whose films were not commercial, and boosting and molding the careers of those that were. It seems only right to close with one of Chayefsky's more incisive soliloquies, delivered by the owner of UBS, Arthur Jensen (Ned Beatty): You have meddled with the primal forces of nature, Mr. Beale, and I won't have it. Is that clear? You think you merely stopped a business deal. That is not the case. The Arabs have taken millions of dollars out of this country, and now they must put it back. It is ebb and flow, tidal gravity. It is ecological balance. You are an old man, who thinks in terms of nations, and peoples. There are no nations, there are no peoples, there are no Russians, there are no Arabs, there are no Third Worlds; there is no West. There is only one holistic system of systems. One vast and interwoven, interacting, multi-variant, multi-national dominion of dollars. Petro-dollars, electro-dollars, multi-dollars, Reichmarks, Rubles, Pounds and Sheckles. It is the international system of currency which determines the totality of life on this planet. That is the natural order of things today. That is the atomic, and sub-atomic, and galactic structure of things today. And you have meddled with the primal forces of nature. And you will atone. You get up on your little 21 inch screen, and howl about “America”, and “democracy.” There is no America, there is no democracy. There is only IBM and ITT and AT&T. And Dupont, Dow, Union Carbide, and Exxon. Those are the nations of the world today. We no longer live in a world of nations and ideologies, Mr. Beale. The world is a college of corporations, inexorably determined by the immutable by-laws of business. The world is a business, Mr. Beale. EXTRAS INCLUDE: - Director's Commentary as second audio track - The Making of Network (L. Bouzereau, 2006) 1hr 25min documentary - Vintage Paddy Chayefsky Interview On Dinah! - Private Screenings With Sidney Lumet - TCM Host Robert Osborne Interviews Director Lumet - Original Theatrical Trailer PLEASE SEED AND ENJOY!!!
Seeders: 5
Leeches: 1

Black Gold – Coffee 2009 02 03 Ch 4

Category: Documentary
Description:
Black Gold – Coffee 2009 02 03 Ch 4 697 mb/01:17:09 Exploration of the global coffee industry. Despite increasing profits for the multinational companies involved, the plight of farmers in some of the world's poorest countries has worsened. Co-directed by Nick and Marc Francis,this documentary is an insightful expose of the multi-billion dollar coffee industry and one man's fight for a fair price. Told through the eyes of Tadesse Meskela, manager of a co-operative union that represents 74,000 Ethiopian coffee farmers, the film highlights the complexities of an industry worth over $80 billion - the world's second most valuable trading commodity after oil. File Name: Black Gold - {2006}[DvD RiP {XviD}] Air Date: More4 - Tuesday - 3rd Feb 2009 Production 2006 Source: http://www.thebox.bz/details.php?id=83040 Cap: NU333 Other shunster posts at:http://www.bt-chat.com/browse.php?category=11
Seeders: 11
Leeches: 11

Mardi Gras: Made in China

Category: Documentary
Description:
The award winning documentary, Mardi Gras: Made in China, swiftly follows the path of Mardi Gras beads from the naked streets of New Orleans during Carnival, where revelers party 24/7, to the disciplined factories in Fuzhou, China, where teenage laborers live and thread beads 24/7. Told with humor and curiosity, Mardi Gras: Made in China provides a global connection by introducing workers and revelers to each other through a disposable commodity: Mardi Gras beads. Filmmaker Statement: In 2002, David Redmon decided to make Mardi Gras: Made in China (61 minutes) after reading articles about China’s rapid transformation into a capitalist, free market economy. Redmon wanted to follow one object from China to the United States in order to visually personalize globalization and illustrate how the commodity chain is connected to different people along the alienated and seemingly disconnected route. Out of curiosity and seduction, Redmon chose Mardi Gras beads as the object to analyze "from the factory to the festival." Redmon followed his bead-trail of curiosity to the rural region of Fuzhou, China where the bead factory is located in a tax-free Special Economic Zone. After staying with the workers and documenting their everyday life inside a factory compound for two months, government officials in China requested that Redmon immediately leave the factory. Redmon left China and continued his bead-journey by following the bead trail to New Orleans during Carnival. Redmon’s purpose was to invite others to be part of a constructive debate about globalization by showing how the beads are transported, consumed, disposed, and recycled during their global journey. Winner of 18 domestic (U.S.) and International awards; Nominated for Grand Jury Prize for Best Documentary at the Sundance Film Festival LEARN MORE: Visit the filmmakers at Carnivalesque Films Producer Ashley Sabin talks to Link TV about Carnivalesque's film Kamp Katrina Sweatshop Watch - A small group of global citizens who expose human rights abuse
Seeders: 1
Leeches: 0

Publishing Open Content, Confronting some business decisions - (Ogg Theora)

Category: Documentary
Description:
"Cameron Parkins, September 22nd, 2008 Publishing Open Content is a short documentary by Frances Pinter and David Percy that looks at how Creative Commons licenses can be utilized in a commercial setting. The film features interviews with Tom Reynolds, blogger behind Random Acts of Reality and author of Blood, Sweat, and Tea, Timo Hannay, Publishing Director at nature.com, and John Buckman, founder of netlabel Magnatune. The interviews provide some key insights into how these three disparate individuals combined CC licenses with a successful business plan, a common thread being that by giving away something for free another commodity can be sold. Filmmaker Pinter also heads a CC-based publishing project in Africa titled Publishing and Alternative Licensing Model of Africa (PALM), of which the information discussed in the documentary has major interest (via Ad Astra). http://creativecommons.org/weblog/entry/9620 " ### Discussion ### Join the Google Groups Discussion and Mailing List about Publishing Open Content, meet other publishers and share your experiences, thoughts and advice. http://groups.google.com/group/publishing-open-content ### Copyright Notice ### (c) 2008 Frances Pinter and David Percy (attribute http://www.bloomsburyacademic.com) under the Some Rights Reserved Creative Commons License Attribution-Noncommercial-Share Alike 3.0 http://creativecommons.org/licenses/by-nc-sa/3.0 Information Links: http://www.bloomsburyacademic.com http://randomreality.blogware.com http://www.amazon.co.uk/Blood-Swea[...]294&sr=1-1 http://www.thefridayproject.co.uk http://network.nature.com/people/timo/profile http://www.nature.com http://blogs.magnatune.com http://www.magnatune.com http://bookmooch.com http://en.wikipedia.org/wiki/John_Buckman http://craphound.com http://creativecommons.org Video Information: Running Time: 34 mins Video Format: Ogg Theora OGM Dimensions: 720x576 Aspect Ration: 5/4 Standard: PAL Frame rate: 25.000 fps Size: 651 MB Date: Thursday 26th March, 2009 Search Tags: creative commons, publishing, open content, documentary, David Percy, Frances Pinter, Tom Reynolds, Timo Hannay, John Buckman, Stephen Judge, Cory Doctorow, nature, blogging, writing, books, Ogg Theora Production Director: Frances Pinter and David Percy Producer: Frances Pinter and David Percy Writer: Frances Pinter and David Percy Cast: Tom Reynolds Timo Hannay John Buckman
Seeders: 5
Leeches: 12

Audiobook - Wage-Labour and Capital by Karl Marx and Friedrich Engels

Category: eBooks, Magazines, Audio Books
Description:
Orignally written as a series of newspaper articles in 1847, Wage-Labour and Capital was intended to give a short overview, for popular consumption, of Marx’s central threories regarding the economic relationships between workers and capitalists. These theories outlined include the Marxian form of the Labour Theory of Value, which distinguishes “labour” from “labour-power”, and the Theory of Concentration of Capital, which states that capitalism tends towards the creation of monopolies and the disenfranchisement of the middle and working classes. The Theory of Alienation, which describes a dehumanising effect of capitalist production, in which an immediate social signifcance of labour to the worker is absent, is also touched upon. These theories were later elaborated in Volume 1 of Capital, published in 1867. This edition of Wage-Labour and Capital, published in 1891, was edited and translated by Friedrich Engels, and remains one of the most widely read of Marx’s works. (Description by Carl Manchester). For more free Audiobooks vist www.librivox.org
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Socialist Standard April 2009.pdf

Category: eBooks, Magazines, Audio Books
Description:
Socialist Standard magazine April 2009 - Editorial – ‘What is Socialism?’ Articles – ‘Banks, who needs them?’ If there was production directly for use we wouldn’t need banks ‘What is to be done?’ As capitalism loses some of its legitimacy, what should those who want to get rid of capitalism be doing? ‘Northern Ireland: a return to violence?’ Violence will not make people into socialists. ‘Capitalism’s reserve army of labour’ Full employment is not the normal state of capitalism. ‘Food: commodity or need?’ Enough calories are already produced in the world today to avoid anyone having to starve. It’s just that millions can’t afford to buy the food containing them. ‘Socialism: an open source society’ A socialist describes his personal experience of open source software - and its socialist implications. Regular features - Pathfinders (pop science / technology) – ‘How Scientific are Scientists?’ Material World – ‘Antics in the South China Sea’ Pieces Together – news cuttings from mainstream media Cooking the Books 1 (economics) – ‘Saved by the Slump?’ (implications for tackling climate change) Cooking the Books 2 – ‘Capitalism is Working’ 50 Years Ago – ‘More Trouble in Africa’ (Rhodesia) Greasy Pole – UK politics: re Harriet Harman Voice From the Back - selected news items Free Lunch – cartoon Plus letters, reviews, contacts, etc. Also see www.worldsocialism.org and http://www.worldsocialism.org/spgb/
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