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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

Aljazeera - Veterans - Soviets in Afganistan

Category: Documentary
Description:
For veterans of conflict the memories of violence and war are often hard to forget, even with the passing of time. In a special series Al Jazeera meets those who have survived some of the world's most savage or forgotten conflicts - whether conscripts, civilians or professionals, all have felt the shock of war and have been forced or chosen to fight to defend their country, their families or even a an idea they do not fully comprehend. While some veterans reintegrate into normal life with great ease and success, others have been unable to overcome the legacy of the conflict and say they have been abandoned by the countries they once served. Al Jazeera talks to those who survived and the families of those who did not.
Seeders: 2
Leeches: 1

Aljazeera - Veterans - Siege of Sarajevo - 18-09-09

Why America Fights: Patriotism and War Propaganda from the Philippines to Iraq

Category: eBooks, Magazines, Audio Books
Description:
Why America Fights: Patriotism and War Propaganda from the Philippines to Iraq "This is a stunning book which blows away all the myths about why America goes to war. American fights, the author demonstrates, to remake the world in its own image, for power and for markets. Its propaganda, 'as American as apple pie,' has historically sought to disguise this."--Phillip Knightley, author of The First Casualty "Marshalling compelling evidence, Susan Brewer documents the rhetorical strategies by which the U.S. government, often with the complicity of the media and key opinion-molding groups, has mobilized popular support for every major U.S. conflict from the Spanish-American war to the invasion of Iraq. Well written and deeply researched, this timely work should be read by all those concerned with issues of war and peace and with how propaganda can coarsen and debase civic discourse on vital public issues."--Paul Boyer, editor of The Oxford Companion to United States History "Susan Brewer's lively account of wartime propaganda from 1898 to the war in Iraq, Why America Fights, could well be sub-titled, Why America Is Still Fighting. May its account of the mobilization of patriotism for dubious purposes serve as a prophylactic for the future."--Marilyn Young, New York University "Susan Brewer writes that U.S. war propaganda since the dawn of the twentieth century has been both necessary and misleading. Judiciously argued and well researched, this engaging narrative examines the claims that policymakers advanced in their speeches, newspapers, radio programs, and films to sell America's wars. Brewer's provocative book deserves a wide readership from Americans who so often wonder how their lofty goals in war can end in disillusionment."--Emily S. Rosenberg, author of A Date Which Will Live: Pearl Harbor in American Memory Product Description On the evening of September 11, 2002, with the Statue of Liberty shimmering in the background, television cameras captured President George W. Bush as he advocated war against Iraq. This carefully stage-managed performance, writes Susan A. Brewer, was the culmination of a long tradition of sophisticated wartime propaganda in America. In Why America Fights, Brewer offers a fascinating history of how successive presidents have conducted what Donald Rumsfeld calls "perception management," from McKinley's war in the Philippines to Operation Iraqi Freedom. Brewer's intriguing account ranges from analyses of wartime messages to descriptions of the actual operations, from the dissemination of patriotic ads and posters to the management of newspaper, radio, and TV media. When Woodrow Wilson took the nation into World War I, he created the Committee on Public Information, led by George Creel, who called his job "the world's greatest adventure in advertising." In World War II, Roosevelt's Office of War Information avowed a "strategy of truth," though government propaganda still depicted Japanese soldiers as buck-toothed savages. In the Korean War, the Truman administration delineated differences between "good" and "evil" Asians, while portraying the conflict as a global battle between the Free World and Communism. After examining the ultimately failed struggle to cast the Vietnam War in a favorable light, Brewer shows how the Bush White House drew explicit lessons from that history as it engaged in an unprecedented effort to sell a preemptive war in Iraq. Yet the thrust of its message was not much different from McKinley's pronouncements about America's civilizing mission. Impressively researched and argued, filled with surprising details, Why America Fights shows how presidents consistently have drummed up support for foreign wars by appealing to what Americans want to believe about themselves. Hardcover: 352 pages Publisher: Oxford University Press, USA (June 2009) Language: English
Seeders: 3
Leeches: 1

Welcome to Sarajevo Directed by Micheal Winterbottom (1997)

Category: Misc
Description:
Welcome to Sarajevo Directed by Micheal Winterbottom (1997) Nothing that British filmmaker Michael Winterbottom made before Welcome to Sarajevo (including Butterfly Kiss and Jude) suggested the clarifying rage of this 1997 film, which is based on the experiences of British journalist Michael Nicholson while on assignment in Bosnia. Made emotionally numb by the savagery and insanity of Serbian aggression on Sarajevo and surrounding towns and countryside, reporter Michael Henderson (Stephen Dillane in a remarkable performance) awakens to the plight of one orphanage and particularly to that of a girl whom he promises to rescue. Henderson's efforts lead to a harrowing bus journey to (temporary) protection for some of the kids (others, quite shockingly, are carried off en route by Serb marauders), and then a second, even more dangerous good deed to finish what he started. The film's dimensions go well beyond that story line, however, as Winterbottom re-creates the gallows-humor culture of international correspondents in a blighted region, as well as the nightmare of the Sarajevo siege. Most savage of all, however, is the director's use of news clips in a pointed attack on the West's refusal to deal with the slaughter and outrages in Bosnia at their peak. The supporting cast might look like a bunch of famous names (Kerry Fox, Marisa Tomei) used decorously to attract attention to the film, but in fact everyone is very good, especially Woody Harrelson as an American journalist whose entrance in the story is one of the most memorable in recent history.
Seeders: 0
Leeches: 0

Fuck Industrialism (green anarchy, anti-civilization, anarcho-primitivism, zerzan, jensen)

Category: eBooks, Magazines, Audio Books
Description:
Files: Alan Watts / The Joker / (01) alan watts - the joker [1of6].mp3 13.9 MB Alan Watts / The Joker / (02) alan watts - the joker [2of6].mp3 13.9 MB Alan Watts / The Joker / (03) alan watts - the joker [3of6].mp3 12.4 MB Alan Watts / The Joker / (04) alan watts - the joker [4of6].mp3 14 MB Alan Watts / The Joker / (05) alan watts - the joker [5of6].mp3 13.9 MB Alan Watts / The Joker / (06) alan watts - the joker [6of6].mp3 13.7 MB Alan Watts / Ecology & Religion.mp3 6.4 MB Alan Watts / The Book on the Taboo Against Knowing Who You Are.pdf 376.3 KB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 01 Apocalypse.mp3 1.8 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 02 Kidnapping Scientists.mp3 13.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 03 Three Rules.mp3 4.2 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 04 Electrodes on the Eyeballs.mp3 1.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 05 Amnesia.mp3 10.2 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 06 Killing Time.mp3 6.4 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 07 Selling Fingers.mp3 9.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 08 Nihilism.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 09 The Point of Life.mp3 7.5 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 10 The Secret Beekeepers Don't Want You to Know.mp3 20.7 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / 11 Godspeed.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 1 of 2 / tragedy.jpg 8.3 KB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 01 Science Bashing.mp3 7.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 02 See What I Mean-.mp3 9.4 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 03 Corporations Are Beautiful People.mp3 19.5 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 04 Locked in a Room With Psychopaths.mp3 3.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 05 We're All Refugees.mp3 22.1 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 06 Will the Culture Change-.mp3 2.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 07 Where Do I Find Hope-.mp3 4.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 08 We're Screwed.mp3 7.9 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 09 Premises.mp3 2.6 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 10 Dumpster Diving.mp3 3.7 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / 11 Finger Exercise.mp3 7 MB Derrick Jensen / [2001] Standup Tragedy / CD 2 of 2 / tragedy.jpg 8.3 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 01 Wired for Sound.mp3 6.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 02 Dumpster Diving.mp3 5.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 04 The Land Demands Love Be Made.mp3 3.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 06 Silencing.mp3 6.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 07 Science Bashing.mp3 738 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 08 Plastic Explosives.mp3 8.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 1 of 3 / 09 Selling Fingers.mp3 8.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 01 Apocalypse.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 02 What Is a Hate Group-.mp3 1.8 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 03 Government of Occupation.mp3 6.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 04 Calling the FBI.mp3 3.5 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 05 Four Reasons for Slavery.mp3 3.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 06 Ham and Noah.mp3 3.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 07 Angelina Jolie Moments.mp3 6.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 08 Wall of Intolerance.mp3 897.6 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 09 Personal Hate.mp3 1.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 10 Criminals and Killers.mp3 959.9 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 11 Porn.mp3 9.1 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 12 Happy Birthday.mp3 1.1 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 13 Objectification.mp3 2.4 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 14 Patriarchy in Four Letters.mp3 3.4 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 2 of 3 / 15 The Other Side of Darkness.mp3 8.5 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 01 E-Bombs.mp3 1.7 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 02 Holocausts.mp3 11.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 03 A Match to Light a Fuse.mp3 524 KB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 04 This Is How Human Beings Lived.mp3 1.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 05 China's Landfill.mp3 1.8 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 06 Death Squads in the U.S.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 07 Civilization.mp3 2.2 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 08 Effectiveness.mp3 1.6 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 09 Existentialism, Responsibility, and Toilet Paper.mp3 9.3 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 10 Sustainable Technology.mp3 1.9 MB Derrick Jensen / [2003] The Other Side of Darkness / CD 3 of 3 / 11 Cannibal Sickness.mp3 7.1 MB Derrick Jensen / [2004] Denver, Co; Oct 28th, 2004; feat Ward Churchill / Ward Churchill & Derrick Jensen in discussion, Denver, Co, 28oct04, p1of2.mp3 26 MB Derrick Jensen / [2004] Denver, Co; Oct 28th, 2004; feat Ward Churchill / Ward Churchill & Derrick Jensen in discussion, Denver, Co, 28oct04, p2of2.mp3 27.1 MB Derrick Jensen / [2006] WERU 89.9 FM - Camdem, Maine ~ September 9th 2006 / Derrick Jensen 09-09-2006 in Camden, Maine; WERU 89.9 FM - part 1.mp3 31.3 MB Derrick Jensen / [2006] WERU 89.9 FM - Camdem, Maine ~ September 9th 2006 / Derrick Jensen 09-09-2006 in Camden, Maine; WERU 89.9 FM - part 2.mp3 25.8 MB Derrick Jensen / [2007] Vancouver, BC; Oct 19th, 2007; Q&A / 2007 - Derrick Jensen ~ Q&A in Vancouver, BC ~ Ukrainian Orthodox Hall ~ October 19th, 2007 [mono][low fidelity].mp3 185.1 MB Derrick Jensen / [2007] Vancouver, BC; Oct 19th, 2007; Q&A / index_01.jpg 63.7 KB Derrick Jensen / 2006 - Derrick Jensen at NYC Peak Oil conference -April 29th-.mp3 66.7 MB Derrick Jensen / 2006 - Radio Ecoshock - Derrick Jensen - Kick It Over.mp3 24.2 MB Derrick Jensen / 2007 - Activism Beyond Hope - Derrick Jensen on Wild Earth radio.mp3 26.1 MB Derrick Jensen / 2007 - Derrick Jensen in Vancouver - April 20th 2007.mp3 158.5 MB Derrick Jensen / Derrick Jensen - dozens of articles on primitivism, technology.rar 1.5 MB Derrick Jensen / It's the End of the World as We Know It (and I Feel Fine) - Episode 10.mp4 54.2 MB Derrick Jensen / jensen_poster_web.pdf 4 MB Derrick Jensen / Unwelcome Guests 201 - Derrick Jensen, Grace Ritter, Jeff Schmidt - Assailing the Hierarchy As If Your Life Depended On It - It Does!_ALBW.mp3 54.5 MB Emma Goldman / Anarchism & Other Essays / 01-anarchism.mp3 9 MB Emma Goldman / Anarchism & Other Essays / 02-anarchismcont.mp3 7.3 MB Emma Goldman / Anarchism & Other Essays / 03-prisons.mp3 14.1 MB Emma Goldman / Anarchism & Other Essays / 04-emancipation.mp3 12.2 MB Emma Goldman / Anarchism & Other Essays / 05-suffrage.mp3 15 MB Emma Goldman / Anarchism & Other Essays / 06-marriage.mp3 11.2 MB Emma Goldman / Compilation / 01-Biographic Sketch.txt 60.1 KB Emma Goldman / Compilation / 02-Preface.txt 6.2 KB Emma Goldman / Compilation / 03-Anarchism_ What It Really Stands For.txt 31.2 KB Emma Goldman / Compilation / 04-Minorities Versus Majorities.txt 15.1 KB Emma Goldman / Compilation / 05-The Psychology of Political Violence.txt 44.5 KB Emma Goldman / Compilation / 06-Prisons_ A Social Cime and Failure.txt 26.1 KB Emma Goldman / Compilation / 07-Patriotism_ A Menace To Liberty.txt 28.2 KB Emma Goldman / Compilation / 08-Francisco Ferrer And The Modern School.txt 31.9 KB Emma Goldman / Compilation / 09-The Hypocrisy of Puritanism.txt 14.8 KB Emma Goldman / Compilation / 10-The Traffic In Women.txt 27.2 KB Emma Goldman / Compilation / 11-Woman Suffrage.txt 24.8 KB Emma Goldman / Compilation / 12-The Tragedy of Woman's Emancipation.txt 18.9 KB Emma Goldman / Compilation / 13-Marriage and Love.txt 19 KB Emma Goldman / Compilation / 14-The Drama.txt 47.3 KB Emma Goldman / [DOC - ITA] Emma Goldman.zip 89.4 KB Emma Goldman / Anarchism and Other Essays.txt 415.4 KB Emma Goldman / Anarchism What It Really Stands For.doc 40.5 KB Emma Goldman / Failure of Christianity.htm 17.6 KB Emma Goldman / Francisco Ferrer and The Modern School.doc 41.5 KB Emma Goldman / If Voting Changed Anything, They'd Make it Illegal - Emma Goldman Quote.jpg 13.9 KB Emma Goldman / Marriage and Love.doc 26 KB Emma Goldman / Minorities and Majorities.pdf 14.7 KB Emma Goldman / Minorities versus Majorities.doc 21.5 KB Emma Goldman / Minoroties versus Majorities.pdf 14.7 KB Emma Goldman / Patriotism A Menace To Liberty.doc 36 KB Emma Goldman / Prisons A Social Crime And Failure.doc 35 KB Emma Goldman / The Hypocrisy Of Puritanism.doc 20.5 KB Emma Goldman / The Individual, Society And The State.htm 30.2 KB Emma Goldman / The Modern Drama ~ A Powerful Disseminator Of Radical Thought.doc 59 KB Emma Goldman / The Philosophy of Atheism.htm 15 KB Emma Goldman / The Philosophy of Atheism.pdf 11 KB Emma Goldman / The Place Of The Individual In Society.doc 38 KB Emma Goldman / The Psychology Of Political Violence.doc 56 KB Emma Goldman / The Traffic In Women.doc 35.5 KB Emma Goldman / The Tragedy Of Woman's Emancipation.doc 25 KB Emma Goldman / Trotsky Protests Too Much.rar 96.8 KB Emma Goldman / Woman Suffrage.doc 32 KB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 01 - machiavelli and teaching.mp3 2.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 02 - professionalism and morality.mp3 2.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 03 - mumia abu-jamal.mp3 2.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 04 - the history profession.mp3 3.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 05 - objectivity.mp3 2.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 06 - making choices.mp3 3.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 07 - history standards.mp3 1.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 08 - the best and the brightest.mp3 1.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 09 - the mexican war.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 10 - the conquest of the philippines.mp3 2.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 11 - having a point of view.mp3 1.2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 12 - the same old story.mp3 2.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 13 - un-american activities.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 14 - class consciousness.mp3 5.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 15 - emile zola's _germinal_.mp3 2.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 16 - class struggle.mp3 3.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 17 - the american revolution.mp3 1.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 1) - 18 - the founding fathers.mp3 3.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 01 - corporate welfare.mp3 3.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 02 - class legislation.mp3 2 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 03 - labor history.mp3 2.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 04 - the ludlow massacre.mp3 1.6 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 05 - world war 2_ _the good war_.mp3 3.7 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 06 - the civil rights movement.mp3 5.1 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 07 - the power of the people.mp3 5.4 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 08 - how social change happens.mp3 3.8 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 09 - why solidarity matters.mp3 7.9 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 11 - creating new possibilities.mp3 2.3 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 12 - strikes, unions and civil disobedience.mp3 3.5 MB Howard Zinn / [1999] A People's Hstory of the United States / howard zinn - a people's history of the united states (disc 2) - 13 - the unreported resistance.mp3 2.2 MB Howard Zinn / [1999] A People's Hstory of the United States / ZuneAlbumArt.jpg 15 KB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 01 howard zinn - emma goldman - a dangerous woman - historical ed (lecture) 01 of 14.mp3 5.4 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 02 howard zinn - emma goldman - a dangerous woman - finding anarc (lecture) 02 of 14.mp3 4.9 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 03 howard zinn - emma goldman - a dangerous woman - make some con (lecture) 03 of 14.mp3 3.8 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 04 howard zinn - emma goldman - a dangerous woman - cigar strikes (lecture) 04 of 14.mp3 6.8 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 05 howard zinn - emma goldman - a dangerous woman - haymarket (lecture) 05 of 14.mp3 3.8 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 06 howard zinn - emma goldman - a dangerous woman - manhattan caf (lecture) 06 of 14.mp3 2.8 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 07 howard zinn - emma goldman - a dangerous woman - homestead (lecture) 07 of 14.mp3 3.5 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 08 howard zinn - emma goldman - a dangerous woman - direct action (lecture) 08 of 14.mp3 4.7 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 09 howard zinn - emma goldman - a dangerous woman - assassin (lecture) 09 of 14.mp3 3.5 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 10 howard zinn - emma goldman - a dangerous woman - i'll talk whe (lecture) 10 of 14.mp3 4.7 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 11 howard zinn - emma goldman - a dangerous woman - in love with (lecture) 11 of 14.mp3 7.5 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 12 howard zinn - emma goldman - a dangerous woman - on trial (lecture) 12 of 14.mp3 4.9 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 13 howard zinn - emma goldman - a dangerous woman - in prison & t (lecture) 13 of 14.mp3 5.5 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / 14 howard zinn - emma goldman - a dangerous woman - exile (lecture) 14 of 14.mp3 8.4 MB Howard Zinn / [2000] Heroes and Martyrs / 01 Emma Goldman - A Dangerous Woman / ZuneAlbumArt.jpg 33.7 KB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-01 alternative history.mp3 2.5 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-02 justice is always alive.mp3 7.2 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-03 sedition.mp3 5.1 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-04 a bomb & the palmer raids.mp3 3.8 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-05 are you an anarchist-.mp3 5.3 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-06 they're italians.mp3 5 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-07 they ran like foreigners.mp3 5.1 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-08 three important citizens.mp3 4.4 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / 2-09 execution.mp3 4.4 MB Howard Zinn / [2000] Heroes and Martyrs / 02 The Case of Sacco and Vanzetti / ZuneAlbumArt.jpg 33.7 KB Howard Zinn / [2001] howard zinn-live / 01- stripping deceit.mp3 11.4 MB Howard Zinn / [2001] howard zinn-live / 02- accidents will happen.mp3 7.2 MB Howard Zinn / [2001] howard zinn-live / 03- revolution in the revolution.mp3 8.5 MB Howard Zinn / [2001] howard zinn-live / 04- why war.mp3 3.6 MB Howard Zinn / [2001] howard zinn-live / 05- san patrico battalion.mp3 5 MB Howard Zinn / [2001] howard zinn-live / 06- changing mt rushmore.mp3 6.1 MB Howard Zinn / [2001] howard zinn-live / 07- saying no to war.mp3 4.2 MB Howard Zinn / [2001] howard zinn-live / 08- textile girls.mp3 4.5 MB Howard Zinn / [2001] howard zinn-live / 09- mother jones on strike.mp3 5.4 MB Howard Zinn / [2001] howard zinn-live / 10- ethnic cleansing in america.mp3 6 MB Howard Zinn / [2001] howard zinn-live / 11- is there a time for a populist rebellion.mp3 5.2 MB Howard Zinn / [2001] howard zinn-live / ZuneAlbumArt.jpg 45.8 KB Howard Zinn / [2001] Stories Hollywood Never Tells / 01 - stripping deceit (introduction by david barsamian of alternative radio).mp3 9.3 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 02 - accidents will happen.mp3 6 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 03 - revolution in the revolution.mp3 6.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 04 - why war.mp3 2.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 05 - san patricio battalion.mp3 4.1 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 06 - changing mt. rushmore.mp3 4.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 07 - saying no to war.mp3 3.4 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 08 - textile girls.mp3 3.7 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 09 - mother jones on strike.mp3 4.3 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 10 - ethnic cleansing in america.mp3 4.9 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 11 - is there time for a populist rebellion.mp3 4.2 MB Howard Zinn / [2001] Stories Hollywood Never Tells / 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[2002] Artists in a Time of War / 05 Mark Twain on War.mp3 2.4 MB Howard Zinn / [2002] Artists in a Time of War / 06 Patriotism and Loyalty.mp3 4.8 MB Howard Zinn / [2002] Artists in a Time of War / 07 Artists and the Great War.mp3 3.2 MB Howard Zinn / [2002] Artists in a Time of War / 08 Eugene O'Neill and the Good.mp3 1.8 MB Howard Zinn / [2002] Artists in a Time of War / 09 Langston Hughes, the US, and Imperialism.mp3 2.7 MB Howard Zinn / [2002] Artists in a Time of War / 10 Catch 22.mp3 6.1 MB Howard Zinn / [2002] Artists in a Time of War / 11 Speaking Out.mp3 3.7 MB Howard Zinn / [2002] Artists in a Time of War / 12 Opposing War, Transcending.mp3 6.2 MB Howard Zinn / [2002] Artists in a Time of War / 13 The Patriotic Thing to Do.mp3 2.6 MB Howard Zinn / [2004] Alternative History / a bomb & the palmer raids.mp3 1.3 MB Howard Zinn / [2004] Alternative History / alternative history.mp3 894.9 KB Howard Zinn / [2004] Alternative History / are you an anarchist.mp3 1.7 MB Howard Zinn / [2004] Alternative History / execution.mp3 1.4 MB Howard Zinn / [2004] Alternative History / justice is always alive.mp3 2.3 MB Howard Zinn / [2004] Alternative History / sedition.mp3 1.6 MB Howard Zinn / [2004] Alternative History / the struggle for existence.mp3 1.1 MB Howard Zinn / [2004] Alternative History / they ran like foreigners.mp3 1.7 MB Howard Zinn / [2004] Alternative History / they're italians.mp3 1.6 MB Howard Zinn / [2004] Alternative History / three important citizens.mp3 1.4 MB Howard Zinn / [2004] Alternative History / ZuneAlbumArt.jpg 15 KB John Zerzan / 1 before civilization / arnold devries_ primitive man and his food (1952).rtf 7.2 KB John Zerzan / 1 before civilization / fredy perlman_ against his-story, against leviathan! (1983).rtf 8.8 KB John Zerzan / 1 before civilization / henry david thoreau_excursions (1863).rtf 3.2 KB John Zerzan / 1 before civilization / hoxie neale fairchild_ the noble savage_ a study in romantic naturalism (1928).rtf 9.1 KB John Zerzan / 1 before civilization / jean-jacques rousseau_ discourse on the origins of inequality (1754).rtf 13.4 KB John Zerzan / 1 before civilization / john landau_ _wildflowers_ a bouquet of theses_ (1998).rtf 6.8 KB John Zerzan / 1 before civilization / lynn clive_ _birds combat civilization_ (1985).rtf 4.3 KB John Zerzan / 1 before civilization / marshall sahlins_ _the original affluent society_ (1968).rtf 12.1 KB John Zerzan / 1 before civilization / one.htm 77.5 KB John Zerzan / 1 before civilization / roy walker the golden feast (1952).rtf 9 KB John Zerzan / 1 before civilization / section one_before civilization.rtf 3.7 KB John Zerzan / 1 before civilization / theodor adorno_ minima moralia_ reflections from damaged life (1947).rtf 4 KB John Zerzan / 2 the coming of civilization / chellis glendinning_ my name is chellis and i'm in recovery from western civilization (1994).rtf 9.9 KB John Zerzan / 2 the coming of civilization / frederick turner_ beyond geography_ the western spirit against the wilderness (1980).rtf 17.2 KB John Zerzan / 2 the coming of civilization / george p. marsh_ the earth as modified by human action (1907).rtf 12.2 KB John Zerzan / 2 the coming of civilization / james axtell_ the invasion within_ the contest of cultures in colonial north america (1985).rtf 6.3 KB John Zerzan / 2 the coming of civilization / john zerzan_ elements of refusal (1988).rtf 15.7 KB John Zerzan / 2 the coming of civilization / mark nathan cohen_ health and the rise of civilization (1989).rtf 22.9 KB John Zerzan / 2 the coming of civilization / paul shepard_ nature and madness (1982).rtf 17 KB John Zerzan / 2 the coming of civilization / robin fox_ the search for society (1989).rtf 2 KB John Zerzan / 2 the coming of civilization / section two_ the coming of civilization.rtf 2.8 KB John Zerzan / 2 the coming of civilization / two.htm 102.5 KB John Zerzan / 3 the nature of civilization / ivan illich_ toward a history of needs (1978).rtf 5.4 KB John Zerzan / 3 the nature of civilization / john landau_ _civilization and the primitive_ (1995).rtf 3.4 KB John Zerzan / 3 the nature of civilization / max horkheimer_ dawn and decline (1961).rtf 1.8 KB John Zerzan / 3 the nature of civilization / max horkheimer_ eclipse of reason (1947).rtf 6.6 KB John Zerzan / 3 the nature of civilization / richard heinberg_ _was civilization a mistake_ (1997).rtf 18.8 KB John Zerzan / 3 the nature of civilization / section three_ the nature of civilizat
Seeders: 4
Leeches: 11

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: 7
Leeches: 2

The War Zone - Eva Braun: Hitler's Mistress [h33t][snach]

Category: Documentary
Description:
Actors: War Zone Language: English Rating: NR (Not Rated) Studio: Eagle Vision Media DVD Release Date: July 12, 2005 Run Time: 49 minutes A historical documentary production company owning more 5,000 hours of footage and 800 hours of finished programs. Eagle Media is well known for their work with A&E Network, the History Channel, PBS, The Discovery Channel, The Learning Channel and others. As an Emmy Award winning Production Company, Eagle Media has a reputation for excellence in historical productions of all kinds. The company offers some truly unique resources as the foremost producer of historical reenactment and a pioneer in the use of 3D graphics to animate historical locations. A side of Hitler that only his inner circle saw is revealed using the home movies that he shot with his mistress Eva Braun at The Berghof, Hitler’s mountain retreat. Is this urbane man smiling out at us the same person who ordered such inhuman acts of savagery? A macabre record of Eva Braun’s years at the center of Hitler’s inner circle is revealed in this fascinating program. Visit & Join us at: http://ConspiracyCentral.net
Seeders: 25
Leeches: 11

Afghan Massacre The Convoy Of Death - 2003

Category: Documentary
Description:
AFGHAN MASSACRE tells of the horrific forced journey undertaken by thousands of Taliban prisoners who surrendered to America's Afghan Northern Alliance allies after the siege of Kunduz November 21, 2001. Bundled into containers, the lucky ones were shot within minutes. The rest suffered an appalling road trip lasting up to four days, clawing at the skin of their fellow prisoners as they licked perspiration and even drank blood from open wounds. Up to 3,000 now lie buried in a mass grave at Dashte-leili, but this was not a simple matter of Afghans killing Afghans. AFGHAN MASSACRE tells of how American Special Forces took control of the operation, re-directed the containers carrying the living and dead into the desert and stood by as survivors were shot and buried. AFGHAN MASSACRE details how the Pentagon lied to the world in order to cover up its role in the greatest atrocity of the entire Afghan War. This is the documentary they did not want you to see. AFGHAN MASSACRE was produced over ten months in extremely dangerous circumstances: eyewitnesses were threatened and subsequently killed, the film crew were forced into hiding and our researcher was savagely beaten to within an inch of his life. He was awarded the 2002 Rory Peck Award for Hard News, The SONY Award and the film was nominated for a Royal Television Society Award for Current Affairs. Directed & produced by: Jamie Doran Duration 50 min
Seeders: 6
Leeches: 3

Where The Green Ants Dream (Herzog, 1984)[+Extras]-aNaRCHo

Category: Misc
Description:
There are three distinct styles of German director Werner Herzog's films. There are his great, deep, and memorable fictive films - such as ‘Aguirre: The Wrath Of God’, ‘The Enigma Of Kaspar Hauser’, and ‘Fitzcarraldo’, there are his smaller evocative documentary-like films - such as ‘Fata Morgana’, ‘Little Dieter Needs To Fly’, and ‘Grizzly Man’, and then there are his unclassifiable films - such as ‘Even Dwarfs Started Small’, ‘Heart Of Glass’, and 1984's ‘Where The Green Ants Dream’ (Wo Die Grünen Ameisen Traümen). Whereas ‘Even Dwarfs Started Small’ is an enigmatic study on Fascism that is beyond evaluation on a normal scale, and ‘Heart Of Glass’ was filmed with its actors hypnotized, ‘Where The Green Ants Dream’ is an odd concoction that mixes all three of Herzog's styles, along with the excellent cinematography of Jorg Schmidt-Reitwein, in its 95 minute running time. Like many of his films it involves Native Peoples - this time it's not Africans (‘Cobra Verde’) nor American Indians (‘Aguirre: The Wrath Of God’ and ‘Fitzcarraldo’) but Australian Aborigines. The film was based upon the then burgeoning Aboriginal Rights Movement and their initial lawsuit against a mining company that wanted to drill in lands the natives considered holy. After filming ‘Fitzcarraldo’, which drained Herzog emotionally, financially, and creatively, he stumbled upon the story while promoting the earlier film in Australia. To avoid a lawsuit by the real mining company, Nabalco, he changed the company's name, the product they were drilling for, and added his own made up mythos of the green ants, for he felt it more suitable and poetic than the more standard issue and nebulous claims of the real Aborigines. What sets this film apart from most is that it does not look nor feel like a major motion picture by a famed director. Instead, it feels like a first film by a young independent filmmaker, and I mean that in the best sense. Despite some wonderful scenery, Herzog is not fixated on natural splendour - such as rather brief shots of miles and miles of holes dug into the ground for opals and the resultant dirt and sand piled up and left to sit, something most filmmakers would ogle over, and spends far more time on the simple, unfolding tale. Yet, it does not focus on the human players as much as the issue of Native Rights vs. those accorded by old treaties. The lead character is a tall, blond, bespectacled geologist called Lance Hackett (Bruce Spence), who works for the A.S. Mining Company- which is in the uranium mining business. The film opens with him in his office trailer on the outskirts of a small town, Coober Pedy, in the Australian Outback desert. An old lady, Miss Strehlow (Colleen Clifford), who has lost a pooch in their tunnels is asking him for help in locating the dog, named Ben Franklin. He tries to pacify the old lady when he is informed of an Aborigine protest on the land by his older lead worker, a bigot named Cole (Ray Barrett). Hackett rushes out to see what is the matter and encounters two of the Aboriginal Elders, Miliritbi (Wandjuk Marika) and Dayipu (Roy Marika). Even though the site is not accorded reservation status by the Australian government, the two claim that their tribe views the site as a holy site, for it is where the green ants dream up all life, and if the company destroys it the world will end. They and their tribe are engaging in a sit down strike. Here is where Herzog deftly walks a tightrope. While not giving in to the PC and New Age wackiness of such beliefs, he does show the company trying to bend over backward to appease the Aborigines. They do not accept any such offers, and eventually the two parties- the tribe and the company, must go to court. There are some funny scenes- such as when company officials fly the two Elders to Melbourne, to negotiate, and they get stuck in an elevator while riding up a skyscraper. Eventually they are freed, but Hackett suggests it is all a dream, and they are really still stuck in the elevator. Sure enough, on their way down the elevator conks out again, and the claim by Hackett seems to be fulfilled. There are a few moments where the film gets too preachy, such as when Hackett visits Arnold, a supposed local white expert on Aboriginal culture (Nicolas Lathouris)- who also is a bigot of the worst order, but against his own culture, and the man merely preens and screams at Hackett as some harbinger of evil white culture, but most of the film is a bit less preachy. The Aborigines are shown to have their own silly customs, such as when- during the courtroom scene, the courtroom must be cleared of spectators due to Aboriginal belief that something bad will occur. Yet, the whites are no less silly, and midway through the film there's a funny scene where Hackett is meeting with a white entomologist. Fletcher . (Ralph Cotterill), who explains the facts behind the magnetically attuned green ants- which are not really ants, although they look that way. Instead, they are a variety of termites and more closely related to roaches than ants. The glee that the insect expert seems to rub off on Hackett is both perverse and funny to watch. Yet, like most of the film, there is no musical accompaniment. This is probably the Herzog film least dependent upon his key musical ear, and most dependent upon the story alone. Thus, very little is made of Native music from the didgeridoo, which is heard only a few brief times. The film is also notable because it was one of the few times that- till that point, Herzog's regular musical partner, Florian Fricke of Popul Vuh, did not work with him. Eventually, the company appeases the Aborigines by loaning them a green airplane, but after the Aborigines lose in court, a drunken Aborigine, who was in the Australian military takes the plane off to fly and loses it up in the mountains. A search is launched, and the film ends as it started- with some enigmatic shots of tornadoes filmed in Oklahoma, a tale by Hackett, to the old lady- who is still waiting outside one of the tunnels with an opened can of dog food that has dried and become food for flies, and Hackett telling her of a dream he had where he is watched by Catholic School students and nuns as he pisses in his pants and causes a river to flow. The last scene of the film shows Hackett back at the white Aborigine expert, who now accepts him as a 'good' member of the white race, and Hackett seems to go off into the desert to live in the expert's old home made of a larger steel water barrel. Because of the rather trite nature of the confrontation, admixed with its odd presentation, Where The Green Ants Dream is a film that is difficult to classify. There are funny scenes of Aborigines in business suits when in court, and holding religious ceremonies in supermarkets where a holy tree once stood- a tree needed for the men in the tribe to dream up their children before they are conceived, and humorously sad scenes, such as when Cole explodes to Hackett that Aborigine children have drained his Caterpillar of oil so they can sniff it to get high. The film is not a character study, not a true fiction, but a quasi-documentary-like film. That it does not go overboard on the New Age nonsense nor the Noble Savage reverse racism is good, but a bit more development of Hackett- whose life outside work seems to consist of listening to cassette replays of Argentina's first World Cup Soccer victory and getting turned down for dates by local women, would have been good, as would a bit more background on the town and some minor characters- such as a few company executives, like Baldwin Ferguson (Norman Kaye), and other Aborigines- such as the man they call a Mute because he is the last person on earth who can speak his native tribal tongue, would have made the film better. These minor flaws can be blamed on the too spare screenplay by Herzog and Bob Ellis, who also has a cameo role as the local supermarket manager. The acting in the film is also not the best in the Herzog canon. Like many films that try to use authentic ethnic actors, there is a small pool to choose from, so the film suffers for this. I am reminded of the poorly acted Eskimo film of a few years back, ‘Atanarjuat’. That said, even the white actors are not top notch, as Spence spends much of the film with his mouth agape and looking like Lurch from the old ‘The Addams Family’ sitcom. The DVD, put out by Infinity Arthouse, is well transferred- although it has a bit more of a made for television movie in its look, and shown in a 16:9 full frame aspect ratio. The extras are rather spare- a Herzog bio, German and English trailers, a trailer for a Rainer Werner Fassbinder film, and a commentary by Herzog, along with an interviewer, but done in German, with English subtitles. As usual, Herzog's comments are among the best out in the DVD market, as he both explains what was on his mind with a particular scene or actor, as well as often digressing in a truly creative fashion, on the mythos behind said scenes and characters. The best example is when he describes the genesis of this film, from an earlier trip promoting ‘Fitzcarraldo’, and how the making of this film led into his eventual making of ‘Cobra Verde’, by meeting the author Bruce Chatwin while in the country. ‘Where The Green Ants Dream’ is not Herzog at his greatest, but it is an interesting and good little film that rises above the contemporary condescending approach to Natives, and compels anyone who starts watching it to finish watching it. Just compare it to the ongoing American obsessions with Noble Savage Native Americans and Mystical Negroes, and the difference is clear. In the commentary, Herzog even laments that this film is too preachy at times, in scenes with both the Elders and the small minded Arnold, and how his own personal disagreement with the Green parties around the world are due to their lack of empathy for humans, while praising nature at all costs. It is especially noteworthy to compare this film to the work of Native American director Chris Eyre, who made ‘Smoke Signals’ and ‘Skins’, for one can see numerous areas where the younger director could learn much from a Master like Herzog, who, even when not in top form, can create compelling art that lasts, even if in ways as odd as his subject matter. EXTRAS INCLUDE: -Director's Commentary as 2nd audio track (SUBTITLES ARE FOR THE COMMENTARY TRACK, FILM IS IN ENGLISH) -Herzog bio (3xjpgs) -trailer PLEASE SEED AND ENJOY!!!
Seeders: 5
Leeches: 5