This book is a fascinating incursion into the multiple oppositional uses of memory in world cinema. It shows, in a lively and insightful way, how movies bring the memory of past struggles forward into the present, to serve as an inspiration for the future.
Inez Hedges distinguishes eight types of cultural cinematographic memory, which correspond to the eight chapters of the book:
The colonization of Latin America never ended, it merely changed forms. Today this conquest continues, with transnational companies driving neo-colonization grounded in the continued exploitation of natural resources. This is nowhere more true than in Central America. The force of neo-colonization is strengthened by free-trade agreements and development plans that guarantee a company’s right to investment above the rights of the citizenry. Meanwhile, the indigenous populations face renewed dispossession and eviction to make way for global capital’s conquest.
In October 1969, pianist/ singer/composer Mose Allison recorded “Monsters of the Id.” At a time when recent history had witnessed a police riot at the 1968 Democratic Party Convention, the police crackdown on protesters at Berkeley’s People’s Park, and popular backlash against anti-war, New Left, counter-culture, and Black Power sentiment, Allison began by warning that the title characters no longer remain hidden, but have come out in full view. To the accompaniment of a slightly discordant horn section, Allison—singing in his characteristic style, with its idiosyncratic pauses and accents—spins a variety of often ghoulish metaphors that remain just as timely in today’s era of Tea Party, torture reports, Stand Your Ground, and Donald Trump: “They’re sprouting through the cracks … They’re deputizing maniacs / Creatures from the swamp rewrite their own Mein Kampf.”
Surveying the political scene in America, we are now witnessing the shattering of the last remnants of the American ideology that has maintained itself—despite strains—for almost 70 years. The ideas that justified the American economic and political system in the minds of most of our citizens throughout that long period came under stress during earlier storms—from the 1950s to the 1970s in particular—and a few beams and joists cracked but did not give way. Today the manifold crises of capitalism mean that the entire existing intellectual structure of American capitalism is breaking up. And because of the role that the U.S. capitalist class plays in the world, this represents a crisis of world capitalist leadership and legitimacy. The question then arises: What will the country’s rulers attempt to put in its place, and what alternative explanation will we on the left and in the labor movement be able to offer to the country’s workers?
[This interview was originally published in Left History, vol. 18, no. 1 (2014).]
Phyllis Jacobson (1922-2010) and Julius Jacobson (1922-2003) were socialist activists in New York City from the mid-1930s through the first years of the twenty-first century. They were members of a radical generation that came of age during the great depression and embraced the language of socialism, communism, and Marxism. They were also the children of working class Jewish immigrants who grew up in the city’s outer boroughs. For their parents, the First World War, the Bolshevik Revolution, and the general strikes and mass uprisings that convulsed many countries after the war were all recent events. The near collapse of the global economy in the early 1930s confirmed for many of their cohort the basic assumption that capitalism was inherently impermanent. Adopting a socialist outlook in a period characterized by social upheaval and economic crisis was easy; the challenge had to do with selecting a suitable group or tendency from a fissiparous menu of options.
On March 25, 2016, New Politics sponsored a forum centered on its release of a never-before-published lecture by Afro-Trinidadian socialist C.L.R. James on Oliver Cox’s Caste, Class and Race.
[This petition was sent to us by Zsuzsa Hermann. György Lukács (1885-1971) was a Hungarian Marxist philosopher, aesthetician, literary historian and critic. Best known for his essay collection History and Class Consciousness (1923), he initiated the tradition of "Western Marxism." In 1919 he was the Hungarian Minister of Culture of the government of the short-lived Hungarian Soviet Republic (March–August 1919).]
Will we ever get over this thing called civilization? That's what I wondered as I watched The Embrace of the Serpent, directed by Colombian filmmaker Ciro Guerra, a black-and-white film in several indigenous and European languages that has some of the qualities of a documentary. But this is a truer-than-history fiction, fabricated out of the travel diaries of two botanists, Theodor Koch-Grunberg (Jan Bijvoet) and Richard Evan Schultes (Brionne Davis), both of whom traveled in the Amazon region, the former in 1909 and the latter in 1940. The challenging and sometimes horrifying experiences of the two scientists are linked together by the character Karamakate who serves as guide to both and a challenge to each. (Nilbio Torres plays the young Karamakate and Antonio Bolívar the old Karamakate.) Both botanists are looking for yakruna, a rare, sacred, and hallucinogenic plant, and their search takes them into the jungles inhabited by peoples menaced by the encroaching modern world.
Agustín Guillamón is a dedicated anarcho-syndicalist activist whose partisanship has not affected his critical sensitivities nor prevented him from graphically outlining what he regards as the errors and inconsistencies of the Spanish libertarian left.
First, full disclosure: I read most of Jack Ross’s The Socialist Party of America in draft. Although it is normally not good policy to then review the book, I felt I could express my respect for what Jack Ross is attempting and share my concerns in a way that could serve a useful purpose.
First, allow me to come clean: I count Paul Le Blanc as a friend and comrade and am in his debt—along with Peter Hudis, author of Marx’s Concept of the Alternative to Capitalism (Haymarket, 2013)—for inviting me to join the editorial board of the Complete Works of Rosa Luxemburg being published by Verso Books. And I am in agreement with many of the positions on politics and historical matters that Le Blanc expresses in Unfinished Leninism.
Arthur Henry Young (1866-1943), known to the world as Art, was arguably the most widely recognized and beloved cartoonist in the history of American radicalism. A working cartoonist for sixty years, Art Young drew thousands of simple black-line drawings with biting captions that appeared in big-city newspapers, liberal magazines, and, most importantly, in the socialist, labor, and radical press of the early twentieth century.
After ten years of economic contraction, many of the citizens of Puerto Rico find themselves watching the secular decomposition of a reality that in its heyday was painted by many as one of relative socio-economic welfare.
Today, a year after the heroic resistance of Kobani made it to the world news, it is hardly necessary to give an introduction to the Kurdish struggle, which has now taken a central place in the imagination of the international left, both vanguardist and anti-authoritarian.
The siege of Kobani by Islamic State (ISIS) brought worldwide attention to the Syrian Kurdish PYD (Partiya Yekîtiya Demokrat, Democratic Union Party), the leading force in the Kurdish-majority areas in northern Syria. The PYD calls this region Rojava—literally meaning “land of the sunset” but also translated as “West Kurdistan.”
In a June 2015 election, the new People’s Democracy Party (HDP) of Turkey passed a highly undemocratic 10 percent threshold to enter the Turkish parliament.
Almost a century ago, the socialist journalist John Reed wrote of the Industrial Workers of the World, popularly known as the Wobblies, “Remember, this is the only American working-class movement which sings. Tremble then at the IWW, for a singing movement is not to be beaten.” On the other hand, the sheriff of San Diego complained of his jails filled with Wobblies, “I do not know what to do. I cannot punish them. Listen to them singing all the time, and yelling and hollering, and telling the jailers to quit work and join the union.”
The movie Suffragette is the first feature film that dramatically depicts the monumental struggle for women’s right to vote in pre-World War I England. (Please erase from your memory the horrible, and I mean horrible, portrayal of suffragettes in the Disney monstrosity Mary Poppins.)
Directed by Sarah Gavron, with screenplay by Abi Morgan, the project also had the support and star power of Meryl Streep in a brilliant-as-always portrayal of Emmeline Pankhurst, the leader of the militant suffragette organization, the Women’s Social and Political Union (WSPU).
The English translation of this article was originally published by International Boulevard
From Al Safir Al Arabi
Behind the violence shaking occupied Jerusalem, writes Haneen Naamnih in Al Safir Al Arabi, is a vast colonial enterprise slowly remaking the city.
New Politics shares this post, written in June 2015 to celebrate the 100th birthday of Grace Lee Boggs, who passed away Monday Oct 5, 2015. See a film about her:
