SFBA.social

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Bibliothèque[G.R.K.]📖⚧️🌍🌀👊<a href="https://kolektiva.social/tags/GRK0150" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#GRK0150</a> <a href="https://kolektiva.social/tags/VIDEO" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#VIDEO</a> <a href="https://kolektiva.social/tags/EnDirectLive" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#EnDirectLive</a> <a href="https://kolektiva.social/tags/CommuneDeParis" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CommuneDeParis</a> <a href="https://kolektiva.social/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> <a href="https://kolektiva.social/tags/Histoire" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Histoire</a> <a href="https://kolektiva.social/tags/PeterWATKINS" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#PeterWATKINS</a> LA COMMUNE (Paris 1871) [Version TV 6h] de Peter Watkins (2000, 13Prod) 📽️360p👇 <a href="https://mega.nz/file/VUYF3YrD#K0_3t7Q-4vwV_D2o-_czPtra9Ufm7jj9yuvElqwhefo" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://mega.nz/file/VUYF3YrD#K0_3t7Q-4vwV_D2o-_czPtra9Ufm7jj9yuvElqwhefo</a> Si t'as les moyens: <a href="https://store.potemkine.fr/dvd/3700246900177-la-commune-paris-1871-peter-watkins/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://store.potemkine.fr/dvd/3700246900177-la-commune-paris-1871-peter-watkins/</a>Synopsis: Peter Watkins a réalisé une fiction sur la Commune comme un documentaire contemporain. Pour raconter la Commune il montre une télévision aux ordres (Télévision Nationale Versailles) qui débite des informations lénifiantes, tandis qu'une télévision libre jaillie du Paris insurgé s'efforce de capter la fureur populaire.------------------------------Infos: Tout film de Peter Watkins est un événement. Quand il s'attaque à un moment mythique de l'histoire de la France et du monde, Peter Watkins s'insurge, dérange, bouscule. Pour créer une Ïuvre cinématographique hors norme, un documentaire en costumes, une fiction vraie. Et si le récit s'appuie sur une recherche historique approfondie, c'est pour mener une réflexion sur le présent. Nous sommes en mars 1871, tandis qu'un journaliste de la Télévision Versaillaise diffuse une information lénifiante, tronquée, se crée une Télévision Communale, émanation du peuple de Paris insurgéÉ Dans un espace théâtralisé, plus de 200 acteurs interprètent, devant une caméra fluide travaillant en plans séquences, les personnages de La Commune –tout particulièrement la population du quartier Popincourt dans le XIème arrondissement– pour nous raconter leurs propres interrogations sur les réformes sociales et politiques. Pour Peter Watkins, réaliser un film c'est questionner sa propre pratique de cinéaste et mener une critique frontale des médias.Dans le contexte mondial que nous connaissons, Watkins nous rappelle avec force que le rôle d'un artiste peut résider dans le fait de ne pas oublier de proposer une oeuvre engagée et radicale qui nous revoie –tel un miroir– le reflet, parfois insupportable et crispant, de notre condition présente. Créée à Montreuil en 1999 –dans les locaux de La Parole Errante d'Armand Gatti, là où Georges Méliès érigeât ses studios– La Commune est donc une création outsider. Avec un budget très faible mais grâce à l'étonnante énergie relationnelle de près de 300 comédiens et techniciens convaincus par la pertinence du sujet et l'évidence du propos, Peter Watkins, après 2 mois de préparation intense, a pu reconstituer et restituer en 13 jours Ð par un processus de tournage chronologique continu Ð l'exceptionnelle et effroyable expérience de La Commune. En se situant au plus près des gens du peuple Ð qu'ils soient gamins de la rue, ouvriers, artisans, petits patrons, fonctionnaires, soldats, intellectuels, curés, bourgeoisÉ- dans le Paris de 1871, La Commune de Peter Watkins Ð en créant des passerelles avec notre société actuelle Ð nous réveille pour nous rappeler que l'histoire est un matériau vivant, en devenir, et qu'à tout moment nous pouvons en devenir les acteurs lucides, conscients et responsables.« Il est urgent que nous déclenchions –pour la première fois de notre histoire– une large enquête publique sur le rôle centralisateur et anti-démocratique joué par les mass médias sur le processus social, et son lien direct avec la propagation massive du consumérisme et ses conséquences en termes de destruction environnementale de notre planète. La télévision française est affligeante Ð une charade d'émission débilitantes, de jeux et de variétés, de séries policières hollywoodiennes, et de journaux d'information hautement manipulateurs. Notre film, La Commune, qui implique directement la communauté dans l'écriture et la narration de son histoire, présente une manière alternative de travailler avec la télévision. » Peter Watkins, juin 2001« ... après 3 heures 30, dans une réunion de quartier, les actrices jettent le masque, évoquant soudain le combat des sans-papiers, la condition des femmes endormies dans les signes du confort ... Le film devient une ode furieuse à la démocratie directe: Watkins fait en sorte que les acteurs prennent le pouvoir dans le film comme ses personnages l'ont pris dans Paris. Ils dénoncent les médias comme autant d'organes versaillais. Intertitre: "Ce dont les médias ont peur est de voir le petit homme du petit écran remplacé par une multitude de gens - par le public." Hélas! Watkins retarde! Le public, les "gens", on ne voit plus que ça, aujourd'hui. A toute heure et partout. Récupéré. Assimilé depuis longtemps par nos regards digestifs. Une actrice communarde finit d'ailleurs par nous le crier en face avant de mourir: "Que ce soit un film ou la réalité, vous regardez, mais vous n'en avez rien à foutre! C'est ça que j'ai envie de tuer!" et nous télé-spectateurs, nous nous éveillons sous le cri: à cet instant, les Versaillais, c'est nous. »====================Peter Watkins est un réalisateur expérimental et militant britannique. Ses films, pacifistes et radicaux, redistribuent les frontières habituelles entre documentaire et fiction. Il s'est particulièrement attaché à la critique des médias de masse et de ce qu'il a nommé la « monoforme ».Avant de développer sa critique de la monoforme, concept qu'il a formé pour nommer l'uniformisation de la forme télévisuelle et cinématographique (montage, musique, cadre narratif), Peter Watkins s'est essayé dès ses premiers films à accompagner sa remise en question de la représentation et de la narration traditionnelles par des recherches formelles hors-cadre.Le réalisateur brouille d'abord les genres habituels, en déplaçant les frontières entre documentaire et fiction : des épisodes historiques ou fictionnels sont filmés comme s'ils se déroulaient sous nos yeux, la présence du « journaliste » est visible et assumée, créant des effets d'anachronie (caméra et micro visibles sur un champ de bataille du XVIIIe siècle ou dans le Paris de 1871) ou d'uchronie (La Bombe, Punishment Park).Il insère également des formes cinématographiques différentes au sein d'un même film, faisant appel à des dispositifs du cinéma muet (les cartons), à des outils professionnels (décompte du temps d'une séquence, insertion de signaux sonores pour signaler une coupe au montage), à d'autres formes d'art (photographie, théâtre, cabaret).Se refusant à employer les procédés standardisés par l'industrie hollywoodienne, il tourne très peu en studio, ou quand il le fait, en exploite les contraintes : c'est le cas de The Trap, où l'espace, entièrement confiné et surveillé, est oppressant. Les décors naturels, comme les costumes, font quant à eux l'objet d'un très long travail de recherche avant le tournage, afin de trouver des lieux qui ne « joueraient » pas plus – ou pas moins – que des acteurs donnant leur opinion réelle.La lumière est naturelle ou travaillée spécifiquement pour le film, comme dans Munch, où elle est filtrée pour approcher du ton bleuté employé par le peintre, restituer l'atmosphère de la fin du XIXe siècle (maisons peu éclairées), et baigner le film dans une ambiance irréelle (allers-retours entre flashbacks, visions intérieures, épisodes présents).Le son est désynchronisé et aéré de longs silences, afin de créer un décalage au sein duquel le spectateur ait le temps de développer sa propre réflexion sur le film, d'y ajouter ses émotions et souvenirs, Watkins cherchant à faire surgir le film d'une « alchimie » entre la matière cinématographique et l'expérience personnelle de chaque individu qui le regarde.Le rythme de montage est asymétrique, alternant de longs plans-séquences ou des gros plans de visages avec des épisodes très brefs destinés à créer un effet de choc.Enfin, Watkins, refusant les contraintes dictées par des impératifs commerciaux, s'affranchit des durées convenues (Le Voyage dure 14 h 30, La Commune 5 h 30 dans sa version intégrale), afin de laisser chaque film se développer sur un temps qui lui est propre, et chaque spectateur trouver l'espace de sa réflexion.Cette recherche de la forme s'accompagne en effet chez Peter Watkins d'une réflexion sur la relation au public. Voulant casser le quatrième mur de l'espace cinématographique, celui de l'écran, il cherche, contrairement au système hollywoodien attaché à une fonction de divertissement et à une hiérarchisation forte des rôles, à faire participer le spectateur aux films.Cela se traduit d'abord et avant tout par le recours à des acteurs non professionnels, qui expriment leurs points de vue véritables à travers leurs rôles, allant parfois jusqu'à modifier le scénario original du film, comme ce fut le cas pour Punishment Park, dont le final diffère de celui initialement écrit. Les Versaillais de La Commune, pour prendre un autre exemple, furent recrutés via des annonces dans les journaux, en fonction de leurs opinions politiques conservatrices.Les acteurs sont ainsi engagés pleinement dans le processus – autre concept fondamental chez Watkins – de réalisation du film, et, au-delà, dans la construction ou reconstruction de leur propre histoire (exploration d'épisodes vécus par des ancêtres dans Culloden, d'évènements pressentis comme imminents dans La Bombe).L'intérêt pour le public et le souci constant de casser la forme de pouvoir qu'induit la réception passive lors d'une projection, se manifeste par ailleurs dans ses films par des adresses directes de la voix off au spectateur, l'appelant à analyser ce qu'il vient de voir ou l'interrogeant sur son opinion – dialogue ou polylogue que le réalisateur a cherché à poursuivre dans des rencontres organisées après les séances.Il n'est pas anodin, à cet égard, que Peter Watkins se soit dernièrement davantage intéressé à l'organisation de débats publics et d'ateliers de décryptage des médias qu'à la réalisation à proprement parler : le processus se poursuit ainsi dans le champ citoyen, et tente de réinvestir les espaces de critique et de démocratie asphyxiés, selon le réalisateur, par les mass media.

Carol Petersam so disappointed in friends & family who admit they still buy from <a href="https://zirk.us/tags/Amazon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Amazon</a> still stay at <a href="https://zirk.us/tags/AirBnbs" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AirBnbs</a>, still watch & read <a href="https://zirk.us/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a>"only when I have to," they say . . . that is to say, they continue to pretend they're too privileged to be ruined by <a href="https://zirk.us/tags/Felon45" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Felon45</a> & the rest of the <a href="https://zirk.us/tags/Fascists" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fascists</a><a href="https://zirk.us/tags/USPolitics" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#USPolitics</a> <a href="https://zirk.us/tags/Billionaires" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Billionaires</a> <a href="https://zirk.us/tags/Antifa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Antifa</a>

UniversityofGroningenLibraryNew in our digital <a href="https://social.edu.nl/tags/collection" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#collection</a>: ➡️ Handbook of <a href="https://social.edu.nl/tags/children" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#children</a> and screens: <a href="https://social.edu.nl/tags/DigitalMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DigitalMedia</a>, development, and well-being from birth through adolescence🔗 <a href="https://doi.org/10.1007/978-3-031-69362-5" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://doi.org/10.1007/978-3-031-69362-5</a>This <a href="https://social.edu.nl/tags/OpenAccess" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#OpenAccess</a> handbook synthesizes the current <a href="https://social.edu.nl/tags/research" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#research</a> about the impacts of digital <a href="https://social.edu.nl/tags/media" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#media</a> on children across development. <a href="https://social.edu.nl/tags/Psychology" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Psychology</a> <a href="https://social.edu.nl/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> <a href="https://social.edu.nl/tags/Internet" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Internet</a> <a href="https://social.edu.nl/tags/Parenting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Parenting</a> <a href="https://social.edu.nl/tags/Neuroscience" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Neuroscience</a> <a href="https://social.edu.nl/tags/Technology" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Technology</a> <a href="https://social.edu.nl/tags/MentalHealth" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MentalHealth</a>

Media Japan<a href="https://www.wacoca.com/media/289379/" rel="nofollow noopener noreferrer" target="_blank">https://www.wacoca.com/media/289379/</a> 初のスイス製Netflixドラマ、「小さくまとまる」国民性覆す – SWI swissinfo.ch <a href="https://wakoka.com/tags/article" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#article</a> <a href="https://wakoka.com/tags/BeatCulture" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#BeatCulture</a> <a href="https://wakoka.com/tags/cinema" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#cinema</a> <a href="https://wakoka.com/tags/CULTURE" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CULTURE</a> <a href="https://wakoka.com/tags/drama" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#drama</a> <a href="https://wakoka.com/tags/history" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#history</a> <a href="https://wakoka.com/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> <a href="https://wakoka.com/tags/television" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#television</a> <a href="https://wakoka.com/tags/%E3%83%89%E3%83%A9%E3%83%9E" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ドラマ</a>

Of Bookish Things<a href="https://mas.to/@cjpaloma" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@cjpaloma</a> <a href="https://universeodon.com/@SrRochardBunson" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@SrRochardBunson</a> <a href="https://mastodon.sdf.org/@danielbowmaniel" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@danielbowmaniel</a> <a href="https://mstdn.social/@mcnado" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@mcnado</a> <a href="https://c.im/tags/AI" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AI</a> follows the <a href="https://c.im/tags/MassMediaPrinciples" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMediaPrinciples</a>. The most significant one in this context is: All <a href="https://c.im/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> contain values, beliefs, and ideologies. These reflect conscious & unconscious biases. <a href="https://c.im/tags/MediaLiteracy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MediaLiteracy</a><a href="https://darkpinesmedia.wordpress.com/2008/09/29/mass-media-principles/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://darkpinesmedia.wordpress.com/2008/09/29/mass-media-principles/</a>

Of Bookish ThingsDay 23 of <a href="https://c.im/tags/Februllage2025" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Februllage2025</a> <a href="https://c.im/tags/DadaistCollage" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DadaistCollage</a> - <a href="https://c.im/tags/Asemic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Asemic</a> Poster ~ Mass Media Tapestry (Topic -Tapestry)<a href="https://c.im/tags/DadaistCollageArt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DadaistCollageArt</a> <a href="https://c.im/tags/CollageArt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CollageArt</a> <a href="https://c.im/tags/Art" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Art</a> <a href="https://c.im/tags/Scanography" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Scanography</a> <a href="https://c.im/tags/Childhood" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Childhood</a> <a href="https://c.im/tags/DigitalArt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DigitalArt</a> <a href="https://c.im/tags/Dadaist" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Dadaist</a> <a href="https://c.im/tags/Collage" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Collage</a> <a href="https://c.im/tags/Dada" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Dada</a> <a href="https://c.im/tags/Dadaism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Dadaism</a> <a href="https://c.im/tags/AsemicWriting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AsemicWriting</a> <a href="https://c.im/tags/Asemic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Asemic</a> <a href="https://c.im/tags/AsemicText" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AsemicText</a> <a href="https://c.im/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> <a href="https://c.im/tags/Tapestry" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Tapestry</a> <a href="https://c.im/tags/DeconstructedText" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DeconstructedText</a> <a href="https://c.im/tags/SocialMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SocialMedia</a> <a href="https://c.im/tags/AsemicArt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AsemicArt</a>

Ben Royce 🇺🇦<a href="https://beige.party/@kimlockhartga" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@kimlockhartga</a> <a href="https://kolektiva.social/@DoomsdaysCW" class="u-url mention" rel="nofollow noopener noreferrer" target="_blank">@DoomsdaysCW</a>Problem is, with <a href="https://mastodon.social/tags/MAGA" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MAGA</a> digging deeper into <a href="https://mastodon.social/tags/massmedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#massmedia</a>, controlling <a href="https://mastodon.social/tags/socialmedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#socialmedia</a>, and muting the <a href="https://mastodon.social/tags/CDC" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CDC</a>, will we hear about a new outbreak at all?Because that's their solution. To <a href="https://mastodon.social/tags/pandemic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#pandemic</a>, to <a href="https://mastodon.social/tags/climatechange" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#climatechange</a>, any problem: just don't talk about itIf you talk about it, you're insufficiently ignorant, insufficiently indecentYou are "<a href="https://mastodon.social/tags/woke" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#woke</a>", you are disloyalisn't it funny how "woke" is a slur to them?nevermind not sleeping, consider Lead Belly's meaningso apt

FarhadMediernas tystnad om högerextrem terror Om du undrar hur kunde det ske i Tyskland för 100år sedan, här i vår egen verklighet finner du svar... "När en muslim utför en attack blir det omedelbart ett terrordåd. När en gärningsman begår massmord och samtidigt uttrycker sig rasistiskt så tonas motivet ner. Mediernas försiktighet i rapporteringen kring Rickard Anderssons illdåd i Örebro ekar av samma mönster som efter Peter Mangs eller det i Trollhättan 2015. Hur länge ska den här massmediala tystnaden fortsätta?"<a href="https://venera.social/search?tag=Sverige" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Sverige</a> <a href="https://venera.social/search?tag=Terrorism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Terrorism</a> <a href="https://venera.social/search?tag=Politik" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Politik</a> <a href="https://venera.social/search?tag=%C3%96rebro" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Örebro</a> <a href="https://venera.social/search?tag=Massmord" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Massmord</a> <a href="https://venera.social/search?tag=Media" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Media</a> <a href="https://venera.social/search?tag=Rasism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Rasism</a> <a href="https://venera.social/search?tag=Media" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Media</a> <a href="https://venera.social/search?tag=Hykleri" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Hykleri</a> <a href="https://venera.social/search?tag=Massmedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Massmedia</a> <a href="https://venera.social/search?tag=Terror" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Terror</a> <a href="https://venera.social/search?tag=Invandrare" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Invandrare</a> <a href="https://magasinetkonkret.se/mediernas-tystnad-om-hogerextrem-terror/" rel="nofollow noopener noreferrer" target="_blank">magasinetkonkret.se/mediernas-…</a>

DoomsdaysCWFrom Lawrence W. Britt: 14 Characteristics of <a href="https://kolektiva.social/tags/Fascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fascism</a> (2003)6. Controlled <a href="https://kolektiva.social/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> [Controlled <a href="https://kolektiva.social/tags/SocialMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SocialMedia</a>?] Sometimes the media is directly controlled by the government, but in other cases, the media is indirectly controlled by government regulation or by sympathetic media spokespeople and executives. Government <a href="https://kolektiva.social/tags/censorship" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#censorship</a> and <a href="https://kolektiva.social/tags/secrecy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#secrecy</a> especially in war time, are very common. <a href="https://apnews.com/article/trump-inauguration-tech-billionaires-zuckerberg-musk-wealth-0896bfc3f50d941d62cebc3074267ecd" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://apnews.com/article/trump-inauguration-tech-billionaires-zuckerberg-musk-wealth-0896bfc3f50d941d62cebc3074267ecd</a><a href="https://kolektiva.social/tags/USPol" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#USPol</a> <a href="https://kolektiva.social/tags/Fascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fascism</a> <a href="https://kolektiva.social/tags/CharacteristicsOfFascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CharacteristicsOfFascism</a> <a href="https://kolektiva.social/tags/SignsOfFascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SignsOfFascism</a> <a href="https://kolektiva.social/tags/ResistFascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ResistFascism</a>

Ben Royce 🇺🇦Fuck the <a href="https://mastodon.social/tags/WallStreetJournal" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#WallStreetJournal</a> <a href="https://mastodon.social/tags/WSJ" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#WSJ</a>But this story is a perfect microcosm of our boring <a href="https://mastodon.social/tags/capitalist" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#capitalist</a> <a href="https://mastodon.social/tags/dystopia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#dystopia</a>1. <a href="https://mastodon.social/tags/Commercial" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Commercial</a> <a href="https://mastodon.social/tags/healthcare" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#healthcare</a> death panels2. <a href="https://mastodon.social/tags/CustomerService" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CustomerService</a> <a href="https://mastodon.social/tags/bureaucracy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#bureaucracy</a> reps who don't care3. <a href="https://mastodon.social/tags/AI" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#AI</a> <a href="https://mastodon.social/tags/enshittification" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#enshittification</a>And the cherry on top:4. <a href="https://mastodon.social/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> selling the <a href="https://mastodon.social/tags/agenda" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#agenda</a> of <a href="https://mastodon.social/tags/plutocracy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#plutocracy</a> by describing the AI enshittification as "well, it's a nice development, see. It drives you into debt, makes you suffer, and kills you early... *cheerfully*"😩<a href="https://www.wsj.com/articles/turns-out-ai-is-more-empathetic-than-allstates-insurance-reps-cf5f7c98" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.wsj.com/articles/turns-out-ai-is-more-empathetic-than-allstates-insurance-reps-cf5f7c98</a>

50+ Music"Dirty Laundry" is a song written by <a href="https://mastodon.online/tags/DonHenley" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DonHenley</a> and <a href="https://mastodon.online/tags/DannyKortchmar" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#DannyKortchmar</a> from Henley's debut solo studio album <a href="https://mastodon.online/tags/ICantStandStill" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ICantStandStill</a>, (1982). The song reached number 1 on the <a href="https://mastodon.online/tags/Billboard" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Billboard</a> Top Album Tracks chart in October 1982 prior to being issued as a 45 rpm <a href="https://mastodon.online/tags/single" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#single</a>. Lyrically, the song describes <a href="https://mastodon.online/tags/massMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#massMedia</a> <a href="https://mastodon.online/tags/sensationalism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#sensationalism</a>. Released as the second single from I Can't Stand Still, it spent three weeks at number 3 on the Billboard <a href="https://mastodon.online/tags/Hot100" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Hot100</a> in early 1983. <a href="https://www.youtube.com/watch?v=nn4sJfNkimg" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://www.youtube.com/watch?v=nn4sJfNkimg</a>

M. Ní SídachThe INFAMOUS “Black” McDonald’s Commercials Garrison Hayes <a href="https://mastodon.online/@garrisonhayes" class="u-url mention">@garrisonhayes</a> <a href="https://sfba.social/tags/BlackMastodon" class="mention hashtag" rel="tag">#BlackMastodon</a> <a href="https://sfba.social/tags/MassMedia" class="mention hashtag" rel="tag">#MassMedia</a> <a href="https://sfba.social/tags/AntiBlackPropaganda" class="mention hashtag" rel="tag">#AntiBlackPropaganda</a> <a href="https://www.youtube.com/watch?v=l-w6luA54qU" target="_blank" rel="nofollow noopener noreferrer" translate="no">https://www.youtube.com/watch?v=l-w6luA54qU</a>

DoomsdaysCWLawrence W. Britt: 14 Characteristics of <a href="https://kolektiva.social/tags/Fascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Fascism</a>"<a href="https://kolektiva.social/tags/Historian" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Historian</a> <a href="https://kolektiva.social/tags/LawrenceBritt" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#LawrenceBritt</a> studied the fascist regimes of <a href="https://kolektiva.social/tags/Hitler" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Hitler</a> (Germany), <a href="https://kolektiva.social/tags/Mussolini" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Mussolini</a> (Italy), <a href="https://kolektiva.social/tags/Franco" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Franco</a> (Spain), <a href="https://kolektiva.social/tags/Suharto" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Suharto</a> (Indonesia), and <a href="https://kolektiva.social/tags/Pinochet" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Pinochet</a> (Chile) and found they had 14 elements in common. He calls these the identifying characteristics of fascism.1. Powerful and Continuing <a href="https://kolektiva.social/tags/Nationalism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Nationalism</a> Fascist regimes tend to make constant use of <a href="https://kolektiva.social/tags/patriotic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#patriotic</a> mottos, slogans, symbols, songs, and other paraphernalia. <a href="https://kolektiva.social/tags/Flags" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Flags</a> are seen everywhere, as are flag symbols on clothing and in public displays. 2. Disdain for the Recognition of <a href="https://kolektiva.social/tags/HumanRights" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#HumanRights</a> Because of fear of enemies and the need for security, the people in fascist regimes are persuaded that human rights can be ignored in certain cases because of “need.” The people tend to look the other way or even approve of torture, summary executions, assassinations, and long incarcerations of prisoners.3. Identification of <a href="https://kolektiva.social/tags/Enemies" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Enemies</a> / <a href="https://kolektiva.social/tags/Scapegoats" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Scapegoats</a> as a Unifying Cause The people are rallied into a unifying patriotic frenzy over the need to eliminate a perceived common threat or foe: <a href="https://kolektiva.social/tags/racial" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#racial</a>, <a href="https://kolektiva.social/tags/ethnic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#ethnic</a> or <a href="https://kolektiva.social/tags/religious" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#religious</a> <a href="https://kolektiva.social/tags/minorities" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#minorities</a>; <a href="https://kolektiva.social/tags/liberals" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#liberals</a>; <a href="https://kolektiva.social/tags/communists" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#communists</a>; <a href="https://kolektiva.social/tags/socialists" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#socialists</a>, <a href="https://kolektiva.social/tags/terrorists" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#terrorists</a>… 4. Supremacy of the <a href="https://kolektiva.social/tags/Military" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Military</a> Even when there are widespread <a href="https://kolektiva.social/tags/domestic" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#domestic</a> problems, the military is given a disproportionate amount of government funding, and the domestic agenda is neglected. Soldiers and military service are glamorized.5. Rampant <a href="https://kolektiva.social/tags/Sexism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Sexism</a> The governments of fascist nations tend to be almost exclusively male-dominated. Under fascist regimes, traditional <a href="https://kolektiva.social/tags/gender" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#gender</a> roles are made more rigid. Opposition to <a href="https://kolektiva.social/tags/abortion" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#abortion</a> is high, as is <a href="https://kolektiva.social/tags/homophobia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#homophobia</a> and anti-<a href="https://kolektiva.social/tags/gay" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#gay</a> legislation.6. Controlled <a href="https://kolektiva.social/tags/MassMedia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MassMedia</a> Sometimes the media is directly controlled by the government, but in other cases, the media is indirectly controlled by government regulation or by sympathetic media spokespeople and executives. Government <a href="https://kolektiva.social/tags/censorship" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#censorship</a> and <a href="https://kolektiva.social/tags/secrecy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#secrecy</a> especially in war time, are very common. 7. Obsession with <a href="https://kolektiva.social/tags/NationalSecurity" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#NationalSecurity</a> Fear of hostile foreign powers is used as a motivational tool by the government over the masses.8. <a href="https://kolektiva.social/tags/Religion" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Religion</a> and Government are Intertwined Governments in fascist nations tend to use the most common religion in the nation as a tool to manipulate public opinion. Religious rhetoric and terminology is common from government leaders, even when the major tenets of the religion are diametrically opposed to the government’s policies or actions.9. Protection of <a href="https://kolektiva.social/tags/Corporate" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Corporate</a> Power The <a href="https://kolektiva.social/tags/industrial" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#industrial</a> and business <a href="https://kolektiva.social/tags/aristocracy" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#aristocracy</a> of a fascist nation often are the ones who put the government leaders into power, creating a mutually beneficial business/government relationship and power elite.10. Suppression of <a href="https://kolektiva.social/tags/Labor" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Labor</a> Power Because the organizing power of labor is the only real threat to a fascist government, labor <a href="https://kolektiva.social/tags/unions" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#unions</a> are either eliminated entirely, or are severely suppressed.11. Disdain for <a href="https://kolektiva.social/tags/Intellectuals" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Intellectuals</a> and the <a href="https://kolektiva.social/tags/Arts" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Arts</a> Fascist nations tend to promote and tolerate open hostility to <a href="https://kolektiva.social/tags/HigherEducation" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#HigherEducation</a> and academia. It is not uncommon for professors and other <a href="https://kolektiva.social/tags/academics" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#academics</a> to be censored or even arrested. Free expression in the arts is openly attacked, and governments often refuse to fund the arts.12. Obsession with <a href="https://kolektiva.social/tags/Crime" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Crime</a> and <a href="https://kolektiva.social/tags/Punishment" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Punishment</a> Under fascist regimes, the <a href="https://kolektiva.social/tags/police" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#police</a> are given almost limitless power to enforce laws. The people are often willing to overlook police abuses and even forego <a href="https://kolektiva.social/tags/CivilLiberties" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CivilLiberties</a> in the name of patriotism. There is often a national police force with virtually unlimited power in fascist nations.13. Rampant <a href="https://kolektiva.social/tags/Cronyism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Cronyism</a> and <a href="https://kolektiva.social/tags/Corruption" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Corruption</a> Fascist regimes almost always are governed by groups of friends and associates who appoint each other to government positions and use governmental power and authority to protect their friends from accountability. It is not uncommon in fascist regimes for national resources and even treasures to be appropriated or even outright stolen by government leaders.14. <a href="https://kolektiva.social/tags/FraudulentElections" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#FraudulentElections</a> Sometimes elections in fascist nations are a complete sham. Other times elections are manipulated by <a href="https://kolektiva.social/tags/SmearCampaigns" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#SmearCampaigns</a> against or even assassination of opposition candidates, use of legislation to control <a href="https://kolektiva.social/tags/voting" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#voting</a> numbers or political district boundaries, and manipulation of the media. Fascist nations also typically use their judiciaries to manipulate or control elections.This post is a summary of Fascism, Anyone? by Lawrence W. Britt published in 2003 by Free Inquiry magazine."<a href="https://voxpopulisphere.com/2017/08/23/lawrence-britt-14-characteristics-of-fascism/" rel="nofollow noopener noreferrer" translate="no" target="_blank">https://voxpopulisphere.com/2017/08/23/lawrence-britt-14-characteristics-of-fascism/</a><a href="https://kolektiva.social/tags/History" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#History</a> <a href="https://kolektiva.social/tags/Histodon" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Histodon</a> <a href="https://kolektiva.social/tags/RabidRight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#RabidRight</a> <a href="https://kolektiva.social/tags/Antifa" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Antifa</a> <a href="https://kolektiva.social/tags/Antifascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Antifascism</a> <a href="https://kolektiva.social/tags/FarRight" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#FarRight</a> <a href="https://kolektiva.social/tags/Trump" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Trump</a> <a href="https://kolektiva.social/tags/Putin" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Putin</a> <a href="https://kolektiva.social/tags/Russia" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Russia</a> <a href="https://kolektiva.social/tags/MAGA" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#MAGA</a> <a href="https://kolektiva.social/tags/Project2025" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#Project2025</a> <a href="https://kolektiva.social/tags/CharacteristicsOfFascism" class="mention hashtag" rel="nofollow noopener noreferrer" target="_blank">#CharacteristicsOfFascism</a>

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