@dhzan

Lou Reed & Nico

Lou Reed and Nico in the Studio

Vilhelm Hammershøi

 

Sunbeams or Sunshine. Dust Motes Dancing in the Sunbeams. 1900

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La terra trema

 

Luchino Visconti. 1948

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Contemporary dystopias

 

“The weather project”. Olafur Elliasson. Tate Modern. 2003

 

Blade Runner. Ridley Scott. 1982

 

Beigjing (China).  2014

 

 

 

 

George Orwell’s Letter on Why He Wrote ‘1984’

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To Noel Willmett

18 May 1944
10a Mortimer Crescent NW 6

Dear Mr Willmett,

Many thanks for your letter. You ask whether totalitarianism, leader-worship etc. are really on the up-grade and instance the fact that they are not apparently growing in this country and the USA.

I must say I believe, or fear, that taking the world as a whole these things are on the increase. Hitler, no doubt, will soon disappear, but only at the expense of strengthening (a) Stalin, (b) the Anglo-American millionaires and (c) all sorts of petty fuhrers° of the type of de Gaulle. All the national movements everywhere, even those that originate in resistance to German domination, seem to take non-democratic forms, to group themselves round some superhuman fuhrer (Hitler, Stalin, Salazar, Franco, Gandhi, De Valera are all varying examples) and to adopt the theory that the end justifies the means. Everywhere the world movement seems to be in the direction of centralised economies which can be made to ‘work’ in an economic sense but which are not democratically organised and which tend to establish a caste system. With this go the horrors of emotional nationalism and a tendency to disbelieve in the existence of objective truth because all the facts have to fit in with the words and prophecies of some infallible fuhrer. Already history has in a sense ceased to exist, ie. there is no such thing as a history of our own times which could be universally accepted, and the exact sciences are endangered as soon as military necessity ceases to keep people up to the mark. Hitler can say that the Jews started the war, and if he survives that will become official history. He can’t say that two and two are five, because for the purposes of, say, ballistics they have to make four. But if the sort of world that I am afraid of arrives, a world of two or three great superstates which are unable to conquer one another, two and two could become five if the fuhrer wished it.1 That, so far as I can see, is the direction in which we are actually moving, though, of course, the process is reversible.

As to the comparative immunity of Britain and the USA. Whatever the pacifists etc. may say, we have not gone totalitarian yet and this is a very hopeful symptom. I believe very deeply, as I explained in my book The Lion and the Unicorn, in the English people and in their capacity to centralise their economy without destroying freedom in doing so. But one must remember that Britain and the USA haven’t been really tried, they haven’t known defeat or severe suffering, and there are some bad symptoms to balance the good ones. To begin with there is the general indifference to the decay of democracy. Do you realise, for instance, that no one in England under 26 now has a vote and that so far as one can see the great mass of people of that age don’t give a damn for this? Secondly there is the fact that the intellectuals are more totalitarian in outlook than the common people. On the whole the English intelligentsia have opposed Hitler, but only at the price of accepting Stalin. Most of them are perfectly ready for dictatorial methods, secret police, systematic falsification of history2 etc. so long as they feel that it is on ‘our’ side. Indeed the statement that we haven’t a Fascist movement in England largely means that the young, at this moment, look for their fuhrer elsewhere. One can’t be sure that that won’t change, nor can one be sure that the common people won’t think ten years hence as the intellectuals do now. I hope 3 they won’t, I even trust they won’t, but if so it will be at the cost of a struggle. If one simply proclaims that all is for the best and doesn’t point to the sinister symptoms, one is merely helping to bring totalitarianism nearer.

You also ask, if I think the world tendency is towards Fascism, why do I support the war. It is a choice of evils—I fancy nearly every war is that. I know enough of British imperialism not to like it, but I would support it against Nazism or Japanese imperialism, as the lesser evil. Similarly I would support the USSR against Germany because I think the USSR cannot altogether escape its past and retains enough of the original ideas of the Revolution to make it a more hopeful phenomenon than Nazi Germany. I think, and have thought ever since the war began, in 1936 or thereabouts, that our cause is the better, but we have to keep on making it the better, which involves constant criticism.

Yours sincerely,
Geo. Orwell

* Texto en inglés: The Daily Best

* “A life in letters”. Selected and annotated by Peter Davison. Copyright ©George Orwell. First American Edition 2013.

Sin orden ni concierto II. Cine 2013

Sin orden ni concierto. Algunas de las películas vistas durante 2013 que me han impactado, interesado, inquietado o fascinado.

 

First cousin once removed. Alan Berliner

 

Caníbal. Manuel Martín Cuenca

 

Branka. Mikel Zatarain

 

Before Midnight. Richard Linklater

 

Más allá de las colinas. Cristian Mungiu

 

Invisible. Víctor Iriarte

 

The wind rises. Hayao Miyazaki

 

Paradise: Love. Ulrich Seidl

 

El modelo. Germán Scelso

 

Leviathan. Lucien Castaing-Taylor, Verena Paravel

 

Anna Karenina. Joe Wright

 

Weekend. Andrew Haigh

 

 

 

 

 

 

 

 

 

“Paraísos”

“Paraísos”. Basilio Martín Patino (1996)

Sin orden ni concierto I. Cine 2013

Sin orden ni concierto. Algunas de las películas vistas durante 2013 que me han impactado, interesado, inquietado o fascinado.

 

A touch of sin. Jia Zhang-ke

 

The Dubai in me. Christian von Borries

 

L’Image manquante. Rithy Panh

 

La herida. Fernando Franco

 

A world not ours. Mahdi Fleifel

 

Handful of dust. Hope Tucker

 

La vie d’Adéle. Abdelatif Kechiche

 

Norte, The End of history. Lav Diaz

 

Il villaggio di cartone. Ermanno Olmi

 

Dime quién era Sanchicorrota. Jorge Tur Moltó

 

Paradise: Faith. Ulrich Seidl

 

Vers Madrid. Sylvain George

 

Mud. Jeff Nichols

 

Free Angela and all political prisoners. Shola Lynch

 

In the fog. Sergei Loznitsa

 

In another country. Hong Sang-soo

 

Django Unchained. Quentin Tarantino

 

 

 

 

 

 

 

 

“Comizi d’amore”

Pier Paolo Pasolini. 1964

Innisfree. The quiet man