标签为 “Donald Trump” 的文章

  • Looking Back on the Year in Art and Protest in Cuba – …

    2018.12.25 · 发表评论

    ‘Within the Revolution everything, against the Revolution nothing,’ declared Fidel Castro to the Cuban intelligentsia in 1961. Those words put an end to a debate over whether the state was justified in its censure of a film about nightlife at Havana’s port and led to the closure of Cuba’s premiere cultural magazine, Lunes de Revolución. While that infamous phrase has defined Cuba’s cultural policy ever since, its interpretation has varied depending on the political climate of the country. Nowadays Cuba enjoys international prestige for its free art education and its roster of home-grown art stars, but abstract painting, homoerotic fiction, scatological performances, anti-authoritarian poems, political punk rock and rap have fallen outside the boundaries of acceptability at many stages of the revolution, leading to arrests, the social death of several intellectuals and the confiscation of art works.       – 1961年,卡斯特罗向古巴知识分子宣称:“在革命中,一切都是反对革命的,什么都不是。”这些话结束了关于哈瓦那政府对一部关于哈瓦那港口夜生活的电影的批评是否正当的辩论,并导致古巴首映的文化杂志《Lunes de Revolucin》的关闭。尽管这个臭名昭著的词组自那时起就界定了古巴的文化政策,但其解释因政治而异。国家的气候。如今,古巴因其自由的艺术教育和本国艺术明星的名册而享有国际声誉,但抽象绘画、同性恋小说、讽刺表演、反独裁诗歌、政治朋克摇滚和饶舌在革命的许多阶段都已超出了可接受的范围,导致社会被捕。一些知识分子的死亡和艺术品的没收。

  • Does Hollywood Understand the Conservative US? – 好 …

    2018.11.19 · 发表评论

    In an early episode from the second season of the Netflix series Ozark (2017–ongoing), Jacob and Darlene Snell – rural poppy farmers and homesteaders played by Peter Mullan and Lisa Emery – brush off the killing of a cartel lieutenant with a gift of artisanal honey, a terse offer of contrition and an observation to their panicked business partner, Marty Byrde (Jason Bateman), that ‘things happen, you apologize, and you move on.’ (The show is named after the mountain range that stretches across four states of the lower midwestern US.) The Snells represent a world of familial and martial honour that subsume the more mercurial calculations of profit and loss, life and death that are Byrde’s lodestar. They are also the chaotic antagonists in a show built on the conceit that an upper middle-class Chicagoan has been using his asset management business to launder money for a far-reaching Mexican drug operation. Its first season, which aired in 2017, was well timed, riding ahead of HBO’s Ozark-set dramas Sharp Objects and the forthcoming third season of True Detective, and a post-2016 fascination with the US interior and its newly potent voting blocks. Byrde and his family, who are the core of Ozark’s grim fish-out-of-water story, head south, to the shores of the sprawling lake of the same name in central Missouri to hide from the cartel’s proxies after a deal gone bad, and to dig themselves out of debt by setting up new ‘clean’ businesses, red-state style. – 在Netflix系列剧《奥扎克》(2017-2017)第二季的早期一集中,雅各布和达琳·斯内尔——由彼得·穆兰和丽莎·埃默里扮演的农村罂粟种植者和家庭主妇——用手工蜂蜜(一种简洁的悔恨)来抹杀卡特尔中尉。n以及对他们惊慌失措的商业伙伴Marty Byrde(Jason Bateman)的观察,“事情发生了,你道歉,然后你继续前进。”(这个节目是以横跨美国中西部下部四个州的山脉命名的。)Snells代表一个家庭和火星的世界。泰勒的荣誉,让我更准确地计算了利润和损失,生死存亡。他们也是混乱的对手,在一个建立在一个上层中产阶级芝加哥人利用他的资产管理业务洗钱的一个影响深远的墨西哥毒品经营自负。它的第一季,在2017年播出,正好赶上HBO的奥扎克系列剧《锐利目标》和即将上映的《真侦探》第三季,以及2016年后对美国内陆及其新势力强大的投票区块的迷恋。拜德和他的家人是奥扎克可怕的“水外之鱼”故事的核心人物,他们向南前往密苏里州中部的同名湖岸,躲避卡特尔的代理人,在交易失败后,通过建立新的“干净”的企业,使自己摆脱债务。红州风格。

  • One Month After Jamal Khashoggi’s Killing, What’s Left of …

    2018.11.16 · 发表评论

    Earlier this year, Crown Prince Mohammed Bin Salman (MBS), the effective ruler of Saudi Arabia, went on a diplomatic tour of the United Kingdom and the United States. His aim was to rebrand the Saudi monarchy as an enlightened, reforming institution, and to attract the Western investment that his country desperately needs if it is to end its dependence on oil. On his trip, MBS not only shook hands with Donald Trump and Theresa May, but also met with Facebook’s Mark Zuckerberg, actor Dwayne ‘The Rock’ Johnson, and Disney CEO Bob Iger. Media coverage, on the whole, was credulously positive, as the supposed young reformer was held up as the new bright hope for Saudi Arabia, and perhaps for the Middle East itself. – 今年早些时候,沙特阿拉伯的有效统治者穆罕默德·本·萨尔曼王储(MBS)对英国和美国进行了外交访问。他的目标是重塑沙特君主制为一个开明的、改革的机构,并吸引西方投资,如果沙特要结束对石油的依赖,西方国家就迫切需要这些投资。在访问期间,MBS不仅与唐纳德·特朗普和特丽莎·梅握手,还与Facebook的马克·扎克伯格、演员德韦恩·约翰逊、迪斯尼的CEO鲍勃·伊格尔会面。总的来说,媒体报道是令人信服的积极的,因为这位所谓的年轻改革者被视作沙特阿拉伯,或许还有中东的新希望。

  • A ‘Doctored’ Video of Trump’s Clash with CNN Reporter Goes …

    2018.11.15 · 发表评论

    In Stephen Spielberg’s noir-sci-fi film Minority Report (2002), Tom Cruise plays a cop in the Washington DC police precrime division. Precrime, meaning, Cruise sees offences before they happen and rushes to stop the action prior to it taking place. The intel is received from three ‘precognitives’ – mutants who foresee the crimes – and their knowledge is transmitted to Cruise via a computer with a huge glass screen. Cruise’s performance involves his cop character conducting these images across this futuristic user interface, putting on special gloves that allow him to shift between images produced by the precogs, explore and zoom in on the background to see a mailbox, or a clock on the wall, and know the time and place where violence is about to happen. The images and short videos are grainy and poor, to communicate the fact that these are reflections of the future, but Cruise still gets to magnify them, or close in, and get all the information he needs. – 在斯蒂芬·斯皮尔伯格(Stephen Spielberg)的黑色科幻电影《少数族裔报告》(2002)中,汤姆·克鲁斯(Tom Cruise)在华盛顿警察局预犯罪分局扮演一名警察。先见之明,意味着,克鲁斯看到犯罪发生之前,并急于停止行动之前发生。英特尔是从三个“预知者”——预知犯罪的突变体——那里收到的,他们的知识通过一个带有巨大玻璃屏幕的计算机传送给克鲁斯。克鲁斯的表演包括他的警察角色在这个未来派的用户界面上处理这些图像,戴上特殊的手套,允许他在由预告片产生的图像之间切换,在背景中探索和放大以查看邮箱或墙上的时钟,并了解Tim。E和暴力即将发生的地方。这些图像和短片很粗糙,不足以说明这些是未来的反映,但是克鲁斯仍然可以放大它们,或者接近它们,并获得他所需要的所有信息。

  • Marvel Comics’ Stan Lee Dies Aged 95 – 奇迹漫画《斯 …

    2018.11.13 · 发表评论

    In further news: Berlin cultural institutions rally against far-right; Tate Liverpool to stage first UK show dedicated to Keith Haring – 进一步的消息:柏林文化机构联合起来反对极右派;泰特·利物浦为基思·哈林举行英国首场演出

  • Weekend Reading List: #MeToo Makes the Power 100 – …

    2018.11.09 · 发表评论

    Wes Anderson and Juman Malouf’s show opens in Vienna; conspiracy theories at the Met during the Midterms and Shanghai’s psychedelic cat – 韦斯·安德森和朱曼·马卢夫的秀在维也纳开幕;大都会中期赛期间的阴谋论和上海的迷幻猫

  • 摄影师在日益自动化的图像文化中扮演什么角色?

    2018.11.08 · 发表评论

    Who are photographs for? Who are photographs by? Increasingly, the answer to both questions is, more or less, machine: images are captured by autonomous, or semi-autonomous devices in the act of gathering data for artificial intelligences. – 照片是给谁的?照片是谁的?这两个问题的答案或多或少地越来越多地是机器:图像是由自主或半自主设备在为人工智能收集数据时捕获的。

  • Frederick Wiseman's ‘Beating Heart’ of Rural American …

    2018.11.07 · 发表评论

    Frederick Wiseman’s new documentary, Monrovia, Indiana (2018) opens with a series of bucolic shots of rural Americana before moving inside to a meeting of a small church group. ‘Remember,’ a middle-aged man wearing a cross tells those gathered, ‘when He started this whole thing, everything was perfect. We messed it up. We brought the tribulations.’ – 弗雷德里克·怀斯曼的新纪录片《印第安纳州蒙罗维亚》(2018)以美国乡村的一系列田园风光开场,然后进入一个小型教会团体的会议。“记住,”一个背着十字架的中年人告诉那些聚集在一起的人,“当他开始这一切时,一切都很完美。”我们把事情搞糟了。我们带来了苦难。

  • Mourning and Melancholy in the History of Class Struggle i …

    2018.10.19 · 发表评论

    Vast sky overhead, plains stretching toward the horizon – O, pioneers! For centuries, in the US, a myth of the West has been a cudgel to beat onward a national (and nationalist) idea of prosperity and freedom, wrested in blood. It’s a fairy tale largely told through popular films, television programmes and novels. In these stories, cowboys and homesteaders embody a loner ideal of rugged individualism inextricably linked to a surging free market, striking gold for Christ in the Mormon State of Deseret. But, against this perception of a boundless US interior, the actual political history of the Plains offers up countless examples of the limits capitalism has placed on the region and its political imagination. Given that much of this history plays almost no part in our popular images of the West, we might turn to recent and newly restored art and, in particular, film and photography, for images that re-assert the primacy of the working class in this region. These works also resist the melancholy that has been pervasive in the leftist retelling of the rise and fall of the US labour movement. There are two histories of the region – a landscape conjoined in desert, plains, beaches and old-growth forest, stretching west of the Mississippi to the glinting Pacific and curtailed only by the artificial borders with Canada and Mexico. First, one of so-called manifest destiny; second, one of work. – 浩瀚的天际,平原向地平线延伸—-O,拓荒者!几个世纪以来,在美国,西方的神话一直是一根棍子,用来打败在鲜血中挣扎的民族(以及民族主义者)的繁荣和自由观念。这是一个童话故事,主要通过流行的电影、电视节目和小说来讲述。在这些故事中,牛仔和家园主们体现了一种孤独的理想,这种理想与激增的自由市场密不可分,在摩门教的笛斯特州为基督敲出金牌。但是,与这种认为美国内陆无边无际的观点相反,大平原的实际政治历史提供了无数的例子,说明资本主义对该地区及其政治想象力的限制。鉴于这段历史中的大部分几乎不在我们对西方流行的印象中扮演任何角色,我们可能会转向最近和新近恢复的艺术,尤其是电影和摄影,来寻找那些重申该地区工人阶级首要地位的图像。这些作品也抵御了美国劳工运动兴衰的左翼复述中弥漫的忧郁情绪。这个地区有两段历史——沙漠、平原、海滩和古老的森林交织在一起,从密西西比州西部一直延伸到闪烁的太平洋,只因与加拿大和墨西哥的人工边界而受到限制。首先,一个所谓的命运;第二,一个工作。