Terminator Sma-m 1250-2153

"Certify the real"

It is easy for a blogger to lose ground to deform (in) voluntarily facts which it becomes aware. Indeed, the blogger, as his fellow of the era subhuman, often does not receive information only through the distorting mirror of the "remote operators", media orders. It is therefore attempted to correct the firing overinterpreting right information he thinks come from the extreme left. This is the mistake that I had complained during the case "A Prophet " open Cannes Film Festival. To summarize briefly, Jacques Audiard's film deals with a young Maghreb reaching sentenced to carve an empire in a prison hell dominated by Corsican nationalists. Beyond the sound of angry islanders face a stigma emanating from the all-must Parisian intellectual elite, it was possible that the choice of the executioners (Corsica) and heroes (the Maghreb) had been motivated by external factors. Whether a fad or the hard cash by Studio Canal to promote "diversity positive". In short, it was perhaps not deal with filthy leftist filmmaker who was just surfing the zeitgeist. Las

! An interview Jacques Audiard in the World confirms the contrary, all the conclusions that the viewing of his films implied, and that the term "filthy leftist" was a euphemism

" It [the film] serves as First to certify the actual filming as we do ethnography. It is a validation system that produces documentaries and news about the world. "

How to find a sample more revealing than this one? First, the sacrosanct real obsession shared by all sociologists of left and extreme right and the responsibility Studies in Marxism applied. This obsession is coupled with a complete misunderstanding of that reality, because the world is not seen in its stark reality, but through a veil of ideology, a design output scratch brain of individuals totally cut off from their similar. Authors of urban riots becoming "youth linguistic insecurity," the tribal invaders "undocumented migrants" and resistant to destruction of their culture of "fascist." Our lefties do not want just see the real, refuse to confront it in its cruelty and ugliness, which is why they make a glaze for an ideological filter and interpret information without experiencing cognitive dissonance. The leftist, dazzled by the sunlight, decides to wear sunglasses or glasses for the blind. And dealing with fascists or Nazis who still see the light of that sun.

The other statement Audiard, drowned in the middle of verbiage without interest, is so revealing of the mentality of this generation soixantehuitarde your servant could easily lapse into complacency:

"Question: Your hero is a young offender from North Africa who manages to triumph of violence and barbarism by a survival strategy used. It is a magnificent exaltation of individualism and intelligence against subjugation, whether communitarian or nationalist mafia. But at the same time, it does not leave much hope in the use of a collective belief ...

Answer: Yes, it's arguably the fatalistic side of the film. But what to see, too, is the sympathy we feel for the character, and I the first against the actor who embodies it, in which I identify, Tahar Rahim . The fact that he works "for his mouth" does not prevent it from being a character morale. He is someone who has taken the horror taste of blood. It gives such pledges appetite to know and understand that his fate seems hopeful. "

Magnificent! Audiard illustrates perfectly the confusion and apathy of his cohorts, who grew up in France prosperous and European civilization has scuttled its wholly by affectation (the famous claim of "mixed dorms), and finds himself in his old age surrounded by Various she decides to make his heirs, to the detriment of his biological children. What a great hope indeed! Hence the growing importance of non-indigenous young man in cinema hexagonal real dolphin sexagenarian franchouillard decrepit.

feminized generation of 68 weapons so quickly makes it decides to offer his daughters as a gift to the "young" to appease their anger and crossbreed between her thighs. It has become the sole obsession of contemporary French cinema: when the Allogenes, symbol of France's new Muslim male manage to blow up the White symbol of the old Christian France feminized. From Ocean After to First Star, through his Mother Neuilly, everything revolves around the butt of the White and the best way to lay siege. "Certifying the real" in short.

Capture After the film directed by Eliane Ocean Tower

Did you know?

-Jacques Audiard was destined originally to education?

-Eliane de la Tour is an anthropologist, a specialist in West Africa?