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#Post#: 22599--------------------------------------------------
Re: Media decolonization
DIR By: rp
Date: October 5, 2023, 11:44 pm
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Baahubali*, a fantasy-fiction film set in ancient India:
HTML https://www.youtube.com/watch?v=HA_tss03GOs
I have watched the movie. It really is something, nothing of
this size/scale/production value has been made in India before
with the setting in ancient India. The screenplay could have
been better (i.e. overexaggerated action sequences) but the
movie captures the setting of ancient India like no other Indian
film has done. The casting could have also been better, the
protagonist is not that good/aristocratic looking tbh.
*FYI, despite the title, the movie has nothing to do with:
HTML https://en.wikipedia.org/wiki/Bahubali
#Post#: 22601--------------------------------------------------
Re: Media decolonization
DIR By: 90sRetroFan
Date: October 6, 2023, 1:48 am
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"captures the setting of ancient India like no other Indian film
has done"
I dislike the drone-style camerawork, which evokes modernity.
People living in ancient times would never have had flying POVs,
extreme zooms, 3D camera trajectories, unnecessary cuts, etc..
Similarly, the excessive use of slow-motion also screams
modernity. In my opinion, to really get the ancient feel, what
is needed are visual perspectives limited to angles and paths
that actual ancient people would have been familiar with.
This is why I prefer Counterculture-era productions: due to
practical constraints, camerawork was generally more
down-to-earth (more emphasis on longer still shots from unforced
angles, simpler trajectories even when the camera does move,
less frequent cuts especially during conversations), but with
the pleasing result of a less pretentious and more authentically
ancient atmosphere. Here is an example of what I am talking
about:
HTML https://www.youtube.com/watch?v=wJpnY0oNepE
Do you see the difference? And if so, do you share my
preference, or are you genuinely more a fan of the newer style?
#Post#: 23126--------------------------------------------------
Re: Your lord speaks to you, Oh Canada
DIR By: awakening
Date: October 27, 2023, 7:02 pm
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HTML https://www.eurocanadians.ca/2023/10/awakening-the-inner-celt
Awakening the Inner Celt
--- Quote ---
>
>
> My people – why do you not see what has been done to our home?
>
> Stop allowing others to define how we should interpret the
world around us!
>
> Why do you ignore the call of the tribes when the horns sound
for you to join them?
>
> We are a naturally inventive, free-spirited and tenacious
people, but the power of suggestion has manipulated us into
turning against our own kin.
>
> They understand that women are different from men and they do
not try to dress like them but rather take pleasure in appearing
feminine.
>
> our own people created waltzes, reels, ballet, and country
dances.
>
> Even if you are inclined to be a rebellious soul, still
certainly you must sense that metal and rock align well with the
heathen barbarian inside yourself, for it authentically
expresses the intentionality of your biological character.
>
> Canadian advertisers – why do you pretend that Canada is a
nation of Africans, Arabs, and Sikhs when they are but a
minority and they do not see themselves as Canadianwhite?
>
> There is no justifiable reason for why non-Europeans should be
given prevalence over the native-born Canadians who have been
here for centuries.
>
> Architects of Canada – do your creations reflect the authentic
values and history of our people?
>
> Please, I beg of you, reject the international brutalist
Bauhaus postmodern style.
>
> Do not feel that you have some moral duty to perpetuate
aboriginal crafts for the Precolonial Inhabitants will never see
themselves as Canadian no matter how much you may try to appease
them with inukshuks, totem polls, and the so-called “woodland
style”.
>
> Canadian filmmakers, playwrights, and theatre producers – why
do allow for anti-Canadian themes to prevail in your works?
>
> There is nothing charitable about casting people who are not
visibly European into roles where they do not belong.
>
> My people – know that I love you even though you may betray
me, for we are still a part of each other. Please consider these
sincere words and share your own sentiments so that together we
can reject the harmful memes that have infected the minds of the
masses and rejuvenate our culture away from its current course
toward destruction.
>
>
>
>
--- End Quote ---
#Post#: 23127--------------------------------------------------
Re: Media decolonization
DIR By: 90sRetroFan
Date: October 27, 2023, 7:24 pm
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You keep leaving out the important parts. This is the music our
enemies like:
--- Quote ---
>
HTML https://www.youtube.com/watch?v=ZWi6RTiSXik
--- End Quote ---
This is the architecture our enemies like:
--- Quote ---
>
HTML https://www.eurocanadians.ca/wp-content/uploads/2023/10/shutterstock_134750459_750x500px_Featured-image.webp
> Georgian style bedroom dwelling in Ottawa. Georgian
architectural elements arrived in Canada in the second half of
the 18th century. United Empire Loyalists emigrating from
Britain in the 1780s were responsible for popularizing the
style.
--- End Quote ---
This is not Canadian; it is Western!
HTML https://trueleft.createaforum.com/true-left-vs-right/western-civilization-is-ugly-48/
The best way to show how inferior our enemies are is to exhibit
their own examples of their bad taste, so they can't accuse us
of cherrypicking.
#Post#: 24466--------------------------------------------------
White Nusantara
DIR By: antihellenistic
Date: December 15, 2023, 11:33 pm
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Western Capitalist-Progressivist Plague in Nusantara
--- Quote ---
> A study from the Ministry of Home Affairs published in 2015
entitled, ‘Strategies to develop livelihoods in Papua’ argued
that livelihoods are hampered by a supposedly ‘weak
entrepreneurial spirit’. Despite also acknowledging problems
such as lack of capital, lack of equipment, low quality and
quantity of products, and difficult market access, this
government study still blamed Papuans alleged capabilities for
their poverty.
>
> These racist statements from government officials are part of
a long history of stigmatising Papuans as lazy, drunk, ignorant
or dirty and denigrating their abilities. While nowadays there
is more awareness of the racism that Papuans experience, in part
due to movements like BLM and Papuanlivesmatter, racial
stereotypes are not always obvious. The idea of ‘technocratic
racism’ describes claims about people’s skills, aptitude,
education or attitudes for technical, professional, and
entrepreneurial work. For example, that they are not good with
technology, cannot manage money or are ashamed to do business.
Or, that they are good with money, technology, and business
based on their cultural or ethnic background. These are both
forms of racism and racialisation.
>
> ...
>
> In Papua, racism influences who gets a job opportunity. Data
on indigenous employment could be extracted from the 2010
national census yet so far this type of analysis has not been
undertaken. Both authors have lived and/or spent considerable
time in Tanah Papua over the past decade and it has been our
observation that in urban areas almost all the workers at the
major private employers and resource companies, for example
hotels, malls, supermarkets, mechanics, banks and construction,
are non-Papuan. In Jayapura, we estimate that in the past decade
there have never been more than a few Indigenous Papuans
employed at the large malls (Mal Jayapura, Saga, Borobudur) or
hotels (Swissbel, Aston, Grand Abe, Horizon).
>
> While more research is needed to understand ethnic patterns of
employment, we suggest that the racialization of Papuan skills
and capabilities, coupled with strong ethnic networks among
newer migrants and lack of policies that regulate or guide
employment, contribute to discrimination against Papuans.
Javanese are now the largest ethnic group in West Papua province
and the third largest group in Papua province. In Papua
province, the number of migrants from South Sulawesi is also
considerable. These cultural groups are known throughout
Indonesia for their trading and entrepreneurial skills, which
may make them more attractive jobseekers and seem to provide a
convenient, if racist, explanation for discrimination against
Papuans.
>
> ...
>
> Papuans are well aware of this racism. According to one local
Papuan informant, ‘If you use the excuse that Papuans don’t want
to work in malls or hotels, can’t stay long or focus, lower
income or other reasons, those are just reasons from investors
or others that don’t want to see us grow, compete with
outsiders. They don’t want to accept us to work in their
industrial services.’
>
> Papuan men and women experience different forms and
expressions of racism, so gender intersects with racial ideas to
influence what opportunities they can access. For instance,
Indonesian beauty ideals preference light skin, petite bodies
and long straight hair. This affects which women are likely to
be hired for service roles like front desk attendant or store
assistant. Men are stigmatised as aggressive and non-compliant,
so they are less likely to get a chance at professional,
technical or service roles.
>
> ...
>
> It is not only policy that allows economic dominance to
accumulate. We question how the dominance of migrants,
especially as street-side commercial merchants, affects Papuan
desires to participate in this increasingly prevalent form of
street economy. Given the racialisation of Papuans as supposedly
lacking in entrepreneurial abilities, and the ongoing experience
of ethnic tensions and violence, do Papuans feel like they
belong in and have a right to, these urban economic spaces?
>
> This is especially important to consider as the military and
police (migrant-dominated institutions) are also increasingly
economically active in the urban street economy, selling food,
produce, merchandise and services. This activity is not illegal,
but it reinforces the idea that the urban street economy, like
working at the mall or a hotel, is not for Papuans.
--- End Quote ---
Source :
Racism and poverty myths in Tanah Papua
HTML https://www.insideindonesia.org/editions/edition-144-apr-jun-2021/racism-and-poverty-myths-in-tanah-papua
#Post#: 24468--------------------------------------------------
Re: White Nusantara
DIR By: antihellenistic
Date: December 15, 2023, 11:55 pm
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--- Quote ---
> This racist and discriminatory action against Papuans has been
ingrained in Indonesian children from an early age through the
construction of Papuans presented through popular media. Through
films, television shows and school textbooks, the state
perpetuates racist attitudes towards Papuans in its children.
>
> Films, television shows and school books are important
instruments in building children's awareness. Wening Udasmoro, a
linguist from Gadjah Mada University in Yogyakarta, said that
children are great imitators. Through their daily experiences,
they observe and imitate the things they watch and read.
Children's daily exposure to popular media has an influence in
shaping their awareness, behavior and character.
>
> For example, Denias' film, Senandung di Atas Awan, is an
example of a children's film that tells the story of Papuan
children. The film still depicts the image of Papuan children as
primitive, backward, poor and prone to fighting.
>
> We can also easily find images full of stereotypes in several
children's films with a Papuan theme. Similar stereotypes are
also found in the teenage drama series Diam-Diam Suka on a
private television station. The series depicts that Papuans are
stupid, strange and primitive.
>
> Racism in textbooks
>
> After the Reformation era, children's textbooks tried to
present more diversity in Indonesia. Elementary school (Primary
School) textbooks, which were previously only dominated by the
names Budi and Ani, now also feature Edo figures who represent
Papua.
>
> A study explains that even though ethnic Papuans are often
present in elementary school textbooks, their relationship with
other figures is still inferior. When compared with other
ethnicities, Papuan ethnicities are still considered inferior
and are seen as mere complements.
>
> The description above emphasizes how racist and discriminatory
the shows and reading about Papua that are presented to children
are. The imagination of Papua as primitive, stupid, poor and
other negative things has been institutionalized in films,
television shows and school books.
>
> The representation in reading and watching about Papua which
often appears in books, television and films is not something
trivial and is only seen as entertainment. The quality of
reading and viewing has implications for the future imagination
of Indonesian children.
>
> This racist and discriminatory attitude is driven by the
superior attitude of the creators and creators of media texts
which is legitimized by the State. This legitimacy shows the
state's failure to understand the desires of the Papuan people.
The state is often absent from paying attention to many aspects
of Papuan life, including health services, education, welfare
and other important matters.
--- End Quote ---
Source :
Papua Menjadi Korban Rasisme dan Diskriminasi di Negaranya
Sendiri!
HTML https://www.kompasiana.com/nurilahf/61d52e234b660d58ee6a1a52/papua-menjadi-korban-rasisme-dan-diskriminasi-di-negaranya-sendiri?page=2&page_images=1
#Post#: 24666--------------------------------------------------
Re: Media decolonization
DIR By: 90sRetroFan
Date: January 3, 2024, 5:02 pm
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Continuing from:
HTML https://trueleft.createaforum.com/counterculture-era/the-archetype-of-the-warrior-how-films-help-empower-us-all/msg24643/#msg24643
I also want to mention the Western censorship of Sailor Moon,
which all the way back then was already evidence that the
Counterculture within the West was inferior to the non-Western
Counterculture:
HTML https://en.wikipedia.org/wiki/Sailor_Moon_(TV_series)#Editing_&_Censorship
--- Quote ---
> Sailor Moon's original North American release was the subject
of heavy editing which resulted in large amounts of removed
content and alterations that greatly changed the original
work.[33] These changes altered almost every aspect of the show
including character names, clothing, scenes and dialogue. Some
scenes with brief nudity and bathing were also censored,[34] and
any type of violence including violence against children was
also removed.[15][35]
>
> The series also faced censorship in various countries that
ranged from changing a character's gender to removing gender
fluidness in characters, or editing romantic pairings into close
relationships between family members.[36][37][38][20] Sociology
professor Rhea Hoskin specifies that the removal of homosexual
and gender-fluid characters in the 1990s Sailor Moon highlights
the exclusivity of what was otherwise representation of LGBTQ in
a female-lead superhero show.[39]
--- End Quote ---
HTML https://interalia.queerstudies.pl/issues/13_2018/InterAlia_13-2018_hoskin.pdf
--- Quote ---
> The tradition of bifurcated thought is heavily influenced by
Renee Descartes, who divided all of reality
> into „conscious subjects” and „mere bodies” – otherwise known
as mind/body dualism (Bordo).
> Operating within Western systems of thought, cultural
intelligibility relies on dichotomous pairings.
> These dichotomies prop up much of Western thought and are
largely the framework through which
> Western society derives meaning. One of many social
expressions of discursive dualities is that, while
> some groups have been awarded subject-status and protections,
others have regularly and systematically been denied those
protections, stripped of their „dignifying, and humanizing
subjecttivity” and
> erased from the public view (Bordo). The current paper will
examine the function of discursive binaries in maintaining
Western heteronormativity through the translation and
transmogrification of
> Sailor Moon. This paper will demonstrate how discursive
practices are carried out through exclusions
> and erasure within cultural imagination and representation of
what constitutes proper subjectivity.
> ...
> the 5th and final season of Sailor Moon, which involved
> the Sailor Stars, was never dubbed or adapted for presentation
in English to a North American
> audience. The cancellation of the show led fans of the show to
launch the S.O.S. (Save Our Sailors)
> campaign, asking the networks to continue airing the show. The
networks stood by their decision to
> stop translating the show into English, a somewhat mysterious
decision given its extreme popularity.
> ...
> it becomes
> clear that the show contains many queer characters,
relationships and a consistent blurring of the
> dichotomous boundaries concerning sex, sexuality and gender.
> Unfortunately, the queer characters, relationships and
depictions of gender fluidity were censored
> from the North American version of Sailor Moon as a result of
decisions made by Optimum
> Productions, the Canadian company who produced the English
version of Sailor Moon.
--- End Quote ---
To interrupt, it was not just the English version which did
this, but many others also:
HTML https://www.cbr.com/sailor-moon-series-changes-around-the-world/
--- Quote ---
> in the French dub, Haruka, here called Frédérique, appeared to
be a man and was given a male voice actor
> ...
> The Hungarian dub, which was based on the French version,
followed suit.
> ...
> in Russian, Haruka was changed to have a male voice actor in
her civilian form, similar to the French dub.
--- End Quote ---
Back to PDF link:
--- Quote ---
> Nearly two decades since Sailor Moon began airing in the West,
Canadian psychologists continue to
> grapple with gender independent children. With ongoing debates
percolating over the ethics of how
> to best treat gender diverse children, the ease with which
Sailor Moon characters engage with sexual
> and gender fluidity might provide a good prescription for the
Western world.
--- End Quote ---
THIS!
--- Quote ---
> In the original Japanese version, Zoisite is in a relationship
with Malachite, both of whom are readable
> as cisgender men. Zoisite is characterized femininely and
appears to romantically orient toward men.
> In the English dubbed version Zoisite is turned into a woman,
rendering the formerly queer relationship between the
characters heterosexual. According to Optimum Productions,
Zoisite was changed
> from male to female due to broadcaster's fears that viewers
would intuit a „gay” relationship between
> the characters (Wockner).
> ...
> Sailors Uranus/Amara and Neptune/Michelle are lovers. In the
Japanese version the relationship
> between Amara and Michelle is evident. When dubbed over, Amara
and Michelle are depicted as
> „cousins” who are simply said to be „very close” (Wockner).
The relationship between Amara and
> Michelle exemplify how the Westernization of Sailor Moon works
to maintain heteronormativity and
> normative-bodies by erasing queer desire and identities.
> ...
> Though Fisheye could be classified within Western cultural
imaginaries as trans*, this category does
> not account for the complexities of their identity. In the
series, Fisheye's non-binary gender-variance
> is made apparent, however these differences are masked once
translated into English; the contrast
> between direct translation subtitles and the dubbed-voices
demonstrate the deliberate erasure of
> queer-identities. For example, in season 4 Sailor Moon SuperS,
episode „Mini ga daishiki!Oshare na
> Senshitachi / Clothes Call / Love Those Minis! The Fashionable
Soldiers” (Satou), Fisheye is chosen to
> be an up-and-coming fashion designer's newest muse and model.
In the direct translation, the
> designer states that Fisheye is a „miraculous person that
surpasses genders.” This scene is altered so
> that, instead, the fashion designer says to Fisheye, „you're
beautiful and have a unique look” (Satou).
> Later in the original episode during a fitting with the
Fashion designer, Fisheye rips off the garment
> to reveal a masculine/male-contoured chest. In the dubbed
version, the view of Fisheye's chest is cut
> so that the audience can only see from the shoulders up.
Fisheye is changed into a stably gendered
> woman in the English dub of the anime. Scenes demonstrating
their bodily signs of masculinity are
> cut and cropped.
>
> The next queer characters appear in the fifth season, Sailor
Moon Stars, the point at which Sailor
> Moon was cancelled in the West. Arguably, it is also at this
point in the series that the concealment
> of queerness became too complicated and the erasure of
queer-identities through translation and
> editing, impossible.
> ...
> The characters in Sailor Moon play out the complexities of
sexuality, sex and gender identities in a
> way that does not subscribe to Western binaries
> ...
> the queer characters of
> Sailor Moon threaten and expose the insecurity and
vulnerability of conventions of normativity.
> Normativity's hold on „order, control, and self-determination
is fragile and uncertain” and is maintained by strategies that
uphold boundary structures (231).
> ...
> Largely falling outside
> of even normative hetero/homo identities, the queer characters
of Sailor Moon are abjected from the
> Western world and expelled from the cultural imaginary.
Characters such as the Sailor Starlights, who
> weave between Western notions of the proper self, are abject
bodies who threaten to breakdown
> meaning by disturbing order and systems of identity. They do
not „respect borders, positions or
> rules” of cultural intelligibility (Kristeva 4). Queer
characters of Sailor Moon not only offer sexual and
> genders that break away from discursive binaries, they also
have the ability to bring marginalized
> voices into mainstream popular culture – to bring the margins
to the centre.
> ...
> How can a society claim to be concerned over queer suicides,
while
> simultaneously erasing the existence of queer role models from
youth television? From characters
> who might be understood as lesbian, bi, gay or trans, and even
depictions of queer-parenthood:
> Sailor Moon offers what could potentially be a positive
depiction of diversity so badly needed for
> Western youth of the 1990s as well as the gender-independent
children and youth of today.
> ...
> Sailor Moon functions as resistance to dichotomous
conceptualizations of sexuality, sex and gender
> ...
> Queer characters in Sailor Moon are not translatable into
dichotomous Western thought -
> categories fail us and, through their enforcement, the depth
of meaning and complexities of queer
> identities and desires are lost in translation. It is this
fluidity, the blurring of Western boundaries, that
> provokes cultural anxiety. The characters in Sailor Moon offer
a re-envisioning of identities that are
> not limited by Western binaric thought, as they cannot be
easily pegged within the heterosexual
> matrix (Butler). The re-writing of cultural categories of
normalcy poses a symbolic threat to the
> assumed naturalized order: systems of power require
docile-bodies. As demonstrated by the original
> series of Sailor Moon, these characters do not contribute to
docility but, instead, celebrate „unruly”
> and „abjected” notions of self. Resultantly, and despite the
potential benefit to youth, the series was
> censored, edited and finally taken off the air.
--- End Quote ---
This is to say nothing of the Western MAP-phobes complaining
about Naru x Nephrite or even Usagi x Mamoru, as well as
numerous Tigereye (and some Fisheye) targets. And let's not even
get started about Western anthropocentrist complaints about
arguably the best pairing of all: Chibiusa x Pegasus.....
HTML https://www.youtube.com/watch?v=ORzctOudS_M
#Post#: 24672--------------------------------------------------
Re: Media decolonization
DIR By: the waters
Date: January 3, 2024, 8:58 pm
---------------------------------------------------------
The cooling water which I provide is the only hope to save this
world, which has become a great prison of fire, the only thing
westerners know how to do is add fuel to the fire.
#Post#: 24674--------------------------------------------------
Re: Media decolonization
DIR By: the waters
Date: January 3, 2024, 9:08 pm
---------------------------------------------------------
The male and the female must become one within you like how
little kids are, if you want to be free from the prison of fire.
#Post#: 25511--------------------------------------------------
Re: Media decolonization
DIR By: 90sRetroFan
Date: March 18, 2024, 1:01 am
---------------------------------------------------------
Accurate enemy observation:
HTML https://incels.is/threads/suicidefuel-for-nipponcels-tv-series-shogun.586357/
--- Quote ---
> I watched this show out of curiosity and it was ridiculous and
so blatant. The main character is an english man named
blackthorne who is a merchant who sailed to japan. He's
portrayed by a Chad and he is portrayed as skilled in
everything. All of the japanese characters including the shogun
and the samurai are portrayed as weak, corrupt, retarded
subhuman little ricecels and the entire plot is just setting
blackthorne up with the female mc mariko for a WMAF
relationship. So its pretty much just WMAF propaganda and
colonizER/savior propaganda. Lifefuel for sexpatcels and
geomaxxing cels ig?
--- End Quote ---
How do you know it was made by Orientalists? Answer: when the
female lead is literally uglier than the supporting cast/extras.
Don't believe me?
HTML https://m.media-amazon.com/images/M/MV5BZGY4ZDYwMGQtN2VmMC00ZDlkLTkyMzMtNDNjM2QwMWIxNDg3XkEyXkFqcGdeQXVyMTUzMTg2ODkz._V1_.jpg
HTML https://www.numerama.com/wp-content/uploads/2024/02/shogun-lady-mariko.jpg
HTML https://pbs.twimg.com/media/En9jYfYW8AA_k4T.jpg
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