CounterPunch WEEKEND EDITION JULY 4-6, 2014
The ISO Versus Socialist Alternative
Another International Socialist Organization Internal Bulletin has been leaked to the public over on the External Bulletin website, home to a group of former members. It contains an article written by long-time leader Todd Chretien that targets Socialist Alternative (SAlt)—the group that is rightfully proud of their comrade Kshama Sawant being elected to the Seattle City Council and for her role in the passing of a $15 minimum wage.
I have been partial to Chretien in the past because of his close ties to the late Peter Camejo, whose gubernatorial campaign in California he helped organize in 2003. I worked closely with Camejo in the early 80s and confess to having stolen all my best ideas from him.
The ISO’s chief criticism of Socialist Alternative’s electoral strategy is that it is “triumphalist”, a musty term from the Marxist lexicon. Specifically, Chretien regards SAlt’s call for a hundred independent candidates to run in the 2014-midterm elections as an “overblown perspective”. In his view, her victory did not necessarily mean that political conditions had ripened to the point where such a large number of candidates would be forthcoming. Such “triumphalism” might even be catching–to the point where ISO’ers would be seduced into believing that it was feasible to form a new “broad” party in the near term, or that regroupment of the far left was the order of the day. Heaven forefend.
Is there a difference between strategy and tactics in chess and in revolutionary politics?
Counterpunch Weekend Edition June 13-15, 2014
I hope that CounterPunch readers will forgive me for taking valuable time away from my film reviews of neglected treasures while I answer one of my critics from the “Leninist” left. As it happens, Paul Le Blanc, the International Socialist Organization’s avuncular scholar of Bolshevik history, devoted pretty much of a whole chapter to me in his latest book “Unfinished Leninism” (the chapter has the same title) and I would like the opportunity to use CounterPunch for my reply.
I am not accustomed to answering points made in a book but since many of the arguments about what Lenin stood for and whether he has any relevance for today’s left take place in books and in Historical Materialism, a high-toned print journal behind a paywall, I really have no choice. As a strong believer in the Internet, I would prefer to debate there since I see it as the modern counterpart of the Gutenberg press, the primary means of communication of our rebel forerunners. My guess is that if the quarrelsome Lenin were alive today, he would be conducting his debates on the Internet as well.
As a history professor, Le Blanc is obviously much more comfortable holding forth from a lectern or the printed page. That’s true for the rest of the ISO as well that sees the Internet as a necessary evil. As a handy tool to distribute an electronic version of their print publications, it would be much better if it weren’t a breeding ground for bilious critics and those who circulate their top-secret internal bulletins.
read full article: http://www.counterpunch.org/2014/06/13/goodbye-lenin/
Counterpunch Weekend Edition June 6-8, 2014
A Ravaged Screenplay
If you’ve been monitoring Israeli film over the past ten years or so, you will be aware that there is an ongoing effort to promote the reputation of the government through subterfuge. Since the days of outright propaganda are long past, what you see more and more are films that stress reconciliation with the Palestinians in the old-fashioned Hollywood liberal mould found in something like “The Defiant Ones”, a film that starred Tony Curtis as a southern white racist (a most unlikely role for a Brooklyn Jew) and African-American actor Sidney Poitier, who was so frequently cast as the long-suffering symbol of a race that needed to be integrated into American society.
Last week I heard from screenwriter Nader Rizq, who had a startling revelation about changes made to his screenplay in violation of his integrity as an artist and spokesman for his people’s rights. Rizq told me that my assessment of “the overarching liberal Zionist agenda of its director and producers” was right on the money and advised me to look at the website he created to show what the Israeli producers had done to his film: www.zaytounthemovie.com.
I strongly urge you to go to Rizq’s website and read the entire sad story for yourself but do want to include a key section:
As financing fell into place and pre-production began toward the end of 2011 however, troubling hints of censorship started to appear.
First it was a request to alter a scene that showed the effects of Israeli phosphorus and cluster bombing on the Palestinian refugee camps in Beirut.
The scene had been in the script for years and demonstrated how phosphorus shrapnel continues to burn inside the body of its victim for days. The only recourse is to keep the wound soaked in water, a resource particularly scarce in war time. Also illustrated was how cluster bombs kill and maim.
Read full article: http://www.counterpunch.org/2014/06/06/the-story-behind-zaytoun/
Trailers for films under review
Is Abbas Kiarostami the World’s Most Talented Film-maker?
by LOUIS PROYECT
Jonathan Rosenbaum named “The Wind Will Carry Us” as one of the ten greatest movies of the past 50 years while Martin Scorsese identified its director Abbas Kiarostami as representing “the highest level of artistry in the cinema.” Those accolades should be sufficient to motivate New Yorkers to see a revival of the 1999 masterpiece opening today at the IFC Center. If not, let me add my two cents.
Even if the audio died as the film began, you would be mesmerized by the steady procession of images on the screen before you. When he was 18, Kiarostami won a painting competition that helped him be admitted to Tehran University’s Faculty of Fine Arts. After graduating, he made a living as a commercial artist. It is only when he began making films that his early passion for the fine arts began to be satisfied. On strictly a visual basis, sitting through the 118 minutes as the film unwinds is equivalent to seeing a photography exhibit at the MOMA by one of the great masters.
Since I anticipate no problems with the audio at IFC, I can promise you that the dialog will match the visual elements. Kiarostami’s film can best be described as magical realism but without the magic. The sense of wonderment does not come from characters and objects defying the natural order but from their own unique relationship to the natural order so at odds from the film’s major character, a sophisticated documentary filmmaker from Tehran who has come to a tiny mountainside village populated by Kurds. They live as they have lived for hundreds of years, tending their herds of cattle and goats, while he is tuned into the latest technologies including a cell phone. The running gag of this bone-dry comedy is his need to get into his Land Rover to scale a nearby hilltop to receive an in-coming call whenever his cell phone rings. By contrast, communications in the village are strictly from one windowsill to the next.
read in full: http://www.counterpunch.org/2014/05/30/is-abbas-kiarostami-the-worlds-most-talented-film-maker/
Counterpunch Weekend Edition May 9-11, 2014
Ken Silverstein’s “The Secret World of Oil”
Reading Ken Silverstein’s “The Secret World of Oil” is like picking up a rock in the middle of the night and shining a flashlight at the creepy, crawly things found beneath. The emphasis is on the word secret since many of the men he scrutinizes prefer it that way. Even when their activities remain within the law, their assault on ethics and decency would provoke a Sodom and Gomorrah punishment from a just god if one existed. Is moral turpitude, criminality and a bestial level of greed intrinsically connected to making a living as a middleman in the petroleum industry? That is the conclusion a reader would draw after reading the fast-paced and entirely entertaining tour led by Ken Silverstein, our Virgilian guide to a Dante’s Inferno fueled by oil and gas.
Silverstein manages a juggling act that puts Philippe Petite to shame. While his record of investigative journalism, especially that part of it dealing with energy industry sleazebags, is well-established, he manages to ingratiate himself with some of the major players even managing to establish friendships. Of course, if one of them is gazillionaire Ely Calil, an oil middleman who is one of the richest men in England, there are certain rewards. Dinner on Calil’s dime would include on one occasion “a bouillabaisse, small plates of scallops in a truffle sauce, and veal loin with poached pear”. One imagines Silverstein taking notes under the table surreptitiously for a future article. If details such as this give the reader a sense of the opulence enjoyed by oil tycoons no doubt within the law, it is really the business side of things revealed by Silverstein that make you wonder if he will ever be invited to dinner again.
read full article: http://www.counterpunch.org/2014/05/09/a-descent-into-big-oils-inferno/
Counterpunch Weekend Edition May 2-4, 2014
New York Indian Film Festival 2014
In 1998 Andre Gunder Frank’s highly controversial “ReOrient” appeared. It argued that “the East” (mainly China and India) would eventually supplant “the West” as hegemonic powers, thus reestablishing the relationships that existed before 1492 when all of Columbus’s fleet could be put on the deck of the flagship of Zheng He’s fleet that made multiple voyages to the east coast of Africa in the early 15th century.
I have my doubts about Frank’s overall thesis but on one level it is surely borne out by Indian cinema that now makes most American films look crude and amateurish by comparison. To see Indian cinema at its best, I urge New Yorkers to make it to the New York Indian Film Festival that runs from May 5th to the 10th. It can only be described as an embarrassment of riches.
read full review
Trailers for films being reviewed: