Not Signed-In
Which clippings match 'Genocide' keyword pg.1 of 1
16 JANUARY 2015

Pilger's message to white Australia cannot be dismissed

"Mainstream Australia has long lacked a real education about Aboriginal people, about our shared history, and this nation's brutal past. Fortunately, there's a simple way in–an opportunity to get a 'punter's guide' to the truth about the treatment of Aboriginal Australians."

(Sol Bellear, 2 March 2014)

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2013Aboriginal Australians • Aboriginal elder • Aboriginal Medical Service • Aboriginal peopleAlan LoweryapartheidatrocitiesAustralia • Australia Day • blackfellas • Bob Randall • brutal treatment • colonisationconcentration campcultural hegemony • death in custody • documentary film • Edmund Barton • eugenicsFirst Australiansforced sterilizationgenocide • Gina Rinehart • half-caste • indifferenceIndigenous AustraliansIndigenous peopleinjusticeJohn Pilger • Lang Hancock • mainstream Australia • Noel Nannup • non-Aboriginal Australia • Northern Territoryplaying godpolice brutalitypovertyracial inequalityreconciliation • reparations • Rosie Kunoth-Monks • Rottnest Island • Sol Bellear • South Australiastolen generations • uncomfortable truths • Utopia (2013) • Vince Forrester • vox pops • Warren Snowdon • Western Australiawhite Australia policywhite settlement • whitefellas

CONTRIBUTOR

Simon Perkins
19 DECEMBER 2012

North Korean 'Propaganda' is the real viral hit of 2012

"Propaganda 2012 is a 95–minute video that presents itself as a North Korean educational video intending to inform the citizens of the Democratic People's Republic of Korea about the dangers of Western propaganda. The video's uploader, known as 'Sabine', reiterates a statement she gave to the Federal Police regarding the movie's origins. She explains how the film was given to her by people claiming to be North Korean defectors whilst she was visiting Seoul. ...

Although the origins of Propaganda 2012 are contentious, its power lies in the fact that much of its content attempts to avoid invented history. Considering the media buzzwords associated with the alleged country of origin, Propaganda 2012 turns a mirror onto the Western world and seeks to criticise its entire history and culture–from the genocide and imperialism of its past, to the interventionism and consumerism of the modern era. The movie's overall attitude seems to express an intention to educate, shock and caution its audience into realising that people in the West are governed by a super–rich ruling class (The one per cent), who do not offer them true democracy; but instead seek to invade and assimilate as many countries as possible, whilst distracting their population with a smokescreen of consumerism, celebrity, and reality television. This message is spread across the video's 17 chapters, which each attempt to focus on specific examples of Western indoctrination and oppression. The film is regularly punctuated by commentary from an anonymous North Korean professor, and quotes from Western thinkers such as Noam Chomsky and Richard Dawkins. ...

Propaganda 2012 is certainly a film where the audience takes from it what they bring to it, and a variety of emotions can be induced upon viewing. Laughter, cynicism, outrage, contemplation and reflection would all be adequate responses to the video's tough, and often graphic, portrayal of the complex world in which we are living. Yet perhaps the most important thing to remember when watching the film is that the video is available to view uncensored, on a largely unregulated world wide web, and merely represents an extreme end of the vast spectrum of free expression. Therefore, during this festive end to an austere year, enjoy Propaganda 2012 as an interesting and beguiling alternative voice that cries loudly against the dangers of religious consumerism, and reminds us to remain humble and reflect on those less fortunate than ourselves."

(Kieran Turner–Dave, 17 December 2012, Independent Arts Blogs)

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TAGS

20129/11anti-capitalism • brainwashing • capitalismCentury of the Selfcommunismconspiracy theoriesconsumer cultureconsumer desireconsumerism • counter-terrorism • criticismcult of celebritycultural imperialismcultural implicationsdemocracydistractiondocumentary • DPRK • emotive manipulation • false flag • fear • fear of communism • fear of terrorism • free expression • Gangnam Style • genocidehalf-baked ideashistory and culture • hysterics • imperialism • indoctrination • interventionism • invented history • Just Do It • Korea • life in the West • likes • manufacturing consent • moralitynarcissismnationalism • neo-imperialist • Noam ChomskyNorth KoreaoppressionOprah WinfreyParis Hiltonpatriotismpolitical educationpropagandaPropaganda (2012)public relationsQuentin Tarantinoreality televisionreligion • religious consumerism • Richard Dawkins • Sabine (pseudonym) • salvation • September 11 2001shockingsmokescreensocialist realismSociety of the Spectacle (Guy Debord)South Koreaspectacle • Survivor (tv series) • terrorism • the one per cent • trust • Tyra Banks • unconscious desireswatching television

CONTRIBUTOR

David Reid
29 APRIL 2011

The Secret Country: The First Australians Fight Back

Alan Lowery and John Pilger's 1985 documentary "The Secret Country: The First Australians Fight Back" which describes the shameful history of persecution of the Aborigines in Australia.

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TAGS

1985Alan Loweryancient peopleanimist belief systematrocitiesAustraliaAustralian Aborigine • Australian Radiation Laboratory • Captain Cook • Charlie Perkins • colonisationcultural hegemonycultural historycultural identitycultural resistanceculture and customs • David Gulpilil • desertdiscriminationdocumentary filmFirst Australians • Freda Thornton • genocideGough Whitlamhumiliation • Indigenous Australia • Indigenous AustraliansIndigenous peopleJohn Pilger • Keith Lokan • Kevin Kearney • land rights • malnutrition • Maralinga • Marcia Langton • Mario Fredericks • massacre • Mawuyul Yanthalawuy • native people • nigger hunt • noble savage • nuclear testing • persecution • Preston Clothier • racial inequality • Ray Henman • resistanceself-determinationTerra NulliusTorres Strait Islander • unoccupied land • Vince Forresterwhite settlement

CONTRIBUTOR

Simon Perkins
13 SEPTEMBER 2008

Christian Boltanski: The Storehouse

"Enlarged photographs of seven young girls are propped atop a stack of unlabeled tin biscuit boxes containing scraps of fabric. These boxes are corroded as if marked by time and are infused with symbolic associations—they evoke reliquary boxes, archival containers, and funerary urns. The black–and–white photographs connote another era; out of focus, they constitute a visual analogy to memory, fading over time. Electric lights illuminate the seven faces like devotional candles, underscoring the effect of a memorial, an orchestration of signifiers indicating loss and remembrance. Old photographs, the tension between individuality and sameness, and the implication of vast numbers evoke the tragedy of the Holocaust.

However, the girls pictured are not victims of genocide: the photographs, of anonymous children, were culled from magazines and newspapers. The boxes are not truly old, and the cloth contained in them is generic and has no special origin. Boltanski creates an atmosphere of general, unspecified mourning through means—photographs, relics—traditionally valued for their privileged claim to specificity, uniqueness, and authenticity. A vocabulary of documentary signs is used movingly, but deceptively, for symbolic effect."

(Rebecca Roberts, 2007, p. 86)

Rebecca Roberts (2007). "MOMA, highlights since 1980, 250 works from the Museum of Modern Art, New York".

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TAGS

1988 • archival containers • Christian Boltanski • devotional candles • funerary urns • genocideilluminationJewish HolocaustlossMoMA • out of focus • photograph • reliquary boxes • remembrancevisual arts

CONTRIBUTOR

Simon Perkins
09 JUNE 2004

The Holocaust Museum

"Welcome to the Holocaust Theme Park A sort of Disneyland hyper–real tour of the past is offered at the Holocaust Memorial Museum in Washington DC – a 'theme park' stroll through genocide. On admission you are issued with an ID card, matching your age and gender to the name and photo of a real holocaust victim or survivor. As you progress through 3 floors of the exhibition, you can push your bar–coded card into computer stations and see how well or how badly your real life subject is faring. Will you (like him or her) end up saved, shot, gassed, incinerated? You'll find extermination camp bunks on which inmates lay unspeakably crammed, dying of malnutrition and typhus. You'll see the ovens in which victims of Zyklon–B gassings were burnt. Worst of all is the endlessly re–run video footage of EINSATZGRUPPEN mass–killing squads at work, shooting, stabbing, and filling ditches with piles of naked corpses. You are watching historical snuff movies. Have you really experienced the Holocaust in this Postmodern theme park? At the end, you'll find visitor's ID card dumped in litter bins among the drink bottle and chocolate wrappers. Your hyper–reality tour is over."

(Richard Appignanesi, 1995)

Appignanesi, R. 1995 Introducing Postmodernism, New York, US: Totem Books. 1419711

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TAGS

augmented realitybarcode • Einsatzgruppen • exhibition • extermination camp • gas • genocidehistoryhyperreal • ID card • Jewish Holocaustmuseummuseum of cultural historyNazipostmodern critique • Richard Appignanesi • survivortheme parkUnited States Holocaust Memorial MuseumvictimWashington DC • Zyklon-B
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