Thursday, July 18, 2013
Posted by Brian Clarke at 6:35 AM
Wednesday, February 29, 2012
Friday, January 28, 2011
Sex Ireland: FINE GAEL FUERHER'S EUROPEAN ID CARD - Who's Your Daddy ?
Posted by Brian Clarke at 8:03 AM
Wednesday, January 26, 2011
Wednesday, February 24, 2010
Tuesday, February 16, 2010
Friday, February 12, 2010
Sunday, January 17, 2010
Friday, January 01, 2010
Wednesday, December 30, 2009
Link The national liberation struggle for justice by the Irish people of no property, is part of the struggle against imperialism, as a corrupt system brought to Ireland originally by the British colonialists. Eight centuries of Irish struggle with intense oppression and exploitation of its children, women and men, has created the necessity, inevitability of a revolution, leading all-the-way to physical, mental, emotional and spiritual liberation, as part of a worldwide revolutionary process.
Posted by Brian Clarke at 4:40 PM
Saturday, December 12, 2009
Saturday, November 21, 2009
Posted by Brian Clarke at 12:54 AM
Posted by Brian Clarke at 12:48 AM
Saturday, November 07, 2009
Wednesday, November 04, 2009
Thursday, October 29, 2009
Friday, April 11, 2008
Friday, March 09, 2007
Is it a homage to Alice in Wonderland? Or a poisoned valentine to Hollywood? Any which way, even if you hate it, your subconscious will thank you for seeing this brilliant, bonkers film.
So, it's finally here - the British release of David Lynch's mesmeric Inland Empire, a film I and other contributors to this blog have been over-excitedly discussing for what seems several years now.
By this stage, most people even halfway interested in Lynch will probably be familiar with the movie's skeletal set-up, wherein a vanilla-wholesome actress (played by Laura Dern) is cast in and then begins shooting a remake of an unfinished Polish melodrama, one apparently stricken by some kind of gypsy curse. What follows (to reduce a three-hour slab of experimenta to a sentence) is a dizzying welter of rabbit sitcoms, addled hookers, Polish killers, ominous spaces, unseen observers, and dual, triple and finally ever-more-multiple identities, a miasma of scenes and motifs that on paper sound self-parodic, but which prove hypnotic and almost physically overwhelming.
Or they were for me, at least. Thus far, the response to the film has been distinctly divided - if Lynch's last feature Mulholland Drive seemed to restore the warm consensus that surrounded him during the first series of Twin Peaks, Inland Empire has shattered it anew. (After the recent NFT screening of the film, an event you might imagine to have been filled with happy-clappy Lynch devotees, there were as many sceptics as zealots. My colleague Xan Brooks summed up the un-wowed school of thought when he told me he thought the movie resembled "the work of an old genius with Alzheimer's").
But if levels of admiration have varied wildly, the desire to explain whatever it was that just happened on screen seems to have remained near-universal. So, the talking rabbits and The Locomotion, we ask - what's all that about then?
There is a precedent here - at least some of the success of Mulholland Drive stemmed from its artful spin on the whodunit, the film itself becoming a richly yielding whatwasit that observant viewers could dissect and reassemble into something close to a proper story. A doubtless wryly-smirking Lynch even entered the debate himself with a series of "clues" released to the press ("Notice appearances of the red lampshade"), as media outlets including the Guardian and Salon ran extensive explainers/sounding boards devoted to the movie's tantalising nooks and crannies.
So perhaps it's not surprising - particularly given the sibling resemblance between the two films - that the world has been seeking the same again.
Anyone planning on seeing the movie this weekend should look away now. But for anyone still here, or who might have now seen the film and come back...
The theories are legion. Among the critics, industry totem Variety had one of the most hopeful sallies. To their Jay Weissberg, not only did the film's rabbit sitcom represent an overt link to Alice In Wonderland, the relentless blurring of Dern's identities suggested Lynch, with his devotion to transcendental meditation, was actually expounding on reincarnation. For the Boston Globe's Ty Burr, the film should be understood as a treatise on (to paraphrase its own tagline) all "women in trouble". The film's litany of flickering screens meant to Slant's Ed Gonzalez that it was clearly about "the ecstasy and healing power of watching movies", while for others the cursed production framing the rest of the movie constituted a poisoned valentine to old Hollywood and/or the modern film industry.
But predictably, the most inventive ideas have appeared on forums, in particular that of Lynch's own Inland Empire site. There, posters have mused at length on what the director was intending the film to signify. The permanence of memory? The future of eastern Europe? His own body of work? Telepathy? The natures of men and animals? The terror of one woman (but not Dern) at the loss of her husband and child?
All as valid, or not, as the next. Personally, though (and this comes from someone who wholly bought into the deconstruction of Mulholland Drive), I think Lynch's newest head trip is probably best understood as not understood at all. Instead, it should just be experienced - a jolt of pure cinema full of revelations about the power of film, but only because of what it is rather than what it says. Closer on many levels to a gallery installation than a Friday night at the movies, it often reminded me of Matthew Barney's epic Cremaster 3 (which, in a typically uncanny feedback loop, originally reminded me of Lynch) - and, much as the factual details of masonic ritual portrayed in Barney's film didn't seem especially relevant to how you responded to it, neither should any of the conjecture about Inland Empire.
Who knows, if it's about anything other than its director's unconscious, it might best be read as a fractured ghost story: a celebration of relics and absences, where even the Lynch staple of the heartbroken diva is heard but unseen, replaced by a grinning lip-syncher. But that could just be so much baloney too. Almost uniquely among any film of any era, Inland Empire is, very genuinely, about whatever you come away thinking it's about - a movie to be processed and digested in the hours, days, and weeks to follow. In short, even if you hate it, your subconscious will thank you for it
Saturday, February 17, 2007
Wednesday, February 14, 2007
1991: US bombers strike civilians in Baghdad
Hundreds of Iraqi civilians have been killed and wounded in Baghdad by American bombers.
Iraqi foreign minister Tariq Aziz said: "This was a criminal, pre-meditated, planned attack against civilians."
Local reports say two laser-guided precision bombs hit an air-raid shelter in the middle class district of Amiriya, five miles from the centre of the Iraqi capital.
So far 235 bodies have been recovered, 12 hours after the attacks at 0445 GMT and 0450 GMT.
Continuing fires and intense heat in the bunker complex - which includes a school, mosque and supermarket - have hampered rescue efforts and 300 people are still thought to be trapped inside.
Many of the victims are thought to be women and children.
Saddam Hussein does not share our sanctity for human life
Martin Fitzwater, White House spokesperson
White House spokesperson Martin Fitzwater said the loss of civilian life was "truly tragic", but described the bunker as a well-known military target.
"We don't know why civilians were at this location. We do know that Saddam Hussein does not share our sanctity for human life," he continued.
One American intelligence officer said the bunker had been transmitting military signals until the moment the bombs hit.
Another US spokesperson in Riyadh, Saudi Arabia, suggested Saddam had deliberately created a human shield - a tactic he has used before - to inflame international opinion against allied air strikes.
The Baghdad shelter manager said: We didn't have a single military man in the shelter. It is allocated to civilians."
According to intelligence sources the shelter was built during the Iran-Iraq War in the 1980s with a 10 to 15-foot thick concrete ceiling, reinforced with steel, designed to withstand electro-magnetic pulses from a thermo-nuclear blast.
Both sides are investigating the incident - caught on camera by US planes.
Tariq Aziz has called on the UN - meeting tonight - to condemn the "hideous crime". A spokesman for UN Secretary-General Javier Perez de Cuellar expressed dismay at such a large loss of civilian life.
Write your account of the events.
E-mail this story to a friend
Iraqis say bombers were used in the attack on Baghdad
The BBC's Triona Holden reports: "There's no sign of a let up in the relentless daily bombing raids."
The final death toll was 314 including 130 children, after one of the 900kg bombs exploded in the middle of the largest upstairs room and the other blew up and blocked a ventilation shaft.
The incident was widely reported by the western media and brought the horror of modern, hi-technology warfare into people's homes across the world.
The row over whether the bunker had been a military installation was never properly settled.
Ten days later the allied ground attack against Iraq's occupation of Kuwait began.
Within three days Iraqi troops began to withdraw and Kuwait was liberated on 27 February 1991.
In March 2003, the United States led a new coalition force in a war against Iraq which succeeded in toppling Saddam Hussein's regime.
The former Iraqi leader was captured after several months in hiding in December 2003. He was tried by an Iraqi court which sentenced him to death. He was executed on 30 December 2006.
Top US general doubts Iran proof
Gen Pace was appointed to the top military job in 2005
The most senior US military officer has said there is no proof the Iranian government has directly armed Shia groups fighting in Iraq.
Gen Peter Pace, chairman of the joint chiefs of staff, appeared to contradict claims made by US officers in Iraq.
The US presented evidence this week it said proved the "highest levels" of Iran's government were supplying arms used by Shia militants in Iraq.
Gen Pace said all it proved was "things made in Iran" are being used in Iraq.
"We know that the explosively formed projectiles are manufactured in Iran," Gen Pace said while visiting Australia.
"But I would not say by what I know that the Iranian government clearly knows or is complicit."
In the Indonesian capital, Jakarta, Gen Pace repeated his assertions.
"What [the evidence] does say is that things made in Iran are being used in Iraq to kill coalition soldiers."
In Washington, White House spokesman Tony Snow said the US stood by the evidence presented, insisting the weapons were being moved into Iraq by Iran's revolutionary guards, or al-Quds force.
"The Quds Force is, in fact, an official arm of the Iranian government and, as such, the government bears responsibility and accountability for its actions, as you would expect of any sovereign government," he said.
Speaking anonymously on Sunday, US defence officials in Baghdad told reporters that the Iranian were supplying sophisticated bombs capable of penetrating the armour of a US-made Abrams tank.
The bombs were being used to deadly effect, killing more than 170 US troops since June 2004, the sources said.
In pictures: US Iran evidence
Iran swiftly rejected the claims, describing them as "propaganda".
The US has increased the pressure on Iran in recent weeks, repeatedly accusing Tehran of meddling in Iraqi affairs.
Last month, five Iranians were detained by the US in the northern Iraqi city of Irbil. The US later accused them of working for the al-Quds Force.
Suggestions by some analysts that the US allegations against Iran were intended to prepare public opinion in the US for an attack on Iranian nuclear facilities have prompted public statements by the leaders of both nations.