Butal-apap-325-caff Wikipedia

Debate on the use of history and memory

KEYBOARD GUEST: JUAN ANTONIO GARCIA AMADO

Greetings to all. I'm Juan Antonio García Amado and Bonorino thank Paul for putting in your blog, to work with students, some excerpts from my text on the so-called Law of Historical Memory. And, of course, also thankful to the students reading and the comments made here. I can not

embark on lengthy responses or individual dialogues, but most of the interventions deserve attention in great detail. So do some general considerations to keep track of what one or the other and call me more attention, or may lead to more juicy controversy. Also excuse not to go naming the various partners and very attentive.

1. The considerations which I do in my text on the role played by the so-called peripheral nationalisms (there is also a English nationalism, hence you have to put adjectives) are intended to be descriptive rather than evaluative. This description of the events surrounding inevitably interpretation of the facts. Each other, description and interpretation of historical facts that we are talking, you can be successful or not, it is much discussion about it. However, other assessments purely political or partisan interests me here rather than less.

For example, I have little interest in entering into a discussion if nationalisms are bad or good. I can give my personal opinion, but it is just that, a more particular view. It is this: I'm interested in these discussions very little English nationality and Galician nationalists, Basque, Catalan, Asturian Asturian-I'm-etc. They were good fun while we were rich and a good excuse to play by biting chops, while still remaining slices to go around. Now, we're going back to poor and we ran the party in which that could be both very liberal, very nationalistic center or the periphery and at the time, hitting the high life at public expense and spend money without common bullshit story, now sound absurd to begin discussing what to go for four days we loved. The topics of political debate in our state will begin to be others, and have actually begun. When we are on the five million unemployed and many people no longer have to eat, he begins to have serious and urgent issues of truth and has to stop time and money to give bourgeoise taste and idle and complaining here or there. The problem now will be neither the language nor the flags, but what we eat and where we work. When you return the wealth, we will have fun playing the patriotic patriotic-English, Basque, Asturian ...-

is more than likely come out of this economic crisis, if we go, with a notable loss of sovereignty, controlled, managed, organized by the EU and more dependent than ever on Europe and various international organizations, as well as much poorer than we have been in recent decades. So, go squabbling in the hollow of the climb on whether the sixth tends Clothes very wet or very strong third closes the portal is ridiculous and tacky. And with all due respect, I most of the debate we had here so far between those who want self-determination so much and those who fear that Spain will break me like that, a fight ceporros yard and crappy neighbors.

English emigration has restarted. It was known to migrate far from Galicia, Asturias also. Over a hundred thousand English have packed their bags this year and have been here for lack of work and outputs, especially Latin America. Most are skilled professionals and people with technical degrees. I have had a son who has spent 28 years the last seven years out of Spain and does not intend to return (or have to do, surely). Is a computer engineer, he worked at CERN in Geneva and now it is in a California lab in Berkeley. When he and I met a couple of times a year, we talked in Asturian (Bable), which was the language of my parents and my village. That is for us a beautiful emotional charge. But obviously, my son Asturias self-determination or sovereignty that Spain is more or less facing the EU is as important as who wins the Ukrainian league football: nothing. He spends most of the year speaking English in their work and country where you live, you know that it is likely that change of country and company still a few times in his life and finds no incentive in these debates about whether pee longer an Asturian or English, or Zapatero and Rajoy, etc., etc. I appeal to the personal anecdote to illustrate my general thesis: that it is time we leave the sad shell of our parochial quarrels and short legs. Spain, Europe and the world are being so cumbersome and decisively, we must think of the things that are not key determinants and short-sighted policy and has taken as bigotry by this or that football team. At least among academics, as theoretically appropriate to their condition, be able to see beyond the tip of his nose.

2. With the above and leave enough clues to answer the question of whether nationalism or worry me if I think the determination of this or that territory would be a big problem. I do not worry, though I'm a bit sad to see people concentrating on that struggle and effort, which is in the world to do and arrange for them to feel and want to progress and justice advocates social. Nationalism is the perfect breeding ground for a new breed of capitalists who seek well cooked is the status and returning to talk of the town and for the people as if he knew something. All nationalisms, including English. The other, peripherals, are your mere imitation. I was a child still under Franco. The speeches of the time on the nation's souls and spirits of the people, for the glory of the ancestors and venerable traditions of the earth now I listen to other mouths. There everyone. I do not believe in God or country or in communities of any kind as living organisms.

That said, I have written elsewhere that self-determination referendum should be convened where there is a certain demand. Quite serious and very serious commitments. If it comes out yes, go ahead, if not out, twenty years without nagging back with tears and posturita. I feel so brother of the Dutch and the Spaniards or Murcia or until the Asturian, I can appreciate both an Andalusian as a Bolivian, etc.., Etc., If tomorrow Galicia was a sovereign state, I would not waste so none of my good friends from Galicia. The boundaries are mental and progress is to suppress them, to remove those borders that make you think that a person is better or more beautiful, because of Lalín that because of Sebastopol. Anyway, I also understand that there are people who do not like to travel and prefers to eat all his life, his people's traditional cooked (or the English national dish, paella and, anyway, both mounted). There has to be around.

3. To call such referendums should be done, the Constitution should be reformed, that is obvious. As for reform, there are procedures for doing so. With what I disagree with the argument is that in this Constitution, as it is and is, for better and for worse, or it has to fit all. There is, for example, the death penalty, since the prohibition. Nor can it be declared a federal state or secession of a territory, they also prohibit, albeit in different words. A Constitution, either, not a document that serves to give any pretext to do what he wants, but a rule of law lays down ground rules in a state. These rules may like or not, that's another story. If you do not like them, are fighting to change, but it is childish to see all zurrigurri shouting that the Constitution gives him the reason and what is not going to give it if available.

The argument that if thousands of people want something to be served is dangerous and totally unconvincing. If asked, three quarters of the English-central and peripheral, want the death penalty, and surgical castration of sex offenders ", the expulsion of immigrants who are not football players, the dirty war against terrorism, etc. ., etc. So that you have to give reason to any group, even in majority territory, just because that group shout, should think more slowly.

4. It is true that the incident has been muted with the Franco regime and its victims. Absolutely. Research has been conducted very complete, there are hundreds and thousands of books well documented and complete. Historians are silent. If people have no historical memory is because it reads. There has been no ban on research and publish, and this has been done. Another thing is that the compensation to victims has been done very slowly, sparingly and often petty manner. But everything is everything. The so-called Law of Historical Memory would have been much more generous. If it was not, it will be because their authors and editors did not want it to be. Each mast hold your candle. But they have cast many smokescreens to hide the fact that the PSOE did not face this as it should. One of the clearest case with the "case" Garzón looking over the victim was Garzón. And I was not at all. The victims were others, but stopped talking to them and their heirs who claim his memory to go on to talk of nothing else Garzón. And if so, many others. Franco victims have only served to the parties in recent years used as toys. Ask any association of victims what they think of the law and that manipulation. They do know what to talk about and what it meant Law, no newspaper in this or the other party.

5. Back in November of 2002, if I remember right now, in times of Aznar's government, in addition, the Constitutional Commission of the Congress of Deputies unanimously approved a formal statement condemning the Franco regime and the proclamation of illegitimacy and injustice dictatorship. Unanimously. It is one of the starting points of what will become the Law of Historical Memory. But then, unanimity is broken when the parties on one side or the other, decided to politicize the issue and seek to provide votes disagreements.

At this point, when they have spent seventy years after the end of the civil war and thirty-five since the end of Franco, the only real repairs victims were fit for the symbolic. It is almost impossible for him to judge an author of crimes of the Franco regime or even the other side, as some say. None are still alive or old enough to respond, if we're serious. And I'm not mentioning the legal problem posed by the Amnesty Act 78. But doing that would be discussed on whether to prosecute someone criminally and with all the "move" around Garzón media and legal blunders, was hiding the Historical Memory Law did not give two fundamental benefits, claimed above all by the associations for the historical memory: the full legal annulment, not a mere statement of injustice, as does the Act, of certain court judgments Franco, as the Repression of Freemasonry and Communism, the TOP and others, and the full commitment of the State with the exhumation of the remains buried in mass graves. The latter has, for example, the Catalan law on the subject, but not state law we are talking about.

has not done what was demanded-essential and demanded justice, "but we are back to embark on the most foolish controversies between left and right, not between serious and consistent political doctrines, but between slogans for mass consumption illiterate.

6. Let me end by copying a small article of mine, published three or four weeks ago in El Mundo de Leon, where I have a small column every Thursday. This time was titled "These deaths are also ours." It reads:

is a continuous drip, are appearing every month, every day. We walked for many years on nameless bodies on mass graves. Here in Valmadrigal Matallana of the Association for the Recovery of Historical Memory has just unearthed the remains of eight rail killed in the fall of 1936. Now we investigate identity or a family member is expected to claim them, give them a name and bring them a friendly reminder and desolate. These dead are

their families, themselves, and those who shared their cause. But they are ours, all of which we have rebuilt a nation without remembering. We need to recover our dead. How, after so long, we were able to return to the old disputes, the dialectic Cain, the weighing of the lump sum and you killed and your family more and worse. Who and what interests us the most elemental poisons sense of fairness so they will not do even a minimal justice to those who did not have any, who have left to rest in peace. Who has even bothered to open those graves infamous for naming the bones, to pray for the shot, whoever they are and where they are, even if someone wants, for the dubious rest of those who pulled the trigger or those blessed dawn revenge. Whose hatred or meanness is enough to bargain, even, justice and mercy, to spare to the symbols, by now, not received with open arms to those victims in this country where it is assumed, and we all fit no need to kill us.

What did revive the unholy minds straight rancor of a law of historical memory, when the truth came to be stingy, greedy and generous words of support, which again left to their fate cruelly executed and those who seek nothing more than to honor his memory and wash his honor. Who returned to point friends and enemies, who wanted desempolváramos affronts, which sought to cut again chose hatred rather than memory. Who and why we obscures those dead, they are all, if anything is left of compassion and decency.

I Have White Spots On My Monitor

History, Memory and constitution

KEYBOARDS GUESTS: OJEA JF and S. RODRIGUEZ PAZ GARCIA.

In this post we present the fundamental contents of the text:

Amado García, Juan Antonio, "Uses history and constitutional legitimacy, "in José Antonio Martin Pallin and Rafael Escudero Alday (eds.), Law and historical memory , Madrid: Trotta, pp. 47-72.

The goal is to open the debate on the position that the author claims.


1. History, legitimacy and effectiveness of the constitutions

The legitimacy of a constitution should be considered from two points of view: the objective or theoretical (which varies according to the doctrine that we address and time when we move) and the social belief based on two essential elements:
1. Essential elements of social order are fair.
2. The vision of state as part of a joint project.
of these elements comes the creation of the concept of "we" that has different livelihoods (language, common culture, etc.) Among which we highlight a common history. However
questioned because the author remain a nation state and because to live together under a unifying constitution in this state called Spain and pick up three theories or visions:

• The cosmopolitan vision would be that could be associated with European Union. In this the English Constitution is as convenient until it reaches the full consolidation of supranational structures.

• Nationalist: It would be the view of Spain considers that the English Constitution is the best block to the English nation based on the idea that it is much more that unites us than divides us.

• peripheral nationalists: would the vision of the Basque Country, Catalonia and Galicia. Which advocates replacing the current constitution, since the English state must give way to other nations that live under.
Cosmopolitans and nationalists defend the current constitution while the peripheral nationalists seek a replacement.
To try to solve this conflict history plays a key role but we must bear in mind that the story is cut and choose.

2. Labels and dilemmas of the left

For a constitution to be effective you must believe in its legitimacy.
Legitimation in Franco is based on Catholic religious legitimacy with an exaltation of Spain as a nation one and indivisible.
The author asks what are the essential beliefs should legitimize the English Constitution and reflects the thinking of the different political about it:

• Right: always with some reluctance to autonomy and bilingualism, conceives history of Spain as the nation's only true and possible.
• Peripheral Nationalism: Based on history to exalt historical struggle with Spain.
• Left: Unable to exit the ideological maze trapped since the transition. Give the defense of the unity of Spain to the right (reminiscent of Franco). Therefore seek refuge in order to legitimize this system in the fairness of the constitutional model that respects the dignity and rights of every citizen and undoubted democratic social content.
The Constitution is deprived of his standing is modified by the Statutes of Autonomy, an emerging conflict difficult solution.

3) The transition and the problem of the historical legitimacy of the English Constitution.

The law of historical memory is left trying to retake the history of Spain as a legitimation of the existing constitutional order, by a route different from the right and his use of history for such purposes.
The Law of Historical Memory has a hidden purpose, "to renew the historical legitimizing the present constitutional order", will connect the current constitution of the Second Republic.
is done to address the fragmentation that was brewing between the history of Spain and other stories "national" wants a new common history based on leaving behind the transition and constitutional legitimacy to link with the Second Republic.

4) Rights of the law.

-Purpose rehabilitation of victims of the Franco regime and recognition of injustice. Many
-existing rights to the victims will be expanded.
"They incorporate some new rights:

• Acquisition of English nationality and grandchildren of those who lost their English nationality or had to give it up as a result of exile.
• Ability to acquire English nationality the voluntary members of the International Brigades.

"The law has a more political than strictly legal.

Glyburide & Metformin

rape in the movies

KEYBOARD GUEST: QUARTER SOTO LETICIA

The viewing of specific scenes of violations that we discussed in class [Broken Blossoms, Gone with the Wind, Straw Dogs, Blue Velvet, Pink Sauce, Kika, Baise-Moi, Irreversible, Defendants], obviously unpleasant. I do not understand what it seeks to contribute to society or the world of film to shoot scenes as horrific and as pointed out in class, it seems that every time you spend more time with each film to such scenes. It

very plausible that through film attempt to carry out an awareness campaign about sexual violence on women, but I understand that you can accomplish the same thing if that raising awareness is a more implicit. That is, in general we know that rape is completely reprehensible action, because it involves a humiliation of women, a total submission to the will of man, is also the woman becomes a mere object, is a violation, etc., but all that we know, or at least know the vast majority of the population, so intrinsic to the human condition itself, for our moral understanding, our own code of conduct and ethics code itself has established social evolution have taught us well.

is true that years ago we had this idea, but the woman was a mere object that was subject to the free disposal of man, not only within their closest personal. But we can not deny is that yes that evolution has occurred.

So is there a real need to shoot these films? In my opinion no, or at least not this way, because as said in the morning these scenes have been defragmented of those movies and ended up appearing in the "top ten" Most viewed the scenes, but most viewed by whom? I honestly do not think that 80% of people who view these scenes is to analyze specific and aware, but I believe that at least the 80% do so to satisfy a need that really nasty and take pleasure in contemplating the suffering of women . And yes, although this is not the interest of the Director, but on the contrary, ie, even though its ultimate goal is to raise awareness, which is being achieved in nurturing the library of these subjects.

Because I really believe that you can at least be able to get the most, ie with a concrete scene as if we said performance Buck to Beatrix Kiddo in Kill Bill, without showing explicitly the concrete images of the violations, the audience clearly realizes the harshness of the situation.
Another case that I would mention is the film "Baise-moi." The protagonist who behaves in a passive mode at the time of the violation, in the end says something like that should not give greater importance, that fact does not make women victims ,.... And reading in class that was removed was positive about these words, but I think what we have not really discussed is that those words what they are implying is that he is glossing over the fact you may get are not marked by that, but I understand that we can draw from these words is that the protagonist is somewhat resigned, saying good, not to put on a drama about this because it is not the first time it happens, that is, it seems like we just have to live with the possibility that one day someone for being a woman and presumably be at a disadvantage we have to endure this type of sexual violence.

Well, and also the dilemma we proposed that how can you give a lecture on the subject without showing these images? Then repeat the same, sometimes with as little as can be achieved, that is, for example, for a person to realize the harshness of a situation is not necessary the 15-minute show that a subject is stabbing another man 20 times and slowly teach every stab, blood, the agony ... No, because the viewer in a situation of this magnitude and become aware from the start is not necessary to show all the macabre details.

Alternate To Grecian Formula

The woman warrior: origins and variations

This Thursday, November 18, at 20 pm. on the fourth floor of Building Iron and within days of the city to celebrate Women's Day, give a lecture on women and violence in movies. I will focus on the figure of the woman warrior and will develop arguments protagonita be centered in the film Kill Bill de Quentin Tarantino. Argue that there are demonstrations warrior women, while not conforming to the seventies feminist orthodoxy, they can not be accused of reflecting the patriarchal culture. My argument, in the case of Kill Bill, will focus on ... The morning at eight I hope to discuss these issues at home.

to be heating up the atmosphere, two slogans of works that address the origins and certain peculiar variations of the female warrior in film.

[1] Ripley (the heroine of Alien ) may be criticized by appealing to their arguments Waites?
[2] and Barbara in the remake of Night of the Living Dead of Savini? KEYBOARD

The Best Conditioning Mascara

The woman warrior in the game and post-feminism Feminism

GUEST: ANGEL CASTRO STOP


addition of world cinema, literature and oral tradition, the prevalence of female warrior stereotype extends to other areas of culture such as the video game. Although this is a relatively recent, it is difficult to find examples that fit perfectly to the definition developed by Kate Waites in his article "Babes in boots: Hollywood's oxymoronic warrior woman."

The concept of woman warrior may vary slightly depending on the time or the cultural base on which to settle, but almost always has some common characteristics, which were created in a variety of different male myths nature. The influence of feminism has been able to modify, moderate and soften certain nuances of his personality and modus operandi, but its roots remain unaffected male and remain defining when to establish the concept.

is why, oddly enough, examples at first appear to be formally distant, such as the legendary Amazons of Greek mythology, Judith, heroine of the Old Testament or the femme fatale representative of black cinema from the golden age of Hollywood, once stripped of the cultural elements that conform strictly and according to its graphical representation, modus operandi, and motivation we can see that their similarities are obvious.

The basic features of the woman warrior can be summarized into four:

1) Physical attraction, reinforced by the use of costumes that emphasize their feminine attributes.
2) Led by a male figure present or absent, which may even end up giving back, in clear reference to the Oedipus complex.
3) act nursery grounds.
4) occupy a subordinate role to the conventional system, which is sometimes reflected in their nicknames (Lady, Angels, Kiddo ...).

The traditional role of women in video games are confined at first to mere damsel in distress, one whose purpose McGuffin main (and often only) was the hero to lead a long way in order to rescue her from the clutches of the villain of the moment. The vast majority of classic video games with a minimal narrative claims (Super Mario Bros., Nintendo, 1985-2010 - Final Fight, Capcom, 1989 - The Legend of Zelda, Nintendo, 1986-2010 - Dragon Quest -Enix/Square Enix, 1986-2010 - Final Fantasy -Squaresoft/Square-Enix, 1986-2010 -), etc.) based on that premise, relegating women to a position not only inferior, but also identifying it as a prize for the skilled player who successfully reach the end game.

Over time, as women constituted a claim for public it was becoming important, reaching a niche within the main groups of heroes and antagonists, but without abandoning its defining characteristics, generally opposite to those of their male counterparts. Their low strength and endurance parameters are compensated in part with great potential for magic, besides requiring the protection of a male figure, which serves as a knight errant.

now not uncommon to find examples of female warrior with a role totally self-sufficient character. This is the case of Samus Aran (Metroid, Nintendo, 1986-2010), whom we will focus from now on in our study.

Samus is a bounty hunter which operates under the command of the Galactic Federation or on his behalf, in a fictional universe reminiscent of the Alien saga. Its mission is carried inhospitable places, must procure the equipment in place to break through previously inaccessible areas.

Unlike paradigmatic warrior woman described by Waites, external appearance for almost the whole of adventure serves no cliché. Wearing a suit of heavy combat, it enhances their skills and giving it strength, superhuman strength and agility, not at any time make use of her femininity to achieve their goals, indeed, the deliberately hidden in order to obtain performance impossible to achieve otherwise.

However, being a woman is exposed in two key moments, when he dies and when it completes its mission successfully, in which case it rewards the player who has played a number of requirements (complete the adventure in a time period determined or fill the entire inventory) with a picture of Samus without her armor (or Power Suit), discovered as an attractive young woman.

Despite being born as a mute character, no lines of dialogue, the appearance of sequelae was providing data about their personality, ideology, objectives and motivations, setting a much more complex. Paradoxically, the process led to a progressive stereotype, especially at the level of graphical representation, with the inclusion of an alternative to the classic Power Suit Suit, called the Zero Suit, tight to the body

Following this line of adaptation to the successful formula of the female warrior, Samus is also led by a male figure. Other M In Metroid (Nintendo / Team Ninja, 2010), known to his superior, Adam Malkovich, which exerts a powerful influence over her, pointing the way forward and authorizing or denying the use of arms and / or skills. At the same time, and given the status of orphaned Samus, fills the gap of the absent father figure, embracing the role of mentor.

Interestingly, this latest installment chronicles the encounter between two characters, after Samus take a different path, feeling "as if he had somehow betrayed a parent," appealing to the Oedipus complex.

Samus fighting two battles, one to survive in hostile territory and another to leave to occupy a subordinate role to the conventional system. Nicknames, apparently caring, granted by their peers and boss (lady, princess), at the bottom can hide a view to minimizing its importance in a world dominated by men. Samus is not initially welcome the research group led by Adam, but allows their presence provided to comply with its orders, which reinforces the idea of \u200b\u200bsubjection spoken of Waites.

Regarding his motivations, also Metroid Other M is explained clearly, unlike most of the deliveries predecessors, which generally described little or nothing about it. Samus goes into the rugged Nave bottle to hear a distress message such as "cry baby" from it. Thus acts motivated by maternal instinct, the same instinct that causes him to invade a feeling of guilt for failing to protect the breeding metroide who saved his life.

So, Samus meets the requirements Listed by Waites, demonstrating that the warrior woman archetype transcends all boundaries, physical or cultural.

Commitment Letter Employment

Here is a very simplified approach to discussions about feminism and post-feminism. I used books as sources Suzanne Ferriss and Mallory Young, Chick flicks. Contemporary Women at the movies , New York / London: Routledge, 2008, pp. 1-25; and Sarah Projansky, Watching Rape. Film and Television in Postfeminist Culture, New York-London: New York University Press, 2001. We only serve as a preliminary approach. The translations are not well cared for, so do not take them at face value.

-feminism as it emerges in the second wave in the seventies the emphasis on political action, political movements and political solutions. Its basic struggle is for equality of women in society and the resistance and criticism of the dominant patriarchal structures. The choice of women is collective: they must fight for their right to NOT have children and not seek only career mainly related to children. Reject, or at least question-femininity by considering a projection of male desire for women. Develop a suspect activity against popular culture and media and calls for resistance to consumerism that supports and disseminates them.

The post-feminism is a term that refers to a set of highly variable positions and sometimes contradictory, but that can be understood as a limitation of the traditional feminist positions. Defend the personal sphere as constitutive of the political-attitude replaces the agenda of political issues. It rejects the call rage against the dominant patriarchal culture and leave the attitude of suspicion against the media and popular culture. The choice of women is mainly individual, no matter if it falls on the family, career, cosmetic surgery or nail color to use. There is a marked return to femininity and sexuality. Invited to enjoy the uninhibited consumerism. No wonder then that the post-feminists tend to see feminists as people angry, humorless, self-proclaimed victims of patriarchy. While feminists see them as mindless, unconscious victims of media culture and consumerism. The films play an important role framing and reflecting the role of women in culture, especially in times of social change.

assumes that post-feminism feminism as a political movement has been successful, achieving important changes that gave women freedom of choice and equality with men. But it achieved its objectives activism characteristic of the seventies feminist is no longer necessary. Post-feminism is what comes after feminism - which means recognizing the importance of certifying his death but at the same time policy. Thus the concept of post-feminism feminism perpetuates while insisting on its improvement. The key is determining what kind of feminism is perpetuated in this negotiation process or transformation. Here the problems begin: the post-feminism is a discourse capable of holding extremely versatile multi-position (even contradictory). Projansky distinguishes five categories of post-feminist discourses.

(1) The linear post-feminism, which is considered the culmination of a historical trajectory that begins in the pre-feminist and passes through feminism. Thus feminism and post-feminism can not coexist, because the latter has supplanted the previous stage that is already part of history.

(2) The post-feminism backlash, not content to announce the end of feminism, but considers it important to react violently against feminist positions which he considers wrong. These two positions represent feminism as a negative thing to overcome. Something that does not share the remaining versions.

(3) The post-feminism of equality and choice argues that feminism has succeeded in ensuring that women achieved gender equality and freedom of choice, especially in the fields of work and family. Therefore, women can enjoy their achievements and do not need feminism to do so.

(4) The positive post-feminism against sex, defends the feminist struggle for independence of women, but rejected his criticism of heterosexual sex and breeding structure of patriarchal ideology. Women can even choose traditional heterosexual models of relationships without relinquishing his conquests.

(5) Finally, post-feminism that includes people said that gender equality is achieved, nothing prevents some men consider even better feminist feminist- many women.

The post-feminism is a complex discourse, able to adapt to the expectations of audiences dissimilar. This explains why it has spread widely in popular culture in recent years. To absorb and declare feminism dead at the same time. His influence is great because not only defines what is feminism and how women are positioned in relation to work, family and sexuality, but does it denies the relevance of race, sexuality and class to gender considerations (and feminism). The latter becomes evident when one takes into account something that all versions have in common: they all focus on women white, heterosexual and middle class. To analyze the transformation Projansky feminist arguments in limiting post-feminist topics in recent audiovisual narratives is a fundamental task for feminist criticism.

I Cut My Genital Wart

Beatrix Kiddo as feminist heroine

already anticipated in my previous post on this subject that not all analysis of the star of Kill Bill match. For example, Mark Conard also makes a psychoanalytic reading of the film in his article "Kill Bill: Tarantino's Oedipal Play" (2007) but their interpretation is very different from Waites. Let's take the word

In Kill Bill Volume 1 "bride" goes from in a situation of absolute lack of power (bedridden in a coma) to acquire enough power to carry out his revenge. The cost of this transformation is the renunciation of her feminine nature. In the first step of this process should be pursued Hattori Hanzo sword (phallic symbol of power) which shows that for women the power to act like a man. But in doing so acts as an alienated, reveals his psychic deformity. Therefore all women in the film are powerful, but they all act as true psicópatas.El true power lies in the visually absent but omnipresent Bill, the father almighty pulling the strings of history from the shadows.

In Kill Bill Volume 2 everything changes. We went from a framing narrative in the genre of martial arts to a terse spaghetti western. The sword is no longer a decisive weapon. The star is lost at the beginning of the film. With it loses all its power and is buried alive by Budd failed (using a firearm loaded with salt). Before closing her casket gives you the option of being buried blind or with a flashlight and she picks up the torch (a symbol of enlightenment, wisdom, knowledge). Underground undertakes a mystical journey through a flashback that shows us his apprenticeship with the master Pai Mei. The first thing the teacher was making fun of his sword skills and teach them that their power and strength lay in their hands. She remembers (learn in a Platonic sense) does not need the sword (the symbol of masculinity) to be powerful. Can be without sacrificing their femininity, and without the mental strain that this repression generated. After the flashback "bride" uses his hands to break the coffin and leave the tomb. He is risen. Is able to wield power and be a woman at the same time (something that it was not possible before.) So in the next scene will know its first name: Beatrix Kiddo. Has regained its lost identity during the first of the films. The fight with Elle is resolved not by the sword, but with your hands. Beatrix tears the eye he had left and leaves tumbling in Budd's trailer. Completely blind, a symbol of blind servitude to a male conception of power (and Bill, his teacher). Beatix and does not serve anyone but herself, she has reconnected with her femininity, with its true nature. Is able to deal with Bill.

Kill the father means killing the power over us. To do this we must stop seeing him as a god, we must reject the images that we forged during childhood, we must humanize. This is what Tarantino does with Bill in the second movie. Shows him as a man with their traumas, their strengths and weaknesses. The viewer comes to sympathize with him. As with the father figure, as we mature we begin to see it as it really is and it can kill you: you lose your power over us. Once the Bill is demythologized (we see to prepare a sandwich for her daughter) is vulnerable and can kill Beatrix.

As Beatrix is \u200b\u200breunited with her identity and does not need the sword to kill Bill. When the sheaths his sword attacks with the case he brought, neutralizes the vagina penis in the battle, the woman as a woman beats a man. With her hands enough to break her heart (another master Pai Mei teaching only conveyed to her.) The film ends with Beatrix transformed into mother, but still be strong and powerful women always has been. Has managed to kill the father (male throw off the yoke) without the unhealthy and self-destructive consequences that Oedipus had to suffer. WORKING SETPOINT


- Which of the two interpretations (Waites, Conard) agree?
- Look for some new arguments to support their interpretation and hang it as a comment before Thursday 28 October.

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Oedipal LOST ... Beatrix Kiddo again as a puppet

This entry is a correction to be made long ago but had left open for vagrancy. Luckily Paula in his commentary to the "Lost ... my only friend the end" has reminded me.

The text in question was written two or three hours after emission live the last chapter that made the channel Cuatro. It introduced an element that I thought was essential to understand the end: when Jack closed his eyes and melted in black, were pictures of the beach with the remains of the plane as they were in the pilot but no signal of life. The symmetry plane of the eye (just the eye, opening and closing, not the rest of the sequence) in addition to drawing from the beach with the remains of the plane and no survivors, would be a very strong support for an interpretation as to indirectly I argue in this post.

series had never shown images beyond the black curtain closed each episode, and if they chose to do so in the final episode was because the images involved were of great transcendence for the story. In this case little mind the old shoe, or dialogue, or anything contained between the plane of the eye opening and closing eye level. Because this falls within the mind of Jack dying. The "reality" series would be reduced to four levels: (a) eye that opens in "the very first stage," (b) subjective shot of the sky and vegetation from the point of view of the eye that opens, (c ) the eye is closed again in "the very first stage," (d) level of the beach with the remains of the plane, quietly and without any indication of life. All others would fall between (a) and (b) but unable to alter it to be developed in another different level of "reality" set by the series. In this reading

structural similarity with the story of Bierce would be surprising. The reality of the story would occupy more space in the narrative, because it would include opening up the trapdoor beneath the feet of hanged. The series would be equivalent to all the vicissitudes that passes from character to escape and get home. And the final shot of the man hanging from the bridge back to the plane of "reality." What if anything happened they told us? If it happened, but in another dimension (you can interpret realistic-key-mental hallucination or fantasy-key opening to a different level of material reality as we know). In this sense it could defend my thesis on the use of Bierce's story as a literary inspiration to close the story in Lost.

Everything seems very well founded, except for two reasons: ALL THE INTERPRETATION IS BASED ON A FALSE PREMISE AND OWN SERIES HAS REJECTED THE ASSIMILATION WITH THE TEXT OF Bierce.

then you might wonder why I wrote the entry. I wrote it because I did not discover the falsehood until I could not see the episode in its original version a few days later, and because I did not remember the game in the series with the story of Bierce until later still (when reviewing some literature on the first season). Now share with you my findings:

THE LOST FALSE

level ends with Jack's eye closed and the abrupt cut to stop the black screen. As each chapter ended. The plane of the beach with the remains and no survivors were not part of the final episode. Why broadcaster issued them? Surely to have background images to pass as he began the gathering after the issuance. According to a friend, these images correspond to a documentary on the filming of the pilot episode which showed the sets. Consequently, my interpretation is based on a false statement on the text.

So important are the images that the director placed before or after the credits? The film is a common practice, and in many cases, the director provides relevant information in these sequences. For example, Tarantino in Kill Bill Vol 1 introduces fundamental sequence before the titles, or in the enigma of the pyramid (aka The Young Sherlock Holmes), in the sequence after the final credits we learn that the rival of the young protagonist the film was Moriarty. Nature "film" of LOST has been highlighted since its inception. So there was no been amazing to use these spaces to introduce key elements for understanding the narrative.

But in this case the sequence does not exist. All the interpretation falls to be supported on a falsehood. FAILURE



During the broadcast of the first and second season, many fans saw the similarity between what happened on the island and Bierce's story "The Bridge on the River Owl." The characters would be seeking redemption, trying to close the conflicts that plague them, and they would in a space "between life and death": the island. ("Purgatory? Collective mental constructs? Hallucination individual? Parallel Dimension "?). Nature would not matter, just mind the role fulfilled in the story and allowing the characters do. But if the similarity with the story was true, then they would be dead last. And possibly it had been throughout the series.

Bierce's story had already served as inspiration for movies and television series. In 1962 a French version won the award for best short film at the Festival de Cannes. The producers twiligh Zone bought it and released on the fifth season of the series. His influence in the movie Jacob's Ladder 1990 also is undeniable. But

LOST producers decided to close this avenue of interpretation. In the chapter "The Long Con" (number 13 of the second season). Locke is looking for answers in a book and give a copy of "An Occurrence at Owl Creek Bridge", but he shakes it and leave it aside. The message is clear: in this book are not the answers you seek.

The proposed interpretation would be based on that input, as well as on a false premise as evidenced in the previous section, a structural similarity to a story that the producers of the series explicitly rejected one of the chapters of the second season .

END ...

If the argument with which it defends a claim (in this case the interpretation of a visual text) is not solid, because false statements used as premises, or that the other party openly rejected, "then there is no reason to accept the truth of the conclusion. Not mean it is totally false. Only with that argument can not be defended. If you propose further separate arguments (which were worth from other unquestioned assumptions), then have to re-discuss the issue.

Is it possible to build these arguments allow us to continue defending the Lost-Bierce connection? It would be an interesting exercise (which I proposed last year a few students) and can generate an interesting debate. But it would be a bold interpretation, is contrary to the closest reading the text. Which would require a more argumentative effort.

For now, I agree with you Paula. As the defended my interpretation must be rejected. If I have time this weekend-which is unlikely, "back to the central question: what global interpretation of the story is right? At that time Paul will take the interpretation as a starting point to begin the discussion. I would like to be encouraged to join it all you've seen the series and are interested to test the overall reading you have done. The

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vengeful woman has given more powerful than the movies in recent years is, undoubtedly, Beatrix Kiddo (Uma Thurman), the star of Kill Bill Vol 1 (2003) and Volume II (2004) by Quentin Tarantino. The story begins (though not the movie as usual in Tarantino) when Beatrix is \u200b\u200bin a coma after Bill and his squad of murderers massacred all those who participated in the trial of her wedding - and fired a bullet head. When she wakes up revenge is responsible for each of his attackers, including the captains Bill himself.

Kate Waites in his article "Babes in boots: Hollywood's oxymoronic warrior woman", in Suzanne Ferriss and Mallory Young (eds.), Chick flicks. Contemporary Women at the movies , New York / London: Routledge, 2008, pp 204-220, argues that despite appearances the heroine of Kill Bill shares features with other women warriors of the film: they are constructions of culture reflect patriarchal male fantasies about femininity. This is his argument:


At first glance Kill Bill Vol I (2003) and Vol II (2004) is presented as an attempt to subvert gender charades we have discussed previously. Presents a woman warrior Beatrix Kiddo (Umma Thurman) - who seems to be a strong example of real action movie heroine - no nudity or superfluous free romantic subplots. [21]

Beatrix is \u200b\u200bcontextualized by the presence of other colleagues warrior of strength and skill comparable. Even in the opening scene of the second part, which she presents her story looking at the camera and voice-overs during the flashback, we suggest that she has the authority and control over their own representation, in clear opposition to use was given at the beginning of Charlie's Angels. [22].

Although the description of the woman warrior in the film seem to sabotage the genre conventions, the film rests with them surreptitiously. The film and its unnamed character in the first part tells a story old and tiresome. [23]

The opening scene shows how shot in the head and given up for dead. Then he jumps into his recovery and escape from the hospital-the author does not refer to anything in the rape scene. Enters the domestic space of Vernita Green, one of her attackers. [24] The hand to hand combat is paralyzed when the two-in deference to motherhood-are school bus down the daughter of Vernita. In a clear gesture that mock traditional femininity, receive and send the girl to his room. During the following conversation Vernita tries to kill her with a gun and is killed by the dagger of Beatrix, in the eyes of the girl in the door [25].

This scene, and similar in both films, reinforcing the problematic nature of the fabric and frame the disputed place of construction of the woman warrior. For one thing the character has the characteristics of their male counterparts: it is hard, not afraid of anything, is aggressive and fearless in battle. But simultaneously although not overtly sexualized, Kiddo name is a diminutive of his identity. In Volume I of that identity is reduced to "bride" who seeks revenge for the death of her future husband, her family and her unborn child. Volume II is identified as a "mother" role takes precedence over that of war. These characteristics pigeonhole femininity and motherhood, which is detrimental to their warrior status. Besides being staged as a bride-mother, Beatrix Kiddo is not an autonomous agent (such as Lara or angels). It has also been created in his image by Bill, a male authority figure almost supernatural characteristics, as shown in the second part of the film. [26]

The first part makes a series of questions that are resolved only in the second, but it does so very conventional. Elle is ranked in the affair with Bill Beatrix previously covered, and fulfills its orders, such as fixed at the beginning of Volume I. But this characteristic is relevant to interpret the duel between Elle and Beatrix on the end of Volume II, as highlighted feminine aspects of jealousy and competition for men, reducing their status as warriors. Their battle is reduced to a stereotypical "catfight." [27]

In another revealing flashback Volume II, Bill was presented in the chapel before the slaughter and says it only wants to participate on the side of the bride, and she presents him as his father. "The Oedipal reference here Becomes clear when to, of course, the" Father "remove / kills the husband-substitute of Whom I decidely does not approved." (217). But in the end Bill Beatrix recognizes a domestic scene in which he acts as father your daughter recovered from five years as the prospect of motherhood was the magically altered and brought it to leave the squad murderers to find an environment in which to offer a better life for her child. [28]

The decision to abandon her career and focus on motherhood is the one that initiates the plot, setting in motion the initial slaughter. But at the same time resolving the questions left I raised the volume, the second part is also successful in the fierce warrior back to where it belongs. It does not punishing or killing, as was the black cinema, "but shows like capitulation to the traditional paradigm of a mother who stays at home to care for their children. This transformation is most evident in the two final scenes. Note 4: a post-feminist interpretation would emphasize that the film-to show that Beatrix must reject the role of mother-killer to be put in evidence the difficulties of resolving the conflict between family and career, show how difficult it is in fact trying "have it all." But Waites these readings fail because they realize the reasons anti-feminist and backward operating in the film. [29]

reductionist The films are shown, because the character has two options-warrior or mother that are not just clichés, but extremist and exclusionary. "Moreover, action-like her sisters, Directed by Kiddo is ultimately, if not create by, Bill, a male, godlike figure, and she is showered in regressive feminine conventions Transgressive That overtake her heroic role. "(218) Note 5: recent films such as Catwoman (2004), Elektra (2005) and Mr & Mrs Smith (2005) also are signs of poverty of the woman warrior on the big screen. Women of Hollywood war is a figure reminiscent of Pygmalion, the projection of male fantasy. "Hollywood's prototypical warrior woman is a strange amalgamation of the hypermasculine and Emphasizer feminine, implying That Even Our twenty-first-century myth-makers continue to Be Steeped in the lore-as well as the law-of the father." (218) [30].

But here the story ends. In the next entry will discuss a rating very different film.

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patriarchal warrior woman in the film

In what follows I shall briefly present the position of Kate Waites in his article "Babes in boots: Hollywood's oxymoronic warrior woman", in Suzanne Ferriss and Mallory Young (eds.), Chick flicks. Contemporary Women at the movies , New York / London: Routledge, 2008, pp 204-220.

The woman warrior has become a commonplace in contemporary Hollywood movies (Lara Croft, Charlie's Angles, Kill Bill), but their representation is very recent film (until the eighties are the first characters with those characteristics-Ripley in Alien and Sarah Connor in Terminator). These characters appear to be equal to their male counterparts: intelligent, resolute, tough, competent and great fighters). [1]. Note 1: There is preliminary objections, fringe, such as Dreyer's Joan of Arc.

This can be considered a distant cousin of the femme fatale black cinema of the forties. Waites but its origins are much more far-prehistory, the ancient myth of the Amazons, and Judith in the Old Testament. Are constructions of the patriarchal culture, but now ironically motivated by feminism. Their costumes emphasize the sexuality, are led by an absent male authority figure, his motives in many cases are maternal and showing the names of lower subordinate place in the conventional system. Represent male stereotypes of femininity even masquerade as traditional warriors. [2] Note 2: Tasker believes the woman warrior as a transvestite who assume the body language and appearance of male male stereotypes [butch].

Many agree that the emergence of the woman warrior in action films is a step forward for women, because in a sense, symbolically placed in a position of power. But Waites its origins and how it's constructed these characters are a problem to determining its narrative meaning. Women warriors, like the Frankenstein monster, suffer from an inferiority complex as they have been built in the image and likeness of its creator, man. Function as parodies of their creators, strange hybrids of overdetermined masculine and feminine qualities that make the monster / other whose existence defies male power. "Definitely, they reveal less about women or femininity, and more on costumes of masculinity." (205). [3].

The list of women warriors in the film increases day by day, but they all share a common source: the construction of male myths. And Wurts Lane (2002) trace the story of the woman warrior-women to the prehistoric hunter-and thence to ancient archetypal representation: the Amazon. Created by the Greek Patriarchate considered women as second class citizens, the Amazons were strong, fierce, and decidedly not women, not raising their children and cut their right breast to shoot better with the bow. But at the same time were fine and used her sexuality to distract the enemy. His picture is of the ambivalences and insecurities of their male creators in relation to women, strong women who act heroically. Desirable and dangerous are the prototype for the image of the woman warrior in the future. "Confined to the cage monstruous of the phallic-feminine Within Ideology, They Reflect men's use of hypermasculinity to cloak Their fear and manage the paradoxical longing for and rejection of the "other" who Challenges Their identity. "(206). [4]

descendant of the Amazons is Judith, also a product of male mythology. She uses her sexuality to behead Holofernes and save his city. But your company does not act as heroic Judith autonomous agent, but as an instrument of male authority, as pointed out by Stoker (1998). The Old Testament emphasizes that in fact it was God who defeated his enemies with the powers previously given to Judith. Beyond its content, this is the story of a woman, told by a man, which she uses her sex to fulfill the mandates of God, which is built like a man. [5]

That image of a woman warrior created by men, whose femininity is the defining element of business men, highlights the contradictions that continue to present contemporary cinematic representations of the woman warrior. Caputi (2004) notes that popular culture is the repository of ancient myths and archetypes, and although the role of women's progress, his image remains tied to paradigms in which it was originally conceived, which is nothing to keep bound to the male mindset of its creators. Is Interestingly, the women warriors are films written and directed by men. "Indeed, the action film, Which tells the story of the excesice of hypermasculinity as a camouflage for male Insecurity, Remains Dominated by male writers and directors." (207) [6]

Although many of these women, as the figure of abused women who become warriors as Thelma & Louis-use their ingenuity and take up arms against men, are often victims motivated by their survival instincts. However good that may be the reason these action heroes are not built like traditional warriors, as they are portrayed as victims first sexual and domestic. The traditional warriors, both men and women, fighting for the greater good, what amounts to a higher moral level. Fight for justice against the evil villains, representing the old battle between good and evil. That's the model that feeds hipersimplificado film productions dominated by male heroes. [7]

Although the advancement of women means that Hollywood is likely to present show female heroes in action movies, the violence used is the same as the male heroes. The actresses chosen for these roles, such as men are muscular. [8]

What can it mean the construction and representation of hyper-feminine woman warrior in a company overdetermined masculine? [9]


Lady Lara Croft Lady Lara

Croft (Angelina Jolie) plays traditional femininity while displaying excessive masculinity that characterizes the warlike man of Hollywood action movies. Tomb Rider In his mission to save the world stems from his desire to fulfill the wishes of his father. "In a move clearly oedipal Lara identifies with his dead father instead of her mother who was in a dream and a clock hidden guide containing instructions to carry out its mission." (208). As Judith, who received his instructions and powers of God, "Lara responds to a male figure of authority from which it inherited the means and the opportunity to develop their fighting skills that allow you to do justice. Furthermore, in a very symbolic casting coup, was elected to his real life father (John Voight) to play Sir Croft in the brief dream sequence. [10].

Although Lara looks fit the character usually solitary traditional warrior man, the movie stops after sitting a romantic relationship with a colleague who now sells his services to the enemy. In the next movie Cradle of Life is also a romantic subplot: Lara convinced British intelligence that release to a former lover for help to save the world. In this version, Lara takes its orders from two male representatives of British Intelligence (M16) - and ironic about the role of the queen in her authorization to fulfill the mission (which evidences the lack of it). Lara must rely on a former lover to fulfill its mission weakens his warrior character, and positions it as a romantic figure and sexed. At the end of an escape scene succumbs to the passion with his ex-lover in the cabin of the boat. Exploits their vulnerability and ties the hands hovered over him (which allows the camera to reveal her breasts), it is suspicious of his fidelity to the mission. Although she assumes the position of the aggressor, the scene slows down the action and shows it as female. "Moreover, in Addition to the gratuitous Exposure of her breasts, in the scene Lara Must resort to using the weapon of her sexuality in order to seduce her untrustworthy and Contain Former lover." (209). [11]

The sexualisation of Lara persists throughout the second film, which has led to Mulvey support the thesis that women in the film works as an erotic show for male viewers, is defined by its passivity and its being -to-be-seen, in contrast to the active image and powerful men. To Waitess this argument fails because it can not account for the fluidity of identities gender and polarity reinforces traditional femininity-masculinity. The male heroes are also placed as a spectacle to be observed, muscular, sweaty and beautiful. What differentiates the male hero is that his power is never mitigated by their sexuality, she weakens, like women warriors. Male heroes should not use sex as a weapon. His power and strength never questioned, because they are placed in a context in which they must contend with another man just as powerful as him. In these films women are romantic figures and secondary schools, which serve to distract the hero and put him in danger. "When the woman warrior is feminized and Forced to deploy her sexuality as a weapon, it distracts the viewer from her and her mission, Even When it is rationalized as a part of her plan. Her status is Further Reduced Because, unlikable male Counterpart her, she is being depicted as an anomaly. Indeed, in Tomb Rider Neither rules in Cradle of Life Is There Another Woman Whose power equals Lara's. In FACT, There Are not remarkable woman at all ... have a voluptuous Lara Croft Rather Than a "hard" body, and her image as a female is an isolated and unsupported one. "(210-11). [12].

mine But what Lara warrior status in Cradle of Life is the plot itself: as Pandora, is their own lack of women to seek knowledge at all costs generated by problem to be solved. Although pose tough, smart and competent warrior, the story highlights the essentially feminine nature as it is perceived by a human operator. [13].

The essential contradiction of the contemporary woman warrior is that a fetish and reduces the one hand, while assigned to characteristics of the postmodern woman has won. This picture-packed regressive conventions, reflects the difficult attempt to accommodate the Hollywood creative women in the field of both real and symbolic power. [14].


Charlie's Angels

As was the case with series based on the films Charlie's Angels and Charlie's Angels: Full Throttle constitute an attempt by the culture to accommodate the social changes that generated the second wave of the feminist movement. [15] The first film follows in that line, but emphasizes the combat capabilities of the girls at the same time that makes them act silly highlighting her femininity at all times. Note 3: Some argue this feature as an homage to the campy style of the original series. But there are elements in it, as feminist rejection of the police force, his choice of career detectives instead of romantic relationships or marriage, which are suspiciously absent from the film. In the movies the romantic and sexual relationships have the same narrative weight, which gets in the rhythm of the action. [16] In it the angels must fulfill their mission with sexually suggestive costumes and engage their way romantic relationships. [17] In the second movie these gender characteristics of the warriors are intensified [18]. "Whereas Lara Croft's sexuality, like Judith's, is at least Mechanism or employed as a strategy to wield power, the sexualized and feminized Extremely Angels Are Merely Posed as erotic espectacle, Which SERVES dimish Their only to strength." (213). Both films open with the voice of Charlie presents his warriors. The voiceover is a standard action film that is used to establish authority or control over the narrative - Silverman (1992) indicates that a voice like that of God speaking from outside the narrative frame suggests omniscience. Charlie's Angels are warriors who fight fiercely under orders of a powerful and dark figure of male authority (such as Lara or Judith). "Having made a dent in the male citadel of action films, THEREFORE, women warriors Are Reduced to playing a role in a farce That re-enroll Their phallic feminine place Within the system, as it inadvertently events Exposes the pretense of hypermasculinity." ( 214) [20].

working instructions


- FIND AN EXAMPLE OF A WOMAN WARRIOR IN ANY MOVIE YOU HAVE SEEN (AND THAT IS NOT USED ANY OF THE AUTHOR IN HIS ARTICLE).
- DO YOU HAVE THE FEATURES THAT SAYS WAITESS? Justify your answer.
- FINAL ANSWER TO THE QUESTION OF THE AUTHOR TAKING INTO ACCOUNT YOUR EXAMPLE.

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LOST: .. my only friend ...

just finished Lost. Over the years his writers told stories mixing different genres (adventure, romance, espionage, science fiction, fantasy, police, horror, comedy) and using narrative strategies borrowed from cinema, literature and comic. Thinking involved taking any final of these references to elevate it to a metanarrative level and from there to close something that by nature should continue (as in the serial story.) We discuss the election, but not for the reasons already beginning to hear in forums and chats. The most important criticism that can be done to their creators is that they were very conservative when it comes to close its history. Because they decided to tap into one of the most respected sources of literature. But many may find that critical praise. Lost

term refers to the work of an author critical of American popular literature of the nineteenth century: Ambrose Bierce. With an adventurous life, fought in the Civil War and seventy-one he went to fight the Mexican Revolution and has not been heard from him, "Bierce is considered by many contemporary authors as a master of short story. His most famous stories are set during the civil war, but is also considered a landmark in fantasy literature. It's just a story that combines both aspects which have taken the creators of Lost to think the end of the series, or even global structure that we believe the time had clear from the beginning the story six years ago, I refer to "Event at the bridge over the river OWL [owl]."

The story has three parts. In the first an omniscient narrator tells us in great detail the military ceremony in which federal troops are by hanging a civilian. On the railway bridge, between two beams, a plank, the silence, his last thoughts ... until the man falls. Here begins the second part of the story (which only takes ten pages in the edition of Valdemar): a flashback in which we learn that Peyton Farquhar is called and who was a wealthy farmer trapped by federal troops when they pretended to perform an act of sabotage . We are half. Begins the third part. Peyton falls, but cut the rope, fell into the river and escape his captors. Through a forest and gets home-away from enemy troops. When about to embrace his wife in the last lines of the story "white light blinding him on fire all around him ... A moment later, all was darkness and silence. "And he gets the final paragraph, two sentences at the beginning and give us back what we already knew (although our desire to believe otherwise take us to flee with Peyton for a few pages):" Peyton Farquhar was dead. His body, with a broken neck, hung and swayed gently to and fro under the wooden bridge over the River Owl. "

If we had lived in the nineteenth century would experience first hand what it meant to be sentenced to die on the gallows, nobody, except extremely rare cases, survived the gallows. Because we live in XXI century we do not have that experience, but we have other similar. We know that nobody, except extremely rare cases, survives a plane crash. But in both stories we cling to what is possible and we fully improbable in the game to us by the creator of fiction (with the generous help of course). We follow their adventures because we believe they will defeat death, something that unites us deeply because we live and we care about a bunch of bullshit imbued with the same blind faith.

The series begins by showing a shot in the forest Jack opened his eyes after a plane crash. He gets up and lives six years of adventures shared with people who knew or had seen and others who wanted to know (a bit like arming the history Suspects arrested in the movie Usual). But the story ends a few minutes later when he closes his eyes and dies. The last plane of the series is not Jack's eye closed, but the drawings that accompany the titles and where we see the remains of the wrecked plane strewn on the beach. No survivors.

This is a fantastic story of a classical. Explore the interstices of reality and is far more disturbing than those stories that we propose alternative realities where there are monsters, aliens, gods or technological gadgets scientifically impossible. All these things exist because we tell stories about them. And the best are those stories that we reserve to deceive ourselves. Which enable us to cope how much or little we have left.

The creators of Lost took their story to safe ground, decided not to risk the final. (Another thing is the shaping of the narrative, and description of the ninth before the final end, which can certainly lead to much more acidic criticism.) But from a structural point of view the decision seems correct, because it makes living all the mystery and magic of the stories it contains. What is unoriginal? I ask, what human cultural product can meet the criterion of originality is often assumed that when you ask that question to criticize anything? Posts that can not be original, at least be inspired by the best models available.

For years the island and its characters gave us a lot of stories-some good, some very bad. Jack (named after the hero of almost all anonymous fables that shaped our childhood) has shared with us a lot of stories that could cheat death. What are stories featuring dead? What is fiction? There seems a big problem. Does anyone question The Thousand and One Nights because all his stories turn out to be an invention of the desperate Scheherazade to postpone the time of his death? Can we blame the creators of Lost Jack to make him do the same for six seasons? We can but it would be unfair to them.

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Ruby Mountain X Race

A year is approaching a new edition of the Ruby Muntanya clinical course. will be Sunday, April 25 at 10:00 . in Ca n'Oriol Bosc.

11 km. on mountain roads with a shirt, drinks and sausages at the end of courses.

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Chronicle previous edition

You can find all the information editing this year on the following link .

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Great Fonda

Throughout the year there are many careers, from urban miles, fun runs through each city or town, to the marathons and mountain races.

All races have their appeal: by place, by the path, because of the difficulty ...

In 2010 the Club Esportiu Indi's Folls want to present in Igualada the first edition of a career that brings together the best of every race and also with a touch of originality never seen before.

The Great Fucked "is the first race where the main characteristics we will be running with the couple and also tied at the waist with a rope. will take place on April 25, 2010 .

The Great Fucked "wants to be the first race popular in pairs, in nature, with a fun track and the difficulty involved in running tied where married, separated, grouting, partnerships, which in fact are a couple, siblings, cousins, friends ,..., eligible.

The Big Fucked: a Course fuck, fun and different.

The rope is the innovative element. End to end, 3 meters . Never have so well attached to your partner. Travel


The race will consist of a tour of 6,969 meters, a low difficulty but with the peculiarity of running with a partner and tied with a rope around her waist. The start and finish will take place on the main straight of the sports area of \u200b\u200bLes Comes d'Igualada.

Regulation

1. Hours:
at 10.00 h. delivery and cord dorsal.
Departure at 11.00 h. for all categories.
At 12.30 h. awards.


2. Prizes and trophies will
Gifts for couples first 3 finishers in each category, plus each participant will take a bag full of gifts, art shirt, dried fruit, sports drink, energy bar. Also distributed 12 lots of technical material.

Source: The Great Fucked

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end Nazism and the Holocaust in film data

Keyboard guest today is Angel Rodríguez Escribano, students who earned an honors last semester in the subject History and Theory of Human Rights .



I. PRESENTATION

When Professor Dr. D. Pablo Raul Bonorino commissioned us as the last task of the Human Rights Course, the development of a brief study on the vision they have shown the world of cinema on Nazism and the Holocaust, I thought of preparing an ambitious work that best meet criticisms and comments on the subject. However, given the difficulty of writing something original and "fresh" on a subject as hackneyed and recurrent minimally decided to try writing something original, or at least something "own." For this reason I have omitted to consult a lot of literature and the work that I offer for consideration by the Professor is a simple written an important study not the result of scholarly research.

This work covers all the films that have been planned under the Human Rights course although I have considered of interest to add some more film references to movies that touch the same theme, so give the work a more comprehensive view and depth.

II. THE EXPERIMENT.

"The experiment "is a German film of 2001 that was inspired by the famous experiment by Philip Zimbardo concluded in the Stanford mock prison in 1971.

In this movie the action is set in present time while there is some reference to Nazism. In particular there is a time when the leader of the guards, Berus, is accused of being a "Nazi." The insult "Nazi" is almost the worst thing you can charge a person who exercises authority it reverts to the idea of \u200b\u200barbitrary power, cruel and utterly inhumane. Today is treated the term "Nazi" to a grave insult, and when a person qualifies and can be considered a serious injury, such is the image of Nazism that is left to posterity.

can also speculate that Dr. Klaus, the eminent scientist who leads the whole experiment is a kind of transcript, relatively speaking, of Dr. Mengele of Nazism, as both share an interest in "unhealthy" by science regardless of the means used to make a success of their research.

III. WAVE.

"The Wave" as seen at the time this is a film that updates Germany, 2008, placing it at present, the experiment carried out by an American professor was proposed in 1967 show his students that was possible the return of an authoritarian regime like the Nazis and also that would be accepted willingly.

Professor who takes the initiative of the experiment in this movie tries to teach his students that what happened in Germany is not a black and white film and overcome, but it could happen again. Young students contemplate the Nazis as a story that appears in textbooks (we are in 2008 in the film and the Third Reich surrendered in 1945) and the work of Professor is to show that certain concepts of authoritarianism are still very alive and can re-edited and renewed reappear under another name.

"The Wave" is a film whose message could transcendent be interpreted as follows: Nazism was something that happened, and if we do not learn the lesson that history gives us, we are doomed to repeat it, even despite being fully convinced that this can not happen.

This argument is reflected in the film and the emergence of the youth movement "The Wave" that the professor has to stop canceling so traumatic events may seem extremely difficult and unlikely to happen. But a few years ago we saw how the resurgent far right in Austria strongly united under the person of the politician Jorg Haider, a clear character of a totalitarian bent close to Nazism. At that time many people put her hands to the head, but the truth is that it was Haider who earned his position of power and influence through weapons but through word and were Austrian citizens who gave the political leadership with their votes.

course would not be easy the emergence of a new Nazism, but we should not be so naive as to think that the Nazis back in the same form and with the same symbols. The new Nazism is hidden, of course, under democratic forms and use the political system in the same way that an insect that makes the metamorphosis and ends up in another different way of life.

Teaching "The Wave" is there and as always the Nazis used as a perfect mirror of the enemy. If you had to choose a villain, someone so evil that he did not admit a greater evil, not seek to Darth Vader or Nodoyuna Pier, but Hitler, Goebbels or Himmler. The real threat is to return the Nazis, but to return any form of government, has the form that has to repeal the rights of citizens and govern according to the dictates of a powerful minority or a charismatic personality. From this point of view, as may be the return of a new Nazism as a new totalitarian communism or a dictatorship like the English caudillo.

IV. THE GREY ZONE.

"The Grey Zone" is a painful spectacle film that tries to recreate on film the Holocaust in its horrific detail: the process of gassing and incineration of bodies in the vast crematoria facilities in the camps and Auschwitz - Birkenau.

This film chronicles the Sonderkommando revolt and a main story is mixed with a small plot of a young girl who is rescued still alive from the gas chamber. That girl managed to unite all the prisoners who seek to protect and save his life above everything. The last scene of the film, when the girl is shot dead by the Nazi camp commander, reminded me of that terrible sentence of the Auschwitz survivor, Libusa Breden: "There was God in Auschwitz. The conditions were so bad that God decided not to go. "

The end of the film is a perfect definition of the Nazis: Nazism is not an ideological basis. Consists of remaining in power by force of a group of people engaged in a corrupt to do his will by any means, and no honor, no ethics or humanity. All the efforts of prisoners to save the life of the poor girl ends in killing it. No output. Everyone dies. If there is a God, if there was another life with God that they could still worth so much suffering. But since there is neither God nor is there a better world, the Nazis stole the most valuable prisoners they had: their lives. Breden Libusa was right: God was not there to make it safely to the girl. And if God exists, then everything would be consenting. So some Jews believed that the Holocaust could be a punishment from God. The film

the Sonderkommando men looking for ways to survive by participating in the Holocaust as collaborators with the Nazis, but in such circumstances that without such cooperation, would have died much earlier. They are forced to work and are forced to continue to do so if they want to stay alive. Eventually plan a revolt, but it gets out of hand and everything ends up going wrong even with heroic acts by many of them, the Nazis end up having a great setback.

first thing one may wonder at such horror is whether it was necessary to make a film as dreadfully realistic. The answer has to be positive with nuances. It is clear, first, that a movie like this can not aspire to be very popular because people do not want to go to see horror movies like this, let alone a weekend. The main problem with this film is its profitability. And here we encounter the first obstacle that we must discuss: the criticism that some people do, arguing that when shooting these films is because the "Jewish lobby", or some powerful Jewish elite influences the film industry that these films are made.

know that the Third Reich was used to fund defaming the entire Jewish people as possible, even to create a Ministry of Propaganda, led by the ruthless disciple of Hitler, Joseph Goebbels. From that privileged platform, the Nazi government released all sorts of lies, fabrications, and lies about the Jewish people, who came to pay the traditional anti-Semitism of the German population.

most important Lie, the fallacy unsustainable, is this: the Jewish people is so powerful that it influences the film industry to remember the Holocaust. If we accept this statement in its fullness, then we should question why the Jewish people, being so immensely powerful, was not able to persuade the Nazis to liberate Jews from Auschwitz and other camps, or why the Jewish people was not able to convince the allies to accept the deal proposed by Eichmann (one million Jews) or the bombing of railway lines catering to the concentration camps and extermination of new victims.

The first falsehood, deceit, lie a thousand times repeated by the Nazis and that we should reject out of hand, is precisely that. The Jewish people is not a country immensely rich, powerful and able to crush any will, as has been amply demonstrated, when the Jewish people themselves suffered the Holocaust.

A power so immense, so powerful lobby, logically would have succeeded in corrupting the greedy and avaricious Nazis. And also so powerful a people have managed to convince many countries to host the Jewish deportees, and those Jews would have been well received with open arms just as you would receive a billionaire who comes to spend his fortune in our people and create jobs.

The reality is that the Jewish people is not that powerful elite the existence of which some are saying. It is true that the Jew is a town that tends to unite on the basis of the same religion, but that it could be attributed to international freemasonry, freemasonry, or even Catholicism, with hundreds of millions of faithful around the world. If all Catholics were placed under the orders of the Vatican what force more powerful than the Catholic Church would be in the world?

therefore affirm the filming of movies like "The Grey Zone" is absolutely necessary. Very necessary. What happened to the Jewish people is not something that should be relegated to history books and then we can ignore the list of Gothic kings. It was a crucial historical fact that marked the world. All the millions of people who died in concentration camps and extermination can not be overlooked under the pretext that some Jews want powerful influence in the world recalling its recent history. Do not forget that Christianity begins just after the death of one person, Jesus. The death takes on a transcendental for believers and gives rise to a real religion that has lasted until today.

The death of more than 6 million Jews has led to a religion. No religion in his name or crosses recalling his suffering. But there are new generations of people committed human rights who are determined to prevent at all costs that this horror return, and the first step to prevent it, is it known, even if it hurts. For any approach to the Holocaust, even through the form of a film, it is always emotional cost.


IV. THE READER.

"The Reader" is a film which is set between 1955 and 1965 in West Germany before reunification. It tells the story of Hannah, a member of the SS and the guardian of a concentration camp during World War II and now accused of serious crimes with the connivance of his companions, who, lying and distorting the facts, decide to divert blame it serious responsibilities.

In "The Reader" focuses on character, Michael, comes to feel a certain intellectual contempt or rejection of Hannah for what she did or is accused of having done, despite knowing that Hannah could not have ever been responsible for total made by his illiteracy. Germany opposes a "democratic" radically rejects Nazism, the recent past of Nazism. It is a similar situation that occurred in Spain when they went from a monarchy to a republic: "Spain has slept monarchical and republican has risen." This left Germany Nazism condemned internationally, and embrace democracy. The old characters are now rejected Nazism, applauded their actions before are now identified as inhumane, and Hannah is a victim of a system willing to condemn them as scapegoats to characters of the Nazi regime.

whole work "The Reader" and the film is an indictment of its author Bernhard Schlink, on summary judgments and sometimes incomplete and of questionable legality that took place in Germany at that time and sought exemplary punishment to the People who thought their country was a few years prestigious German citizens.

So, Hannah happens to be a member of the dreaded SS to convict for serious crimes, although condemned by much more than his share. The Tribunal is characterized as a mediated body, which already had the decision, and who have no interest nor care about the truth but to find a culprit on which to download the exemplary punishment to be sent to the newspapers as an example of what Democrats are all .

At one point in the film one of the partners Michael School Professor reproaches he also saw the Nazis and many other adults lived that system and now everything seems to deny it and look away. It is alleged the falsity of society.

V. AMEN.

film Costa-Gavras' "Amen" reminds the military historical figure of SS Kurt Gerstein, who tried to stop the Holocaust. Puts it in its historical context, and mix it with the story of a priest named Riccardo, who unreservedly support Kurt Gerstein and eventually die at the hands of the Nazis in Auschwitz.

In "Amen" is intended to present an image of Germany that collaborates enthusiastically with the Nazis, believing they are winning the war (which is not true) and even believing in the existence of a "secret weapon" to save to Germany's surrender. There are initial extermination became of the sick and the mentally handicapped and the Germans stopped when they heard, and is openly criticized the position of the Catholic Church and the German Evangelical Church against the racist policy of the Third Reich.

images which are seen leaving truckloads of young people who are singing happy songs, and head to the front. And they are also people who resist knowing Nazism and its horrors, trying to help stop the Holocaust (the "Confessing Church" to which he belongs Kurt Gerstein).

The film suffers from some bias in the sense that you want to submit to Kurt Gerstein as a person fully convinced of the "evil" of the Third Reich, to the extent that scolds his young son by saluting the Führer. In reality I do not think that Kurt Gerstein was so vehement in their rejection of the Third Reich, it was ultimately the political system he had known since his youth. But I admit that during his life was evolving and understanding the scope and authoritative negative Nazism was taking up to personal conviction, at the end of the film, to be delivered and tell everything he knew by way of personal redemption by own responsibility in the crimes, knowing, was unable to prevent by force majeure.

If one considers the character of Kurt Gerstein with historical hindsight it is difficult to blame anything. He did everything that was in his hand and took every opportunity he could to raise awareness of the Holocaust and trying to stop it. We may never know the positive impact of the information provided Gerstein all diplomacy with those contacted (including the Swede who saved thousands of Jews), but we can agree that it would have been much easier to exploit their status as member of the SS to escape from Germany taking his family and hide in a neutral country like Switzerland, instead of staying in Germany, facing the Holocaust and finish by the Allies information voluntarily, knowing that would be considered a war criminal.

The title of the film "Amen" is an enigma that each solve their own way. My personal theory is that Costa-Gavras titled "Amen" to this film because "Amen" is the word that ends every sentence, meaning "so be it" or "well done."

If you want God, I thought the priest Riccardo, is that the people being killed, "Amen." Nothing can oppose the will of God, therefore I sacrifice myself, think Riccardo. Moreover

Kurt Gerstein had been animated by the belief that finally achieved stop the Holocaust. After the war he decided to give, tell everything you know about it, and in some ways, is abandoned to the will of God, Amen: I did what I could and now I have no desire to do anything else because nobody listens.

"Amen" would be like a kind of living will of two people who gave their all for the lives of many other human beings without being able to save them. A desperate cry of pity and horror filled with resignation, who know they can not prevent events which are too big and powerful to change.


VI. NIGHT PORTER.

In "night porter" We have a number of former officers of the Third Reich that have been recycled to various professionals in civilian life, with our hero in charge of a hotel.

There he meets a woman who was his prisoner and who underwent humiliating practices. The woman feels a fascination for him and start a relationship somewhat special type sadomasochistic.

This film portrays post-war German society in which there were many former German officers, including the SS, who maintained contact and a certain camaraderie that went beyond friendship. They also maintain contact with each other fear, to prevent a member of the language go and tell what he did or did others during the war. There is a sort of secret plot, an unwritten agreement, under which a watch over others, but not for companionship but for fear of being discovered her past and end in a courtroom. This is precisely the excuse of the colleagues of the "night watchman" to end his life and his lover, the former Jewish prisoner: silence them forever.

This is a rather strange film, shot with a precious aesthetic taste, which scandalized at the time by the evil approach of the plot, but which is still impressed by the dramatic force of the story told in it. The "night watchman" acts as a sort of modern Marquis de Sade to tortured prisoner gets his wish to return with him. It is clear that this kind of sadomasochistic practices exist now and have always existed, but not very edifying, as it is understood, and here come the critics, who tell a story from a former Nazi sadomasochistic and a former Jewish prisoner.

Former Nazis in the movie always act motivated by the fear that his previous record is discovered and they are required responsibilities. Nazism is seen as something past but remains in the form of secret societies that share responsibility criminals such as these men who meet with the night porter.

The Holocaust is not seen in the film in a clear although it is clear that the protagonist had to make many abuse in people of Jewish prisoners because of their particular mental or sexual deviations, as a result of which met the Jewish woman.


VII. SINKING.

This German film actor Bruno Gantz gives life to the Fuhrer Adolf Hitler in the last days before the German capitulation in front of the Russian Army in Berlin. The absolute star of the film is Hitler and his paranoia, cruel, authoritarian and despotic.

War with the allies already completely lost while Hitler remains confident, confined to his bunker, there are still enough military forces to suppress or even repel enemy attacks. His generals know the truth and have to convey bad news. Hitler ends by recognizing their failure, and committed suicide with Eva Braun shortly after marrying her. Joseph Goebbels also decides to take his life with his wife and children. But Hitler's bunker escaped with his life Hitler's secretary and others close to the Führer. Will survive and tell what they saw. The facts related by this story.

Throughout the whole film there is no mention especially the Jews or the Holocaust but in the end of it, Traudl Jungle, the real Hitler's secretary, in an interview filmed file before his death, said he never had knowledge of the Holocaust at the time and regrets that those horrible events it was a revelation. What is not surprising since we know everything about the "Final Solution" was orchestrated by Himmler and the SS in strict secrecy and by verbal command. It was all an act of state by way of fact, truly brutal.

"Downfall" is a film that requires an entire afternoon or evening to be enjoyed fully. I have seen this film three times. The first two focused my attention on the character of Hitler. The last time I saw, however, warned that the film conveyed much more than they had captured to date through various historical secondary characters whose fate was uneven after the end of the war. On these characters make a few brief comments.

is no doubt that Hitler's character has given much play in the film, but Bruno Gantz plays Hitler, Hitler is portrayed as a dangerous lunatic and paranoid that everyone would expect, a kind of demon or a "figure caricature ", but a desperate man, but endowed with a great capacity for evil. In "The Sinking" smell the fear of Hitler and see how even his closest colleagues treat him with care and fear of being angry about anything. We also see in the film that Hitler had some very strange times, as outdated and slept late, and despite his professed evil nevertheless true appreciation of a dog as a pet and Eva Braun.

Hitler is portrayed as a proud subject to death, unable to recognize a loss, unable to negotiate or give up ... but the problem with Hitler is that the price you pay your pride does not pay personally but he is paid by the German people every day continuing the war in Berlin. They pay the poor children of the Hitler Youth, who in their innocence they think they can contain the enemy holding a gun in a square position. The young officers are charged with such absolute faith in Hitler do not hesitate to commit suicide at the news of the capitulation of the Third Reich.

is the anti-Hitler, is the high priest of evil. Is the one who administers the sacrament of death. In the film Hitler is about a woman affectionately in his bunker and he says, with a gentle voice: "Sorry I can not make a better gift, giving him a cyanide capsule to enable women to kill themselves. What else could offer Hitler a German who was not just death?.

At all times I believed to be in front of Hitler himself. Recreation Bruno Gantz makes it so believable that even says that during the shooting was rare and a colleague stumbled across it when I was characterized and was scared to death. But he said that "Downfall" wants to present a sweet or sweetened Hitler. A benevolent image or complacent, and that I can not agree. The Bruno Gantz Hitler embodied in this rare German film is filled with a Hitler. A Hitler alive, not a dangerous madman but a fanatically respected head of state by millions of people. Keep in mind that even in the bunker, Hitler continues to have absolute power in Germany and is, at least in theory, one of the most powerful men in the world.

is not true that this film presents a sympathetic portrait of Hitler. What it does instead is to put the viewer in a position to understand the phenomenon of blind fanaticism of his followers, and also come to feel compassion and even pity for the many brave individuals who gave their lives for an authoritarian system that died of Just as he had wanted to shape the 1,000-year Reich.

After viewing this film it is clear that we Hitler's followers were not all bloodthirsty evil people, blinded by their military or military effort, but normal people who were trapped in circumstances and subject to a loyalty that could not honor without condemning themselves as accomplices. This film does not do any favors to Hitler and I sincerely believe, without being an expert, the team that the shot has done its best to put on display the Hitler more human and closer to reality than was possible.

Hard, very hard are the images that this film shows us where the Goebbels is killing their own children and then himself. The Hitler do the same. But most sad and unfortunate is the story of the poor children of the Hitler Youth, whose bodies dumped in ditches and improvised trenches, in the city, showing the viewer's face the most humiliating defeat of Germany, who is also the defeat of a people deceived and taken once again to prostration. It is absurd that people so young lose their life that way but also those poor children were militarily insignificant to the Russian advance, far superior in number, which was already raging.

The film is made with care and oozes credibility. Is said to be the most expensive film in German cinema recently and I do not doubt that has invested euro fine each. The story told is generally accepted by historians although Traudl Jungle, Hitler's secretary, unfortunately died before the release of the same, so that the film is, perhaps, a living or even an apology, or lament of an old woman, having worked for someone who did so much harm to the world, even without realizing it.

is essential in this film set in the military blind loyalty to Hitler had come to the Third Reich. A fanatical loyalty that comes to intelligence and achieve void convince many good soldiers and officers, innocent of war crimes, to be removed life. It is an absolutely useless and even sacrifice children because their lives are not going to pay for the damage caused by the Nazis to the world. But it is a clear and manifest evidence of the moral damage caused by Nazi propaganda in the minds of their own servers. Hitler had not only created a terrible war machine but also had placed a self-destruct button for situations like this.

Hitler's bunker is the silent protagonist of the film. Has been faithfully recreated by any information which he knows because it was almost entirely destroyed by the Russians. The images displayed can be a fair and realistic idea of \u200b\u200bfacilities, and the security offered to its residents. Bear in mind that even today in Germany the bunker or bunkers (because there are several) of Hitler in Berlin is a matter of state secret. In the nineties it was discovered doing a play a bunker of World War II and automatically impidiío media to any possible spread of what was found in it.

Now I turn to some of the characters who are marching in the movie "Downfall" and are in my opinion the real heroes of the film, who honored the uniform of the Army who served and came to give life by it, even paying for sins they had not.

For example, the SS physician Dr. Shenck, who worked with Dr. Werner Haase. He was one of Hitler's personal physicians. Shenck refused to leave Berlin and decided to stay there doing their duty now-considered-their services would be more necessary than ever. This brave man would be imprisoned and victimized by the Russians after the German surrender. The film offers a fitting tribute and serves as a gentle reminder to this great professional and a member of the SS who might choose to flee and save themselves and yet remained beside his own until the last moment, working as a doctor.

Just the memory of Dr. Schenk emotional made me reflect on the notion of "humanitarian spirit." Dr. Schenk was a doctor and as such, was used to save lives, but also to see people die. Only a person with a great humanitarian spirit can choose what you chose him to stand by the side of the losers, rather than risking a likely death for the enemy, in exchange for one or more to save more lives. Only someone who estimates the value of human life above any other consideration, may decide something.

understand why Dr. Schenk even without knowing it was by serving a humanitarian cause and was not really serve the Third Reich, although formally carry his uniform. Because a true member of the SS had fled, and fled Himmler, and Eichmann fled, as they all fled like cowards, corrupt and lack of moral people who were willing to save his skin and out.

military is also brave as those who help Traude Jungle escape to freedom, through the Russian lines, and to maximize their chances of escape, they decide to stay, assuming a likely armed conflict which would not leave alive. That gentleman officer trying to save women risking their lives, the daring and personal courage, no may be characteristic of a member of the SS, they are cowards by definition, false and corrupt, that behavior is the behavior of a Person and courageous fighter who does not hesitate to sacrifice his life to save another human being. Therefore there is also a positive message in the film, many military people were dignified and honorable behavior. The film could not but reflect that even in flight and in circumstances so serious and dangerous behavior continues to be heroic and commendable.

In conclusion we can say that this film shows a group of diverse characters among whom are fanatical followers of Hitler, military wise and brave, but convicted their loyalty to the tyrant, and courageous people, dignified and worthy of recognition as Dr. Schenk or military aid Jungle Traude save his life after escaping the bunker.

VIII. The Eagle Has Landed (The Eagle Has Landed, 1976)

This British film was released in 1976 but looks like a classic movie so careful of their conduct. It was directed by John Sturges and counts among its cast acting with first names like Michael Caine, Robert Duvall, Donald Sutherland, Donald Pleasence, Anthony Quayle, Jenny Agutter, Treat Williams, Larry Hagman and Jean Marsh.

The film is quite long and if you have any luck with the editing can be extended, lasting nearly two hours.

The argument is this: the German secret service learns that the British leader Winston Churchill will visit a small town (Norfolk, UK). Hitler gives order to kidnap him. Colonel Radl, on the orders of Hitler, has the mission to Colonel Steiner, who was awaiting a court martial with his men (he had been sentenced to death.) Steiner logically accepts the mission to change to be fully rehabilitated in office as he and his military men. But the odds of success are slim, so the offer is not as generous as it looks.

Steiner's men disguised as soldiers Polish allies and fall parachuted into England, reaching its destination in advance. Now we can only await the arrival of Churchill.

This is an unusual film in the genre of WWII, first because in this movie "good" are the Germans, although not as representatives of the Third Reich but for the humanitarian and dignified personalities of its protagonists. In addition, the Third Reich is portrayed as a cruel, punishing his own men undeservedly. The death sentence of Steiner (played by Michael Caine) and his men is just the first demonstration in the film that something is wrong in the Third Reich. Because it is very clear Steiner and his men are completely innocent.

Moreover, there is a scene where there is an abuse by Nazi guards into a Jewish prisoners and the involvement of Steiner is clearly to prevent such abuse, admonish the guards and put these people unless attacked. This action gives us the first time since Steiner as a German officer, but a worthy person, respectful of people's lives. It is not a murderer, nor is it a cruel Nazi victims seeking.

the Germans in the film are portrayed as brave men, patriots, men of honor, which they refuse to fight with a fake uniform but want to wear their own uniforms. Accept the mission to kill but do not share Churchill racism, hatred of Nazism. They are military professionals trying to meet mandated, but not hate their enemies. In short, everything is ready for the viewer to take them sympathy from the beginning and see the film in a way different than you're used to coming to wish the bad guys (Germans) are off the hook.

interpretations of the characters are outstanding. Donald Pleasence plays Himmler and makes a very good role. The film has a rather slow development at first but then becomes more interesting. The historical recreation is very credible at all times we be in for a classic film, a blockbuster of the fifty or sixty, but it should be noted that the film is from 1976.

If I could summarize the movie in one sentence would read: "Soldiers of the Third Reich but with honor." This film avoids falling into the trap of presenting the German military as flat characters lacking any depth and heartless murderers. Here Colonel Colonel Radl and Steiner and his men are portrayed as wise, brave and loyal soldiers to their homeland but are not murderers, or hate the English, or feel hatred towards anyone. His conduct humanitarian, fellowship and camaraderie raise the complicity of the viewer from the first time and ended up watching as a handful of men killed trying to meet an almost impossible assignment as a reward for something they unfairly removed, his own dignity. And his own dignity honorable military is precisely the only thing left for these men, and therefore the value so much.

In this movie there is only a reference to the Holocaust and it is this scene where you see soldiers mistreating Jewish women who are being deported. Steiner and his men on the scene and prevent the abuse to continue, which means for them to problems with the Gestapo. The film does not treat the Holocaust fund (maybe it was early 1976) but leaves a small wake up call. Clearly, if Steiner and his men were aware of the Holocaust, there would have never accepted.

striking in this film and "The Submarine", how easily they accept missions impossible or almost impossible the German military. And yet, how little recognition and respect they obtained from their own government. By way of comparison, on the Allied side, Colonel Doolittle ordered his government will make a foray into Japan to undermine the morale Japan. It was an almost suicidal mission because it meant go into enemy territory with a very large aircraft, bombers, unable to escape and fuel very fair to land in China. Doolittle is successful but there are many casualties, and when he returns to U.S. fears that a court-martial opened so many casualties. However, U.S. fills him with honors.

How different the fate of a soldier to be on the German side.

IX. THE SUBMARINE.

Another great movie "different" that shows the second World War from the German side is "The submarine." We live day to day with a German submarine crew trying to survive as you can while dutifully fulfilled its mission. The film is based on the testimony of true German officers at the time and oozes credibility and authenticity, and the virtue that holds the technical complexity of carrying screens inside a military submarine forties.

Living conditions on board the submarine are horrific and overwhelming but the worst are the experiences that the players will suffer because of their own ranking Nazis such as when they receive orders to leave the survivors of a sunken ship, but also portrays the hell of suffering constant attacks and be almost sunk by the enemy. At the end of all their epic, triumphant return home but an unfortunate bombing frustrated happy ending to the story.

is certainly a film that teaches not to hate the Germans, because here unlike "The Eagle Has Landed" is not seen a special intention of being nice to the spectators, but is intended to tell a story from the German side, a story with people who suffer and live in fear too. There is a story of murderers and victims, but all are victims.

"The Sea" shows us a brave military, professional and feared for their skill, but not murderers without mercy. That phrase reminds that, in respect of the Cid who was in the service of Alfonso VI "God, what a good vassal, had been good sir." Well here we can not but recognize that if these facts that reflect the film are true and historical, of course the German sailors were people deserve recognition for their bravery and courage, but were serving a cause crooked and his own country were abandoned to their fate when it is appropriate . I wonder how many German military heroics have been forgotten and buried for not having been recognized at the time by the Nazi regime itself.

X. Schindler's list.

One of the most important films that are on the Holocaust and Nazism in general and also a great film commercially. It is rare to find someone who has not seen. He was also a movie very Oscar-winning (eight statuettes).

Schindler is a German bourgeois merchant is economic benefit to the war, but ends up in El Salvador more than a thousand Polish Jews. At some point, Schindler will become aware of the tragedy of the Jewish people and will do its best to save the lives of those in his factory has hired as employees. Something achieved thanks to the help of his loyal accountant.

I will not dwell on telling the story and carefully analyze the film as it is well known. Try to make some personal contribution to what I learned or I've seen of this film. In

this film particularly Nazism and SS are portrayed as a corrupt, authoritarian and does not respect human life. Schindler takes advantage of the weakness of the SS, his greed for money and luxury for their own benefit.

Schindler was a man of good family and had had a good education. Hence had no particular hatred or prejudice against Jews. This greatly facilitated the work to your accountant, Izhak Stern, who was actually drafted the famous list of people who would be saved from deportation and the Holocaust.

The movie tries to depict Schindler as a hero but shows its gradual evolution of unscrupulous employers a person deeply touched by the tragedy of the Jewish people.

Being a big movie can not forget that there were many other "saviors", the website of the Raoul Wallenberg there are many names of all nationalities, being that of Raoul Wallenberg major. People who risked their lives to help them escape and save thousands of Jews and, in many cases, have not been recognized beyond the loving memory of family members or a board on a street.

In my own town a few years ago killed three elderly women, after which burial was learned that during World War II had been part of an international network dedicated to the salvation of German and European Jews. Hid Jews in their homes and helped them escape. These events occurred during the Franco dictatorship and the worst period of repression, forties, where a mere anonymous tip could have given these people to the wall.

We will never know how many people saved their lives thanks to the solidarity and humanitarian initiative of three poor women in a small Galician city but what is certain is that their names, as well as the names of all the "saviors" that contained in the records of the Raoul Wallenberg Foundation, are such big names as that of Oskar Schindler, who, without denying any merit, we should not remember as a great savior because he was neither the only nor the most important. And the heroism and humanitarian conduct knows no nationalities, creeds and gender. We can find a "savior" in our own street, just as a murderer.

XI. FINAL.

is necessary and remains important to make new films and projecting those on the subject of the Holocaust. It is a historical fact too important and significant to allow the passage of time will grow into a story in black and white elderly deceased.

Those who accuse the "powerful Jewish influence" of films that are shot on the Holocaust, should be reminded that Christianity takes millennia remembering a single death of Jesus. And there are countless movies with religious themes, some important and classics like "Ben Hur", "The Ten Commandments", "Quo Vadis," "The Robe", etc. But why not read every day in the press charges against the various Christian churches by the "strong Christian influence" in the film world.

must admit that teaching the Holocaust could harm a student. Why tell a gay young man who arrived facts to suffer millions of people can result in material damage, especially when you realize that these events really happened and concludes that we are not completely safe they can not revive totalitarian regimes today. But it is imperative to hurt the youth with the moral harm and teach them the result of the Nazi experience. Only then will learn the true value of international human rights declarations, covenants of rights and democratic constitutions, the same texts that are overlooked in primary and secondary.

Holocaust education is not a teaching of death but of life. The Holocaust teaches us, to paraphrase the survivor of Auschwtiz Libusa Breden: God comes not expect to solve anything. Do you something. The Holocaust taught not to tolerate authoritarianism when it comes to installation. The Holocaust taught not to accept the discrimination of a group of others because we will be following us, as in the famous poem.

In today's world, education is the most immediate visual appeal and therefore we have seen films contain great lessons and several readings to be able to see.

The biggest challenge we face all the films is in the following question: Given this situation has to be What behavior? "Unjust order must prevail given by a Nazi, or humanitarian law must prevail institinto is telling us not to kill this person disobeying the order given, or we are faced with the above?

hardest thing is to react appropriately to a serious situation and it is here where the value of the conduct of Oskar Schindler, Kurt Gerstein and the brave men of Colonel Steiner. They are very clear that humanitarian instincts must prevail, but instead, many people, perhaps most, have not done anything and have consented to the injustice under the guise And what could I do?.

Today, there is no official persecution of the Jews nor would acceptable but there exist some hatred contempt and social groups such as the Romanian gypsies for example. What if a group of English law students accidentally witness how a couple of policemen brutally hit and handcuffed to a Romanian gypsy? How many of us would cope with the police would abuse such a complaint? It is these kinds of issues that test the daily humanitarian convictions of individuals. KEYBOARD