Film India archive

Pretty excited to find parts of the FilmIndia archive online, especially 1948 with a (idiosyncratic) review of Sunny’s Mela (stars Nargis and Dilip Kumar). Also I am quite taken by the concept of ’emotional masochism’ used to describe the film. Other films reviews are in a caustic tone, with the phrase ‘hotch-potch’ appearing in at least three article titles I read, and ‘hotch-potch of coincidences’ possibly the most often repeated phrase. But great details, covers, and things not to be forgotten. Full credit for making this available (John McElwee donation to the Media History Digital Library, scanned from the collection of the Museum of Modern Art Library). A lock on resources, but opened up a little, thanks heaps.

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What is Trinketization

This is a seven year old consolidation of what trinketization was supposed to be about. Asked today for a link, this still seems ok but really could do with an update after Obama and Trump. I’ll get to that soon.

trinketization

For an explanation of Trinketization – never fully codified as yet – you might start with the following old posts such as:

Note 33: Trinketization is both a reductive appropriation of everything to commodification, as if that were somehow the fully articulated explanation; AND Trinketization is the proliferation of theorizations of that commodity desiccation that atomises a paralyzingly abundant fascination and desire.

Plus:

dth2Mind Boggling

Before the Letter

Jesus Trinkets

Plastic Stuff

Kane’s Snowglobe

Kuffiya Spotting

Third World Tourism

Communist Tat

Vignettes

And this maritime captain picture is a trinket gesture itself – you should read Paul Hendrich’s piece on the Deptford Town Hall slavery statues; also check Rosie Wright on Trafalgar Square plinth (here), and Imogen Bunting on May Day posings (here) – the three of us often talked trinkets, working out a critique of objects and their multiple meanings. The three of them really are each very much missed.

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Pantomime terrorism hits Sweden

Here’s SCROTUS warning us of the pantomime terrorism situation in Sweden. The double speak bubbles capture his discourse with uncanny accuracy. People may think this is kids stuff, but as a sign of the end times and I think Todo’s caught it just right.

Concentrate on the camps 

This is from E-flux:

Dheisheh Refugee Camp. Photo: Luca Capuano.

Refugee Heritage, a new project by DAAR 
The Architecture of Exile IV. B: February 24, 7pm, with Suad Amiry, Thomas Keenan, Jorge Otero-Pailos, and Alessandro Petti and Sandi Hilal; moderated by Nikolaus Hirsch 

e-flux, 311 East Broadway, New York, NY 10002 

Refugee camps are established with the intention of being demolished. As a paradigmatic representation of political failure, they are meant to have no history and no future; they are meant to be forgotten. The history of refugee camps are constantly erased, dismissed by states, humanitarian organizations, international organizations and even self-imposed by refugee communities in fear that any acknowledgement of the present undermines a future right of return. The only history that is recognized within refugee communities is one of violence and humiliation. Yet the camp is also a place rich with stories narrated through its urban fabric. In tracing, documenting, revealing and representing refugee history beyond the narrative of suffering and displacement, Refugee Heritage is an attempt to imagine and practice refugee-ness beyond humanitarianism. ​
Contemporary notions of heritage and conservation are buttressed by institutions of great power, which are often oriented towards cultural expropriation. UNESCO’s “Format for the nomination of properties for inscription on the World Heritage List (Annex 5)” is a monumental building built during a colonial era. Over the course of two years, organizations and individuals, politicians and conservation experts, activists, governmental and non-governmental representatives and proximate residents gathered to discuss the implications of nominating Dheisheh Refugee Camp as a World Heritage Site. Refugee Heritage seeks to deploy the potential for heritage to be mobilized as an agent of political transformation.
Over the course of the next four weeks, an edited version of the Annex 5 nomination dossier for the inscription of Dheisheh Refugee Camp as a World Heritage Site will be published according to the first four parts of the nomination: Identification, Description, Justification, and Conservation.
On February 24 at e-flux, a panel event featuring Suad Amiry, Thomas Keenan, Jorge Otero-Pailos, and Alessandro Petti and Sandi Hilal (moderated by Nikolaus Hirsch) will seek to address the potential for practices and institutions of conservation to be understood as a force capable of mobilizing the political constitution of built space. The panel will streamed live here. Click here for more information.
Author: Alessandro Petti (DAAR)
Editors: Nick Axel, Nikolaus Hirsch, Anton Vidokle
The UNESCO nomination dossier was originally prepared by DAAR (Alessandro Petti, Sandi Hilal, Sandy Rishmawi, Elsa Koehler, Isshaq Al Barbary, Mais Musleh) in consultation with Campus in Camps, Dheisheh Camp Popular Committee, Finiq Cultural Center, Ibdaa Cultural Center, Riwaq Center for Architectural Conservation and Centre for Cultural Heritage Preservation in Bethlehem. Special thanks to the Odah and Al Saifi families. Produced with the support of the Foundation for Art Initiatives and 5th Riwaq Biennale.
This publication was made possible by the Decolonizing Architecture course at the Royal Institute of Art in Stockholm, Sweden.

  

More on the bees, and Avatar

Really? Heh heh. 
From the Bee Movie:


And from Avatar:


Nothing if not populist. 

Who said kids wouldn’t pour over this speech for years to come? Course they will, or at least for ten minutes…
See also:

https://www.google.co.uk/amp/s/hutnyk.wordpress.com/2012/03/13/avatar-trinkets/amp/

.
And

https://hutnyk.wordpress.com/2012/01/30/bees-again/

Marx in Algiers again

Of haircuts and Rhino coats…

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This is the worked up text of a talk I gave in Chandernagore in February 2016. The photo is one I’ve failed to trace from the dates and evidence in the letters (see below) of the visit to the barber – if anyone is good at that sort of tracking, please let me know, the photographer of the first one is E. Dutertre, and the second, if authentic, probably the same.

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Click here to read the draft chapter