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	<title>www.reinform.info &#187; Interviews</title>
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		<title>Pavlos Antonopoulos talks to ReINFORM about the EU antipopular policies and his arrest</title>
		<link>http://www.reinform.info/?p=7151</link>
		<comments>http://www.reinform.info/?p=7151#comments</comments>
		<pubDate>Wed, 22 Jan 2014 20:09:54 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Movement]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[protest]]></category>
		<category><![CDATA[ReINFORM]]></category>
		<category><![CDATA[repression]]></category>
		<category><![CDATA[Strike]]></category>

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		<description><![CDATA[Pavlos Antonopoulos talks to ReINFORM about the EU antipopular policies, the anti EU protest on 8/1/14 and his arrest and State terrorism. On 8/1/14 the Greek government organized festivities for taking over the presidency of the EU. The protest organized by radical left organizations in Athens has been banned by the police on purely political [...]]]></description>
				<content:encoded><![CDATA[<p>Pavlos Antonopoulos talks to ReINFORM about the EU antipopular policies, the anti EU protest on 8/1/14 and his arrest and State terrorism. <span id="more-7151"></span></p>
<p><iframe src="//player.vimeo.com/video/84782474" width="500" height="281" frameborder="0" title="Pavlos Antonopoulos talks about the EU and State terrorism" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe></p>
<p>On 8/1/14 the Greek government organized festivities for taking over the presidency of the EU. The protest organized by radical left organizations in Athens has been banned by the police on purely political grounds. The organizations of the left that organize the protest have decided to defy the ban and go on with the demonstrations. Several trade unions and political parties of the left denounced the ban.</p>
<p>Pavlos Antonopoulos, a trade unionist from the board of the union of civil servants (ADEDY) and member of the left wing organization ANTARSYA, was arrested and handcuffed for defying the demonstration ban. At Omonia Square in the center of Athens, several hundreds of protesters defied the ban of demonstrations against the festivities for the Greek EU Presidency. They were attacked with tear gas by the riot police. Pavlos Antonopoulos trial will be tomorrow.</p>
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		<title>Richard Wolff on Capitalism and Socialism: An Interview with C. J. Polychroniou</title>
		<link>http://www.reinform.info/?p=7102</link>
		<comments>http://www.reinform.info/?p=7102#comments</comments>
		<pubDate>Mon, 06 Jan 2014 13:20:31 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[Communism]]></category>
		<category><![CDATA[Lenin]]></category>
		<category><![CDATA[Marx]]></category>
		<category><![CDATA[Richard Wolff]]></category>
		<category><![CDATA[Social Movements]]></category>
		<category><![CDATA[Socialism]]></category>

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		<description><![CDATA[1.  In a paper you co-authored nearly twenty years ago with Stephen Resnick for a co-edited book of mine, you highlighted the fact that here was a time when it was thought that societies can follow “one of two mutually exclusive forms. The first form, capitalism, is usually defined in terms of three key components: [...]]]></description>
				<content:encoded><![CDATA[<p>1.  In a paper you co-authored nearly twenty years ago with Stephen Resnick for a co-edited book of mine, you highlighted the fact that here was a time when it was thought that societies can follow “one of two mutually exclusive forms. The first form, capitalism, is usually defined in terms of three key components: markets (determining prices and wages), private ownership of the means of production (including labor power), and, thus wage labor. The second, communism (or socialism), is generally defined as the absence of the same three components.” Ever since, you have been a leading advocate of the idea that these variables do not distinguish capitalism from socialism or communism, relying on a particular Marxist class analysis approach. Let’s start by asking you to highlight your understanding of class processes and class analysis.</p>
<p><img class="alignleft size-medium wp-image-7103" alt="16-17-1-thumb-large" src="http://www.reinform.nl/wp-content/uploads/2014/01/16-17-1-thumb-large-264x300.jpg" width="264" height="300" />In my analysis, capitalist and socialist are adjectives referring to class processes. The class processes are different from – other than – the processes that comprise ownership of property and also different from the processes of market exchanges, including the exchange between wages and labor power. Class processes are defined precisely as the producing, receiving, and distributing of surplus labor. It is these processes together that comprise a class structure. Thus, my approach differs from the traditional debates over capitalism and socialism by focusing attention upon a different variable that others choose to make the distinction between the systems. In my approach, capitalism and socialism or communism refer to the issue of class structure, the particular form of the processes of producing, receiving, and distributing surplus labor. Class processes so defined are interactive and interdependent with, but also irreducibly different from such nonclass processes as ownership (private, collective, or state), distribution (markets, command allocation, custom), and power (distribution of authority among individuals, levels of government, and so on).</p>
<p>2.If it is not wage labor, markets, and private property that determine capitalist class processes, what exactly is capitalism?</p>
<p>Crucial to my argument about systems is that there is no necessary or mechanical linkage between any of these factors and the presence of a particular form of the class process. It is not wage labor, markets, private property, parliamentary democracy, natural resource availability, or any other one or a subset of factors that are the key or essential determinants of, say, capitalist class processes. It is, rather, the ensemble of conditions, the totality of all the factors that interact and thereby generate the particular form of the class processes. So capitalism is that particular class process, i.e. organization of the surplus, in which those who produce the surplus are different people from those who appropriate and then socially distribute that surplus with the goal of reproducing that capitalist class process. In this way, capitalism is like feudalism and slavery. What differentiates capitalism from feudalism and slavery is the relationship between the surplus producers and appropriators. In capitalism, there is a contractual relationship (unlike ownership, as in slavery, or the personal relation of serfdom, as in feudalism) between surplus producer and appropriator via the wage system. But to push the argument to a logical extreme, if capitalist class processes can coexist in a society without wage labor, without markets and without private property, can this society still be called capitalist? The answer that flows from the definition I am advancing is, yes, if we can demonstrate that all the other social factors (other than wage labor, markets, and private property) impacting on its particular organization of the production, receipt, and distribution of surplus labor have overdetermined a capitalist form.</p>
<p>3. This is to say, then, that who predominates in state, economy and society, which has been the position of various socialists and communists, from Lenin to Lange and Sweezy, is not what differentiates capitalism from socialism?</p>
<p>Yes, exactly. What differentiates a systems is, as Marx showed, “how the surplus is pumped out of the producers.” If the surplus producers themselves collectively (i) determine the size of the surplus they produce, (ii) appropriate it, and (iii) distribute it socially, then you have socialism or communism as clearly differentiated from capitalism in which the surplus producers are precisely excluded from making that determination or that appropriation or that distribution.</p>
<p>4.From the perspective of Marxian class analysis you employ, what was the nature of Soviet economy and society?</p>
<p>I think it’s beyond contention that the system in the USSR did not generally arrange for the workers themselves to appropriate and distribute their surpluses. As such, the Soviet system did not end capitalism. They did change its form. Instead of private capitalism (appropriators chosen by shareholders and holding no state positions), they instituted state capitalism (state officials functioned as surplus appropriators). Lenin acknowledged that, hoping that state capitalism might serve as a step on the road to socialism. Except for a short time on collective farms in the 1930s and 1940s, a socialist or communist class structure was not widespread in the history of the USSR.</p>
<p>There is a major theme in Marx’s work that uses a careful specification of what it calls necessary and surplus labor to differentiate among economic systems. Briefly, this theme holds that in all human societies, some members work to transform nature into the objects of human needs and desire. These members do necessary work – the quantity of work required to secure whatever standard of living they demand – yet, they also do more work than that. This additional quantity of work is what Marx calls their surplus labor. In Marx’s definition of surplus labor, exploitation (defined precisely as any situation in which the producers of the surplus are different people from its appropriators) does not occur only in a capitalist system. It can occur in other systems that Marx only briefly and tentatively distinguished from capitalism, especially slavery and feudalism. And it did occur in the Soviet Union for the reasons already outlined with regard to the appropriation and distribution of surplus labor. The full details of this argument are available in S. Resnick and R. Wolff, Class Theory and History: Capitalism and Communism in the USSR (New York: Routledge, 2002).</p>
<p>5.Socialism and direct participatory democracy seem to be intertwined in your analyses of future social orders. Some critics might point out that this view carries the implication that humans are totally capable of pushing aside their selfish nature, which is to say that the future of socialism depends indeed on a “new man.” How would you respond to this charge?</p>
<p>The shortest answer to this question is that the “nature” of human beings is a socially overdetermined, evolving quality. Capitalism shapes various forms of behavior which are conditioned and determined by the contradictory demands placed upon them by economic and social components of the system. The evolution of human nature to now is what   produces growing demands for social change beyond capitalism. The change to socialism will in turn further develop human beings and their “nature.”</p>
<p>6. Many on the Left suggest that the crisis facing advanced capitalism today is life- threatening to the system.  Yet, profits for major corporations, banks and other financial institutions are at an all time high while the standard of living for the average workers is shrinking and the scourge of long-term unemployment constantly grows. What kind of a capitalist crisis is this?</p>
<p>Capitalism has always sought to turn its internal contradictions and periodic crises to its own advantage, to turn, as Mao said, bad things into good things. The current crisis since 2007 has provided capitalists with opportunities they have seized.  In the US, for example, financial and other mega-corporations rushed to mobilize massive government assistance to save them from collapse.  Clear to all, that rush mocked the previous era&#8217;s glib contrast of the private sector as efficient and the public sector as useless or worse.  No political gridlock prevented the government from swiftly and nearly unanimously providing those mega-corporations with trillions in loans, guarantees, investments, and other forms of stimulus spending.</p>
<p>In the meantime, the system has stopped delivering “goods to the people.”  Millions of people throughout Europe and the United States are condemned to the repeated ravages of lost jobs, job benefits, and job security plus foreclosed homes and bleak job prospects for their children.  The personal, family, and economic costs of the failure to deal with capitalist crises are staggering. Over 20 million of Americans today are without a job, millions more limited to part-time jobs.  Similar situations exist in Europe, and much worse in parts of southern Europe. As example of the kind of capitalist crisis we are facing, according to the US Federal Reserve System, roughly 20 percent of the economy&#8217;s tools, equipment, factory, office, and store space, and raw materials stand idle. This capitalist system deprives us all of the output and wealth that could be produced if the people denied jobs were combined with the idled means of production.</p>
<p>The capitalist crisis has also provided, in dialectical fashion, opportunities for anti-capitalists, but they have only begun to seize them.Many of today’s radicals largely avoid the language, concepts, and imagery associated with earlier forms of anti-capitalism: traditional socialism, the USSR, China, and the marginalized, often sectarian, groups who remain identified with those forms. Various sorts of anarchism and unorthodox Marxisms (old and new) have surfaced and found followings on the left.  These diverse movements have formulated critiques of the crisis focused on its roots in capitalism, but they have not yet coalesced into or with political, enduring, and self-consciously anti-capitalist organizations.</p>
<p>7.What examples from around the world would you say point to the future of socialism?</p>
<p>In countless countries, including Greece, there is a fast-growing anti-capitalist consciousness and anti-capitalist components of social protest. This consciousness raising is extremely important, notwithstanding the frustration that it has not yet been matched, in most countries, by more developed organization. In the US,  for so long the bastion of uncritical celebration of capitalism, the level of anti-capitalist criticism is greater than at any time since the Great Depression of the 1930s.</p>
<p>Around the world, movements to replace capitalist organizations of the surplus with collective (socialist, communist) organizations of the surplus are growing. So far these are largely dispersed and small (with crucial exceptions such as Mondragon in Spain), but their growth and the growing focus on worker coops are yet another expression of growing anti-capitalist consciousness. As for Mondragon,it isthe world&#8217;s largest and perhaps most successful example of Workers’ Self-Directed Enterprises, competing effectively with conventional capitalist enterprises. Begun in 1956 with six workers organized into a cooperative enterprise by a Spanish priest, the Mondragon Cooperative Corporation (MCC) now employs over 100,000 workers, is the largest corporation in the Basque part of Spain and the tenth largest corporation in all of Spain. It has extensive research and development labs generating new ways to produce new products and maintains its own university to train its workers and interested others in all the ways of running and building democratically cooperative enterprises. MCC is thus a remarkable testimony to the contemporary viability and strength of non-capitalist production systems. It is one of the proliferating models of an alternative to capitalist economics and politics.</p>
<p>Source: http://www.rdwolff.com/content/richard-wolff-capitalism-and-socialism-interview-c-j-polychroniou</p>
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		<title>Chomsky: It Is All Working Quite Well for the Rich, Powerful</title>
		<link>http://www.reinform.info/?p=7012</link>
		<comments>http://www.reinform.info/?p=7012#comments</comments>
		<pubDate>Mon, 09 Dec 2013 23:36:09 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[Crisis]]></category>
		<category><![CDATA[Germany]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[Neoliberalism]]></category>
		<category><![CDATA[Noam Chomsky]]></category>
		<category><![CDATA[Skouries]]></category>
		<category><![CDATA[Troika]]></category>

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		<description><![CDATA[C.J. Polychroniou and Anastasia Giamali: Neoliberal ideology claims that the government is a problem, society does not exist and individuals are responsible for their own fate. Yet, big business and the rich rely, as ever, on state intervention to maintain their hold over the economy and to enjoy a bigger slice of the economic pie. [...]]]></description>
				<content:encoded><![CDATA[<p><strong>C.J. Polychroniou and Anastasia Giamali: Neoliberal ideology claims that the government is a problem, society does not exist and individuals are responsible for their own fate. Yet, big business and the rich rely, as ever, on state intervention to maintain their hold over the economy and to enjoy a bigger slice of the economic pie. Is neoliberalism a myth, merely an ideological construct?</strong></p>
<p>Noam Chomsky: The term <em>neoliberal</em> is a bit misleading. The doctrines are neither new, nor liberal. As you say, big business and the rich rely extensively on what economist Dean Baker calls &#8220;the conservative nanny state&#8221; that they nourish. That is dramatically true of financial institutions. A recent IMF study attributes the profits of the big banks almost entirely to the implicit government insurance policy (&#8220;too big to fail&#8221;), not just the widely publicized bailouts, but access to cheap credit, favorable ratings because of the state guarantee and much else. The same is true of the productive economy. The IT revolution, now its driving force, relied very heavily on state-based R&amp;D, procurement and other devices. That pattern goes back to early English industrialization.</p>
<p>However, neither &#8220;neoliberalism,&#8221; nor its earlier versions as &#8220;liberalism,&#8221; have been myths, certainly not for their victims. Economic historian Paul Bairoch is only one of many who have shown that &#8220;the Third World&#8217;s compulsory economic liberalism in the 19th century is a major element in explaining the delay in its industrialization,&#8221; in fact, its &#8220;de-industrialization,&#8221; a story that continues to the present under various guises.</p>
<p>In brief, the doctrines are, to a substantial extent, a &#8220;myth&#8221; for the rich and powerful, who craft many ways to protect themselves from market forces, but not for the poor and weak, who are subjected to their ravages.</p>
<p><img class="aligncenter size-full wp-image-7013" alt="Daniel Pudles 15012013" src="http://www.reinform.nl/wp-content/uploads/2013/12/Daniel-Pudles-15012013-008.jpg" width="460" height="276" /></p>
<p><strong>What explains the supremacy of market-centric rule and predatory finance in an era that has experienced the most destructive crisis of capitalism since the Great Depression?</strong></p>
<p>The basic explanation is the usual one: It is all working quite well for the rich and powerful. In the US, for example, tens of millions are unemployed, unknown millions have dropped out of the workforce in despair, and incomes as well as conditions of life have largely stagnated or declined. But the big banks, which were responsible for the latest crisis, are bigger and richer than ever, corporate profits are breaking records, wealth beyond the dreams of avarice is accumulating among those who count, labor is severely weakened by union busting and &#8220;growing worker insecurity,&#8221; to borrow the term Alan Greenspan used in explaining the grand success of the economy he managed, when he was still &#8220;St. Alan,&#8221; perhaps the greatest economist since Adam Smith, before the collapse of the structure he had administered, along with its intellectual foundations. So what is there to complain about?</p>
<p>The growth of financial capital is related to the decline in the rate of profit in industry and the new opportunities to distribute production more widely to places where labor is more readily exploited and constraints on capital are weakest &#8211; while profits are distributed to places with lowest [tax] rates (&#8220;globalization&#8221;). The process has been abetted by technological developments that facilitate the growth of an &#8220;out-of-control financial sector,&#8221; which &#8220;is eating out the modern market economy [that is, the productive economy] from inside, just as the larva of the spider wasp eats out the host in which it has been laid,&#8221; to borrow the evocative phrase of Martin Wolf of the <em>Financial Times</em>, probably the most respected financial correspondent in the English-speaking world.</p>
<p>That aside, as noted, the &#8220;market-centric rule&#8221; imposes harsh discipline on the many, but the few who count protect themselves from it effectively.</p>
<p><strong>What do you make of the argument about the dominance of a transnational elite and the end of the nation-state, especially since its proponents claim that this New World Order is already upon us? </strong></p>
<p>There&#8217;s something to it, but it shouldn&#8217;t be exaggerated. Multinationals continue to rely on the home state for protection, economic and military, and substantially for innovation as well. The international institutions remain largely under the control of the most powerful states, and in general the state-centric global order remains reasonably stable.</p>
<p><strong>Europe is moving ever closer to the end of the &#8220;social contract.&#8221; Is this a surprising development for you?</strong></p>
<p>In an interview, Mario Draghi informed <em>The Wall Street Journal</em> that &#8220;the Continent&#8217;s traditional social contract&#8221; &#8211; perhaps its major contribution to contemporary civilization &#8211; &#8220;is obsolete&#8221; and must be dismantled. And he is one of the international bureaucrats who is doing most to protect its remnants. Business has always disliked the social contract. Recall the euphoria in the business press when the fall of &#8220;Communism&#8221; offered a new work force &#8211; educated, trained, healthy and even blond and blue-eyed &#8211; that could be used to undercut the &#8220;luxurious lifestyle&#8221; of western workers. It is not the result of inexorable forces, economic or other, but a policy design based on the interests of the designers, who are rather more likely to be bankers and CEOs than the janitors who clean their offices.</p>
<p><strong>One of the biggest problems facing many parts of the advanced capitalist world today is the debt burden, public and private. In the peripheral nations of the eurozone, in particular, debt is having catastrophic social effects as the &#8220;people always pay,&#8221; as you have pointedly argued in the past. For the benefit of today&#8217;s activists, would you explain in what sense debt is &#8220;a social and ideological construct?&#8221; </strong></p>
<p>There are many reasons. One was captured well by a phrase of the US executive director of the IMF, Karen Lissakers, who described the institution as &#8220;the credit community&#8217;s enforcer.&#8221; In a capitalist economy, if you lend me money and I can&#8217;t pay you back, it&#8217;s your problem: You cannot demand that my neighbors pay the debt. But since the rich and powerful protect themselves from market discipline, matters work differently when a big bank lends money to risky borrowers, hence at high interest and profit, and at some point they cannot pay. Then the &#8220;the credit community&#8217;s enforcer&#8221; rides to the rescue, ensuring that the debt is paid, with liability transferred to the general public by structural adjustment programs, austerity and the like. When the rich don&#8217;t like to pay such debts, they can declare them to be &#8220;odious,&#8221; hence invalid: imposed on the weak by unfair means. A huge amount of debt is &#8220;odious&#8221; in this sense, but few can appeal to powerful institutions to rescue them from the rigors of capitalism.</p>
<p>There are plenty of other devices. J.P. Morgan Chase has just been fined $13 billion (half of it tax-deductible) for what should be regarded as criminal behavior in fraudulent mortgage schemes, from which the usual victims suffer under hopeless burdens of debt.</p>
<p>The inspector-general of the US government bailout program, Neil Barofsky, pointed out that it was officially a legislative bargain: the banks that were the culprits were to be bailed out, and their victims, people losing their homes, were to be given some limited protection and support. As he explains, only the first part of the bargain was seriously honored, and the plan became a &#8220;giveaway to Wall Street executives&#8221; &#8211; to the surprise of no one who understands &#8220;really existing capitalism.&#8221;</p>
<p>The list goes on.</p>
<p><strong>In the course of the crisis, Greeks have been portrayed around the globe as lazy and corrupt tax evaders who merely like to demonstrate. This view has become mainstream. What are the mechanisms used to persuade public opinion? Can they be tackled?</strong></p>
<p>The portrayals are presented by those with the wealth and power to frame the prevailing discourse. The distortion and deceit can be confronted only by undermining their power and creating organs of popular power, as in all other cases of oppression and domination.</p>
<p><strong>What is your view about what is happening in Greece, particularly with regard to the constant demands by the &#8220;troika&#8221; and Germany&#8217;s unyielding desire to advance the cause of austerity?</strong></p>
<p>It appears that the ultimate aim of the German demands from Athens, under the management of the debt crisis, is the capture of whatever is of value in Greece. Some people in Germany appear to be intent on imposing conditions of virtual economic slavery on the Greeks.</p>
<p><strong>It is rather likely that the next government in Greece will be a government of the Coalition of the Radical Left. What should be its approach toward the European Union and Greece&#8217;s creditors? Also, should a left government be reassuring toward the most productive sectors of the capitalist class, or should it adopt the core components of a traditional workerist-populist ideology?  </strong></p>
<p>These are hard practical questions. It would be easy for me to sketch what I would like to happen, but given existing realities, any course followed has risks and costs. Even if I were in a position to assess them properly &#8211; I am not &#8211; it would be irresponsible to urge policy without serious analysis and evidence.</p>
<p><strong>Capitalism&#8217;s appetite for destruction was never in doubt, but in your recent writings you pay increasing attention to environmental destruction. Do you really think human civilization is at stake?</strong></p>
<p>I think decent human survival is at stake. The earliest victims are, as usual, the weakest and most vulnerable. That much has been evident even in the global summit on climate change that just concluded in Warsaw, with little outcome. And there is every reason to expect that to continue. A future historian &#8211; if there is one &#8211; will observe the current spectacle with amazement. In the lead in trying to avert likely catastrophe are the so-called &#8220;primitive societies&#8221;: First Nations in Canada, indigenous people in South America and so on throughout the world. We see the struggle for environmental salvage and protection taking place today in Greece, where the residents of Skouries in Chalkidiki are putting up a heroic resistance both against the predatory aims of Eldorado Gold and the police forces that have been mobilized by the Greek state in support of the multinational company.</p>
<p>Those enthusiastically leading the race to fall off the cliff are the richest and most powerful societies, with incomparable advantages, like the US and Canada. Just the opposite of what rationality would predict &#8211; apart from the lunatic rationality of &#8220;really existing capitalist democracy.&#8221;</p>
<p><strong>The US remains a world empire and, by your account, operates under the &#8220;Mafia principle,&#8221; meaning that the godfather does not tolerate &#8220;successful defiance.&#8221; Is the American empire in decline, and, if so, does it pose yet a greater threat to global peace and security? </strong></p>
<p>US global hegemony reached a historically unparalleled peak in 1945, and has been declining steadily since, though it still remains very great and though power is becoming more diversified, there is no single competitor in sight. The traditional Mafia principle is constantly invoked, but ability to implement it is more constrained. The threat to peace and security is very real. To take just one example, President Obama&#8217;s drone campaign is by far the most vast and destructive terrorist operation now under way. The US and its Israeli client violate international law with complete impunity, for example, by threats to attack Iran (&#8220;all options are open&#8221;) in violation of core principles of the UN Charter. The most recent US Nuclear Posture Review (2010), is more aggressive in tone than its predecessors, a warning not to be ignored. Concentration of power rather generally poses dangers, in this domain as well.</p>
<p><strong>Regarding the Israeli-Palestinian conflict, you have said all along that the one-state/two-state debate is irrelevant.</strong></p>
<p>The one-state/two-state debate is irrelevant because one state is not an option. It is worse than irrelevant: It is a distraction from the reality.</p>
<p>The actual options are either (1) two states or (2) a continuation of what Israel is now doing with US support: keeping Gaza under a crushing siege, separated from the West Bank; and systematically taking over what it finds of value in the West Bank while integrating it more closely to Israel, taking over areas with not many Palestinians; and those who are there are being quietly expelled. The contours are quite clear from the development and expulsion programs.</p>
<p>Given option (2), there&#8217;s no reason why Israel or the US should agree to the one-state proposal, which also has no international support anywhere else. Unless the reality of the evolving situation is recognized, talk about one state (civil rights/anti-apartheid struggle, &#8220;demographic problem&#8221;, etc.) is just a diversion, implicitly lending support to option (2). That&#8217;s the essential logic of the situation, like it or not.</p>
<p><strong>You have said that elite intellectuals are the ones that mainly tick you off. Is this because you fuse politics with morality? </strong></p>
<p>Elite intellectuals, by definition, have a good deal of privilege. Privilege provides options and confers responsibility. Those more privileged are in a better position to obtain information and to act in ways that will affect policy decisions. Assessment of their role follows at once.</p>
<p>It&#8217;s true that I think that people should live up to their elementary moral responsibilities, a position that should need no defense. And the responsibilities of someone in a more free and open society are, again obviously, greater than those who may pay some cost for honesty and integrity. If commissars in Soviet Russia agreed to subordinate themselves to state power, they could at least plead fear in extenuation. Their counterparts in more free and open societies can plead only cowardice.</p>
<p><strong>Michel Gondry&#8217;s animated documentary </strong><em><b>Is the Man Who Is Tall Happy?</b></em><strong> has just been released in selected theaters in New York City and other major cities in the US after having received rave reviews. Did you see the movie? Were you pleased with it?  </strong></p>
<p>I saw it. Gondry is really a great artist. The movie is delicately and cleverly done and manages to capture some important ideas (often not understood even in the field) in a very simple and clear way, also with personal touches that seemed to me very sensitive and thoughtful.</p>
<p>Source: http://www.zcommunications.org/chomsky-it-is-all-working-quite-well-for-the-rich-powerful-by-noam-chomsky.html</p>
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		<title>An Interview with Roger Waters</title>
		<link>http://www.reinform.info/?p=7006</link>
		<comments>http://www.reinform.info/?p=7006#comments</comments>
		<pubDate>Sat, 07 Dec 2013 11:34:31 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[Boycott Divestment and Sanctions]]></category>
		<category><![CDATA[Israel]]></category>
		<category><![CDATA[Palestine]]></category>
		<category><![CDATA[Roger Waters]]></category>

		<guid isPermaLink="false">http://www.reinform.nl/?p=7006</guid>
		<description><![CDATA[On Music, the Political Role of Artists and His Activism for Justice Around the World, Including in Palestine. Frank Barat: When did you make the decision to make the Wall tour (that ended in Paris in September 2013) so political ? And why did you dedicate the final concert to Jean-Charles De Menezes ? Roger Waters: The [...]]]></description>
				<content:encoded><![CDATA[<p align="JUSTIFY">On Music, the Political Role of Artists and His Activism for Justice Around the World, Including in Palestine.<span id="more-7006"></span></p>
<p align="JUSTIFY"><i>Frank Barat: When did you make the decision to make the Wall tour (that ended in Paris in September 2013) so political ? And why did you dedicate the final concert to Jean-Charles De Menezes ?</i></p>
<p align="JUSTIFY">Roger Waters: The first show was October 14<sup>th</sup> 2010. We started working on content of show with Sean Evans in 2009. I had already decided to make it much broader politically than it had been in 1979/80. It could not be just about this whinny little guy who didn’t like his teachers. It had to be more universal. That’s why ‘fallen loved ones’ came into it (the shows are showing pictures of people that died during wars) trying to universalise the sense of grief and loss that we all feel towards family members killed in conflict. Whatever the wars or the circumstances, <i>they </i>(in the non western world), feel has much lost as <i>we</i> do. Wars become an important symbol because of that separation between ‘us and them,’ which is fundamental to all conflicts. Regarding Jean-Charles, we used to do Brick II with three solos at the end and I decided that three solos was too much, it was boring me. So sitting in a hotel room, one night, I was thinking about what I could do instead of that. Somebody had recently sent me a photograph of Jean-Charles De Menezes to go on the wall. So he was in my mind and I thought that I should sing his story. I wrote that song, taught it to the band, and that’s what we did.</p>
<p align="JUSTIFY"><i>FB: A lot of artist would say that mixing arts and politics is wrong. That their goal is only to entertain. What would you say to those people?</i></p>
<p align="JUSTIFY">RW: Well it’s funny you should say that because I just finished yesterday the text of a new piece which will be a new album of mine. It’s about a grandfather in Northern Ireland going on a quest with his grandchild to find the answer to the question: “Why are they killing the children?”, because the child is really worried about it. Right at the very end of it, I decided to add something more. In the song, the child tells his grandpa: “Is that it?” and the grandpa replies “No, we cannot leave on that note, give me another note”. A new song starts and the grandpa makes a speech. He says: “We live on a tiny dot in a middle of a lot of fucking nothing. Now, if you’re not interested in any of this, if you’re one of those “Roger I love Pink Floyd but I hate your fucking politics”, if you believe artists should be mute, emasculated, nodding dogs dangling aimlessly over the dashboard of life, you might be well advised to fuck off to the bar now, because, time keeps slipping away.” That’s my answer to your question.</p>
<p align="JUSTIFY"><i>FB: When will album be out?</i></p>
<p align="JUSTIFY">RW: I’ve got no idea. I’m working away furiously on lots of old projects. I’m going to give a first listen to this to Sean Evans. He’s coming to my house tomorrow to listen to it. I’ve made a demo which is one hour and six minutes long. It’s pretty heavy I confess, but there is also some humor in it, I hope, but it’s extremely radical and it poses very important questions. Look, if I’m the only one doing it, I am entirely content. I mean, I’m not, I wish there were more people writing about politics and our real situation. Even from what could be considered extreme points of view. It’s very important that Goya did what he did, same for Picasso and Guernica and all those anti-war novels that came out during and after the Vietnam war.</p>
<p align="JUSTIFY"><a href="http://www.counterpunch.org/wp-content/dropzone/2013/12/rogerWaters.jpg"><img alt="rogerWaters" src="http://www.counterpunch.org/wp-content/dropzone/2013/12/rogerWaters.jpg" width="510" height="284" /></a></p>
<p align="JUSTIFY"><i>FB: You’re talking about yourself being one of the only one, in your position, taking radical political positions. When it comes to Palestine, you are very open about your support for a cultural boycott of Israel. People opposing this tactic say that culture should not be boycotted. What would you answer to that?</i></p>
<p align="JUSTIFY">RW: I would say that I understand their opinion. Everybody should have one. But I can’t agree with them, I think that they are entirely wrong. The situation in Israel/ Palestine, with the occupation, the ethnic cleansing and the systematic racist apartheid Israeli regime is un acceptable. So for an artist to go and play in a country that occupies other people’s land and oppresses them the way Israel does, is plain wrong. They should say no. I would not have played for the Vichy government in occupied France in the Second World War, I would not have played in Berlin either during this time. Many people did, back in the day. There were many people that pretended that the oppression of the Jews was not going on. From 1933 until 1946. So this is not a new scenario. Except that this time it’s the Palestinian People being murdered. It’s the duty of every thinking human being to ask: “What can I do?”. Anybody who looks at the situation will see that if you choose not to take up arms to fight your oppressor, the non violent route, and the <a href="http://www.bdsmovement.net/" target="_blank">Boycott Divestment and Sanctions</a> (B.D.S) movement, which started in Palestine with 100% support from Palestinian civil society in 2004-2005, a movement that has now been joined by many people around the world, the global civil society, is a legitimate form of resistance to this brutal and oppressive regime. I have nearly finished Max Blumenthal’s book “Goliath: Life and Loathing in greater Israel”. It’s a chilling read. It’s extremely well written in my view. He is a very good journalist and takes great pains to make sure that what he writes is correct. He also gives a voice to the other side. The voice, for instance, of the right wing rabbinate, which is so bizarre and hard to hear that you can hardly believe that it’s real. They believe some very weird stuff you know, they believe that everybody that is not a Jew is only on earth to serve them and they believe that the Indigenous people of the region that they kicked off the land in 1948 and have continued to kick off the land ever since are sub-human. The parallels with what went on in the 30’s in Germany are so crushingly obvious that it doesn’t surprise me that the movement that both you and I are involved in is growing every day. <a href="http://www.russelltribunalonpalestine.com/en/" target="_blank">The Russell Tribunal on Palestine</a> was trying to shed light on this when we met, I only took part in two sessions, you took part in many more. It is an extremely obvious and fundamental problem of human rights which every thinking human being should apply himself to.</p>
<p align="JUSTIFY"><i>FB: The scary thing is that the extreme Rabbinate you were talking about with the extreme right wing views about the Palestinians and the non-Jews are having a more and more prominent place in terms of the Israeli society, regime and power structure and that is very scary.</i></p>
<p align="JUSTIFY"><i>I wanted to follow up on the Cultural Boycott and about the fact that you are one of the only ones who take such a stand. You could, as many others do, I guess enjoy the benefits of your success and lead a quiet, at least politically, non-controversial life. Why do you do it but more importantly why do you think not more people are doing it? Why a lot of artists who often take position against wars, why don’t they touch Palestine?</i></p>
<p align="JUSTIFY">RW: Well, where I live, in the USA, I think, A: they are frightened and B: I think the propaganda machine that starts in Israeli schools and that continues through all the Netanyahu’s bluster is poured all over the United States, not just Fox but also CNN and in fact in all the mainstream media. It’s like a huge bucket of crap that they are pouring into the mouth of a gullible public in my view, when they say “we are afraid of Iran, it is going to get nuclear weapons…”. It’s a diversionary tactic. The lie that they have told for the last 20 years is “Oh, we want to make peace”, you know and they talk about Clinton and Arafat and Barak being in Camp David and that they came very close to agreeing, and the story that they sold was “Oh Arafat fucked it all up”. Well, no, he did not. This is not the story. The fact of the matter is no Israeli government has been serious about creating a Palestinian state since 1948. They’ve always had the Ben Gurion agenda of kicking all the Arabs out of the country and becoming greater Israel. They tell a lie as part of their propaganda machinery whilst doing the other thing but they have been doing it so obviously in the last 10 years . For instance, even after when Obama went to Cairo and made that speech about Arabs and the Israelis, everybody was like “Oh, this is a step in a new direction at least”. But as soon as he visited Israel, they said. “Oh by the way, we are building another 1200 settlements”. Exactly the same when Kerry went last year saying, “Oh I am going to try to get the sides together and talk peace”. Netanhayu said “Fuck you. We are going to build another 1500 settlements and we a going to build them in E1, this is our plan.” This is so transparent that you’d have to have an IQ above room temperature not to understand what is going on. It is just dopey.</p>
<p align="JUSTIFY">You know I read some piece the other day where it said “apparently only the Secretary State of the United States, believes that these current peace talks are real, no one else in the world does”.</p>
<p align="JUSTIFY">It is a very complicated situation which is why you and I and all the other people in the world who care about their brothers and sisters and not just about the people of our own faith, our own colour, our own race or our own whatever, have to stand in solidarity shoulder to shoulder. This has been a very hard sell particularly where I live in the United States of America. The Jewish lobby is extraordinary powerful here and particularly in the industry that I work in, the music industry and in rock’n roll as they say. I promise you, naming no names, I’ve spoken to people who are terrified that if they stand shoulder to shoulder with me they are going to get fucked. They have said to me “aren’t you worried for your life?” and I go “No, I’m not”. A few years ago, I was touring and 9/11 happened in the middle of the tour and 2 or 3 people in my band who happened to be United States citizens wouldn’t come on the next leg of the tour. I said “ why not? Don’t you like the music anymore?” and they replied “no, we love the music but we are Americans and it’s too dangerous for us to travel abroad, they are trying to kill us” and I thought “Wow!”.</p>
<p align="JUSTIFY"><i>FB: Yes, the brainwashing works!</i></p>
<p align="JUSTIFY">RW: Obviously it does, that is why I am happy to be doing this interview with you because it is super important that we make as much noise as possible. I’m so glad that this right wing newspaper in Israel, Yedioth Ahronoth, printed <a href="http://imeu.net/news/article0024393.shtml?utm_source=feedburner&amp;utm_medium=feed&amp;utm_campaign=Feed:+imeu/fromTheMedia+%28IMEU+:+News+&amp;+Analysis+:+From+the+Media%29" target="_blank">my interview</a> with Alon Hadar. At least they printed it. Although they changed the context and made it sound different that what is actually was but at least they printed something. You know, I would expect to be completely suppressed and ignored.</p>
<p align="JUSTIFY">You know that Shuki Weiss( preeminent Israeli promotor) was offering me a hundred thousand people at hundred dollars a ticket a few months ago to come and play in Tel Aviv! “Hang on, that’s 10 million dollars”, how could they offer it to me?! And I thought Shuki are you fucking deaf or just dumb?! I am part of the BDS movement, I’m not going anywhere in Israel, for any money, all I would be doing would be legitimizing the policies of the government.</p>
<p align="JUSTIFY">I have a confession to make to you. I did actually write to Cindy Lauper a couple of weeks ago. I did not make the letter public but I wrote her a letter because I know her a bit, she worked with me on the Wall in Berlin which is why I found it super difficult to understand that she is doing a gig in Tel Aviv on January the 4th. apparently, quite extraordinary, reprehensible in my view, but I don’t know her personal story and people have to make up their own mind about these things. One can’t get to personal about it.</p>
<p align="JUSTIFY"><i>FB: For sure but you can help them, I guess by what you are doing, by writing to them. You can open their eyes because that’s what they need I think.</i></p>
<p align="JUSTIFY">RW: Yes but if their eyes were going to be opened they would need to either visit the Holy land, visit the West Bank or Gaza or even visit Israel or any single checkpoint anywhere and see what it’s like. All they would need to do is visiting or, read, read a book! Check out the history. Read Max Blumenthal’s book. Then say “Oh I know what I am going to do, I am going to play a gig in Tel Aviv”. That would be a good plan! (sarcastic tone).</p>
<p align="JUSTIFY"><em><strong>Frank Barat</strong> is one of the producers of <a href="http://lemuradesoreilles.org/" target="_blank">“The Wall has ears; conversation for Palestine”</a>.</em></p>
<p align="JUSTIFY">Source: http://www.counterpunch.org/2013/12/06/an-interview-with-pink-floyds-roger-waters/?utm_source=feedly</p>
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		<title>State, Violence, Infrastructures and Public Spaces in the European periphery</title>
		<link>http://www.reinform.info/?p=6852</link>
		<comments>http://www.reinform.info/?p=6852#comments</comments>
		<pubDate>Wed, 13 Nov 2013 08:25:38 +0000</pubDate>
		<dc:creator>disorderisti</dc:creator>
				<category><![CDATA[Articles]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[austerity]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[Crisis]]></category>
		<category><![CDATA[democracy]]></category>
		<category><![CDATA[Europe]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[Neoliberalism]]></category>
		<category><![CDATA[suppresion]]></category>
		<category><![CDATA[working class]]></category>

		<guid isPermaLink="false">http://www.reinform.nl/?p=6852</guid>
		<description><![CDATA[Worried by the current crisis affecting the Eurozone and many other parts of the world, we also sometimes feel disempowered by our lack of deeper understanding of the mechanisms that have triggered such devastating developments. Some time back, Allegra started to explore the financial world (here),  the current transformations of Universities (here and here) as [...]]]></description>
				<content:encoded><![CDATA[<p><strong>Worried by the current crisis affecting the Eurozone and many other parts of the world, we also sometimes feel disempowered by our lack of deeper understanding of the mechanisms that have triggered such devastating developments. Some time back, Allegra started to explore the financial world (<a href="http://allegralaboratory.net/review-money-machine/" target="_blank">here</a>),  the current transformations of Universities (<a href="http://allegralaboratory.net/from-the-supervised-university-to-the-university-of-utopia/" target="_blank">here</a> and <a href="http://allegralaboratory.net/dear-older-generation-r-i-p-margaret-mary-vojtko/" target="_blank">here</a>) as well as the power and failures of bureaucracies (<a href="http://allegralaboratory.net/publication-the-demon-of-writing/" target="_blank">here</a>). Today, <a href="http://eth-mpg.academia.edu/JulieBillaud">Julie Billaud</a> interviews Dimitris Dalakoglou on state, violence and public spaces in Greece.</strong></p>
<p><a href="http://allegralaboratory.net/interview-with-dimitris-dalakoglou-state-violence-infrastructures-and-public-spaces-in-the-european-periphery/" target="_blank">Source Link allegralaboratory</p>
<p></a></p>
<p><strong>ALLEGRA</strong>: Dimitris, you are a <a href="http://www.sussex.ac.uk/anthropology/people/peoplelists/person/236301">Senior Lecturer at the University of Sussex</a>. In the past you have studied <a href="http://books.google.com/books?id=N90nlwEACAAJ&amp;dq=an+anthropology+of+the+road+Dalakoglou&amp;hl=en&amp;sa=X&amp;ei=jJFuUrq-G9GwsATNoYHADA&amp;ved=0CDIQ6AEwAQ">highways and infrastructures</a> and currently you are carrying out a research project entitled « <a href="http://www.crisis-scape.net">The City at the Time of Crisis </a>», funded by an <a href="http://www.esrc.ac.uk/my-esrc/grants/ES.K001663.1/read">ESRC Future Research Leaders</a> grant. Can you briefly introduce yourself to those who are not familiar with your work and describe your projects?</p>
<p><strong><a href="http://allegralaboratory.net/?attachment_id=1997" rel="attachment wp-att-1997"><img class="alignleft" title="" alt="" src="http://allegralaboratory.net/wp-content/uploads/2013/11/Dimitris.jpg" width="150" height="184" /></a></strong></p>
<p><strong>DIMITRIS</strong>: For my PhD I studied anthropologically political transition via infrastructures and vice versa. More precisely I studied the main cross-border motorway between Albania and Greece and via that peculiar -at the time- ethnographic site I studied in a new way -via the road and its flows- the postsocialist conditions in the Balkans. By extension this study of infrastructure provided an insight into the materiality of the wider European neoliberalisation project.</p>
<p>We have to understand that the project of European neoliberalisation of the 1990s and 2000s passed precisely via a mass development of built environment in the continent. Moreover an additional element of that process was the re-determination of European boundaries and a related inter-European movement of populations which crossed these re-determined borders. Indeed, the replacement of State-run economies by market-based capitalism in half of the continent and the parallel expansion of Western European capitalist interests in Eastern Europe had a crucial role in this neoliberalisation project. So given this context the cross-border road between postsocialist and non-socialist peripheral European states looked like an ideal ethnographic locus for analysing such process anthropologically.</p>
<blockquote><p>Today we are seeing one more stage of that neoliberalisation process with a capitalist crisis centered on the periphery of Western Europe.</p></blockquote>
<p>In 2012, together with a team of colleagues, we started the ‘City at the time of Crisis’ project funded by ESRC. In this project we study the new forms of governance implemented in that periphery of Western (as political determination rather than geographic) Europe. A basic idea is that one of the most important parts of this new form of governance is the transformations of the notions of public. So ethnographically we study political transitions and social change in the form of socio-spatial changes in the public urban and infrastructural materialities of Athens.</p>
<p>&nbsp;</p>
<p><strong>ALLEGRA</strong>: You seem to suggest that Athens is the ideal ‘laboratory’ from which to observe the global financial crisis. In their recent book, <i>Theories from the </i><i><a href="http://allegralaboratory.net/?attachment_id=1998" rel="attachment wp-att-1998"><img class="alignright" alt="dimi3" src="http://allegralaboratory.net/wp-content/uploads/2013/11/dimi3.jpg" width="172" height="259" /></a></i><i>South</i>, the Comaroffs argue that it is rather the global South that is best placed to help us understand contemporary world transformations. The obvious fact that you are Greek put aside, can you tell us why you chose Athens as your primary site of inquiry?</p>
<p>&nbsp;</p>
<p><strong>DIMITRIS</strong>: The Commaroffs are right, but they are also wrong. The reality is that we first saw extreme capitalism being applied in the global South. Gradually, more advanced and elaborated versions of capitalism were applied there. However, a very similar version of extreme neoliberalism -like the one that emerged in the 1970s in the South- was then applied in Eastern Europe in the 1990s. Now it is the turn of the Western European periphery to experience a similar regime.</p>
<p>The anthropologists who happen to have ethnographic knowledge of both the postsocialist and non-socialist European periphery would be able to confirm the similarity between e.g. the loan and “aid” agreements between EU and postsocialist states and the current agreements between e.g. the Greek or Spanish governments and EU institutions.</p>
<p>So in the current historical stage it is not only organisations like the IMF:  there are other institutions involved in the shaping of the world political economy. For instance the EU leadership and especially the European Central Bank along with several other European banks play a crucial historical role in the expansion of an extreme neoliberalist form of governance that is applied in the crisis-ridden euro-zone countries. More and more populations are subjected to that regime and what we used to call Global South governance extends well beyond the South. So the category itself is a bit problematic.</p>
<p>As I mentioned in the previous question Greece is centrally located in a process of global proportions that is unravelling at this very moment. Greece’s centrality in this project starts from the re-definition of Greek borders which changed radically after 1990, given that it was surrounded by socialist European countries. Phenomena like migratory flows, big construction projects and capitalist expansion of Greek capitalist entreprises in Eastern Europe just complete this picture.</p>
<p>Under such circumstances the anthropology of Europe and European politics keep asking the same questions since the 1990s: How did the continent change after the collapse of socialism? What will come next? These questions are very similar to the ones we ask about e.g. China or India and especially North African countries.</p>
<blockquote><p>The end of the cold war has led to radical transformations globally and we are still seeing them in front of our eyes. If European communism had really been the point of reference for the Left everywhere we would not have the squares movements occuring around the Mediterranean. So it is not a process that is detached from what is happening in the so-called Global South. Overall I think that unless anthropology starts including more substantially Europe and the West in its own perception of the world we will end up running behind change.</p></blockquote>
<p>&nbsp;</p>
<p><strong>ALLEGRA</strong>: A few weeks ago, ALLEGRA launched <a href="http://allegralaboratory.net/from-the-supervised-university-to-the-university-of-utopia/">a discussion</a> on the future of universities, and tried to define the nature of the ‘space’ that current movements against cuts are seeking to preserve. Some of our conclusions were relatively optimistic, in the sense that we also tried to highlight the regenerative potential of the public to achieve positive change. In the past when ASA asked you to write<a href="http://www.theasa.org/he_crisis_dalakoglu.shtml"> a text</a> on the crisis of higher education you jumped to similar conclusions. However, seeing your more recent work you seem to suggest that the current global crisis has deeply transformed notions of ‘public space’, ‘public good’, ‘public interest’ and so on…to the extent that the public as we used to know (or fantasize?) it seems to be slowly disappearing. To a certain extent, one is left with an impression of Athens as a city under a permanent state of exception, to use an Agambian expression. What has changed?</p>
<p>&nbsp;</p>
<p><a href="http://allegralaboratory.net/?attachment_id=1999" rel="attachment wp-att-1999"><img class="alignright" title="" alt="" src="http://allegralaboratory.net/wp-content/uploads/2013/11/dimi4.jpg" width="371" height="208" /></a><strong>DIMITRIS</strong>: Since you used the term of a political philosopher I will respond with a political answer. In that ASA article I concluded that higher education in Britain does not deserve to be defended for what it is or what it was, but for what it may potentially become. I guess this applies in the case of Athens and Greece as well.</p>
<p>In the last two decades, as  European neoliberalisation reached a more intensified form,  we saw some of the resistance movements in the Western world romanticise or imagine a capitalism with better public social provisions. Much of the Occupy movement in the US had such demands, while many of the European movements suggest a return to a recent past of better social provisions. While I see the value of these benefits for the better quality of life of many, as a political proposition I think that implies a crucial mistake. If the middle classes of the Western World had a better life during the recent past, the majority of the world, the poor in the West or globally had very bad time.</p>
<p>The issue is that the current crisis is quite crucial for the evolution of capitalism in Europe and probably globally, and as we know in anthropology crises signify a transition while they also provide a window for anti-structural events to take place. This is our case at the moment and unless societies come up with a radical alternative (way forward from just better social policy) the future of European people will look very bad.</p>
<blockquote><p>I think that the potentialities of the crisis are visible to economic elites and state authorities who are trying to make sure that no anti-structural events will occur. This is the reason why they employ some of the most violent apparatuses, like e.g. extreme police violence or armed neo-Nazi groups.</p></blockquote>
<p>For example when the large anti-austerity and anti-governmental movement in Greece appeared in the summer of 2011 the police brutality was profound. Soon the neo-Nazis were funded with huge amounts of money and were activated on the streets of Athens but also electorally.</p>
<blockquote><p>Neoliberal governance since its birth was ready to employ fascists such as Pinochet or go to fascistic extremes such as declaring national wars out of the blue like e.g. Margaret Thatcher did in the case of the UK or her social democratic offsprings did with Iraq and Afghanistan.</p></blockquote>
<p>Researching the use of extreme violent apparatuses in Greece these days might make you pessimistic. In order for the austerity experiment to work, in order for the bankers’ interests to be protected, the current form of governance in Greece is ready to spill a lot of blood. A similar escalation in state’s violence has been seen in Britain in the last couple of years when the student movement emerged: police brutality against the protesters has been profound in recent British history. We even saw the police being invited on campus to arrest protesting students:  I personally saw it twice in my university, Sussex, and I have worked there only for only five years!</p>
<p>&nbsp;</p>
<p><strong>ALLEGRA</strong>: Your work brings an important contribution to the scholarship on statehood, by documenting changing everyday experiences in public spaces. With the mass privatization of public infrastructures, it seems like the only means left for the state to manifest itself is through violence, symbolic or real. What do you think is remaining of the state in Greece today?</p>
<p>&nbsp;</p>
<p><strong>DIMITRIS</strong>: Well, violence is a crucial part of statecraft anyway. Even the most democratic socialist or mild state mechanisms have used and/or use apparatuses of<a href="http://allegralaboratory.net/?attachment_id=2000" rel="attachment wp-att-2000"><img class="alignleft" alt="dimi5" src="http://allegralaboratory.net/wp-content/uploads/2013/11/dimi5.jpg" width="414" height="290" /></a> death and pain. For example, one of the most quoted of such examples: the Swedish state was force sterilising women until the 1970s. For another example, we have to remember that every state apparatus discriminates against people: citizens and non-citizens alike.</p>
<blockquote><p>As the history of Europe shows in the best case scenario such division just implies less rights for the non-citizens and in the worst case scenario it implies exterminating non-citizens massively.</p></blockquote>
<p>Even the most democratic states are still states and have the monopoly of legal violence, so potentially the state authorities or their agents can crash, kill, torture, and imprison any of us at any moment they will decide. They do not have necessarily to do it, but the fact that apparatuses are ready to do so is violent enough. And indeed these days they have a nice army of journalists, academics and so on who will provide good excuses about public order and social peace that need to be restored.</p>
<blockquote><p>When the revolt of 2008 happened in Greece you had people like Greek Yale professors up to famous journalists supporting the government and indirectly excusing the police assassination of a teenager, and this is precisely what triggered the revolt.</p></blockquote>
<p>Within this barbaric mechanism modern states provided various things to their citizens and selected citizens from other states to become part of the national body. That happened for many reasons, which I do not have the time to analyse at the moment. However, such provisions maintained some kind of social peace and consent between the State (or what we imagine to be the state) and a critical mass of state residents.</p>
<p>So in our case, EU citizens and migrants with visas probably had a better life at some point, but a substantial part of the population was faced with a state that did not even give them the right to exist, that arrested them, deported them and killed them. The same dynamics stands for the new poor, for example: many young people in Europe mainly experience the state as an apparatus that deregulates labour and that makes sure that the majority will work like slaves for small salaries, will have no job or social security etc. If they protest, the state will beat them up or in some cases may even kill them just for being around a protest, as Metropolitan Police did with Ian Tomlinson a few year ago. It is just that today we see this state of exception expanding towards social groups who have not had direct experience of state as violence before.</p>
<p>And certainly we are in a very difficult position, because the state and the capitalist market have ended up being the main controllers of social provisions, so now that state policies enforce poverty and austerity and fewer and fewer can afford private provisions, we see suffering of important proportions of the European population. This has been a usual phenomenon outside Europe though and among the non-citizens within Europe!</p>
<blockquote><p>What one should stress is that the last few decades when the state has been as social provider have been nothing more than a happy break in the history of capitalism, based on the fear of social unrest.</p></blockquote>
<p>Today that states have achieved so advanced repression and silencing mechanisms, is probably what allows them not to find it necessary anymore to provide social provisions. Anyhow, Western European middle classes as consumers of the products of global capitalism lose their significance given that we have new consuming classes emerging in other places of the planet. So their future is that of most Eastern Europeans: lots of work for peanuts, extreme inequalities etc. When it was happening there very few Western Europeans complained or protested against the barbaric form of postsocialist capitalism.</p>
<p>Indeed while European states decrease social provisions to the citizens in a drastic manner and provide only violence for non-citizens, simultaneously great proportions of state’s wealth is chanelled to global financial institutions and other corporations through various paths.</p>
<p>To end this answer with a final note though. I think that when the elites start busting their cards one after the other, namely when the police violence is not anymore enough to control social disappointment and rage and they have to use the para-state neo-Nazis apparatuses, we are in a situation where they are running out of legal responses, running out of cards, while running towards a potential dead end.</p>
<p>&nbsp;</p>
<p><strong>ALLEGRA</strong>: Michael Herzfeld, in his now famous books <i>The Social Production of Indifference</i>, argues that Greeks have always maintained some kind of indifference or at least, some kind of distance towards the state. In which ways does your work confirm or contradict this argument? How has the current crisis transformed citizens relationship towards the state? Is this pattern illustrative of broader transformations taking place in European/Western democracies?</p>
<p>&nbsp;</p>
<p><strong>DIMITRIS</strong>: Herzfeld’s question was phrased in the right way, one could summarise it like this perhaps: If Greeks are generally polite and welcoming people how comes when they become civil servants they are so unhelpful? My take on that phenomenon can be summarised like this: generally people are polite and nice until State and other power apparatuses intervene. For example when the civil servant’s role provides them with e.g. three options to the way s/he will treat a citizen and all three are nasty options, going for the least nasty one is actually a good option. At the same time remember that the official state does its best to create obedient people who will follow the rules.</p>
<p>&nbsp;</p>
<p><a href="http://allegralaboratory.net/?attachment_id=2001" rel="attachment wp-att-2001"><img class="alignleft" title="" alt="" src="http://allegralaboratory.net/wp-content/uploads/2013/11/dimi6.jpg" width="321" height="214" /></a>It is like the banality of the evil argument of Hannah Arendt who suggested that some of the people who carried out the Holocaust were just civil servants who saw the mass extermination of people as just doing their job, like they would do any other job. They were good civil servants.</p>
<blockquote><p>Back in 2011 when the people in Greece rose against the government, <a href="http://www.culanth.org/fieldsights/251-the-irregularities-of-violence-in-athens">more than 500 people were hospitalised only in Athens</a> due to police brutality.</p></blockquote>
<p>Last summer when I was in Gezi park in Istanbul, I saw how Turkish policemen attacked the camp beating up people while, in the meantime, they were chatting and having cigarette breaks. Similarly in London, when Occupy London started in front of St Paul, the riot cops brutally attacked peaceful demonstrators without any reason, when 10 minutes before they were queuing next to each other in front of the same toilet in a nearby cafe. While I do not consider police or Nazi officials as simple civil servants, the reality is that the modern state apparatus filters and fractures its violence so much that the actual state’s employees/attackers often feel that they are merely serving the state and the government that feeds them. Indeed the state makes sure that they can do whatever they want, that they are fully potected and that they will never have to face the consequences. Most Nazi officials never paid for their crimes and quite a few of them were happily integrated in capitalist post-war state apparatuses. This does not imply that police officers who beat up demonstrators or shoot migrants are innocent. Only certain kinds of people can remain silent under such circumstances or blindly obey orders. So this is not an excuse: it is just an analysis of the production of indifference.</p>
<p>The reality is that civil servants (with the exception of riot police!) are on the forefront of salary and personnel cuts in Greece these days. The same mechanism that was programming them to misbehave, by e.g. giving them few resources, poor training, unjust promotion or employment system, poor and misleading explanation of tasks and roles etc. is the same mechanism that now blames them for doing what they were told to do. In other words everyone, even the cops are just consumable for the political and financial elites. So people do come to a realisation with great potentialities, as far as insecurity and state violence reaches one of the most secure social class such as permanent civil servants, there is a discontinuity in the continuums that have made the system sustainable so far.</p>
<p><iframe src="//player.vimeo.com/video/76455142" width="620" height="481" webkitallowfullscreen mozallowfullscreen allowfullscreen></iframe></p>
<p><a href="http://allegralaboratory.net/interview-with-dimitris-dalakoglou-state-violence-infrastructures-and-public-spaces-in-the-european-periphery/" target="_blank">&nbsp;</p>
<blockquote><p><strong>http://allegralaboratory.net/interview-with-dimitris-dalakoglou-state-violence-infrastructures-and-public-spaces-in-the-european-periphery/</strong></p></blockquote>
<p></a></p>
<p>&nbsp;</p>
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		<title>Taking on Capitalism, U.S. Torture &amp; Dictatorships, Costa-Gavras on Decades of Political Filmmaking</title>
		<link>http://www.reinform.info/?p=6625</link>
		<comments>http://www.reinform.info/?p=6625#comments</comments>
		<pubDate>Thu, 10 Oct 2013 07:44:14 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[Costas Gavras]]></category>
		<category><![CDATA[Crisis]]></category>
		<category><![CDATA[movies]]></category>

		<guid isPermaLink="false">http://www.reinform.nl/?p=6625</guid>
		<description><![CDATA[Costa-Gavras joins us for the hour to discuss a nearly 50-year career that has earned him the reputation as one of the world’s greatest living political filmmakers. Born in Greece in 1933, the 80-year-old has won two Academy Awards for his films &#8220;Z&#8221; and &#8220;Missing.&#8221; Other acclaimed films include &#8220;State of Siege,&#8221; &#8220;Amen.,&#8221; &#8220;Music Box,&#8221; [...]]]></description>
				<content:encoded><![CDATA[<p>Costa-Gavras joins us for the hour to discuss a nearly 50-year career that has earned him the reputation as one of the world’s greatest living political filmmakers. Born in Greece in 1933, the 80-year-old has won two Academy Awards for his films &#8220;Z&#8221; and &#8220;Missing.&#8221; Other acclaimed films include &#8220;State of Siege,&#8221; &#8220;Amen.,&#8221; &#8220;Music Box,&#8221; &#8220;The Confession,&#8221; &#8220;Hanna K.&#8221; and &#8220;Betrayed.&#8221; For nearly five decades, Costa-Gavras has tackled some of the key political issues of the day. &#8220;Z&#8221; was a drama loosely based on the 1963 assassination of a Greek left-wing activist. &#8220;Missing,&#8221; his 1982 film starring Jack Lemmon and Sissy Spacek, told the story of American journalist Charles Horman, who was abducted and killed after General Augusto Pinochet came to power in Chile in a U.S.-backed coup. In his film &#8220;State of Siege,&#8221; Costa-Gavras looked at the controversial role of the U.S. Agency for International Development in Latin America. The film was based on the kidnapping and murder of a U.S. official named Dan Mitrione, who taught torture to Uruguayan officers. His latest film, &#8220;Capital,&#8221; tells the story of a CEO of a large bank who lays off many of the employees and brokers a corrupt deal with the head of an American hedge fund.</p>
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<div id="story-transcript">
<h2>TRANSCRIPT</h2>
<div id="story-rush-transcript">
<p>This is a rush transcript. Copy may not be in its final form. (<a href="http://www.democracynow.org/2013/10/9/taking_on_capitalism_us_torture_dictatorships">Check the video here</a>)</p>
</div>
<p><strong>NERMEEN SHAIKH:</strong> Today we’re joined by a man described as one of the world’s greatest living political filmmakers, Costa-Gavras. Born in Greece 80 years ago in 1933, Costa-Gavras has won two Academy Awards for his films <em>Z</em> and <em>Missing</em>. His other films include <em>State of Siege</em>, <em>Amen.</em>, <em>Music Box</em>, <em>The Confession</em>,<em>Hanna K.</em> and <em>Betrayed</em>.</p>
<p>For nearly five decades, Costa-Gavras has tackled some of the key political issues of the day. <em>Z</em> was a drama loosely based on the 1963 assassination of a Greek left-wing activist. The opening credits to the film read: &#8220;Any resemblance to real events, to persons living or dead, is not accidental. It is DELIBERATE.&#8221;<em>Missing</em>, his 1982 film starring Jack Lemmon and Sissy Spacek, told the story of American journalist Charles Horman, who was abducted and killed after General Augusto Pinochet came to power in Chile in a U.S.-backed coup.</p>
<p><strong>AMY GOODMAN:</strong> In his film <em>State of Siege</em>, Costa-Gavras looked at the controversial role of USAID, the United States Agency for International Development, in Latin America. The film was based on the kidnapping and murder of a U.S. official named Dan Mitrione, who taught torture to Uruguayan officers. The film was too controversial for Washington. A screening at the Kennedy Center for the Performing Arts in 1972 was cancelled.</p>
<p>Today, at the age of 80, Costa-Gavras is still going strong. His latest film, <em>Capital</em>, tells the story of aCEO of a large bank who lays off many of the employees and brokers, a corrupt deal with the head of an American hedge fund. This is the film’s trailer.</p>
<blockquote><p><strong>DITTMAR RIGULE:</strong> [played by Gabriel Byrne] Your shareholders our fierce, and they are waiting.</p></blockquote>
<blockquote><p>I told you to start firing people.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [played by Gad Elmaleh] No way.</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> You lose our backing, and your little French frog friends will drop you.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> In the cutthroat world of global finance, helping the little guy is a luxury you just can’t afford.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] I wanted to teach economics and win the Nobel Prize. Instead, I make the rich richer and the poor poorer.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> But if you make the right friends &#8230;</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> What we want to create is a powerful bank.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> &#8230; and know all the angles &#8230;</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> You help us, and we help you.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> &#8230; you can do anything you want.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] We won’t deal in weapons, polluting chemicals, money laundering.</p></blockquote>
<blockquote><p>[in English] I want us to break free from the past together. I want to know you.</p></blockquote>
<blockquote><p><strong>NASSIM:</strong> [played by Liya Kebede] Always dress like a banker.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> Just be careful.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> This is my wife.</p></blockquote>
<blockquote><p><strong>DIANE TOURNEUIL:</strong> [played by Natacha Régnier] Nice to meet you.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> Let’s keep this between ourselves, shall we?</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> Because the one thing money can’t buy &#8230;</p></blockquote>
<blockquote><p><strong>NASSIM:</strong> So think about pleasure. Only about pleasure.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> &#8230; is a conscience.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> A rumor is playing havoc with the numbers. Where’s the president?</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] My own execs are poised to stab me.</p></blockquote>
<blockquote><p><strong>EXECUTIVE:</strong> [translated] We’ll break you.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] Try.</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> Redemption &#8230;</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> Go! Out!</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> &#8230; comes at a cost.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> He’s going too far.</p></blockquote>
<blockquote><p><strong>JACK MARMANDE:</strong> [played by Daniel Mesguich] [translated] Let’s dump him!</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> But corruption &#8230;</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] What can you do?</p></blockquote>
<blockquote><p><strong>RAPHAËL SIEG:</strong> [played by Hippolyte Girardot] [translated] Everything.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] And if it’s illegal?</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> &#8230; is priceless.</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> People believe that money is a tool. Well, they’re wrong. Money is the master.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] I’m your modern Robin Hood. We’ll keep robbing the poor to give to the rich!</p></blockquote>
<blockquote><p><strong>NARRATOR:</strong> <em>Capital</em>, from two-time Academy Award-winning director, Costa-Gavras.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] They’re children. Overgrown children.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> <em>Capital</em>, the new film by the legendary filmmaker Costa-Gavras. He joins us here in our New York studio.</p>
<p>Welcome to <em>Democracy Now!</em> It’s an honor to have you with us.</p>
<p><strong>COSTA-GAVRAS:</strong> Thank you.</p>
<p><strong>AMY GOODMAN:</strong> So tell us about <em>Capital</em>.</p>
<p><strong>COSTA-GAVRAS:</strong> <em>Capital</em> is a movie about money, of course, but essentially it’s about human beings and how they’re affected by the money, because I believe, since a couple of decades, even more, the money becomes a kind of religion in our societies. And we speak—and the ethics getting more and more weaker, and the money is getting bigger and bigger. And we have more and more poor people and more and more rich people, and the middle class is just shrinking.</p>
<p><strong>NERMEEN SHAIKH:</strong> Did you decide to make the film after the 2008 financial crisis?</p>
<p><strong>COSTA-GAVRAS:</strong> No, I started before, several years before. During the crisis, we were writing the script, and we decided not to speak about it, except for just one line, when someone asks, &#8220;How is the budget crisis?&#8221; And the answer was—is: We didn’t get—we didn’t reach yet the—no, &#8220;The worst is about to come.&#8221;</p>
<p><strong>AMY GOODMAN:</strong> In this scene from your film <em>Capital</em>, the character Marc Tourneuil, head of a large French investment firm, meets with men from the American hedge fund who want to buy him out.</p>
<blockquote><p><strong>UNIDENTIFIED:</strong> Chairman Marmande loved it, too.</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> Oh, yes, Chairman Marmande and Claude, they spent many fine weekends here. By the way, Marc, if you want to take out one of the little boats for a cruise, why don’t you take one of the crew with you?</p></blockquote>
<blockquote><p><strong>WOMAN IN HOT TUB:</strong> Yeah, come in. It’s so hot.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> We have to get back tonight.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> Come.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> [translated] He left with them.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> [translated] Where are they going?</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> Let’s keep this between ourselves, shall we, Marc?</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> We’re your only friends, Marc.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> Young?</p></blockquote>
<blockquote><p><strong>YOUNG:</strong> [played by Jordan Woods-Robinson] We borrowed heavily to acquire Phoenix. We need it to pay off now. Our principal is to examine the numbers on a monthly basis.</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> Shareholders must know where their money is.</p></blockquote>
<blockquote><p><strong>YOUNG:</strong> Return on equity must reach 20 percent. For every major transaction, significant bonuses will be granted to you.</p></blockquote>
<blockquote><p><strong>DITTMAR RIGULE:</strong> How you achieve this is, of course, entirely up to yourself. We await your reply, Marc.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> We’re pack hunters, Marc. You’re most welcome to join the pack.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> And there you have that scene from <em>Capital</em>. Tell us the storyline, Costa-Gavras.</p>
<p><strong>COSTA-GAVRAS:</strong> The storyline, it’s—Marc Tourneuil, he’s just an employee in the bank. And they—they push them up to the highest point, so he—they put him up there just for a while, and he decides to stay. And he does everything he can to stay up there. That’s generally the story. And he becomes—he’s a good man in the beginning, and little by little he becomes a kind of sympathetic monster.</p>
<p><strong>AMY GOODMAN:</strong> And you base this on a book.</p>
<p><strong>COSTA-GAVRAS:</strong> It’s based on a book written by someone who was in the banking system, and he ran away because he was very tired and with disgust, and he did that book. But I had to change a few things, in particular the end, because at the end, the character in the book was punished. And I think this is not very real, what’s going on. No banker has been in prison since all the problems we have with them. So, I—at the end, he keeps being an important person in the banking system.</p>
<p><strong>NERMEEN SHAIKH:</strong> And you researched the film over many years.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes.</p>
<p><strong>NERMEEN SHAIKH:</strong> So, what are some of the things that you found out about the banking industry and about the finance world, as you did this research?</p>
<p><strong>COSTA-GAVRAS:</strong> I found out that there is no—they are working—they are legal. Everything they do there is legal. Everybody accepts them. And finally, they do very negative things for the society most of the time. And you know that in America, when a lot of people lost their houses because of the way the banks, bankers and the banking system was working.</p>
<p><strong>NERMEEN SHAIKH:</strong> Well, one of the things that you make a distinction—you make a very clear distinction in the film between European-style capitalism and American capitalism. Do you think that distinction is as clear now?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, it used to be, but it’s less and less, because they don’t accept the regulations. Everybody says we need regulations all over, but there is no regulations in the American system. So they say in Europe, &#8220;We should get rid of our regulations,&#8221; and they do, because if we keep them, the American banking system, which is so strong, will eat us.</p>
<p><strong>AMY GOODMAN:</strong> In this scene from <em>Capital</em>, we see the family of character Marc Tourneuil confront him while they’re having dinner together.</p>
<blockquote><p><strong>DIANE TOURNEUIL:</strong> [translated] Bruno, not today, please.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> [translated] He’s the champion bungler of family meals.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] Very badly, Uncle. Very badly.</p></blockquote>
<blockquote><p><strong>UNCLE BRUNO:</strong> [played by Jean-Marie Frin] [translated] That doesn’t answer my question.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] The bank was going under. It had to be saved. We had to fire people to save 100,000 jobs worldwide.</p></blockquote>
<blockquote><p><strong>UNCLE BRUNO:</strong> [translated] Don’t give me that. I’ve heard it too often. You bleed people three times: One, the market wants blood, you relocate, workers lose their jobs; two, you bleed them as customers; three, via Europe’s debts, you zap countries, and their citizens get bled. Worker, customer, citizen are the same guy, so you screw him three times. Money turns everything rotten. I expected better from you.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] Thanks, Uncle. But you should be glad.</p></blockquote>
<blockquote><p><strong>UNCLE BRUNO:</strong> [translated] Why? Because we relocate, create unemployment, raise prices to enrich stockholders and break the social system to pay off the debt? Because you’re successful?</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] No, because I’m fulfilling your childhood dreams.</p></blockquote>
<blockquote><p><strong>UNCLE BRUNO:</strong> [translated] My childhood dreams?</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] You lefties wanted internationalism. We’ve got it. Money knows no borders, nor does work. Here, look. See this toy? I got it in London. It’s German, made in Indonesia.</p></blockquote>
<blockquote><p><strong>UNCLE BRUNO:</strong> [translated] By children.</p></blockquote>
<blockquote><p><strong>MARC TOURNEUIL:</strong> [translated] Maybe. But the world you dreamt of couldn’t have fed those children. Our internationalism will manage. I’m also working for that. Ah, New York. Money never sleeps. One must watch it like milk on a stove, or it boils over and you have to fire people.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> The CEO’s family has conscience, Costa-Gavras.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, particularly an uncle, who is probably very lefty, probably a communist, and with different ideals years ago, and everything fell apart. So, his nephew says, &#8220;We’re doing the good job today,&#8221; because he believes what he do, he’s convinced that it is a good thing to do.</p>
<p><strong>NERMEEN SHAIKH:</strong> Well, you explore also in the film various forms of resistance to the—let’s call it the Americanization of French capitalism. How do you see that playing out in the rest of Europe, in other places, as well?</p>
<p><strong>COSTA-GAVRAS:</strong> It’s the same all over. It’s the same. It’s the really modernization of that—of the American system. There is no doubt of that.</p>
<p><strong>NERMEEN SHAIKH:</strong> Because what do you see as some of the effects of that system in Europe?</p>
<p><strong>COSTA-GAVRAS:</strong> Well, the effects, you can see them in what’s going on in Spain, in Greece, in Portugal. I mean, there was this huge debt, and we have more and more, as I was saying before, more and more poor people and more and more rich people, and the middle class is about to disappear.</p>
<p><strong>AMY GOODMAN:</strong> When you made this film, among the places you made it was Miami. That was your first time there?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, it was. And I was—I was really surprised to see how many private boats there are there. The boat we used there, it costs something like $60 million, and there is tens—hundreds of them.</p>
<p><strong>AMY GOODMAN:</strong> We’re going to break, and when we come back, we’re going to talk about some of your other films and your plans for a new film about Greece, deeply troubled right now. We’re speaking with the world-renowned Greek-French filmmaker Costa-Gavras. Among his films, <em>Missing</em>, about the coup in Chile, which just passed the 40th anniversary, as well as <em>Z</em>. And we’ll talk about these and more. Stay with us.</p>
<p>[break]</p>
<p><strong>AMY GOODMAN:</strong> That music composed by the Greek musician Mikis Theodorakis. It was the score of Costa-Gavras’s 1972 movie, <em>Z</em>. In fact, Theodorakis was imprisoned, imprisoned by the Greek dictatorship during the time that Costa-Gavras was making his famed political thriller.</p>
<p>This is <em>Democracy Now!</em>, democracynow.org, <em>The War and Peace Report</em>. I’m Amy Goodman, with Nermeen Shaikh. And our guest for the hour is Costa-Gavras. Before we talk about <em>Z</em> and <em>Missing</em>,<em>State of Siege</em> and others of your films, talk about where you were born and why you left Greece, Costa-Gavras.</p>
<p><strong>COSTA-GAVRAS:</strong> I was born in the south of Greece in Peloponnese, but after the German occupation, we came to Athens. All the family came to Athens. And the first thing my family would like to do was send me to the United States, because my mother had a brother here and some uncles in Milwaukee. So I tried to go there, but there was no way to have a visa to come to the United States because my father has done the resistance against Germans with left-wing people, and it was against the king. So, I—</p>
<p><strong>AMY GOODMAN:</strong> And this was what year?</p>
<p><strong>COSTA-GAVRAS:</strong> This was in &#8217;50, ’51, ’52. That&#8217;s right. And then I decided—</p>
<p><strong>AMY GOODMAN:</strong> Resistance against the Nazis—</p>
<p><strong>COSTA-GAVRAS:</strong> Yes.</p>
<p><strong>AMY GOODMAN:</strong> —was going to prevent you from coming into the United States?</p>
<p><strong>COSTA-GAVRAS:</strong> In a certain way, yes. Certainly it was of the position of my father, because the family and the kids—those are guys—they could not go to the university in Greece. They have to present a certificate for the good behavior of their parents or their fathers, so it was impossible to go to university to study. So I had to go to France, because in France the studies are free. They used to be and still are a lot of help for the students.</p>
<p><strong>NERMEEN SHAIKH:</strong> So to what extent did your father’s political orientation and his resistance influence the direction that your films took?</p>
<p><strong>COSTA-GAVRAS:</strong> Probably did, but I don’t want to know about that.</p>
<p><strong>AMY GOODMAN:</strong> So, you really got your training in Paris, in France.</p>
<p><strong>COSTA-GAVRAS:</strong> In Paris, absolutely.</p>
<p><strong>AMY GOODMAN:</strong> Otherwise, you would have become a Hollywood filmmaker, if the U.S. had let you in.</p>
<p><strong>COSTA-GAVRAS:</strong> Nobody knows who I would be if was coming to the United States.</p>
<p><strong>AMY GOODMAN:</strong> So talk about your influences in Paris, what it meant to come of age with French film.</p>
<p><strong>COSTA-GAVRAS:</strong> I was very, very lucky to meet people like Simone Signoret, Yves Montand and Jorge Semprún and some other—</p>
<p><strong>AMY GOODMAN:</strong> Yves Montand, the famous actor.</p>
<p><strong>COSTA-GAVRAS:</strong> Absolutely, famous actor. And his wife was also a famous actress, working here and there. And I went in a group with extraordinary people, and I was very lucky. And I learned a lot about life, about politics and about movies also.</p>
<p><strong>NERMEEN SHAIKH:</strong> You’ve also said that films are always political, regardless of the director’s intention. Could you explain what you mean by that? In other words, even if the film is not explicitly about politics, it’s still political?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes. It’s enough to see why, how the movies are made and what they show. I mean, I used to say that some of the movies, what just are action movies, that indirectly, or even directly sometimes, they teach young people that violence is necessary in society, or that kind of things. But they don’t often be political. The idea is how—the effect they have on the young people.</p>
<p><strong>AMY GOODMAN:</strong> Let’s talk about <em>Z</em>, which had a profound effect on people all over the world. I want to play a clip from the famous opening sequence of <em>Z</em>. This is the chief of police addressing a meeting of government officials on the dangers of the left.</p>
<blockquote><p><strong>POLICE CHIEF:</strong> [played by Pierre Dux] [translated] With the outbreak of isms like socialism, anarchism, imperialism or communism, sunspots start to multiply on the face of the golden orb. God refuses to enlighten the reds. Scientists forecast an increase in sunspots due to the arrival of beatniks and pacifists from certain countries such as Italy, France and Scandinavia. As head of law and order here in the north, I wish to tell you who are high civil servants. We must preserve the healthy elements of our society and heal those that are ill. Tonight the enemy is holding a meeting in our city. But we are not an ism. We are a democracy.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> From the opening sequence of Costa-Gavras’s <em>Z</em>. And at the beginning of that film, you famously play the opening credits, saying, &#8220;Any resemblance to real events, to persons living or dead, is not accidental. It is DELIBERATE.&#8221;</p>
<p><strong>COSTA-GAVRAS:</strong> Deliberate.</p>
<p><strong>AMY GOODMAN:</strong> Explain what happens in this film.</p>
<p><strong>COSTA-GAVRAS:</strong> In this film, the royal family and some military decided to eliminate a new politician who was proposing a new way of politics in Greece, because in that period, it was the Cold War, have left, extreme left, the communists, and then the right. And he was proposing a different way, a middle way, with no war, with no military spendings and so forth. And they decided to—just to kill him. And they create a small system. They kill him. And then, the story—I mean, the fact will completely disappear, except we have a good judge, who went through—he was a right-wing judge, and his father was one of important militarists, and he decided to establish justice. And he went on and on, and he—that’s the story, about that judge and the way he acted.</p>
<p><strong>NERMEEN SHAIKH:</strong> Well, let’s turn to part of the trailer for <em>Z</em>. The film was banned in Greece under the military junta that ruled from 1967 to 1974.</p>
<blockquote><p><strong>MANUEL:</strong> [played by Charles Denner] [translated] Is it now obvious that they are targeting troublesome witnesses.</p></blockquote>
<blockquote><p><strong>MAGISTRATE:</strong> [played by Jean-Louis Trintignant] [translated] I’m the magistrate here. Spare me your advice.</p></blockquote>
<blockquote><p><strong>MANUEL:</strong> [translated] They knew I had vital information for you. On my way here, a car tried to run me down.</p></blockquote>
<blockquote><p><strong>POLICE CHIEF:</strong> [translated] You fell and hit your head on the sidewalk.</p></blockquote>
<blockquote><p><strong>NICK:</strong> [played by Georges Géret] [translated] No, someone hit me. I was going to meet the judge, because I have proof about the deputy’s murder.</p></blockquote>
<p><strong>NERMEEN SHAIKH:</strong> That was an excerpt from your film—the trailer of your film <em>Z</em>. So could you explain why is it that the film is in French, you made the decision to make the film in French?</p>
<p><strong>COSTA-GAVRAS:</strong> Because there was no way to make it in Greek, in Greece.</p>
<p><strong>NERMEEN SHAIKH:</strong> Would that have been your preference?</p>
<p><strong>COSTA-GAVRAS:</strong> Essentially, yes, because it was a Greek story. Then I had to make in French with French actors, who are very important actors who decided to play the movie. And we didn’t have so much money, either. And we were able to make it really very easily because of the famous actors I have in the movie.</p>
<p><strong>AMY GOODMAN:</strong> Like Yves Montand—</p>
<p><strong>COSTA-GAVRAS:</strong> Like Yves Montand.</p>
<p><strong>AMY GOODMAN:</strong> —playing Grigoris Lambrakis.</p>
<p><strong>COSTA-GAVRAS:</strong> Absolutely.</p>
<p><strong>AMY GOODMAN:</strong> Explain both Lambrakis—</p>
<p><strong>COSTA-GAVRAS:</strong> Yes.</p>
<p><strong>AMY GOODMAN:</strong> —his significance, and also just the music we were just listening to underlying the film. Mikis Theodorakis was in prison during this time.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, was in prison. And there was no way to have him make the music, so—but I contact him through a friend, and he said to me, &#8220;Just take music from all my music. Take the pieces you need.&#8221; And so I did.</p>
<p><strong>AMY GOODMAN:</strong> Why was he in prison?</p>
<p><strong>COSTA-GAVRAS:</strong> Because the military government didn’t like him, because he was considered like being a lefty.</p>
<p><strong>NERMEEN SHAIKH:</strong> But you pointed out—</p>
<p><strong>COSTA-GAVRAS:</strong> Against them.</p>
<p><strong>NERMEEN SHAIKH:</strong> —it was difficult to get financing for this film.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, it was very difficult. We have done the movie without being paid, all of us—and some of them major actors like Yves Montand and Jean-Louis Trintignant.</p>
<p><strong>NERMEEN SHAIKH:</strong> And apparently a number of the major Hollywood studios said that political films are always poison at the box office.</p>
<p><strong>COSTA-GAVRAS:</strong> That’s right, and nobody would like to produce the movie. And finally, we did it. And it was a surprise for all of us, even for us, that it was that kind of huge success all over the world. You know, at the end of the movie, the audiences all over the world, they were applauding. It was really something very new.</p>
<p><strong>AMY GOODMAN:</strong> And you won the Oscar for this for best foreign film.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, foreign films, and for editing also. We had a lot of—five or six nominations, if I remember.</p>
<p><strong>AMY GOODMAN:</strong> So, the significance of this, although you don’t like to talk about political filmmaking, that a political film like this, that was banned in your own country, couldn’t be seen at this time, was winning the Academy Award and being acknowledged in the rest of the world?</p>
<p><strong>COSTA-GAVRAS:</strong> Yeah, there’s no contradiction. I think people like the movie. The voters for the Academy Award like the movie, so they voted for it.</p>
<p><strong>NERMEEN SHAIKH:</strong> Your screenwriter—your co-screenwriter for the film has said that the film has significance far beyond the particular situation that was represented in it. He said, &#8220;Let’s not try to reassure ourselves. This type of thing doesn’t only happen elsewhere; it happens everywhere.&#8221; So do you see a certain universal theme in <em>Z</em>?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, because, essentially, the military government used to control the justice, control the police and control the army. And if in a democracy you do that, there is no democracy anymore. And this happens in a lot of countries around the world, even today, something like 40 years later.</p>
<p><strong>AMY GOODMAN:</strong> The—one of the opening scenes, the preparing for the big political rally, a hall, says—</p>
<p><strong>COSTA-GAVRAS:</strong> Right.</p>
<p><strong>AMY GOODMAN:</strong> —to the organizers of the—this Greek protest, &#8220;Get out of here!&#8221; There are peace signs everywhere.</p>
<p><strong>COSTA-GAVRAS:</strong> Right.</p>
<p><strong>AMY GOODMAN:</strong> &#8221;I don’t care. I don’t want your money.&#8221;</p>
<p><strong>COSTA-GAVRAS:</strong> It was the great period of asking for peace everywhere, because there were military bases all over the world. The Russians were preparing a big war with atomic bombs. The Americans, they were doing the same thing from their part. And so, the big fear was to have an atomic war, which would be a total catastrophe for the Earth.</p>
<p><strong>AMY GOODMAN:</strong> And so we move forward decades.</p>
<p><strong>COSTA-GAVRAS:</strong> Right.</p>
<p><strong>AMY GOODMAN:</strong> And you have just finished <em>Capital</em>, but you’re moving on now to make a film about your own country. I mean, you have lived for decades in France—</p>
<p><strong>COSTA-GAVRAS:</strong> Yes.</p>
<p><strong>AMY GOODMAN:</strong> —but you’re now going to be looking at Greece.</p>
<p><strong>COSTA-GAVRAS:</strong> I’m trying. I’m trying to find—to write a script to make a movie there, because I am very curious what’s—what is happening there and to show also how the Greek people, the majority of the Greek people, suffer with that crisis, yes.</p>
<p><strong>AMY GOODMAN:</strong> Let’s talk about what’s happening there for a minute. The Greek government has launched a probe of the neo-Nazi Golden Dawn party in the aftermath of the killing of a prominent hip-hop musician. Rapper Pavlos Fyssas was stabbed to death by a Golden Dawn supporter outside a cafe last month, the murder sparking a new wave of protests against Golden Dawn, which placed third in last year’s Greek election. On Monday, Greek parliamentarians condemned the party. This is Communist Party lawmaker Liana Kanelli.</p>
<blockquote><p><strong>LIANA KANELLI:</strong> The problem is not deciding if they’re a gang or not. I think that everybody has already understood that they are. They are brutal, bestial, like all the Nazis, by birth. If you—if you want to be a Nazi, then you can’t be anything else but a beast. The problem is now to convince people that they’ve never been, they are not, and they will never be the solution of any of the popular problems.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> Costa-Gavras?</p>
<p><strong>COSTA-GAVRAS:</strong> This fascist group, who are still in—if you see the movie, still in the—in <em>Z</em>, you can see them. But it’s—at that time, it was a smaller group. And because of the crisis, the group grew up enormously, because they’re promising changes in Greece, to save the Greece from the crisis, which is completely fake. So, some people are so unhappy, so miserable, so they think they can find solutions by voting these people. But they’re really fascist, like the Nazis used to be.</p>
<p><strong>NERMEEN SHAIKH:</strong> Have you spent any time in Greece during the protests, when the protests were occurring?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, I were there sometime, yes. I see how the protest was big, and people trying to say you have to stop with them—to stop them. And finally, the government decided to stop them. We’ll see if it will continue, see how far that’s going to go.</p>
<p><strong>AMY GOODMAN:</strong> We got word out that you were going to be the guest on our show for the hour, and people were writing in from all over the world questions. On our Facebook page, Michael Clark posted this question for you, Costa-Gavras. He said, &#8220;Mr. Costa-Gavras, what is the solution for Greece to free herself from the banksters, IMF, EU and her corrupt politicians?&#8221;</p>
<p><strong>COSTA-GAVRAS:</strong> You know, a filmmaker doesn’t have solutions. He has questions, and that’s all. I mean, the solutions have to be found from the politicians, from people who we vote for, and also the European Community and others. I don’t have the solution. The problem in Greece is very complex, but it’s very real for the people.</p>
<p><strong>NERMEEN SHAIKH:</strong> Do you think now, depending on what shape your film takes now on Greece, your future project, is it easier or harder to get financing for films of this kind?</p>
<p><strong>COSTA-GAVRAS:</strong> It is harder. It is hard, and it’s a big fight.</p>
<p><strong>NERMEEN SHAIKH:</strong> Even in Europe?</p>
<p><strong>COSTA-GAVRAS:</strong> Even in Europe. But in France, we have a system which makes the whole thing much easier.</p>
<p><strong>AMY GOODMAN:</strong> Which is what?</p>
<p><strong>COSTA-GAVRAS:</strong> Which is we will receive help from—small help from the state. But also the television channels, they are obliged to co-produce movies. So they’re co-producing also movies.</p>
<p><strong>AMY GOODMAN:</strong> Ah, that’s fascinating. I wanted to go from Greece, from Europe, to Latin America, where you have also done a number of very powerful films. This is the trailer for Costa-Gavras’s 1982 Oscar-winning film <em>Missing</em>, which follows Ed Horman, the father of U.S. journalist Charles Horman, as he goes to Chile amidst the bloodshed of the coup to join his daughter-in-law, who’s played by Sissy Spacek—Joyce Horman is the woman—in the search for his son.</p>
<blockquote><p><strong>ROJAS:</strong> [played by Félix González] Name of missing person?</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> [played by Sissy Spacek] Don’t you have this written down somewhere? I’ve answered it a thousand times.</p></blockquote>
<blockquote><p><strong>ROJAS:</strong> [played by Félix González] Name of missing person, please?</p></blockquote>
<blockquote><p><strong>SENATOR:</strong> [played by Hansford Rowe] You’ve been in touch with our embassy down there?</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> [played by Jack Lemmon] Well, Senator, all they seem to know is that my son is missing.</p></blockquote>
<blockquote><p><strong>ROJAS:</strong> [played by Félix González] Date of disappearance?</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> He’s been gone two weeks. He could be hurt or tortured.</p></blockquote>
<blockquote><p><strong>ROJAS:</strong> [played by Félix González] Time of disappearance?</p></blockquote>
<blockquote><p><strong>DAVID HOLLOWAY:</strong> [played by Keith Szarabajka] I looked for him everywhere. He’s just gone, vanished.</p></blockquote>
<blockquote><p><strong>CONSUL PHIL PUTNAM:</strong> [played by David Clennon] After analyzing all the data, we still come to the conclusion that he must be in hiding.</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> You know damn well he’s not in hiding! Our whole neighborhood saw him picked up by a goon squad!</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> I don’t want to hear any of your anti-establishment paranoia!</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> Why don’t you just go home? I’ll find my husband by myself.</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> Where is he?</p></blockquote>
<blockquote><p><strong>SAMUEL CROSS:</strong> [played by Alan Penrith] He’s in the north. He should be out of the country sometime next week.</p></blockquote>
<blockquote><p><strong>COL. CLAY:</strong> [played by Terence Nelson] There’s another theory, that he was picked up by leftists posing as soldiers.</p></blockquote>
<blockquote><p><strong>CAPT. RAY TOWER:</strong> [played by Charles Cioffi] There are even people who think it may have been his idea to make it look like they’re arresting Americans.</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> They are arresting Americans.</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> What stupid thing did Charles do?</p></blockquote>
<blockquote><p><strong>CAPT. RAY TOWER:</strong> He was a bit of a snoop.</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> Your son’s a pretty popular guy around here.</p></blockquote>
<blockquote><p><strong>CAPT. RAY TOWER:</strong> Poked his nose around in a lot of dangerous places.</p></blockquote>
<blockquote><p><strong>FRANK TERUGGI:</strong> [played by Joe Regalbuto] All of a sudden this place is like a free fire zone. They’ll shoot at you just for being left-handed.</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> If you had stayed where you belong and paid a little attention to the basics, this never would have happened.</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> I don’t want to fight with you. I just want to get Charlie back.</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> What kind of world is this?</p></blockquote>
<blockquote><p><strong>PARIS:</strong> [played by Martin LaSalle] He said the man must disappear. He knew too much.</p></blockquote>
<blockquote><p><strong>CAPT. RAY TOWER:</strong> Don’t you think that’s a hell of a statement, especially considering we’re here to protect American citizens?</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> How can I verify that?</p></blockquote>
<blockquote><p><strong>PARIS:</strong> You can’t.</p></blockquote>
<blockquote><p><strong>BETH HORMAN:</strong> Stop! Stop it!</p></blockquote>
<blockquote><p>Do you think he’s dead?</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> I’m not going to leave this country &#8217;til I find my son, alive or dead. I&#8217;ll go anywhere in any way. You can tie my hands. You can blindfold me. I just want my boy back! He’s the only child I have.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> From the trailer, <em>Missing</em>, the Oscar-winning film of 1982. We just passed the 40th anniversary of the U.S.-backed coup in Chile, another September 11, 1973, backed by President Nixon, by Secretary of State Kissinger, by ITT. Who was Charles Horman, and why did you decide to make this film? You have these great actors—Jack Lemmon, Sissy Spacek.</p>
<p><strong>COSTA-GAVRAS:</strong> I was—Jack Lemmon accepted to make the movie. That was a really big—I was very lucky. The story is of a young—the story of <em>Missing</em> is a young American who goes to Chile in the period of Allende. And when he gets there, the same day, Allende has decided to give one liter of milk to every poor child. So, as a young American, very romantic—</p>
<p><strong>AMY GOODMAN:</strong> So the president of Chile is giving milk to every poor child.</p>
<p><strong>COSTA-GAVRAS:</strong> To every poor child. So, this young, very romantic American says, &#8220;This is a great system!&#8221; So he decides to stay. And he stays, and he works, and he’s a little bit a filmmaker, a little bit also journalist. And the day of the coup, he meets American officials and militaries, and he discovers that something wrong is going on, and then, a few days later, disappears completely during the coup. And his father goes down there to find him. Jack Lemmon played the part. And his father, who voted for Nixon over that time, and he didn’t like his son. He thought his son was a kind of failure, because he was an artist and that kind of thing. He is furious against him. But little by little, he discovers that his son was a good person, and his country was doing down there something very negative. That’s the whole story. And as I was saying, I was really happy to have Jack Lemmon, who decided to play it, because he was extraordinary, as Sissy Spacek.</p>
<p><strong>AMY GOODMAN:</strong> I was just with Jack Lemmon’s son at a 40th anniversary of the coup event, who talked about how deeply meaningful this film was for him. And, I mean, he was really considered a comedic actor. How did you see beyond that, Costa-Gavras, to say, &#8220;I want Jack Lemmon to play Charles Horman’s father&#8221;?</p>
<p><strong>COSTA-GAVRAS:</strong> Well, the first meeting we have in Universal in Hollywood, I said that I would like Jack Lemmon. Everybody was curious. They say, &#8220;Jack Lemmon? Are we doing a comedy?&#8221; Said, &#8220;No, he’s a great artist.&#8221; He played some good movies, like the <em>Save the Tiger</em>, for example, or <em>The Apartment</em>. And he could be—and there was a real fight. And after a while, the producer, Ed Lewis, said, &#8220;OK, let’s take—if he likes Jack Lemmon, let’s have Jack Lemmon.&#8221; And it was great, because he—apart of the—he won awards in the Cannes festival and in some other festivals, and particularly, he was so good, so real, like an American of—middle-class American.</p>
<p><strong>NERMEEN SHAIKH:</strong> One of your producers has apparently said that it would be impossible to make the film <em>Missing</em> now. Is that right?</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, it is. Yes.</p>
<p><strong>NERMEEN SHAIKH:</strong> Why?</p>
<p><strong>COSTA-GAVRAS:</strong> [inaudible] say that. Because now Hollywood is completely different. What they’re doing now, they’re doing those big, big movies with special effects and a lot of action, a lot of killing and that kind of things. There’s a few good movies they start now, because I believe Hollywood understands that it’s enough with that kind of monsters they’re doing.</p>
<p><strong>AMY GOODMAN:</strong> I want to go back to <em>Missing</em>. When we see Joyce Horman, the widow of U.S. journalist Charles Horman, though she doesn’t know she’s a widow at that time, she is called &#8220;Beth&#8221; and played by Sissy Spacek. Joyce was very nervous about someone making a film, and she wanted to distance herself, though she recently told me, when she went to Mexico, where you were making the film, she was just astounded by what you were doing and was changing her mind at that time. She and Jack Lemmon, who plays Charles Horman’s father Ed, go to the Chile stadium where they’re allowed to get on the loudspeaker and ask if he’s there. Thousands of sympathizers of ousted President Salvador Allende were rounded up and taken to the stadium in the days following the September 11, 1973, coup.</p>
<blockquote><p><strong>BETH HORMAN:</strong> Charlie? This is Beth. I’m here with your dad, Charlie, and the American consul. So if you can hear me, please come out so we can take you home.</p></blockquote>
<blockquote><p><strong>ED HORMAN:</strong> Charles Horman, this is your father, Edmund. I’m here in the hope that you can hear me. Charles? Charles? Do you remember when we took that trip together across country from L.A. to New York? Just the two of us.</p></blockquote>
<p><strong>AMY GOODMAN:</strong> What a scene, now called Víctor Jara Stadium.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes.</p>
<p><strong>AMY GOODMAN:</strong> Víctor Jara, the great folk singer who died also at that time right near the stadium. As we wrap up this part of the discussion—we want to talk about <em>State of Siege</em> after break—you made this in Mexico. You couldn’t make this during the coup. And now, the latest news, Ray Davis, who was responsible for the death of Charles Horman, he may well have died in Chile recently. It’s not clear. I saw Joyce just the other night at the premiere of your film <em>Capital</em>, and she’s saying she needs to be convinced; the U.S. embassy is not even, she feels, coming clean on this, so many decades later.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, they tried to have all the evidence about what happened that day to Charles, but the American government didn’t give to them. So it’s still—the case is still pending, in a certain way.</p>
<p><strong>NERMEEN SHAIKH:</strong> How was the film received in the U.S. when it first came out?</p>
<p><strong>COSTA-GAVRAS:</strong> Very well. Very well for some people. Very badly for some other people.</p>
<p><strong>AMY GOODMAN:</strong> Costa-Gavras is our guest for the hour, the world-renowned Greek-French filmmaker. When we come back, we’re going to look at <em>State of Siege</em>, <em>State of Siege</em> about a U.S. official in Latin America involved with torture. He was kidnapped, and he himself was murdered. We’re also going to talk about his film on a past pope. Stay with us.</p>
<p>[break]</p>
<p><strong>AMY GOODMAN:</strong> The music again by the Greek musician Mikis Theodorakis for the score of Costa-Gavras’s 1972 movie <em>State of Siege</em>. Theodorakis was free by then. This is <em>Democracy Now!</em>, democracynow.org, <em>The War and Peace Report</em>. Costa-Gavras for the hour. I’m Amy Goodman, with Nermeen Shaikh.</p>
<p><strong>NERMEEN SHAIKH:</strong> So let’s go to a clip from Costa-Gavras’s 1972 film, <em>State of Siege</em>. The film was based on the kidnapping and murder of a U.S. official named Dan Mitrione, who taught torture to Uruguayan officers. Here, the USAID worker—his character in the film is Philip Michael Santore—is being interrogated by one of his kidnappers about his work with the country’s repressive police force.</p>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] In ’69, you arrived in our country.</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] Yes, in July.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] You had an office in the headquarters.</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] Yes, the office of AID technical assistance.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] And another office in the embassy.</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] Exactly, exactly. In fact, I only worked there. I went to the headquarters every 15 days. So, you see, I’ve never involved myself too much in the affairs of the police.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] Only you directed them.</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] I am not as important as you think.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] You are. You are. And you went much more often to the headquarters. A parking space was reserved for you next to the police chief. You arrived every day between 8:45 and 9:00. And you had your own office on the same floor as him. Do you know Captains Lopez and Romero?</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] Well enough. They’ve been in contact with technical assistance.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] Since when have you known them?</p></blockquote>
<blockquote><p><strong>PHILIP MICHAEL SANTORE:</strong> [translated] Since I came here. A year, more or less.</p></blockquote>
<blockquote><p><strong>KIDNAPPER:</strong> [translated] No, you knew them in ’67 in Washington, the International Police Academy.</p></blockquote>
<p><strong>NERMEEN SHAIKH:</strong> That was a clip from Costa-Gavras’s 1972 film, extremely controversial film,<em>State of Siege</em>. So, Costa-Gavras, could you talk about the story behind this film? Who was Dan Mitrione?</p>
<p><strong>COSTA-GAVRAS:</strong> Dan Mitrione was an official working in Uruguay, and he was supposed to be there to help the agriculture and other and universities and so forth. And the Tupamaros were a kind of lefty movement, revolutionary movement, but very peaceful by the time. They kidnapped him, and they—because they have discovered that he was teaching the police how to torture and how to change the police system. And they kidnapped him and asked him to liberate a lot of prisoners. If not, they will kill him. But the government decided not to liberate prisoners, and they had to kill him. That was the first very, very—an action which was so negative that, little by little, after that, unfortunately, they disappear. So that’s, in general terms, the story.</p>
<p><strong>AMY GOODMAN:</strong> And why did you choose to take on this story?</p>
<p><strong>COSTA-GAVRAS:</strong> I liked this story because it looks very much like a Greek story, but it happened in Latin America. So I would like to show that this was the same thing, in a certain way. Because most of those advisers at that time, they’re supposed to be very peaceful, very nice, but most of them, they were doing something negative. Even very negative.</p>
<p><strong>AMY GOODMAN:</strong> And it was very controversial when it came out.</p>
<p><strong>COSTA-GAVRAS:</strong> Very negative, very controversial everywhere, and particularly the United States. But the movie was shown here. And it was also co-produced with an American company. And it went around the world.</p>
<p><strong>NERMEEN SHAIKH:</strong> So I want to ask also, very quickly, before we conclude, about your 2002 film,<em>Amen.</em>, which looks at the links between the Vatican and Nazi Germany. The central character is a Nazi SS officer employed at the Hygiene Institute who learns the process he develops to eradicate typhus is being used for killing Jews in extermination camps. He attempts to notify the pope but gets little response from the Catholic hierarchy.</p>
<blockquote><p><strong>KURT GERSTEIN:</strong> [played by Ulrich Tukur] I just got back from the camps in Poland. They’re exterminating Jews. I shall be the eyes of God in that hell.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> You should know that the majority of the faithful and our pastors are behind Mr. Hitler.</p></blockquote>
<blockquote><p><strong>UNIDENTIFIED:</strong> Our country got back on its feet thanks to Chancellor Hitler.</p></blockquote>
<blockquote><p><strong>KURT GERSTEIN:</strong> Convoys from all over Europe are arriving at those factories of death. Only the Vatican can do something to stop those atrocities, only His Holiness, by alerting world public opinion and all Christians.</p></blockquote>
<blockquote><p><strong>CARDINAL:</strong> Are you a Catholic?</p></blockquote>
<p><strong>NERMEEN SHAIKH:</strong> That was an excerpt from your film <em>Amen.</em> So, could you talk about what you revealed or wanted to reveal in that film, and that pope and the pope we have now?</p>
<p><strong>COSTA-GAVRAS:</strong> Yeah, the—I mean, the truth is that the pope knew everything about the extermination of the Jews, and for four years he didn’t say a word against that. And he was the most important person in the world at that time, and he didn’t speak about that. Instead, a young priest and a German officer that knew about that, they tried to inform the embassies in all the world, and risking their lives. That’s the whole story. It’s a story about resistance, how people resist in a kind of situation like this one.</p>
<p><strong>AMY GOODMAN:</strong> Something your father did.</p>
<p><strong>COSTA-GAVRAS:</strong> Yes, yes, and with a lot of risk, as well.</p>
<p><strong>AMY GOODMAN:</strong> And your—the pope today?</p>
<p><strong>COSTA-GAVRAS:</strong> Oh, I think he’s a good pope. It’s a major change. It’s surprising to listen to him, to read what he says about the church and the change it has to do. I think it’s—I think also the first time in the history of the church, the Catholic Church, that the pope speaks about money and says money is not so important, human beings are important. This is very new.</p>
<p><strong>AMY GOODMAN:</strong> Which brings us back to your film <em>Capital</em>, and that is airing now all—opening, premiering around the United States. We thank you so much, Costa-Gavras, for being our guest for the hour, world-renowned Greek-French filmmaker. His films include <em>State of Siege</em>, <em>Missing</em>, <em>Eden is West</em>, the Academy Award-winning <em>Z</em>, as well as <em>Missing</em>. His most recent film, now just opening in the United States, <em>Capital</em>, opens here in New York October 25th and in Los Angeles and other cities on November 1st.</p>
<p>That does it for our show. I’ll be at Princeton University Thursday 5:00 p.m. Check our website for<a href="http://www.democracynow.org/events/2013/10/princeton_university_wilson_college_signature_lecture_1165">details</a>.</p>
<p>Source: <a href="http://www.democracynow.org/2013/10/9/taking_on_capitalism_us_torture_dictatorships">http://www.democracynow.org/2013/10/9/taking_on_capitalism_us_torture_dictatorships</a></p>
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		<title>Let&#8217;s get done with the system that breeds fascism &#8211; An interview with Dimitris Kousouris</title>
		<link>http://www.reinform.info/?p=6487</link>
		<comments>http://www.reinform.info/?p=6487#comments</comments>
		<pubDate>Wed, 02 Oct 2013 08:51:53 +0000</pubDate>
		<dc:creator>dimitriswright</dc:creator>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Politics]]></category>
		<category><![CDATA[Capitalism]]></category>
		<category><![CDATA[fascism]]></category>
		<category><![CDATA[Golden Dawn]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[labor movement]]></category>
		<category><![CDATA[ReINFORM]]></category>
		<category><![CDATA[working class]]></category>

		<guid isPermaLink="false">http://www.reinform.nl/?p=6487</guid>
		<description><![CDATA[Dimitris Kousouris is one of the first political victims of Golden Dawn attacks. On June 16th, 1998, in a café outside the courts of Athens, he was attacked brutally by a group of Golden Dawn members. He had to go through a difficult brain surgery and he barely escaped death. The attackers were identified by [...]]]></description>
				<content:encoded><![CDATA[<p>Dimitris Kousouris is one of the first political victims of Golden Dawn attacks. On June 16<sup>th</sup>, 1998, in a café outside the courts of Athens, he was attacked brutally by a group of Golden Dawn members. He had to go through a difficult brain surgery and he barely escaped death. The attackers were identified by Kousouris and his friends. The main perpetrator was back then nr 2 in the leadership of Golden Dawn, Antonis Androutsopoulos. Although the media had reported the possible places where he was hiding, he was only arrested 7 years later. Although the court found him guilty and sentenced him to long imprironment, he only stayed in prison until 2010. Dimitris Kousouris is currently a lecturer of history at the University of Crete.<span id="more-6487"></span></p>
<p>In this interview, D. Kousouris points out that a general ideological denouncement of fascism is not enough to address the needs of the long-term unemployed and those ones who cannot make ends meet. What he regards as most important is the setting up of solidarity networks in order to counteract the extreme right.</p>
<p>An interview to Georgos Laoutaris for the weekly newspaper PRIN</p>
<p><b><a href="http://www.reinform.nl/?attachment_id=6488" rel="attachment wp-att-6488"><img class="alignleft size-thumbnail wp-image-6488" style="margin: 10px;" alt="kousouris_2-300x200" src="http://www.reinform.nl/wp-content/uploads/2013/10/kousouris_2-300x200-150x150.jpg" width="150" height="150" /></a>15 years ago, when the Golden Dawn tried to kill you it was marginal organization, while now it is part of the political establishment. Wouldn&#8217;t you expect that its presence in the parliament would push this party to more lawful actions?</b></p>
<p>By no means. Legitimating political ideas in the broad public never resulted in mitigating its initial features. In Greece after the elections in 2012 there has been a widespread view that people would realize the violent face of the Golden Dawn and would stay away from it. This view was at least naive. As the capitalist crisis continues to affect a huge part of Greek society leading it to pauperization and impoverishment, the conditions on which fascism can grow continue to exist.</p>
<p><b>Do you believe that the murder of Pavlos Fyssas had a political motive?</b></p>
<p>It was a political assassination that had been announced by the Golden Dawn in the working-class districts of Piraeus. It was just a matter of time for this to happen. The immediate reaction of the government proves that they knew about it and they were prepared to act accordingly.</p>
<p><b>Do you believe that the imprisonment of members of Golden Dawn will be a step towards the solution of the problem? </b></p>
<p>Obviously this would change the rules of the game. However it is an illusion to believe that this would solve the problem. Even if the Golden Dawn was outlawed or if they applied the anti-terrorist law or if they just used the penal code to send some of its members to prison, the problem would be still there. The murder of Pavlos Fyssas, a working-class offspring that was engaged in the cause of social emancipation reveals the size of the damage that has been inflicted the last years. In this transitional period,where the historical defeat of the labour movement (as known till now) seems to be completed, it was inevitable that the dismantled social structure and public space of the poor neighbourhoods where unemployment and poverty dominate the lives of young and old would become the scenery where bouncers, snitches and all kinds of gangs take over. The infringement of parliamentarianism its very representatives, the abrupt narrowing of democratic legitimacy by the abolition of basic social rights, the longstanding deep roots of the extreme right in the state apparatus in combination with the reactionary and racist shift of the government and the media as well as the collapse of the two major parties of the political establishment enabled Golden Dawn to be the one that provides political coverage and ideological identity to these gangs organizing them around the rich and turning them against the remaining cells of organization and struggle of the working people. The political elites are certainly aware of the transitory nature of these political identieties that are formed in the current conditions. It is obvious that after the assassination of Pavlos Fyssas the government is trying to regain control and initiative and send a message to all directions: to the right, to the left, inside and outside the country.</p>
<p><b>Is the increased influence of the Golden Dawn a coincidental phenomenon or is it here to stay?</b></p>
<p>This will depend on each one of us and all of us together. The Golden Dawn is one of the many faces of fascism, the most repulsive we have seen after the dictatorship. In any case, in the coming period, there is going to be an attempt of approaching its electorate. The aim is gaining control over the legal or illegal paramilitary branch of the dominant power coalition. Therefore, Golden Down may disappear but not fascism itself as long as the circle of illegitimacy grows within which the domestic and international elites are trying to establish their dominance at the expense of the working people</p>
<p><b>During the last period books, articles and documentaries have shed light on the Nazi references of Golden Dawn. How do you interpret the fact that this evidence is not convincing?</b></p>
<p>Building an ideology based on the political struggle is an aspect of bourgeois politics which is rather convenient for the journalists of the so called &#8220;constitutional range&#8221; but has also created many illusions within the Left.  How can someone thatonly uses a general ideological denouncement, address the needs of the unemployed, the ones who are hungry and eat at the common meals of the church, the ones who sleep in the cold and the dark, and the young people who do not have any hopes for their future? The denouncement of Nazism is essential. However, as demonstrated in the last years, it is an illusion to be considered adequate. It is also known that applying the same methods over and over again and expect different results is an indicationof insanity or stupidity. Reading through history, fascism was born as a mass counterrevolutionary movement bred by the defeat of the labour movement in the inter-war period and was reborn as the &#8220;dark side&#8221; of neoliberalism after the retreat of the labour movement that followed the crisis of the 1970s.Two decades after the triumph of neo-liberal parliamentarism, the crisis has dramatically narrowed the possibilities for preserving and managing the status quo with purely parliamentary means in Europe, the U.S., China or Egypt. Fascism as a power optionbounces back in its European cradle: Greece, Hungary, Norway, France and elsewhere. The goal of fascism is again the defeat and finally the elimination of the labour movement. Therefore the crucial factor for the character of the fight and the outcome of the struggle &#8211; now as then &#8211; is the status and the level of organization of the working class. The historical bet of our time is who will prevail: the long-lasting darkness of the authoritarian domination of global capital or the rebirth and strengthening of the labour movement that will stand against fascism but also against the forces of capitalism which breed and sustain it.</p>
<p><b>How do you think the Left should react?</b></p>
<p>The different forces of the Left chose very often a defensive attitude by trying to preserve the limited political space that is available to them or the traditional good-old avoidance of action by referring to some abstract plan of labour emancipation that stands far away from the actual movement of the social subjects of the same plan. But if we really want to discuss how to eliminate fascism, it is high time we organize solidarity and resistance of the vast majority of the working people and the unemployed.</p>
<p><b>Who fits in the antifascist front?</b></p>
<p>If we agree that fascism is an extreme and authoritarian version of capitalism as well as an alliance between the capitalists and the middle class aiming at the preservation of the dominant ownership relationships, then we can first clarify the class characteristics of the anti-fascist front. Many fit to this antifascist front as the majority of the working people fit to the front.  Based on that, the organization of the antifascist struggle is the responsibility of all those who think and act against capitalist barbarism. It is the responsibility of grass-root local initiatives and assemblies, the numerous online or printed alternative media, several initiatives of popular self-organization and collaborative economy, students’ unions in high schools and higher education institutions, trade unions and political clubs that are either politically independent or related to SYRIZA, the Communist Party, or ANTARSYA or anarcho-syndicalism. On the other hand, fascism is both the nazi storm troopers and the emergency regime where the governments rules beyond and popular control and the repression forces act uncontrolled against the people’s movement and abolish at will any constitutional freedom Therefore, the anti-fascist front excludes by definition that consent, support or manage this reality.</p>
<p><b>If the source of the crisis is government policy, do you think a left government would be the solution?</b></p>
<p>Using fear as domination method, the political establishment attempts to stabilize the political system by forcing the left and the right extreme to restrain themselves within the parties of the so-called ‘constitutional range’. The polarization and tension strategy that is followed by the elite aims at convincing the public opinion that a left government would be an improvement compared to the repressive Samaras-government to the extent that it will try to confront the fascist elements in the state, the police and the army and to renegotiate the country&#8217;s position in the EU and the Eurozone. This assumption is flawed since the dominance of the pro-austerity forces of the old political system makes it extremely doubtful for the Left to achieve a majority in the Parliament. Even if the Left manages to form such a majority, it would be almost impossible to control a state apparatus that is deeply penetrated by the ‘praetorians’ of the ‘old’ regime. Finally, as repeatedly proven throughout modern Greek history, whenever the Left failed to take advantage of the cracking of elite’s power and abandoned the prospect of toppling capitalism and proceeding with a plan for social emancipation in favor of achieving democratic legitimacy (such as in 1944<a href="#sdfootnote1sym" name="sdfootnote1anc"><sup>1</sup></a>, 1965<a href="#sdfootnote2sym" name="sdfootnote2anc"><sup>2</sup></a> and 1974<a href="#sdfootnote3sym" name="sdfootnote3anc"><sup>3</sup></a>), it was driven to political and literal extermination, entrapment within the political system and marginalization.</p>
<div id="sdfootnote1">
<p><a href="#sdfootnote1anc" name="sdfootnote1sym">1</a> In December 1944, the resistance forces of the Communist Party (ELAS) signed the Varkiza-agreement with the British and handed over their weapons. The result was a wave of repression against the left including murders, arrests and exiles for thousands of people.</p>
</div>
<div id="sdfootnote2">
<p><a href="#sdfootnote2anc" name="sdfootnote2sym">2</a> In July 1965, the elected Papandreou government was toppled by a Royal Coup (known also as Iouliana). The people took the streets but the left missed the chance.</p>
</div>
<div id="sdfootnote3">
<p><a href="#sdfootnote3anc" name="sdfootnote3sym">3</a> This refers to the movement that followed the fall of the junta in July 1974.</p>
<p>&nbsp;</p>
</div>
<div id="sdfootnote3">
<p>Translated by ReINFORM</p>
<p>&nbsp;</p>
</div>
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		<title>Impossible Biographies</title>
		<link>http://www.reinform.info/?p=6344</link>
		<comments>http://www.reinform.info/?p=6344#comments</comments>
		<pubDate>Wed, 04 Sep 2013 09:03:11 +0000</pubDate>
		<dc:creator>disorderisti</dc:creator>
				<category><![CDATA[Interviews]]></category>
		<category><![CDATA[Society]]></category>
		<category><![CDATA[Videos]]></category>
		<category><![CDATA[austerity]]></category>
		<category><![CDATA[Crisis]]></category>
		<category><![CDATA[Greece]]></category>
		<category><![CDATA[Neoliberalism]]></category>
		<category><![CDATA[Poverty]]></category>
		<category><![CDATA[Racism]]></category>
		<category><![CDATA[Refugees]]></category>
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		<category><![CDATA[suppresion]]></category>
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		<description><![CDATA[Many years before the first clouds of the crisis would hover over the greek skies, amidst greek society&#8217;s most glorious of moments and its most mundane of days, the lives and labour of migrants would be faced with their meticulous devaluation. Impossible Biographies from Ross Domoney on Vimeo. &#160; For them, the crisis has by [...]]]></description>
				<content:encoded><![CDATA[<p>Many years before the first clouds of the crisis would hover over the greek skies, amidst greek society&#8217;s most glorious of moments and its most mundane of days, the lives and labour of migrants would be faced with their meticulous devaluation.</p>
<p><iframe src="//player.vimeo.com/video/72661784" height="481" width="600" allowfullscreen="" frameborder="0"></iframe></p>
<p><a href="http://vimeo.com/72661784">Impossible Biographies</a> from <a href="http://vimeo.com/rossdomoney">Ross Domoney</a> on <a href="https://vimeo.com">Vimeo</a>.</p>
<p>&nbsp;</p>
<p lang="el-GR" align="LEFT">For them, the crisis has by now come of age. Yet despite and against shallow journalistic interpretations, there is nothing humanitarian about it. This is because for them the crisis was from the upstart orchestrated politically, socially and militarily. In this way, the discourse about racism in crisis-ridden Greece merely obfuscates and comes in handy. For it obscures exactly how structural this devaluation had been for the development of the Greek state in itself, as well as for the self-perception of Greek society. Yet the crisis knows how to twist meanings too. Today, migrants are accused of the very decline of the Greek edifice. And within this twisted world, their devaluation takes on a more offensive and, at the same time, a more legitimate form. <em>Impossible Biographies</em>, as part of the research project <a href="http://www.crisis-scape.net/" target="_blank"><em>The City at a Time of Crisis</em></a>, bears witness to this offensive. Today, just like yesterday, the devalued lives of migrants shall remind us how it is to live and die within an enforced anonymity and invisibility. How it is to live a life whose biography is impossible.</p>
<p lang="en-GB" align="LEFT">The City at a Time of Crisis is mapping racist attacks in Athens. To view or contribute information please visit: <a href="http://map.crisis-scape.net/" target="_blank">map.crisis-scape.net</a></p>
<p lang="en-GB" align="LEFT">
<p>Produced by Ross Domoney and Christos Filippidis</p>
<p>Filmed and edited by Ross Domoney</p>
<p>Research by Christos Filippidis</p>
<p>Additional footage by Yannis Tsakiridis</p>
<p>Special thanks to Clemont</p>
<p>Paloma Yáñez</p>
<p>Klara Jaya Brekke</p>
<p>Dimitris Dalakoglou</p>
<p lang="en-GB" align="LEFT">Antonis Vradis</p>
<p><a href="http://crisis-scape.net/blog/item/152-impossible-biographies" target="_blank"></p>
<p lang="en-GB" align="LEFT">
<blockquote>
<p lang="en-GB" align="LEFT"><strong>http://crisis-scape.net/blog/item/152-impossible-biographies</strong></p>
</blockquote>
<p></a></p>
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		<title>Screening of the documentary &#8221; Into the Fire&#8221; in Amsterdam.</title>
		<link>http://www.reinform.info/?p=5751</link>
		<comments>http://www.reinform.info/?p=5751#comments</comments>
		<pubDate>Thu, 02 May 2013 07:58:44 +0000</pubDate>
		<dc:creator>disorderisti</dc:creator>
				<category><![CDATA[Featured]]></category>
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		<description><![CDATA[ReINFORM invites you to the screening of the documentary &#8221; Into the Fire&#8221; at 8th of May in Cavia filmhuis in Amsterdam. In times of severe austerity things look bleak for Greek people, but they’re far worse for those who have recently arrived. Without housing, legal papers or support, migrants in Greece are faced with [...]]]></description>
				<content:encoded><![CDATA[<p><strong>ReINFORM invites you to the screening of the documentary &#8221; Into the Fire&#8221; at 8th of May in Cavia filmhuis in Amsterdam.</strong></p>
<p><iframe src="http://player.vimeo.com/video/63588384" height="300" width="400" allowfullscreen="" frameborder="0"></iframe></p>
<p>In times of severe austerity things look bleak for Greek people, but they’re far worse for those who have recently arrived. Without housing, legal papers or support, migrants in Greece are faced with increasing and often violent racism at the hands of the growing Nazi party Golden Dawn and the police in Athens. Many are trapped by EU laws and legislation of other EU countries meaning they’d be returned to Greece if they managed to get to another member state, they are desperate to leave the country.</p>
<p>Shot and edited with sensitivity and compassion, it doesn&#8217;t pull its punches and makes for harrowing viewing in parts. It is the product of crowd funding, dedication, self-sacrifice and a burning sense of justice.</p>
<p><strong>This film gives incredible insights to the reality faced by people who simply want to lead peaceful, normal lives.</strong></p>
<p>This great documentary is a work from Reel News video activists.</p>
<p>Funded by small donations from friends and organisations, the film makers are once more turning to their supporters and allies to distribute the film online and through screenings to grassroots groups across the country.</p>
<p>No one has been paid to work on this film.</p>
<p><strong>Please consider to donate to make possible producing this kind of films in the future !</strong></p>
<p><a href="http://intothefire.org/donations/" target="_blank">http://intothefire.org/donations/</a></p>
<p>&nbsp;</p>
<p>Here is the Facebook event : <a href="https://www.facebook.com/events/366214530155484/" target="_blank">https://www.facebook.com/events/366214530155484/</a></p>
<p>Cavia Filmhuis: <a href="http://www.filmhuiscavia.nl/" target="_blank">http://www.filmhuiscavia.nl/</a></p>
<p>Filmhuis Cavia &#8211; Van Hallstraat 52-I (trap op) &#8211; 1051 HH Amsterdam &#8211; 020-68 11 419</p>
<p>Free entrance</p>
<p>&nbsp;</p>
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		<title>Critical Thinking and Freedom of Speech was not one of the goals of University of Amsterdam during Draghi visit</title>
		<link>http://www.reinform.info/?p=5592</link>
		<comments>http://www.reinform.info/?p=5592#comments</comments>
		<pubDate>Tue, 16 Apr 2013 13:32:55 +0000</pubDate>
		<dc:creator>disorderisti</dc:creator>
				<category><![CDATA[Featured]]></category>
		<category><![CDATA[Interviews]]></category>
		<category><![CDATA[News]]></category>
		<category><![CDATA[Banks]]></category>
		<category><![CDATA[Draghi]]></category>
		<category><![CDATA[ECB]]></category>
		<category><![CDATA[Neoliberalism]]></category>
		<category><![CDATA[Netherlands]]></category>
		<category><![CDATA[UvA]]></category>

		<guid isPermaLink="false">http://www.reinform.nl/?p=5592</guid>
		<description><![CDATA[UPDATED! Critical Thinking and Freedom of Speech is not one of the goals of SEFA With the occasion of having Mr. Mario Draghi, president of the European Central Bank, participating in the “Room for Discussion” event, the Student Association for Economics and Business (SEFA) of University of Amsterdam avoided any opportunity to expose tomorrow&#8217;s economists [...]]]></description>
				<content:encoded><![CDATA[<p><strong>UPDATED!</strong></p>
<p><strong>Critical Thinking and Freedom of Speech is not one of the goals of SEFA</strong></p>
<p>With the occasion of having <strong>Mr. Mario Draghi</strong>, president of the <strong>European Central Bank</strong>, participating in the<strong> “Room for Discussion”</strong> event, the <strong>Student Association for Economics and Business (SEFA) of University of Amsterdam</strong> avoided any opportunity to expose tomorrow&#8217;s economists to critical and diverse thinking. Mr Draghi gave a rather boring and foreseen speech about his views on the role of the monetary policies of the ECB in preventing the economic down spiral of the euro zone crisis. The intelligent, inspiring, and true to the academic spirit, questions chosen for Mr. Draghi by SEFA where non other than “your signature on the euro bill is simple compared to your predecessors, are you also so direct in your life?”, “who was your favorite student?”, and finally “what is your advice for the students that want to also become the president of ECB one day?”.</p>
<p>When we confronted the organizers and ask them why there were no questions about the crisis, or the effectiveness of the policies of the ECB, or finally the consequences of such policies, we were told that students already knew the answers to these questions and thus there was no point posing them. In addition, according to the views of SEFA and the organizers of the “Room for Discussion” event, when you interview important people, such as Mr. Draghi, <strong>you should make small talk and not direct questions!</strong></p>
<p>Not even one of the questions we sent beforehand via twitter – which was the designated way to ask questions – was chosen. We had prepared for this case by printing a brochure criticizing the infamous quota of Mr.Draghi, that <strong>“the euro must be saved whatever it takes”</strong>. However, we were not allowed to distribute our brochure to the students since it was deemed by the security of the University of Amsterdam as non-academic material! We were bullied out by the security, who claimed that the building is private and “owned” by the head of the security. Eventually, we were only allowed to distribute our brochure far away from the entrance of the University.</p>
<p>The policies of ECB have triggered countless criticism not only for causing hundreds of thousands to be unemployed and poor, but also for their effectiveness in the economical growth. Mr. M.Draghi, once a vice chairman and managing director of Goldman Sachs, now the President of ECB, is still a member of private financial trusts and banking lobbies, such as the G30. (For the history, a complaint to the Corporate Europe Observatory (CEO) filed in June 2012, the complaint was directed against the President of the European Central Bank, Mario Draghi, for his membership of an organization of high profile bankers from both the private and public sector – the Group of Thirty G30).</p>
<p><strong>We believe that SEFA, and the University of Amsterdam, has a responsibility in the stultification of the students by exposing them only to one-sided views, and by discouraging lively discussions in interesting topics of the economical and political life. SEFA is also responsible for the degradation of the academic spirit of the students, transforming them to mere admirers of the so called powerful and successful men.</strong></p>
<p>Yesterday, it was clear that there was<strong> No “Room for discussion”</strong>.</p>
<p>The organizers choose to hide the fact that Mr. Draghi of the ECB is responsible for the humanitarian crisis of the European south. We call SEFA and the University of Amsterdam to organize real discussions that give food for thought, that speak the truth rather than covering up reality, and to stimulate the critical thinking of tomorrow’s economists, so as to be able to recognize and serve society’s interests and not just their carriers with “whatever it takes”.</p>
<p>&nbsp;</p>
<p>This is the flyer that was distributed to the attendants of the event:</p>
<p><a href="http://www.reinform.nl/?attachment_id=5597" rel="attachment wp-att-5597"><img class="size-full wp-image-5597 alignleft" alt="1221" src="http://www.reinform.nl/wp-content/uploads/2013/04/1221.png" width="800" height="565" /></a></p>
<p><a href="http://reinform.nl" target="_blank">reinform.nl</a></p>
<p>&nbsp;</p>
<p>&nbsp;</p>
<p><strong><em>This is the reply we got from Room for Discussion:</em></strong></p>
<p>&nbsp;</p>
<p><em>Dear Sir/Madam,</em></p>
<div><em> </em></div>
<div><em>Thank you for your email.</em></div>
<div><em> </em></div>
<div><em>The current economic, financial and, above all, humanitarian crisis that is happening as we speak in Southern Europe and specifically Greece is very intriguing. At Room for Discussion, we have held multiple sessions where the current situation in Greece was up for debate. These include:</em></div>
<div><em> </em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=94bYI1FXoFg" target="_blank">Jeroen Dijsselbloem </a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=zM1ef0DxVHY" target="_blank">Pieter Cleppe &amp; Sweder van Wijnbergen</a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=9wMzO2zySb8" target="_blank">Arnoud Boot</a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=OXf-UaXgby0" target="_blank">Ewald Engelen &amp; Lex Hoogduin</a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=0RqeGLYrYZk" target="_blank">Louise Fresco </a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=MKVmhlWXXHU" target="_blank">Peter Blom &amp; Esther-Mirjam Sent</a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=ugCY35e-Mcg" target="_blank">Nick Kounis </a></em></div>
<div><em>- <a href="http://www.youtube.com/watch?v=WMq3n4dVIQI" target="_blank">Economic debate on Greece</a></em></div>
<div><em> </em></div>
<div><em>Although this doesn&#8217;t settle the current debate at all, I would like to mention that we try to involve students at each and every session that we host. Usually, it is very hard to receive (student)questions in advance. </em></div>
<div><em> </em></div>
<div><em>For yesterday&#8217;s session with mr Draghi, we have had the honour to receive over 100 questions via Twitter, Email and in person. This has led us to make a selection, based on the most frequently asked questions and, unfortunately, also the questions that were regarded more urgent concerning the current economic issues. The ECB Communication Office&#8217;s format constraint and a maximum of 5 questions, which had to be sent upfront (and we clearly passed, to their anger), did not help either. We chose to host the session with mr Draghi anyway. This unfortunately led to your questions not being proposed to mr Draghi, which we clearly regret. Still, there was time for 4 questions by &#8216;regular&#8217; students.</em></div>
<div><em> </em></div>
<div><em>Personally, I must admit that I am very much intrigued by the current situation in Greece. 30 students just come back from Athens with a Sefa and Faculty backed study trip, where they visited multiple universities and talked to as much students as possible. The first stories are very hard to cope with. </em></div>
<div><em>As a result of numerous previous comments, we are constantly trying to make Room for Discussion more accessible for students. To our dissatisfaction, this results in &#8216;easier&#8217; questions and more &#8216;background&#8217;. Still, we are very much open to critical thinking and reasons for debate. </em></div>
<div><em> </em></div>
<div><em>Hopefully, we will be able to discuss the topic during one of the upcoming sessions at Room for Discussion. These will be held in our usual format and therefor are an excellent opportunity to discuss the current situation in Greece. Hopefully we can also receive your questions for these sessions, as there will be plenty of time for them to be discussed.</em></div>
<div><em> </em></div>
<div><em>I apologise for all the inconveniences and we highly appreciate your time and effort to propose a question, as we usually do not receive a lot. If you have any other suggestions concerning Room for Discussion, please feel free to send us an email or approach us again at the platform. We are, feel and stay a student run platform. </em></div>
<div><em> </em></div>
<div><em>With kind regards,</em></div>
<p><em>Bob Verhagen</em></p>
<div>
<div><em> </em></div>
</div>
<div><em><span style="font-size: xx-small;"><b>Room for Discussion </b></span></em></div>
<p><em><span style="font-size: xx-small;">| Roetersstraat 11 | 1018 WB | Amsterdam</span> <span style="font-size: xx-small;"><a href="mailto:roomfordiscussion@sefa.nl" target="_blank">roomfordiscussion@sefa.nl</a> | <a href="http://www.roomfordiscussion.com" target="_blank">www.roomfordiscussion.com</a><br />
<a href="tel:%2B31%20%280%29%2020%20525%2040%2024" target="_blank">+31 (0) 20 525 40 24</a><br />
</span></em></p>
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</span></b></em></div>
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<div><em><b><span style="font-size: xx-small;">Locatie</span></b></em></div>
<div><em> </em></div>
<div><em><span style="font-size: xx-small;">Georganiseerd in de centrale hal van de Faculteit Economie en Bedrijfskunde (gebouw E),</span></em></div>
<div><em><span style="font-size: xx-small;">gelegen op het Roeterseilandcomplex van de Universiteit van Amsterdam</span></em></div>
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