Free sociological imagination Essays and Papers - …
Like the dust jacket blurb by John Le Carre lauding another book on Congo, Dancing in the Glory of Monsters, written by Jason Stearns (another intelligence insider with much to answer for) it seems that white people like to go around celebrating other white people and propping them up everywhere. "Jason Stearns is probably better qualified and better able than any man alive to write about Congo," John Le Carre pontificated, dismissing every African voice, every Congolese national, every intellectual of non-white skin color, and even every Belgian expert. It seems it is necessary (but, clearly, it will not be sufficient) to point out the incredible hubris behind this statement and its acquiescent acceptance (by Stearns)(I mean, how such an accolade would be for any honest white man). Similarly, for Gerald Caplan , it would certainly be inappropriate to petition any Hutu people for the truth, especially for truth, since, as we know, ALL HUTUS ARE , or, well, at least, that's what Schabas and Gourevitch and Melvern and Caplan have convinced the consumers of modern day mass media and almost all academics in the white, western, English-speaking news consuming world.
Almost everyone bought the propaganda.
However, more and more people are seeing through the Big Lies, but Big Lies are maintained by Big Liars, and that is another reason I always say: if you are consuming the New York Times you are contributing to your own mental illness.
For more than a decade Dr.
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In Rose Eichenbaum's third work on the confluence of art making and human expression, she delves into the lives of thirty-five celebrated actors through intimate conversations and photographic portraits. With her probing questions and disarming manner, she captures the essential character of her subjects while shining a light on the art that defines them. The work provides extraordinary insights on the craft of acting with discussions of process, techniques, tools of the trade, and how to advice for aspiring actors from seasoned veterans. These stars of stage and screen, known for signature roles and critically acclaimed performances, emerge in The Actor Within with masks and wardrobe removed. Here, they speak their own lines, tell their own stories, and raise the curtain on what it means to live the actor's life--the challenge of mastering their craft, the drama of big breaks and career woes, the search for meaningful roles, and above all, having the courage to bare their souls before theater audiences or the camera. For the artists featured in this work, acting is more than a profession; it is how they make their way in the world and artfully merge their inner sense of humanness with universal truths. This collection serves as an important inspirational resource for anyone interested in making art, regardless of medium.
The Actor Within includes interviews with Karl Malden, Ruby Dee, Ed Harris, Piper Laurie, Marcia Gay Harden, William H. Macy, Ellen Burstyn, Joe Mantegna, Debra Winger, Julia Stiles, Elliott Gould, Elijah Wood, Stockard Channing, Bill Pullman, Amanda Plummer, Marlee Matlin, Charles Durning, Marsha Mason, and many others.
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Philip Cioffari is the author of the novels: DARK ROAD, DEAD END; JESUSVILLE; CATHOLIC BOYS; and the short story collection, A HISTORY OF THINGS LOST OR BROKEN, which won the Tartt Fiction Prize, and the D. H. Lawrence award for fiction. His short stories have been published widely in commercial and literary magazines and anthologies, including North American Review, Playboy, Michigan Quarterly Review, Northwest Review, Florida Fiction, and Southern Humanities Review. He has written and directed for Off and Off-Off Broadway. His Indie feature film, which he wrote and directed, LOVE IN THE AGE OF DION, has won numerous awards, including Best Feature Film at the Long Island Int’l Film Expo, and Best Director at the NY Independent Film & Video Festival. He is a Professor of English, and director of the Performing and Literary Arts Honors Program, at William Paterson University.
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Tom Ndahiro has also attacked against Jennifer Fierberg and Ann Garrison, two U.S.-based journalists who have tirelessly worked to expose the truth and lies about the Western-backed occupation and plunder of Central Africa, and each has worked to expose the falsehoods about genocide pumped out by the Kagame regime and its 'genocide' denialist propaganda machine.
"The Exposer is news site dedicated to fighting all forms of impunity including genocide ideology, corruption, social injustice and all forms of despicable behaviour," their proclaims. "The driving philosophy behind our news is that all policies are formulated for good, and all people are a living force of good. However, for whatever reason, they become a force of suffering for others."
In their attempts to discredit the work of and , the Kagame supporters have relied on nasty sexual attacks, using cartoonish charicatures depicting these female journalists as sexual slaves, prostitutes, and calling them and 'media whores' and ''.
"Many people kept wondering why the sudden passion from unsuspecting two American ladies about Rwanda," Ndahiro wrote in one of the sexualized posts of The Exposer. "Jennifer Fierberg's partner in this CAUSE has been another angry American searching for identity; . Despite asking as many questions about the intentions of these genocide negationists, nobody had response. Then by God's grace came The Exposer."
"When I first discovered this publication and the cartoon images I was mortified." Jennifer Fierberg continues to stand up to the lies. "It was embarrassing to be portrayed in a way that I would never conduct myself. My relationships with anyone in politics and journalism have always been conducted in a professional and appropriate manner. The false accusations occur so often that I have become use to them and now just laugh at their absurdity. Sadly, my daughter googled me one day and found the images. I had to explain to her that there are bad people in the world who do not like what I do and their only fight against the truth is to lie about me."
The propaganda of The Exposer is the most base form of propaganda: absent any real facts and unable to reasonably challenge the truth, such propaganda must rely wholly on content based on exaggerations, charicatures, and reductionist distortions; content that resorts to sexuality, stereotyping and the use of emotionally potent symbols, such as images of female sexuality or or .
By equating journalists, human rights investigator's or publications (that in any way criticize the Kagame dictatorship) with sexuality or Nazi symbols they seek to seat their false claims (about genocide and/or Holocaust denial) in the emotional and psychological realm of the unconscious: readers and viewers don't and won't be so inclined to read and seek the truth, especially if it is some frightening truth --- such as a true conspiracy about the nature of genocide in Rwanda -- when their subconscious mind (and belief system) is assaulted by these emotionally overpotent simplifications. Propaganda works precisely because it relies on the manipulation of the subconscious mind.
The overall affect of such propaganda is to dehumanize individuals or groups. The propaganda from The Exposer generates hatred against its perceived enemies, and because so many of its perceived enemies are classified as members of the Hutu ethnicity, the propaganda of the Kagame regime dehumanizes Hutu people and thus supports the ongoing genocide against them.