In support of Palestinian Prisoner's Day, taking place today on 17 April we publish this account of lawyer Abdelrahman Al-Ahmar's imprisonment and torture by the State of Israel. This is an extract from Palestine Speaks: Narratives of Life Under Occupation. To find out more about Palestinian Prisoner's Day see here.
Guard tower at Damun Prison, Israel near Haifa. the facilities were once used as a tobacco warehouse during the British Mandate, but they were converted to a prison by Israel in 1953. It houses up to 500 prisoners.
The spectacle of representative democracy is fully underway in the UK, and what a ride it's been so far! Declaring low taxation at the heart of his political beliefs (no shocker there), David Cameron has come up trumps with his frankly laughable comments on high tax being “morally wrong” and there being “no such thing as public money”. Nigel Farage managed to up his campaign of hate and racism with his thoughts on "health tourism" and the NHS, centering his focus on HIV-positive migrants (killing two birds with one big hateful stone there, I suppose). Meanwhile, over in camp Labour, the jury's out on whether Ed Miliband can convince the public with his “Hell yes, I’m tough enough” routine. Perhaps that wasn’t his first choice of catchphrase, but that’s the magic of live TV. And all cower behind Nicola Sturgeon, maybe the most dangerous woman in Britain.
In light of this we present a reading list featuring leading voices and books dealing with the key issues in British politics today. As an election present from us to you, they're all 50% off until the election, with free shipping worldwide, and bundled ebooks where available!
The Vertigo Effect, a series of more than 25 films marked, in one way or another, by Alfred Hitchcock's 1958 classic, commenced last night at BAM. Below, we present Jacques Rancière's essay on the film from Intervals of Cinema, which casts back to Vertov's Man With the Movie Camera to uncover the faultline Hitchcock's work straddles.
Understanding the art of moving images means first understanding the relation between two movements: the visual unrolling of images specific to cinema; and the deployment and dissipation of semblances more broadly characteristic of the narrative arts. In the western tradition, the second aspect is dominated by the Aristotelian logic of inversion. The plot is a sequence of actions that seems to have a certain meaning and lead towards a certain end. But as the sequence unfolds, expectations are dashed: the alliance of causes produces an entirely different effect from the one anticipated; knowledge becomes ignorance and ignorance knowledge; success changes to disaster or misfortune to happiness. How can the unrolling of moving images be married to that particular logic for unveiling the truth behind appearances? I would like to show that the most perfect synchronization of the two movements includes a fault. And I will attempt to understand the philosophical meaning and political weight of that fault. So I will talk about the relation between vision, movement and truth. And by the same token I will have to talk about the relation between cinema, philosophy, literature and communism.