Author Topic: Media decolonization  (Read 2312 times)

christianbethel

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Re: Media decolonization
« Reply #60 on: September 14, 2022, 12:59:50 pm »
I see, shows from, say, the nineties or naughties I gather, hence your name.
When in doubt, use the 16 Words: 'We must Engineer the Destruction of Western Civilization and Tribalism, and Unite All Races Through Nobility.'

Aryan ≠ 'White'.

History is Written by the Victors.

He Who Controls the Past Controls the Future; He Who Controls the Present Controls the Past.

90sRetroFan

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Re: Media decolonization
« Reply #61 on: September 14, 2022, 01:05:55 pm »
Please feel welcome to discuss Counterculture era works here:

https://trueleft.createaforum.com/counterculture-era/

Polinc_Socjus

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Re: Media decolonization
« Reply #62 on: September 16, 2022, 02:01:40 am »
Quote
"Incidentally, what is your opinion on the animated series Steven Universe?"

I have never watched it and have no plans to.

There's this Youtuber called Lily Orchard who did it so you don't have to.
https://youtu.be/flLEr_sYC-k
She points out that the show is badly made all around, has bad representation, and "woobiefies space fascists colonizers."

90sRetroFan

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Re: Media decolonization
« Reply #63 on: October 01, 2022, 05:39:49 pm »
https://www.nytimes.com/2022/09/25/us/sundance-jihad-rehab-meg-smaker.html

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Meg Smaker felt exhilarated last November. After 16 months filming inside a Saudi rehabilitation center for accused terrorists, she learned that her documentary “Jihad Rehab” was invited to the 2022 Sundance Festival, one of the most prestigious showcases in the world.

The title of the documentary alone tells us all we need to know about Smaker's worldview.

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But attacks would come from the left, not the right. Arab and Muslim filmmakers and their white supporters accused Ms. Smaker of Islamophobia and American propaganda. Some suggested her race was disqualifying, a white woman who presumed to tell the story of Arab men.
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Ms. Smaker’s film has become near untouchable, unable to reach audiences. Prominent festivals rescinded invitations, and critics in the documentary world took to social media and pressured investors, advisers and even her friends to withdraw names from the credits. She is close to broke.

 :)

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Many Arab and Muslim filmmakers — who like others in the industry struggle for money and recognition — denounced “Jihad Rehab” as offering an all too familiar take. They say Ms. Smaker is the latest white documentarian to tell the story of Muslims through a lens of the war on terror. These documentary makers, they say, take their white, Western gaze and claim to film victims with empathy.

Assia Boundaoui, a filmmaker, critiqued it for Documentary magazine.

“To see my language and the homelands of folks in my community used as backdrops for white savior tendencies is nauseating,” she wrote. “The talk is all empathy, but the energy is Indiana Jones.”
...
“When I, a practicing Muslim woman, say that this film is problematic,” wrote Jude Chehab, a Lebanese American documentarian, “my voice should be stronger than a white woman saying that it isn’t. Point blank.”

More from Boundaoui here:

https://twitter.com/assuss/status/1469341071020810240

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when will these Orientalism-steeped-in-Islamopobia takes by white folks become faux pas?




acc9

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Re: Media decolonization
« Reply #64 on: November 06, 2022, 04:51:43 am »
https://www.youtube.com/watch?v=3WWwbiCWmuw

A sample of rarely found MVs from Mainland China, this one with Li Jian, one of their most popular singers today, has potential for better results if not for the constant appearances of "White" faces and "Western" connoted props/backgrounds. I think it probably has to do with lack of confidence on the part of its producer/director in their own effort, hence the 'rather odd addition' to either make the MV more attractive to local West-bounders and appealing to the rest of the world. What a shame!

90sRetroFan

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Re: Media decolonization
« Reply #65 on: November 06, 2022, 05:02:24 pm »
"Mainland China"

Please call it "New China" (like Xi always does), to distinguish it from the true (ancient) China that we want to bring back.

"constant appearances of "White" faces and "Western" connoted props/backgrounds."



See also:

https://trueleft.createaforum.com/issues/psychological-decolonization/msg16108/#msg16108

Now in MVs too! And it's not just any "whites", it's "whites" deliberately costumed in colonial-era clothes FFS! (And what's with the recurring superimposed Italian text??) You can't make this **** up.....

Note also the indescribably spiritless melody of the above song itself. This is what a Eurocentrist sounds like. Contrast with Counterculture-era MVs/songs which tried to awaken blood memory of ancient China. For example:

https://www.youtube.com/watch?v=UuAaHqDmkNg

In the storyline of this MV, the modern guy ultimately declines (2:40) to be taken back to ancient times. I guess the MV you posted can be viewed as an unofficial sequel to this one.....

guest78

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Re: China and United States Relations
« Reply #66 on: November 21, 2022, 01:49:17 pm »
China has a soft power deficiency
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Korea has Kpop, Japan has anime, but what does China have? Why is it hard for us to think of anything 'cool' about China, and why is that the case?

Timestamps
0:00 Intro
0:45 The definition of soft power
3:58 The problem: China's soft power deficiency
9:23 China's historically attractive soft power + modern influences  (Douyin makeup, Genshin)
14:28 Discussion on personal experiences, China's censorship and geopolitics
20:51 Shambaugh's conclusion / Outro
https://www.youtube.com/watch?v=haYdFJUDZbE

90sRetroFan

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Re: Media decolonization
« Reply #67 on: November 27, 2022, 12:47:17 am »
Just when I thought the Eurocentrism could not possibly get any worse, this shows up:

https://www.youtube.com/watch?v=4dSZevEPGs4


90sRetroFan

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Re: Media decolonization
« Reply #68 on: November 27, 2022, 06:40:32 pm »
https://www.yahoo.com/lifestyle/west-handed-classical-music-over-060000935.html

First the good news:

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Classical music in Britain is in trouble. It’s not merely because the infrastructure of the venues, orchestras and groups that sustain the art form have suffered from underfunding for decades. Nor can we pin all the blame on the body blow that many have just received from Arts Council England (ACE) funding cuts, in which the Britten Sinfonia lost all its funding, the London Sinfonietta lost 41 per cent, and the London Symphony, London Philharmonic and Philharmonia orchestras all lost 12 per cent.

Nor is it solely down to the marginalisation of the discipline in UK schools, where enrolments for GCSE Music have declined by 19 per cent since 2011. And don’t blame the public: as Claire Allfree reported earlier this month, a healthy appetite for classical music is just waiting to be tapped. Classical-music streaming figures are higher than ever – even if, through a mixture of arrogance and incompetence, BBC Radio 3 and Classic FM are failing to capitalise.

See also:

https://trueleft.createaforum.com/true-left-vs-right/plebian-hubris/

Continuing:

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The sad truth is that among Britain’s upper echelons, the situation is very different from that of half a century ago. Now, classical music and opera arouse too much embarrassment or (worse) resentment and suspicion.

In other words, the Counterculture happened. This is the only good thing that happened in Britain after WWII.

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in the eyes of some, classical music and opera bear an ancestral guilt. They are fruits of the sins of Western society: its patriarchal and colonial mindset. The rules of tonal harmony are, these critics say, as oppressive as British rule in India, and have to be dismantled – witness the recent calls in universities to “decolonise” the music curriculum.

This is exactly the attitude that we are here to promote.

But now for the bad news:

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One way to resist that trend would be to look outside our little island to an area of the world where classical music is loved and firmly embedded in the culture, arousing no embarrassment or resentment, and ask: what values does classical music hold there? I am thinking of the Far East, where classical music is booming to a degree that seems scarcely credible. Japan, Malaysia and South Korea all have thriving industries, while nowhere has its rise been so spectacular as in China.

The art form has surprisingly old roots there: the Shanghai Symphony, founded in 1879, is older than the Berlin Philharmonic. Even after the Communist seizure of power, classical music was encouraged, and thousands of Chinese musicians were sent off to the Soviet Union for advanced training.

Once again proving that authentic communism was never anti-Western. This is why True Leftists are necessarily anti-communist.

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Gleaming new concert halls and opera houses are rising up all over the country, including the spectacular National Centre for the Performing Arts, in Beijing, opened in 2007 at a cost of more than £200 million. China’s piano-building industry is now the largest in the world – and 80 per cent of those instruments are for the home market.

I used to think of this as mere middle-class aspiration, the desire of 21st-century China to “catch up” with the West, but there’s more to it than that. Classical music chimes well with traditional Chinese values that concern self-improvement and self-discipline.

How is it self-improvement to adopt the aesthetics of your oppressors? (And how colonized do you have to be to think that it is?)

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In line with this thinking, the Chinese regime has made classical music a key component of its educational policy. By the 1990s, Western classical music was judged more important than popular music and deserving of state support. There are now more than 40 million children across the country learning to play the piano, and more than 200 youth orchestras in Guangdong province alone. Higher up the chain, talented East Asian students now flock to Western conservatoires – and I can testify from experience that they often have a work ethic to match their abilities.

We have so much decolonization to do.....

(And some people think Xi is anti-Western. No, Xi is anti-Counterculture, which makes him pro-Western since the Counterculture itself was an anti-Western movement.)

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The results of this nurturing of classical music across East Asia can already be seen in Western orchestras, where vacant positions are increasingly filled by players from China, Korea, Singapore and Japan. And at the level of the globetrotting star, Chinese performers and composers are ubiquitous, fired up by a love of an art form they are determined to make their own. Yuja Wang, possibly the most famous pianist on the planet, has declared that “music, in the Chinese mind, is the most sublime thing you can do”.

It would logically follow that Western classical music, in the mind of Eurocentrists from "New China", is the most sublimely Western thing you can do. Which of course is the very reason why the Eurocentrists from "New China" do it.

Wang also looks like what we would expect:



Here is a video of her trying her hardest to be as sublimely Western as possible:

https://www.youtube.com/watch?v=n9crd3QyeT4



Woke comments:

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It's the Chinese trying to prove how civilized they're society is by subsidizing things they think are high status which includes pretentious traditions of the white elite of yesteryear.

I hate to be the one to point this out but it's incredibly sad and pathetic.

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China has long admired and sought to posses western technology, building styles, and culture with a chinese twist, a hybrid, as opposed to creating something authentically Chinese.

However, it is the following based (ie. pro-Western) comment that (without intending to be) is even more revealing about the evil of Western classical music:

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Classical music interest has sprout up in unexpected areas, such as in Venezuela, in the Congo, in Mexico, in Vietnam, and in Arab lands. Classical music forces people to become more focused and disciplined to understand its complexity. Would heavy metal music do that? I doubt it. Heavy metal leads one to drug usage. Most parents force their children into classical music training not so much due to their favoring the music but more so to develop inner discipline.
« Last Edit: November 28, 2022, 09:24:40 pm by 90sRetroFan »
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90sRetroFan

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Re: Media decolonization
« Reply #69 on: December 12, 2022, 10:13:25 pm »
https://www.yahoo.com/news/mindy-kaling-other-south-asian-215721954.html

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Mindy Kaling, other South Asian comedians called out for perpetuating stereotypes
...
Dhanani calls out Kaling and stand-up comedians Russell Peters and Lily Singh in particular:

    "If you're in America and you want to be racist against Black people, you can deep dive into the ancient tomes of racism and find a stereotype or a slur. Same with East Asians, same with Latinos. But if you want to make fun of South Asians, where do those insults usually come from? South Asian comedians," he says. "Mindy Kaling, Russell Peters, Lilly Singh, what do they talk about? Our parents talk funny and they beat us and we eat stinky food and we are stinky and there's hair all over."

Singh faced backlash in 2019 for comparing turbans to towels on her late-night show. Peters, who was the first comedian to have a Netflix stand-up special, is known for his imitations of Indian stereotypes, with his most famous bit being about his father's penchant for corporal punishment, which ends with his signature catchphrase: "Somebody gonna get a hurt real bad."

Dhanani says the popularity of comedians who promoted harmful South Asian stereotypes affected the way he was treated in high school.

He points out that audiences feel comfortable repeating these stereotypes "because a Brown person said it on TV."

"Russell Peters popped off when I was in high school, and I had white people coming up to me in the hallway and quoting Russell Peters and laughing about it," he explains.

"And I just played along! I laughed along, I added on, because that's how you fit in with white people. You let them laugh at you."
...
The TikTok creator also calls out the popularity and use of "the voice," referring to an exaggerated Indian accent, by stand-up comedians.

Dhanani explains that a cousin of his who is a professional stand-up comedian on TikTok uses "the voice" in "every single one of her videos."

"In her stand-up routines, just like Lilly Singh, she does the voice to make fun of her parents. And just like Lilly Singh, her parents don't have that accent."

The part in bold is one of the most concise summaries of Eurocentrism that I have encountered to date.
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rp

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Re: Media decolonization
« Reply #70 on: January 11, 2023, 11:15:24 pm »
Has anybody watched this movie, RRR, yet? I just did. It is an anti-colonialist film that has gained international recognition. I found the action sequences to be overexaggerated, and wish more effort would have been put into story/character development, which I found lackluster. Perhaps this is why Westerners liked it so much. After all, serious anti-colonialism would never be appreciated by them.
https://www.youtube.com/watch?v=NgBoMJy386M

Regardless, I commend the director for at least trying, and there are a few scenes that are really good IMO. I also like how it draws on religious mythology such as the Ramayana, in contrast to most Bollywood movies which shy away from drawing on religious themes for inspiration.
It also seems to exalt firearm ownership and ahimsa, instead of pacifist Eurocentrist tools like Gandhi.
« Last Edit: January 11, 2023, 11:18:00 pm by rp »

rp

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Re: Psychological decolonization
« Reply #71 on: January 27, 2023, 10:45:50 pm »
https://www.youtube.com/watch?v=5HWzNnOTaFY


Commercial currently being shown on Hong Kong television - typical Eurocentric physical attributes that Dolce & Gabbana employs to capture the non-white admirers of the white male.....
That guy is David Gandy, the guy literally worshipped on incel forums!