Serije kao takve

…
The irony is thick: a show that claims to illustrate the dangers of “lying” and “arrogance” blithely invents historical events to suit its political narrative. While Red Scare tactics have experienced a revival in our political discourse since 2016, Chernobyl is the most high profile return of those themes to a major Hollywood production.

Besides indulging the Russia-phobia of contemporary liberals, Chernobyl also partakes in the long tradition of Hollywood productions about disasters and dystopias that play on societal anxieties to indulge in a spectacle of the world’s destruction. In a much-cited passage, literary theorist Frederic Jameson suggests these productions prove “it is easier to imagine the end of the world than it is to imagine the end of capitalism.”

Chernobyl is an interesting variation on this formula: even as we worry about the ongoing ecological crisis caused by capitalism, Chernobyl revels in the failure of the historical alternative to capitalism. Chernobyl returns to the Soviet Union not in good faith, but to remind those who would break with today’s neoliberal consensus of the failure of its alternative.

In the face of our own ecological crisis and resurgent ethno-nationalism, which have risen out of the problems of our present system, it becomes more difficult by the day to imagine the status quo continuing. But the stagnant political center, evident in Chernobyl, offers no way out.

https://jacobinmag.com/2019/07/chernobyl-tv-show-russiagate

američka duboka država:

Utvara wrote:pogledao 3 sezonu stranger things

američka duboka država:

Gargantua wrote:

…
The irony is thick: a show that claims to illustrate the dangers of “lying” and “arrogance” blithely invents historical events to suit its political narrative. While Red Scare tactics have experienced a revival in our political discourse since 2016, Chernobyl is the most high profile return of those themes to a major Hollywood production.

Besides indulging the Russia-phobia of contemporary liberals, Chernobyl also partakes in the long tradition of Hollywood productions about disasters and dystopias that play on societal anxieties to indulge in a spectacle of the world’s destruction. In a much-cited passage, literary theorist Frederic Jameson suggests these productions prove “it is easier to imagine the end of the world than it is to imagine the end of capitalism.”

Chernobyl is an interesting variation on this formula: even as we worry about the ongoing ecological crisis caused by capitalism, Chernobyl revels in the failure of the historical alternative to capitalism. Chernobyl returns to the Soviet Union not in good faith, but to remind those who would break with today’s neoliberal consensus of the failure of its alternative.

In the face of our own ecological crisis and resurgent ethno-nationalism, which have risen out of the problems of our present system, it becomes more difficult by the day to imagine the status quo continuing. But the stagnant political center, evident in Chernobyl, offers no way out.

https://jacobinmag.com/2019/07/chernobyl-tv-show-russiagate

Dokumentarac o černobiljskoj nuklearnoj katastrofi u Beldocs čitaonici
18. jul od 19.00, Čitaonica Fonda umetnosti Biblioteke grada Beograda

U četvrtak, 18. jula od 19 časova u Čitaonici Fonda umetnosti u Biblioteci grada Beograda, a u okviru Beldocs čitaonice i projekta AVA VoD, biće prikazan dokumentarni film „Ruski detlić“ američkog reditelja Čada Grasije, koji otkriva bizarne i do sada javnosti nepoznate podatke  u vezi sa događajima koji su prouzrokovali černobiljsku nuklearnu eksploziju 1986. godine. O ovoj i drugim nuklearnim katastrofama u popularnim medijima, razgovaraće dr Milan Tomašević iz Etnografskog instituta SANU, dr Marko Pišev sa Filozofskog fakulteta i Igor Stanojević, selektor Beldocsa.

Sinopsis: Fedor Aleksandrovič je radioaktivan čovek. Imao je četiri godine 1986, kada je bio izložen otrovnim posledicama černobiljske nuklearne eksplozije, nateran da napusti dom. Sada ima 33 godine, živi kao umetnik u Ukrajini, s radioaktivnim stroncijumom u kostima i jedinstvenom opsesijom tom katastrofom koja je promenila svet – zašto se ustvari desila? Da li postoji nešto više oko cele te priče, nešto što Sovjetska vlada nije dozvoljavala da dospe u javnost? I, najvažnije, kako je to povezano sa ogromnom, misterioznom piramidom od čelika koja trune dve milje udaljena od mesta katastrofe: nezgrapno oružje hladnog rata, poznatije kao Duga i pod nadimkom „Ruski detlić”, sa čudnim, neprestanim kliktanjem radio frekvencija koje emituje? U ovom dokumentarnom trileru zavere (od producenta Pussy Riot i The Square), Aleksandrovič se vraća u gradove duhova u radioaktivnoj zoni, ne bi li pokušao da nađe odgovore – i ne bi li uspeo da odluči da li da rizikuje sopstveni život tako što će ih objaviti, usred rastuće opasnosti Ukrajinske revolucije i rata.

kuku wrote:
u stvari najveća zamerka mi je beskrajna sporost za koju ne nalazim opravdanje.