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A tribute to George Orwell's 1984 and a cry of protest against totalitarianism of all kinds, Sansal's 2084 tells the story of a near future in which religious extremists have established an oppressive caliphate where autonomus thought is forbidden. It is the year 2084. In the kingdom of Abistan—named after the prophet Abi, earthly messenger of the god Yolah—citizens submit to a single god, demonstrating their devotion by kneeling in prayer nine times a day. Autonomous thought has been banned, remembering is forbidden, and an omnipresent surveillance system instantly informs the authorities of every deviant act, thought, or idea. The kingdom is blessed and its citizens are happy, filled with a sense of purpose and piety. Those who are not—the heretics—are put to death by stoning or beheading in city squares. But Ati has met people who think differently; in ghettos and caves, hidden from the authorities, exist the last living heretics and free-thinkers of Abistan. Under their influence, Ati begins to doubt. He begins to think. Now, he will have to defend his thoughts with his life. "[In 2084] Sansal dared to go much further than I did," said Michel Houellebecq, the controversial novelist most recently of Submission. 2084 is a cry of freedom, a call to rebellion, a gripping satirical novel of ideas, and an indictment of the religious fundamentalism that, with its hypocrisy and closed-mindedness, threatens our modern democracies and the ideals on which they are founded. WINNER OF THE FRENCH ACADEMY GRAND PRIX
In Goliath, New York Times bestselling author Max Blumenthal takes us on a journey through the badlands and high roads of Israel-Palestine, painting a startling portrait of Israeli society under the siege of increasingly authoritarian politics as the occupation of the Palestinians deepens. Beginning with the national elections carried out during Israel's war on Gaza in 2008-09, which brought into power the country's most right-wing government to date, Blumenthal tells the story of Israel in the wake of the collapse of the Oslo peace process. As Blumenthal reveals, Israel has become a country where right-wing leaders like Avigdor Lieberman and Bibi Netanyahu are sacrificing democracy on the altar of their power politics; where the loyal opposition largely and passively stands aside and watches the organized assault on civil liberties; where state-funded Orthodox rabbis publish books that provide instructions on how and when to kill Gentiles; where half of Jewish youth declare their refusal to sit in a classroom with an Arab; and where mob violence targets Palestinians and African asylum seekers scapegoated by leading government officials as "demographic threats." Immersing himself like few other journalists inside the world of hardline political leaders and movements, Blumenthal interviews the demagogues and divas in their homes, in the Knesset, and in the watering holes where their young acolytes hang out, and speaks with those political leaders behind the organized assault on civil liberties. As his journey deepens, he painstakingly reports on the occupied Palestinians challenging schemes of demographic separation through unarmed protest. He talks at length to the leaders and youth of Palestinian society inside Israel now targeted by security service dragnets and legislation suppressing their speech, and provides in-depth reporting on the small band of Jewish Israeli dissidents who have shaken off a conformist mindset that permeates the media, schools, and the military. Through his far-ranging travels, Blumenthal illuminates the present by uncovering the ghosts of the past—the histories of Palestinian neighborhoods and villages now gone and forgotten; how that history has set the stage for the current crisis of Israeli society; and how the Holocaust has been turned into justification for occupation. A brave and unflinching account of the real facts on the ground, Goliath is an unprecedented and compelling work of journalism.
In Exception Taken, Jonathan Buchsbaum examines the movements that have emerged in opposition to the homogenizing force of Hollywood in global filmmaking. While European cinema was entering a steady decline in the 1980s, France sought to strengthen support for its film industry under the new Mitterrand government. Over the following decades, the country lobbied partners in the European Economic Community to design strategies to protect the audiovisual industries and to resist cultural free-trade pressures in international trade agreements. These struggles to preserve the autonomy of national artistic prerogatives emboldened many countries to question the benefits of accelerated globalization. Led by the energetic minister of culture Jack Lang, France initiated a series of measures to support all sectors of the film industry. Lang introduced laws mandating that state and private television invest in the film industry, effectively replacing the revenue lost from a shrinking theatrical audience for French films. With the formation of the European Union in 1992, Europe passed a new treaty (Maastricht) that extended its legal purview to culture for the first time, setting up the dramatic confrontation over the General Agreement on Trade and Tariffs (GATT) in 1993. Pushed by France, the EU fought the United States over the idea that countries should preserve their right to regulate cultural activity as they saw fit. France and Canada then initiated a campaign to protect cultural diversity within UNESCO that led to the passage of the Convention on Cultural Diversity in 2005. As France pursued these efforts to protect cultural diversity beyond its borders, it also articulated “a certain idea of cinema” that did not simply defend a narrow vision of national cinema. France promoted both commercial cinema and art cinema, disproving announcements of the death of cinema.
Tout Se Joue Avant Six Ans Unknown Desc
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