The emotions always have a quite definite class basis; the form they take at any time is historical, restricted and limited in specific ways.
Joined October 2013
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This is my new film:
he do the police in different voices (2025)
vimeo.com/1100904817
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FAO: @Michael_Mooney @LeftJab4 @JohnQuelman @overlandertheb1 @handloomlament @GPI_Archive
@HonestUlsterman @ruth_gilbert @otherpress @kmflett
Happy 80th birthday to James Kelman @JamesKelmanNet
Out now:
When I Was That Age Did Art Exist? (PM Press)
Kieron Smith, boy (And Other Stories)
Conference: James Kelman at 80
An Alasdair Taylor Retrospective @bellacaledonia
Award winning portrait by Chris Close
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FAO: @pompeyrascal @gentlemanwestJC @Mr_Considerate @DavidFarrUK @frankcottrell_b @PGilmour42 @thoughtland @LotWhalen @MontySnapper @RaefWrites @realboydie9 @BaptisteOduor @_jamesmeek @jimultimate @MontySnapper @RaefWrites @MumblinDeafRo @kavanpstafford @balumcarnes
Happy 80th birthday to James Kelman @JamesKelmanNet
Out now:
When I Was That Age Did Art Exist? (PM Press)
Kieron Smith, boy (And Other Stories)
Conference: James Kelman at 80
An Alasdair Taylor Retrospective @bellacaledonia
Award winning portrait by Chris Close
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FAO: @ayelearning @Deasbad @dfr10 @kevidoyle @pompeyrascal @logosphere @Helenadrak @banffmacduffsnp @discolite71 @Paul4Jags @bohemianpod @se_lyall @redandgreen21 @AudieCantFail @desmond_chester @BGinCHI @PaulDalgarno @MileStyle @WD_Clarke @GPI_Archive @RayFrench15
Happy 80th birthday to James Kelman @JamesKelmanNet
Out now:
When I Was That Age Did Art Exist? (PM Press)
Kieron Smith, boy (And Other Stories)
Conference: James Kelman at 80
An Alasdair Taylor Retrospective @bellacaledonia
Award winning portrait by Chris Close
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he do the police in different voices retweeted
Thanks to @inclinations_fc and @glasgowfilm for hosting the Scottish premiere of ‘The Day Innocence Died: Bloody Sunday & The Fight for Justice’ join us at @RichMixLondon for the London premiere 18th June tickets at richmix.org.uk/cinema/london…
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Happy 80th birthday to James Kelman @JamesKelmanNet
Out now:
When I Was That Age Did Art Exist? (PM Press)
Kieron Smith, boy (And Other Stories)
Conference: James Kelman at 80
An Alasdair Taylor Retrospective @bellacaledonia
Award winning portrait by Chris Close
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Zero African novels.
I'm not being as generous as Achebe who includes Camus.
This is entrenched ignorance.
Jun 6
have done 55. much more like it. theguardian.com/books/ng-int…
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Ronald Firbank at 100 (and our film Caprice is part of it).
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he do the police in different voices retweeted
Apr 13
Ronald Firbank: A Centenary Symposium, at The Warburg Institute on 22nd May.
Please come hear #AlanHollinghurst @becimay @michaelscaines @dickon_edwards #ellishanson #matthewingleby @QMULsed @KristinMMahoney
And more…!
@Warburg_News
eventbrite.com/e/ronald-firb…
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he do the police in different voices retweeted
May 11
Michael Powell explains why "A Canterbury Tale" (1944) was a tremendous flop:
‘'A Canterbury Tale' (1944) was really Emeric Pressburger’s film. I’m a director; I hate writing. With 'A Canterbury Tale', I had doubts, because the script had a wonderful idea—this man who cares so much about truth and beauty that he has to act for it, even on pain of being regarded as some sort of lunatic for what he does—but it was a Continental idea that did not fit into an English film.
If I was going to make an English film with it at all, I should have done more with it, translated it more. But I didn’t. I filmed it straight and the result was a tremendous flop. Since then I’ve never filmed anything I had reservations about, as I’m not conceited enough to think I’m so good I can get away with anything I’m not absolutely sure of."
(Michael Powell's interview to The Times, 1960)
P.S: On this day, 82 years ago, 'A Canterbury Tale' (1944) premiered in Canterbury, UK.
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he do the police in different voices retweeted
R.I.P. to the great Tony Stella, a friend and inspiration. This is devastating
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he do the police in different voices retweeted
Apr 14
Super Rare Docu Film "Tell Your Tale, Little Bird"
Women of the Palestinian Revolution speak: unbowed, unapologetic, unbreakable.
"Tell Your Tale, Little Bird" (إحكي يا عصفورة) Eng Subs – directed by Arab Loutfi – is a raw, powerful Docu, made in 1993/released in 2007 that lets seven legendary fedaiyat/fedayeen of the 1960s–70s revolutionary generation tell their own stories.
From Leila Khaled to Aisha Odeh, Rasmea Odeh, Therese Halasa, Rashida Obeida, Widad Qamari, and Amina Dahbour – these militant women recount joining the armed struggle, carrying out operations, facing torture and imprisonment in Israeli jails, and refusing to be silenced.
No narration overlays their voices; they speak with pride, confidence, and clarity about empowerment, resistance, and the undimmed dream of a free Palestine. This isn't victimhood – it's a testament to feminine strength that shattered gender roles and terrified the occupier. Memory is resistance.
Their tales keep the fire alive against erasure.
هدف العملية كان توعية العالم بالقضية الفلسطينية |
أمينة دحبور، أول فدائية فلسطينية في حرب استهداف واختطاف الطائرات، تحكي عن العملية الفدائية التي شاركت فيها واستهدفت طائرة "إسرائيلية" في سويسرا، ١٨ شباط ١٩٦٩
*من فيلم "إحكي يا عصفورة" للمخرجة عرب لطفي. إنتاج ٢٠٠٧ -صُوّر عام ١٩٩٣
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he do the police in different voices retweeted
Last few tickets for: EARTH'S GREATEST ENEMY
24th March @glasgowfilm
See you there: glasgowfilm.org/movie/earths…
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he do the police in different voices retweeted
Jean-Luc Godard: trailer for Bresson's Mouchette (1967)
x.com/DannyDrinksWine/status…
Mar 13
On this day, 58 years ago, Robert Bresson's "Mouchette" (1967) premiered in Paris, France.
Ingmar Bergman on his love for "Mouchette" (1967) & his aversion to "Au Hasard Balthazar" (1966):
"Interviewer: What about Bresson? How do you feel about him?
Bergman: Oh, Mouchette! I loved it, I loved it! But Balthazar was so boring, I slept through it.
Interviewer: I liked 'Les Dames du Bois de Boulogne' (1945) and 'A Man Escaped' (1956), but I would say 'The Diary of a Country Priest' (1951) is the best one.
Bergman: I have seen it four or five times and could see it again... and Mouchette... really...
Interviewer: That film doesn't do anything for me.
Bergman: No? You see, now I'll tell you something about Mouchette. It starts with a friend who sees the girl sitting and crying, and Mouchette says to the camera, how shall people go on living without me, that's all. Then you see the main titles. The whole picture is about that.
She's a saint and she takes everything upon herself, inside her, everything that happens around her. That makes such an enormous difference that such people live among us. I don't believe in another life, but I do think that some people are more holy than others and make life a little bit easier to endure, more bearable. And she is one, a very, very simple one, and when she has assumed the difficulties of other human beings, she drowns herself in a stream. That is my feeling, but this Balthazar, I didn't understand a word of it, it was so completely boring.
Interviewer: But, you could almost say the same thing about the donkey, that when the donkey has taken on other people's suffering...
Bergman: A donkey, to me, is completely uninteresting, but a human being is always interesting.
Interviewer: Do you like animals in general?
Bergman: No, not very much. I have a completely natural aversion for them."
("Ingmar Bergman Directs", John Simon, 1972)
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For anyone wanting to understand our world on fire, WASHINGTON BULLETS by @vijayprashad is essential reading. A crucial primer on the CIA Century, now in its sunset. Many references to the long war on Iran. There can be no hope without facing the reality of the situation.
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Pravo stanje stvari: Zverinjak
30 May 2018
De los Balkanes:
“Bestiary”
Bojan Đorđević (a.k.a. Omča)
2014
(image courtesy Halle Saint Pierre)
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he do the police in different voices retweeted
Otišao je veliki beogradski umetnik i moj prijatelj, Bojan Đorđević - Omča (1981-2026).
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Bojan Đorđević Omča (1981-2026)
Autentični glas Beograda, moj drug iz klupe, sada spava sa zvezdama.
nova.rs/kultura/preminuo-boj…
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