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part 6
Tue Dec 23, 2008 08:32 (XFF:

The implicit thesis of their commercially successful, “bestselling” book (excerpted prior to publication in Reader’s Digest and released in English and French) is that both sides had reasons to fight. In particular, the injustice done to Palestinians is clearly described. There is implicit criticism of some factions of the Zionist movement, Most prominently, the actions of the Zionist terrorist organizations Irgun (led by future prime minister Menahim Begin) and the Stern Gang (led by future prime minister Yitzhak Shamir) are shown to be fanatical racists bent on ethnic cleansing. The Deir Yassin massacre is fully discussed, to the point of detailing the summary executions of men and women, the murder of children, the rapes and the theft that it involved. We are not told, however, that hundreds of villages were destroyed throughout Palestine during this war. Still, it is to the book’s credit that even the Palmach and the Haganah are revealed to be unconcerned with the human and proprietary rights of Palestinians.

Overall, the War is presented as a kind of almost inevitable human tragedy that should enlist all of our compassion and understanding. In addition, there is a distinct impression of even-handedness imparted as this book is read.

However, there is more than a suggestion of partisanship in the book. For example, the loss of a part of the territory included on the Palestinian side of the rejected UN Partition Plan is attributed to the weakness and rivalries among the Arab leaders. Although Palestinians are not dehumanized in this book, as they are in Leon Uris’ Exodus, the cumulative effect of reading 600 pages of quotation, narration and analysis gradually reveals to the reader that Jewish or Zionist sources are considerably more present that those of Palestinians or of other “Arab” participants in the War. In addition, there seems to be a consistent underestimation of the Zionist military preparations and advantages, just as there may be over emphasis on cultural or psychological explanations for Arab failures. Most fundamentally, there is one essential premise that the book never challenges: the presumed right of Jewish people to migrate in massive numbers to an already populated territory.

The film French director Elie Chouraki made of O Jerusalem!, released 34 years after the publication of the book, is a melodramatic fictionalization which is only superficially inspired by the erudite history written by Larry Collins and Dominque Lapierre. Chouraki dramatized some real historical characters, and created others, in order to make an appeal for “peace” that carefully omits discussion of any issue except to say that both “peoples” have an historical claim to Palestine.

At times, Chouraki shows that certain revelations made by Collins and Lapierre, such as the terrorist bombing campaign against Arab residential neighborhoods in West Jerusalem, continue to be unacceptable considered from a Zionist perspective. This is because O Jerusalem! is a Zionist film in that it calls for an acceptance of the status quo without calling into question the foundations of the Zionist state.

The fact that self-proclaimed “republicans”, in France, the United States or elsewhere, can continue to support the idea of religious state while pointing with horror to the rise of political confessionalism in general is a remarkable phenomenon. It attests to the continued power of the Zionist idea that Jewish nationalism is both divinely sanctioned and a solution to anti-Semitism everywhere. Both ideas lack real foundation. Chouraki’s film shows that the ideology of Orientalism and of Zionist propaganda as expressed in Exodus, continue to support the occupation of Palestine and the oppression of Palestinians. Fortunately, there are voices, such as that of Amos Gitaï, that doggedly persist in their efforts to be heard.

Larry Portis is a professor of American Studies at Montpellier University in France. He an be reached at



- It smells anything strange here! Not only false "Film/Art/Culture-lover" leagues! HumanRightsDefender (labelled) organizations are blind, too; when criminals are the sect members/connected to anty Jewish lobby! Not only HumanRights' scammers, even AnimalRights actors are playing similarly shitty screenplays! Animal-saver NGOs are going in silence! What is the reason? There are several oragniazations all together etiquetted themselves as "Animal Rights" defenders, but they never protested "Animal Misuser Capitalists"?
- Unfortunately! It's reality! It's a pity!
- - What should HUMAN do?
- GIVE NO MONEY to THESE "HUMANIST MASKED" monsters! Don't support such SYSTEM(-atically betrayal)-MOUSETRAPS! Give no money to Animal Rights gangs/Red Cross/Amnesty International/ICJ etc sect charlatans, 'cause these organizations completely turned to be freak components of Imperialist system...
- But there are very good persions, too..
- Good person don't need to use mask! If there a single one REAL HUMANIST, so he should work not for money! A real Hum,anist works not for his own profitees, but for humanbeing!

-.. , .~-

"More Filth From Jewish Hollywood", reported by Robert Ransdell on 12 September 2007

This story makes one wonder, now why would any country in the history of civilization ever have wanted to exclude Jews from their society and in many cases expel them from their lands? The latest production from Jewish-run Hollywood could maybe provide some insight.

"Nothing is Private" is written and directed by Alan Ball, a queer whose ancestry cannot be confirmed by the author of this post, who also was behind "Six Feet Under" and "American Beauty". This new piece of cinematic filth has caused outrage in Toronto, where it is being featured at the Toronto Film Festival, for its graphic depiction of sexual, mental, and physical child abuse that verges quite literally on kiddie porn.

The movie, so odious that many people have simply walked out during the screenings -- shows actor Aaron Eckhart having sex with a 13-year-old girl played by a now 19-year-old actress, Summer Bishil. The actress only turned 19 recently, however, which means that she was just on the cusp of 18 when she made the movie last year. Moral issues will not prevent this film from being released nationally by a major studio or distribution company as Americans have been conditioned for many years to accept homosexuality as normal. The fact that most White Americans and Canadians would simply avoid this disgusting film will be the only factor that will prevent them from releasing it as it would lose them many shekels.

Other details,and there are many, of this obscene movie can be read by clicking the link below. The filthy "art", film, music and other productions that Jews call great art and entertainment are so foreign to our race's soul as we are the race that has produced Shakespeare, Boch, Beethoven, Michelangelo, and countless other masters who concentrated on beauty and goodness in almost all of their work, not filth and depravity like nearly all "creative" Jews seem to be afflicted with.

In every corner of the White world we need to fight to ensure that this filth doesn't continue to infect our people with the Jewish poison of gross debauchery and depravity by advocating that our nations in Europe, North America, and Austrailia once again become Whites-only homelands for all of our people. For the future of White children everywhere, won't you please consider joining the National Alliance.

-.. , .~-

"Kurdistan Turkey: Yilmaz Guney's last Film...

An old abbey in a small village north of Paris has suddenly become part of Turkey. Above the main gate is an inscription, in Turkish, “Central Jail of...” overlooking a statue of the Virgin Mary. There are inscriptions everywhere glorifying the Turkey of Mustafa Kemal, such as “What happiness for the man who says he is a Turk”.

Inside the main yard of the abbey, newly built walls delimit small courtyards where prisoners take daily exercise under the eye of a guard in a watch-tower. In the alley leading to the main building, a Cadillac with Ankara plates glides slowly through a crowd of women, heads covered with the traditional Anatiolian kerchief, and men with wide trousers.

Yilmaz Guney is filming the unexpected arrival of the inspector general of prisons. The actor is a Frenchman, who as it happens also works at the French Ministry of Culture. Always smiling, patient and good-humoured, Yilmaz Guney is struggling with an army of extras.

“Break the windows so that the birds can set themselves free”, as the film is provisionally called, tells the story of a revolt in a jail (Yilmaz Guney’s last film, Yol, also used the jail theme).

The children of the jail lead the revolt. Yilmaz Guney directs an amateur actor from Uruguay, who plays a guard, how to react when one of the children working in the prison kitchen threatens him with a huge knife. But the revolt will be crushed and the film ends with the arrival of new young inmates.

To reconstruct the special atmosphere inside a jail is a very difficult task with non-professional actors, but Yilmaz Guney tries to overcome it by using his technique of “poetic realism”.

He is shooting the film with 100 children mostly Kurdish children from West Berlin and from France, and about 100 adult extras: prison guards, inmates, relatives and so on. There are also some 100 technicians and crew living with Yilmaz Guney in the old abbey.

The children were delighted to join in this venture. “Imagine what an adventure it is for cchildren who cannot dream of a decent life in West Berlin or Paris; now they are stars”, says Tuncel Kurtiz, the only professional actor in the film.

In normal times the abbey is a village school. On one wall you can still read the rules as written by the children of an elementary class, for instance: “It is forbidden to dream during class”.

Yilmaz Guney refused offers from several big producers who wanted him to make films, because he wanted a free hand in his own film. But the producer he finally chose has nonetheless set very strict conditions of work. Nothing must filter out about the scenario of the film before the date the producer chooses for the launch. This interview is a remarkable exception.

Q: Looking back, how do you judge your films The Herd (Suru) and The Way (Yol)?

Yilmaz Guney: During my whole life as a creator, I have had to use indirect means to express my thoughts, and I must frankly admit that to date my works have not totally expressed what I wanted, either in their style or in their spirit. The dominant element in these works is that they are a compromise.

The Herd, in fact, is the history of the Kurdish peopl, but I could not even use the Kurdish language in this film; if we had used the Kurdish language, all those who took part in this film would have been sent to jail.

In the case of Yol, the focus was to be on Diyarbakir, Urfa and Siirt. I tried to create a Kurdish atmosphere by the use of music. But although the film was dubbed in Europe, I did not succeed in making it all in Kurdish.

Q: When did you find out that you were Kurdish?

A: I must say I am an assimilated Kurd. My mother was Kurdish, my father a Zaza Kurd. All through my childhood, Kurdish and Zaza were the languages spoken at home. I spoke Kurdish until I was 15. Then I was cut off from my family.

At that time I heard speeches saying: “There are no Kurds; there is no Kurdish language”. But I heard people speaking and singing in Kurdish, and I could see that the Kurds were living under very difficult conditions. My father was from Siverek; I saw Siverek for the first time when I was 16. It was then that I really realised who I was. There I knew the suffering of an uprooted family; my father said: “you are cut from your roots”. And at the age of 34, I was able to go and see my mother’s country, Mouch, the tribe of Jibran. The Herd is the story of what happened to this tribe.

Q: Since the main characters in your films are Kurds and your subject Kurdistan, how will you be able to go on filming outside your own country?

A: Here we are confronted with the following difficulty: we have only one professional actor, Tuncel Kurtiz (who played the father in The Herd). All the others are amateur; most of them have never played in a film before. It is impossible to get professional actors to come from Turkey, and even those who are in Europe do not dare come to work with me -- they even refuse to talk to me.

Q: Turkish actors would not work with a director who got a Palme d’Or in Venice?

A: Those who sing revolutionary songs when everything is quiet prefer to hide behind doors when things get difficult. So I have a Turkish cameraman, but the technicians are not professional. I don’t have a single professional technician fior the sets. The theme of the next film deals with jail. So I describe the darkness, the sadness, and all things which do not need any scenery, any nature.

Q: Why did you choose the jail?

A: There are two reasons. First, it is the subject most appropriate to the present situation of Turkey. Then, I am still not ready to shoot in Europe.

Q: What importance will Kurdistan have in your next films?

A: The Kurdish question is a very difficult one. One day I would like to shoot the film telling the story of the fight of a people for its birth -- or rebirth. Now, it is a very difficultproblem. One must tell how the Kurdish people was split and of their different perspectives of their situation. It is difficult to treat this problem in an objective way. History is not only full of victories; it is also made up of defeats, errors and deceptions.

Q: You mentioned the technical problems you face when filming outside your country. How can you create now that your roots inside Turkey have been cut? You deal with the people and nature of your country, but your films are not seen by your fellow citizens. How are you going to solve this problem? Are you going to settle down abroad?

A: Certainly we shall find a way to show this film to our people, but I cannot tell you how. As for your second question, after this film on the jail I do not want to shoot a film on Kurdistan in artificial conditions.

Q: Then your stay in France is an interlude in your career?

A: I am staying in France with a special permit to shoot this film. I am allowed to remain in France to launch it. After that, I do not know. I do not want to talk about the future now.

(The Middle East magazine, Juanuary 1983"


bne lyas>mir, typical betrayer; maliciously he misused the name of GÜNEY, several years long... He was active instrument of ZOG and he joined many provocations both in Germania and TurCIA.. It's not secret more: AddiZionally info: his IP number is and e-mail adresses for detailed info;, ,,,,,,
Provocateur convert Jew Ìlyas Emír MÌROGLU was born in Miroglu mezra-village, Hekimhan province, Malatya. His Mother "Mammele" was born in Arguvan, who prostitued between Alevi villages there areal, meanwhile this kinky job(!) she met a Busi

  • part 5ç, Tue Dec 23 08:31
    Gitaï's film expresses a lack of confidence in leadership and, in this way, Kedma can be understood as a reading (and viewing) of Exodus. There is, in fact, a remarkable parallel development of the... more
    • part 6 — ç, Tue Dec 23 08:32
      • part 7ç, Tue Dec 23 08:34
        (The Middle East magazine, Juanuary 1983" +-+-+ bne lyas >mir, typical betrayer; maliciously he misused the name of GÜNEY, several years long...... more
        • last partç, Tue Dec 23 08:35
          ArtistsAgainstTheJudaizedImperialism Stop all above films, so you can listen to Temporary soundtrack Theme: src=""... more
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