Bilingue/Bilingual. This old series has aged in spite of some good strong German blood in the second season. I hope better adventures are being produced right now. The old cars of the 1920s could be that attractive to today's audience and the strict, straight, only, and sole heterosexual option is slightly boring. We are not living in a world like that anymore. And the stories, at times the crimes, the murders, the assassinations are slightly fuzzy on circumstances and detail. I am surprised that Herlock Sholmes accepted to come and compete with such an amateur.
Fin comme l’aiguille d’Étretat, le Lupin. Finesse n'est pas dans le genre, roublard, menteur, rusé, futé, mais la finesse n'y est pas où les détails sont tellement gros qu'ils en deviennent mythiques de toutes les prestidigitations. Et le prestidigitateur est un fin renard qui sent sa proie juste avant de la manger et la proie est volontaire car elle croit que ce sera tout autre chose qu'un banquet avec sa viande et ses abats. Mais il se trompe et comme pour le taureau dans l'arène, ce sont ses pendeloques qui partiront les premières. Et après cela l'émasculé partira dans sa campagne mortuaire et se lèchera ses plaies et geindra tout son saoul/sou/ et cela finira avec une bise bien sûr mon cher Soubise. Lupin c'est des têtes à queue illogique dans l'intrigue et des ni queue ni tête dans la vraisemblance. Tout juste bon pour un public d'été légèrement éméché par la chaleur de la journée et qui regarde les images en laissant trainer ses mains partout où il peut.
Histoire du cinéma français des origines jusqu'en 2003.
Diaporama créé par Carmen Vera Pérez en 2003.
Il s'est vu décerner un prix par la Consejería de Educación de Castilla-La Mancha, lors du I concurso de experiencias didácticas que utilicen como soporte las Tecnologías de la Información y la Comunicación en décembre 2003.
Fin comme l’aiguille d’Étretat, le Lupin. Finesse n'est pas dans le genre, roublard, menteur, rusé, futé, mais la finesse n'y est pas où les détails sont tellement gros qu'ils en deviennent mythiques de toutes les prestidigitations. Et le prestidigitateur est un fin renard qui sent sa proie juste avant de la manger et la proie est volontaire car elle croit que ce sera tout autre chose qu'un banquet avec sa viande et ses abats. Mais il se trompe et comme pour le taureau dans l'arène, ce sont ses pendeloques qui partiront les premières. Et après cela l'émasculé partira dans sa campagne mortuaire et se lèchera ses plaies et geindra tout son saoul/sou/ et cela finira avec une bise bien sûr mon cher Soubise. Lupin c'est des têtes à queue illogique dans l'intrigue et des ni queue ni tête dans la vraisemblance. Tout juste bon pour un public d'été légèrement éméché par la chaleur de la journée et qui regarde les images en laissant trainer ses mains partout où il peut.
Histoire du cinéma français des origines jusqu'en 2003.
Diaporama créé par Carmen Vera Pérez en 2003.
Il s'est vu décerner un prix par la Consejería de Educación de Castilla-La Mancha, lors du I concurso de experiencias didácticas que utilicen como soporte las Tecnologías de la Información y la Comunicación en décembre 2003.
Ce mémoire a pour but d’analyser la situation du documentaire dans le contexte journalistique actuel en France. Depuis le début des années 2000, on n’a jamais autant réalisé de documentaires que depuis ces trente dernières années. Pour comprendre ce succès et la place qui lui est accordée dans la presse, il faut revenir quelques décennies auparavant pour constater que médias et documentaires ont vécu « ensemble », deux moments primordiaux de l’histoire audiovisuelle : l’arrivée de la télévision et l’instauration de l’information télévisuelle. Ainsi, comprendre la place du documentaire dans les médias permet également de questionner les mutations du journalisme actuel.
Mai 68 : une jeunesse en éruption décide de bousculer le monde de Papa.
Il y a des gauchistes et des CRS, des pavés et des matraques, des barricades et des gaz lacrymogènes. Il y a un Premier ministre à la manœuvre, un Président de la République qui disparaît des hommes politiques qui croient que c’est arrivé, des syndicats qui triomphent. Il y a Gay-Lussac et Grenelle et il y a Dany le Rouge.
Et aujourd’hui au Poche-Montparnasse, il y a Christophe Barbier qui anime le Cabaret Mai 68. Il raconte cette histoire avec Philippe Tesson, et tout finit par des chansons !
CABARET MAI 68
Conçu et animé par Christophe BARBIER
Avec
Christophe BARBIER, Emmanuelle GOIZÉ,
Sylvain KATAN, Pierre VAL
Et la participation de Philippe TESSON
Arrangements et piano Vincent PREZIOSO
Collaboration artistique, Stéphanie TESSON
Lumières, François LOISEAU
Assistant, Antony COCHIN
DU 29 MAI AU 11 JUILLET 2018
Représentations les mardis et mercredis à 21h
Production Théâtre de Poche-Montparnasse
Renseignements et réservations par téléphone : 01 45 44 50 21
Patrick mougenet entre histoire et mémoires, les représentations cinématogr...pmougenet
Comment saisir la « guerre d’Algérie », la « guerre d’indépendance » et leurs mémoires par le biais des représentations cinématographiques de 1945 (massacres de Sétif) à nos jours ?
Patrick Mougenet
Benjamin stora mémoire oubli
"Les pionniers du cinéma" : Curation des ressources physiques des médiathèque...ecoleetcinema91
Voici une curation des ressources physiques (livres, dvd...) autour de "Les pionniers du cinéma" que vous pourrez retrouvez dans le réseau des médiathèques de la communauté d'agglomération Les Portes de l'Essonne.
Cette curation a été effectuée par Céline David, référente de la section jeunesse de la médiathèque Simone de Beauvoir d'Athis Mons.
Ce mémoire a pour but d’analyser la situation du documentaire dans le contexte journalistique actuel en France. Depuis le début des années 2000, on n’a jamais autant réalisé de documentaires que depuis ces trente dernières années. Pour comprendre ce succès et la place qui lui est accordée dans la presse, il faut revenir quelques décennies auparavant pour constater que médias et documentaires ont vécu « ensemble », deux moments primordiaux de l’histoire audiovisuelle : l’arrivée de la télévision et l’instauration de l’information télévisuelle. Ainsi, comprendre la place du documentaire dans les médias permet également de questionner les mutations du journalisme actuel.
Bernard Marr just published Generative AI in Practice (1), which brings together the matter he has been dealing with on his blogs: Artificial Intelligence from the simple practical point of view of a user along with a systematic question about what can the consequences be for the various jobs these users have? But the book is always schematic when it shows the negative consequences will not compare with the positive consequences, though bad or good, they will require a lot of changes in the way we work, the jobs available, and the mindset of the users.
Bernard Marr does not insist so much on the negative sides of GenAI, but he does list them, particularly all sorts of cheating by using GenAI to replace one’s own writing work, all types of misuse of the intellectual property of such mechanical production of text, images, videos or any other copyrightable product that the user presents as his/her own.
But he does not enter the details, and thus he remains superficial. The problems of misinformation, hallucination, and bias are a lot less important, even with deep fakes, though Bernard Marr remains superficial on such dangers. He considers these GenAI products more like patentable or trademark problems, which they are but that’s the only side or point of view of the businesses using this technology.
At the present moment, lawsuits are emerging on the Intellectual Property front with people getting ready to go to court for unauthorized use of protected data and items within LLMs, or the use of voices, slightly synthesized (hence plagiarism and plain theft) as commercial products sold with an unshared profit. I will concentrate, in the second part, on chapter 10 on education to enter some details I know from the practice of self-learning at many levels of the educational system. (2)
Les Arts en Balade in Clermont-Ferrand this month of May 2024 were a success because they expanded to two cities outside Clermont conurbation, Thiers and Vic-Le-Comte, there were many people everywhere, there were 240+ artists or groups in about the same number of places: public spaces dedicated for such events, supportive professional institutions like the Order of Lawyers and the Order of Architects, many stores of all sorts opening their businesses to one or two artists, and also many apartments in the city transformed into workshops where artists could present their work. They were also a success because they lasted four days and were just as dense on Friday, May 17 as on the three following days up to Monday, May 20. Note the case of Michelin who opened their conference rooms and galleries in their Headquarters to three artists with a very good service guiding the visitors and making feel, equally at ease, the audience and the works of art, even from some green challenge declared to be ecological. Thank God we are not in the Orsay Museum of Le Louvre
This complete covering of the event I was able to work on, plus some suggestions for further development and opening to other arts than only plastic arts inside exhibition rooms or halls and on portable media. The opinions and tips are just mine of course, not those of an Artificial Intelligence requested to caress the wild artistic animals of this event smoothly and avoid ruffling their hairs. I apologize if some find it slightly rough at times. Arts are often harsh, and thus critics have to be harsh too. To critically cover an art exhibition is a love affair, and as they say in French, we could pretend that good lovers are also good at chastising those they love.
Les Arts en Balade à Clermont-Ferrand ce mois de mai 2024 ont été un succès car ils se sont étendus à deux villes hors agglomération clermontoise, Thiers et Vic-Le-Comte, il y avait beaucoup de monde partout, il y avait plus de 240 artistes ou groupes dans environ le même nombre de lieux : des espaces publics dédiés à de tels événements, des institutions professionnelles exprimant ainsi leur soutien comme l'Ordre des Avocats et l'Ordre des Architectes, de nombreux magasins en tout genre ouvrant leurs commerces à un ou deux artistes, mais aussi de nombreux appartements en ville transformés en ateliers. où les artistes pouvaient présenter leur travail. Ils furent également une réussite car ils durèrent quatre jours et furent tout aussi denses le vendredi 17 mai que les trois jours suivants jusqu'au lundi 20 mai. A noter le cas de Michelin qui a ouvert ses salles de conférence et d’exposition à son siège social à trois artistes avec un très bon service guidant les visiteurs et faisant sentir, également à l'aise, le public et les œuvres d'art, même de quelque défi vert déclaré écologique. Dieu merci, nous ne sommes pas au Musée d'Orsay ou du Louvre
Ce reportage complet de l'événement sur lequel j'ai pu travailler, ainsi que ...
Ce mémoire a pour but d’analyser la situation du documentaire dans le contexte journalistique actuel en France. Depuis le début des années 2000, on n’a jamais autant réalisé de documentaires que depuis ces trente dernières années. Pour comprendre ce succès et la place qui lui est accordée dans la presse, il faut revenir quelques décennies auparavant pour constater que médias et documentaires ont vécu « ensemble », deux moments primordiaux de l’histoire audiovisuelle : l’arrivée de la télévision et l’instauration de l’information télévisuelle. Ainsi, comprendre la place du documentaire dans les médias permet également de questionner les mutations du journalisme actuel.
Mai 68 : une jeunesse en éruption décide de bousculer le monde de Papa.
Il y a des gauchistes et des CRS, des pavés et des matraques, des barricades et des gaz lacrymogènes. Il y a un Premier ministre à la manœuvre, un Président de la République qui disparaît des hommes politiques qui croient que c’est arrivé, des syndicats qui triomphent. Il y a Gay-Lussac et Grenelle et il y a Dany le Rouge.
Et aujourd’hui au Poche-Montparnasse, il y a Christophe Barbier qui anime le Cabaret Mai 68. Il raconte cette histoire avec Philippe Tesson, et tout finit par des chansons !
CABARET MAI 68
Conçu et animé par Christophe BARBIER
Avec
Christophe BARBIER, Emmanuelle GOIZÉ,
Sylvain KATAN, Pierre VAL
Et la participation de Philippe TESSON
Arrangements et piano Vincent PREZIOSO
Collaboration artistique, Stéphanie TESSON
Lumières, François LOISEAU
Assistant, Antony COCHIN
DU 29 MAI AU 11 JUILLET 2018
Représentations les mardis et mercredis à 21h
Production Théâtre de Poche-Montparnasse
Renseignements et réservations par téléphone : 01 45 44 50 21
Patrick mougenet entre histoire et mémoires, les représentations cinématogr...pmougenet
Comment saisir la « guerre d’Algérie », la « guerre d’indépendance » et leurs mémoires par le biais des représentations cinématographiques de 1945 (massacres de Sétif) à nos jours ?
Patrick Mougenet
Benjamin stora mémoire oubli
"Les pionniers du cinéma" : Curation des ressources physiques des médiathèque...ecoleetcinema91
Voici une curation des ressources physiques (livres, dvd...) autour de "Les pionniers du cinéma" que vous pourrez retrouvez dans le réseau des médiathèques de la communauté d'agglomération Les Portes de l'Essonne.
Cette curation a été effectuée par Céline David, référente de la section jeunesse de la médiathèque Simone de Beauvoir d'Athis Mons.
Ce mémoire a pour but d’analyser la situation du documentaire dans le contexte journalistique actuel en France. Depuis le début des années 2000, on n’a jamais autant réalisé de documentaires que depuis ces trente dernières années. Pour comprendre ce succès et la place qui lui est accordée dans la presse, il faut revenir quelques décennies auparavant pour constater que médias et documentaires ont vécu « ensemble », deux moments primordiaux de l’histoire audiovisuelle : l’arrivée de la télévision et l’instauration de l’information télévisuelle. Ainsi, comprendre la place du documentaire dans les médias permet également de questionner les mutations du journalisme actuel.
Bernard Marr just published Generative AI in Practice (1), which brings together the matter he has been dealing with on his blogs: Artificial Intelligence from the simple practical point of view of a user along with a systematic question about what can the consequences be for the various jobs these users have? But the book is always schematic when it shows the negative consequences will not compare with the positive consequences, though bad or good, they will require a lot of changes in the way we work, the jobs available, and the mindset of the users.
Bernard Marr does not insist so much on the negative sides of GenAI, but he does list them, particularly all sorts of cheating by using GenAI to replace one’s own writing work, all types of misuse of the intellectual property of such mechanical production of text, images, videos or any other copyrightable product that the user presents as his/her own.
But he does not enter the details, and thus he remains superficial. The problems of misinformation, hallucination, and bias are a lot less important, even with deep fakes, though Bernard Marr remains superficial on such dangers. He considers these GenAI products more like patentable or trademark problems, which they are but that’s the only side or point of view of the businesses using this technology.
At the present moment, lawsuits are emerging on the Intellectual Property front with people getting ready to go to court for unauthorized use of protected data and items within LLMs, or the use of voices, slightly synthesized (hence plagiarism and plain theft) as commercial products sold with an unshared profit. I will concentrate, in the second part, on chapter 10 on education to enter some details I know from the practice of self-learning at many levels of the educational system. (2)
Les Arts en Balade in Clermont-Ferrand this month of May 2024 were a success because they expanded to two cities outside Clermont conurbation, Thiers and Vic-Le-Comte, there were many people everywhere, there were 240+ artists or groups in about the same number of places: public spaces dedicated for such events, supportive professional institutions like the Order of Lawyers and the Order of Architects, many stores of all sorts opening their businesses to one or two artists, and also many apartments in the city transformed into workshops where artists could present their work. They were also a success because they lasted four days and were just as dense on Friday, May 17 as on the three following days up to Monday, May 20. Note the case of Michelin who opened their conference rooms and galleries in their Headquarters to three artists with a very good service guiding the visitors and making feel, equally at ease, the audience and the works of art, even from some green challenge declared to be ecological. Thank God we are not in the Orsay Museum of Le Louvre
This complete covering of the event I was able to work on, plus some suggestions for further development and opening to other arts than only plastic arts inside exhibition rooms or halls and on portable media. The opinions and tips are just mine of course, not those of an Artificial Intelligence requested to caress the wild artistic animals of this event smoothly and avoid ruffling their hairs. I apologize if some find it slightly rough at times. Arts are often harsh, and thus critics have to be harsh too. To critically cover an art exhibition is a love affair, and as they say in French, we could pretend that good lovers are also good at chastising those they love.
Les Arts en Balade à Clermont-Ferrand ce mois de mai 2024 ont été un succès car ils se sont étendus à deux villes hors agglomération clermontoise, Thiers et Vic-Le-Comte, il y avait beaucoup de monde partout, il y avait plus de 240 artistes ou groupes dans environ le même nombre de lieux : des espaces publics dédiés à de tels événements, des institutions professionnelles exprimant ainsi leur soutien comme l'Ordre des Avocats et l'Ordre des Architectes, de nombreux magasins en tout genre ouvrant leurs commerces à un ou deux artistes, mais aussi de nombreux appartements en ville transformés en ateliers. où les artistes pouvaient présenter leur travail. Ils furent également une réussite car ils durèrent quatre jours et furent tout aussi denses le vendredi 17 mai que les trois jours suivants jusqu'au lundi 20 mai. A noter le cas de Michelin qui a ouvert ses salles de conférence et d’exposition à son siège social à trois artistes avec un très bon service guidant les visiteurs et faisant sentir, également à l'aise, le public et les œuvres d'art, même de quelque défi vert déclaré écologique. Dieu merci, nous ne sommes pas au Musée d'Orsay ou du Louvre
Ce reportage complet de l'événement sur lequel j'ai pu travailler, ainsi que ...
A novel of political fiction that does not reach science-fiction but wants to tell us a lot about the modern world and what the choices are for us in this decaying future. The pattern, the Gestalt of this book seems to be that no matter what humans try to do, good or bad, progressive or reactionary, democratic or dictatorial, there is no hope and no future for those initiatives. Any attempt at changing the decaying world we live in is doomed to be a failure.
What is history? The production of what happens in our world, in fact, in the cosmos, and no human individual, no human crowd, no human anything can control or change the course of such events. If by any chance we want to understand what makes history, we have to consider billions, maybe trillions of parameters in the cosmos and we, the human dwarves we are, do not even control half a dozen of them and our vanity makes us believe we can command the cosmos because we want to be gods. In the old days and in other civilizations than the Western denied Bible, they were humble enough to give this power to a God that was not of the human species.
Here Salman Rushdie follows a witch bewitched by a goddess who pretends she can create a whole empire from a bag, or rather a sack of seeds, and this leads to a total and pitiful defeat and absolute termination of the attempt, but it means Salman Rushdie is predicting that all the positive elements his witch tries, religious tolerance, education for boys and girls equally, women’s rights, gender-friendly policies, peace and coexistence, and finally freedom of expression are all doomed to fail and crumble as soon as they reach some height. In other words, his novel and his vision are the rewriting of the Babel Tower myth.
Sorry boys and girls, no future for any progressive dream, just as much as for any regressive nightmare. Life and history are neither a dream nor a nightmare. They are nothing but cosmic determinism governed by the cosmos itself, and we can be happy with the fact our world is not in a black hole. But after all, maybe that’s the destiny and fate of humanity, to end up in a bottomless black hole.
This series is very well done, suspenseful, at least as much as possible, twisted and distorted like any crime series should be but unluckily it is biased. It states to anyone who wants to listen that crime has roots in only one thing: family dysfunctioning and nothing else. The fact that society leads some people who do not fit in the standard mold to rebellion, frustration and violence by being biased against them and bullying them all the time and if they want to have contacts with people, they have to go down on their knees and beg for a favor.
That’s too bad because the cases in this rural north Wales area deserve a lot better, and probably, a more open vision of crime in this community.
LA CHAISE-DIEU MÉDIÉVALE & LA RÉVOLUTION BÉNÉDICTINE--MEDIEVAL LA CHAISE-DIEU...Editions La Dondaine
On July 13, 2024, at La Chaise-Dieu, the European Network of Casadean Sites will present a public conference on the topic of the Benedictine Revolution in Livradois-Forez, led by the La Chaise-Dieu Abbaye, starting a bit earlier with the religious reform brought up by Charlemagne in the 9th century. The Abbaye was founded less than 200 years later. The conference will focus the discussion – and it has to be a discussion – on the consequences of the Carolingian religious reform, the agricultural revolution with the invention of the horse collar and the management of the land, the rotation of crops, cultivation, and fertilization. Then the proto-industrial revolution that will bring five types of watermills for grain, oil, tan, hemp (fiber and cloth), and slightly later paper. This will make Livradois-Forez an essential region producing hemp cables and hemp cloth for ships. The first result was 75 days without any work in the year, no work before and after morning and evening angelus, and a pause with midday angelus. The second result was better food and demographical expansion, up to the end of the 13th century.
Then things became darker. Overpopulation brought unrest and all sorts of contests and conflicts at the religious level itself (Crusades in the Middle East, but also against the Cathars in France. Then in 1346, the Black Death, a pandemic in Europe of the bubonic plague, caused a tremendous level of deaths. Then, the One Hundred Years War started in 1337. The resilience of the population enabled Europe in general to go through, and around 1450 the printing press was developed by Gutenberg enabling the printing of books for the highly-needed university training of great numbers of people to bring Europe back on its feet. The Renaissance was the result of this period, a tremendously positive and creative period, and at the same time, a highly-disturbed era with The Reformation, and the religious wars that concerned all countries at a time when nationalism was emerging.
Two speakers-debaters will present the five or six centuries concerned as fast as possible to let the audience debate questions like:
1- The influence and impact of Charlemagne’s religious reform.
2- The feudal system: land ownership and serfdom.
3- The role of technology to produce energy, replace human work, and develop new products.
4- Religious tensions with Avignon and Rome conformist Popes.
5- The role of The Inquisition and religious justice.
6- The fate of the cable industry when Omerin In Ambert is number one in Europe or the world for various high-security and high-technicity cables.
7- The culture: architecture, music, painting, carving, theater, oratorio and opera, literature.
It will take place at LA CHAISE-DIEU – AUDITORIUM GEORGES CZIFFRA
SAMEDI 13 JUILLET 2024 – 14-17 HEURES 30.
The two main speakers so far are Dr Jacques COULARDEAU (Université Paris 1 Panthéon-Sorbonne) and PhD Graduate Student Clément GOMY (Université Clermont Auvergne
Xavier Rouard searches and researches the linguistic world, scientific research of course, for the origin, the cradle, the homeland, or the motherland, of Indo-European. He is not the only one in the world, but he goes against practically all the others by positioning this linguistic nursery in Central Asia based on a Eurasian or trans-Eurasian language or languages. But precisely Eurasian languages only came into existence from the moment when syntactic-analytic Indo-Iranian languages left the Iranian plateau where they had stationed themselves when they arrived from Black Africa, some 40,000 years ago, or BCE, not much difference here. They had to go through the Ice Age first and finally get on the move after this climate event probably around 15,000 BCE, some east to the southern Asian continent, with Pakistan and India, others west down into Mesopotamia and from there to Europe. These people, on both side, encountered people who spoke other languages, Turkic agglutinative languages, and isolating Sino-Tibetan languages, mostly. These languages had integrated the Denisovans and their own language(s). Thes encountered people were hybrid Homo Sapiens with a varying proportion of Denisovan DNA in Central Asia, and the same in Mesopotamia with a varying proportion od Neanderthalensis DNA. When they reached Europe, the population was essentially of Turkic language and origin with a varying level of hybridization with European Homo Neanderthalensis. It is such encounters that generated or engendered the various Indo-European or Indo-Aryan languages
My approach is phylogenetic and thus it is absolutely impossible for me not to take into consideration the migrations and geographic, hence social, cultural and linguistic movements of these populations. That’s the basic principle of Joseph Greenberg who considered that all these migrations had only one matrix or melting pot that produced the emergence of human articulated language on the basis of what these emerging Homo Sapiens inherited from the other Hominins from which they were descending.
But Joseph Greenberg and his disciples encountered a problem: in all language you should find a certain number of words whose “roots” are universal and stable in meaning. These are the roots coming from Black Africa before any migration out of Black Africa. The problem is then that it does not enable any topology of languages. So, they, Greenberg and his disciples, tried to introduce “grammatical” or “syntactic” words, but even so it does go that far.
To get somewhere you have to ask the question about the phylogeny of articulated language(s), and there you only find three articulations in a precise order: root-languages (by the way vastly ignored by Xavier Rouard), Isolating character languages, and agglutinative as well as synthetic-analytic languages according to the migrations out of Black Africa. If you do not consider this phylogeny, then you put all sorts of languages together in the melting pot [...}
Three crime series in one entry.
First, The Brokenwood Mysteries; seasons 1 to 3.
Second, The Coroner, Complete Series.
Third, The Unforgotten, Series 1 to 4, Complete Series.
Police series, detective stories, criminal mysteries, and many other options in the field of crime and delinquency have been explored by the English from the first moment they started existing, a very long time ago.
Shakespeare and he was not the first author in the field, loved those stories of crimes and criminals, having people assassinated, or mutilated, or tortured on the stage from Titus Andronicus to Romeo and Juliet.
Dickens was a good one too in that field, but Shakespeare looked at crime from the outside, from some ethical point of view. Dickens looked at it from inside, from the point of view of the criminals themselves forced to commit crimes in order to simply survive.
Then you had Mary Shelley and her Frankenstein and then later on Dracula came into the picture, and many others trill we came across Conan Doyle who edicted the proper form of a crime story or detective story, hence an investigation of a crime we can only see from outside, and the investigation is to get into it to see how it got developed and who was the criminal.
Since then, with the radio at first, the cinema next, and finally television leading directly to streaming and the Internet, those police adventures have just become adventures, and the extreme form is what they call action films where violence is no longer criminal since it has been transformed into the ultimate survival if not the final renascence before the apocalypse.
Enjoy these series.
The Mayas are more a cultural and historical mystery than a vast field of knowledge. We know less than we can even imagine about them. Where did they come from? What language did they speak before coming to Mesoamerica? What were their beliefs before arriving in Yucatan? They brought with them cacao, chocolate, writing, mathematics, extremely advanced calendars, phenomenal knowledge about stars, planets and the cosmos. They even brought with them a vigesimal counting system with the mathematics going along with it, including the equivalent of our zero (that we borrowed from the Arabs in the 17th century) that enabled them to count up to the infinite.
The most remarkable achievement is that they managed to merge phenomenal art with the glyphic writing system of theirs. We know the glyphs were works of art, for one, and a syllabary phonetic writing system, for two. For a very long time the second aspect was rejected, particularly by Sir Eric Thompson. Luckily this untruth was rejected after his death, with a little bit of disregard before his death. The glyphs were not flat symbolic of items and purely artistic, like some kind of secondary if not superfluous decoration. The colonizing Spaniards considered that decoration as diabolical and they burned and destroyed all the books and artifacts that carried such artistic representations of Maya reality and such glyphs that could only be the language of the devil.
Imagine how surprised I was when I discovered this catalogue of an exhibition at the MET Museum of Art in New York. They provide some images of the glyphs, and even some sentences written with them. But they systematically ignore the glyphs, transliterate the sentences and words into Latin-transliterated Maya, and simply work and speculate on these transliterations and their translations into English. They lose all the richness of meaning and beauty of the glyphs. In other words, they terminate, bring to a final end the destructive work of the Spaniards, the culturicide of the Mayas and the Maya culture and civilization. My full study (about 15,000 words, only in English) is available
The 3 Literacies of Modern Age, the Trikirion of CommunicationEditions La Dondaine
Review of the Trikirion of Communication:
Symboleracy, Numeracy and Techneracy
The starting point is the phylogeny of communication because the educational topic I am going to address cannot even exist if there is no communication. We have to understand that all Hominins were communicating. Probably all Hominins after Homo Erectus included had some command of some articulated language, but only Homo Sapiens reached the comprehensive and sustainable command of the fully-articulated language, probably around 200,000 BCE.
The next great stage Is the development of representational and symbolic Inscriptions and paintings or engravings on all durable media available, rockface in caves, stone, bone, ivory, and tusks. This symbolic transcription of stories and experience, maybe some spiritual language accompanying some rituals, is the first form of writing seen as symbolic transcription and going back to 300,000 BCE with Homo Naledi, 100,000 BCE with Homo Neanderthalensis, and 50,000 with Homo Sapiens.
Syllabic and alphabetical writing only came around 3,500 BCE for Homo Sapiens. There might have been older cases, but archaeology has not yet covered the whole world for all types of symbolic inscriptions that could have led to symbolic phonetic writing. The next stage was the printing press which enabled mass education and mass communication.
ENTRE IA & LES ÉCRANS LE THÉÄTRE EST EN QUESTION
The Journal “Théâtres du Monde” has just published its 34th issue. I have two articles published in that journal. So here is first of all the table of contents of the 2024 issue, and I added to these three pages all the preparatory work I have done to write the two articles that deal with the series HUNTERS and the author Lorraine HANSBERRY. These reviews and critiques are all bilingual, English for some and French for the others.
I do feel like a raisin the sun. I also added some documents on the recent question brought up about race in the USA where some states are restricting the teaching of slavery and Black history in the USA because it may, might, would, and I think SHOULD traumatize the poor white darlings who really need some traumatization about their imperialistic ideological terrorism.
Four films or series.
1- John Woo’s Silent Night (2023),
2- Doug Liman’s Road House (2024),
3- Albert Hughes’s The Continental (2023),
4- Marcela Saïd and Julien Despaux’s Ourika (2024),
all seen on Amazon’s Prime Video, hence distributed by Amazon Prime Video, all dealing with violence in our societies and all claiming that violence is justified top answer and respond to a violent society, a violence coming from outside our community, and that outside can introduce anti-immigrant accusations or plainly racist claims, both anti-white and anti-any-ethnicity.
Does it help us understand this violence ? Does these films enable us to devise a proper response to prevent and solve such violence? Both times, a resounding NO. But in both cases, it plays in the hands of the most extreme forces on the nationalist side of life, the side that refuses to consider those who are not pure according to their definitions as the cause of all our problems, and not only those people but also all products that may come from the countries concerned by these ethnic groups. This is true in the USA, in Canada, with Mexico playing the wide-open gate to the previous two, and all over Europe.
What game are these streaming services playing? Preparing coming elections! But it might go the wrong way for them. Now what is the wrong way? Good question. No answer because the ballot boxes will be the only valid answer. First stop, the European Elections in June 2024.
Mo Xiang’s third volume of the saga on The Blessing of a Heaven Official is there in front of me and this saga is emanating with so much force that no one can resist the tanha that tells them “Go For It! There is pleasure in it all!” I am sure you want to discover the pleasure there is in these volumes, but remember the authoress is a woman and as such she develops a sweet, soft, and catching psychology that will turn you completely berserk if you do not keep your feet well anchored in the earth.
The King Ghost Hua Cheng from Ghost City is behind every move the ascended Xie Lian is inspiring or is inspired by and for. His meeting this Xie Lian after 800 years of supernatural and surreal life in our vast cosmos was so mind-stirring, intelligence-moving, and body-inspiring that the pure ascetic Buddhist he is supposed to be, nearly fell into the cauldron of eroticism. He managed not to fall, but that was very close this time since he was unconscious and Hua Cheng took advantage of the situation and pretended that he had to save his “friend” before he drowned, though Hua Cheng knew perfectly well Xie Lian could not drown, hence cannot die. But, well, Hua Cheng kissed Xie Lian unconscious as he was, I mean in his unconscious mind, because Xie Lian was unconscious, and thus he could kiss him since he could not protest. What a twisted and I guess tortured mind he is. He should try Buddhist meditation to hypnotize himself into plain decent abstinence.
But sure enough, the encounter with the Venerable of Empty Words promises to be a fair adventure in which Xie Lian’s mind and body will be chastised, abused, and even probably raped. There will be quite a lot of repair work to do on the psyche and the conscious rightfulness of our Xie Lian. I guess Hua Cheng will take advantage of such situations to steal a couple more kisses. Never trust a ghost because they have no soul anymore and they have no honor either. So, lying, pretending, and even impersonating what they are not to seduce their gullible victims is some kind of sport for these fuzzy beings, if they can really BE.
Oppenheimer is an essential character in US history. He is the left-leaning Jew who provided the USA with the Atom Bomb that enabled the US to defeat Japan faster than the planned standard land and air attack by the Soviets and the Chinese Communists, officially endorsed in the Yalta Conference ( 4–11 February 1945) by Churchill, Truman, and Stalin. Truman did not have the atomic bomb yet and will only have it in July 1945. So, he bluffed and agreed with the Soviet plan because he had no alternative … yet. He reneged his agreement in July-August 1945, and he dropped two atomic bombs on Hiroshima and Nagasaki on August 6 and 9, 1945. The victory over Germany was a joint effort. The victory over Japan was a self-centered and egotistic solitary procedure not even negotiated with the allies of the US. The United Kingdom might have been informed, maybe. But the USSR was not. The Americans were already and had been for nearly two centuries, on the “America First” and “Make America Great Forever” lines that we have known all along and directly since 1918.
And within 9 years Oppenheimer will be ostracized because he was leaning to the left and there were Communists around him. He submitted and disappeared in some sideline university job. He had nowhere to go, as opposed to Charlie Chaplin who went back to England. As a Jew, he could have gone to Israel, but that was not a real optimistic solution at the time. He might even have gone to the USSR with his communist wife. But he stayed put in the USA, in his closet-university-job. The film does not really explore this dilemma: hide away in the USA, go to the Jewish Israel, or go to the USSR. On one hand, it was his old depressive nature that came back. On the other hand, it would have been going back to his faith and his roots, even if it could have looked like treason. On the third hand, on yet another other hand, it would have been plain treason.
THE DESCENT TO HELL IN THREE STAGES – 2003-2015-2019
I brought together three films and series presented here both in English and French in anti-chronological order.
1- The film 7500, 2019.
2- The series Blindspot, 2015-2020.
3- The film The Dreamers, 2003
If you take them in this backward order, you may understand that today’s world is not at all different from the one in 1968 when the Vietnam War was going on full blast, the Chinese Cultural Revolution was in full swing and the West per se was living its first full sexual revolution with the arrival of the baby-boomers to the full unquenchable desire to hormonally and fully enjoy life. Have some interesting reading.
FIRST STAGE – AMAZON STUDIOS – 7500 – 2019
There is little to say about such a film. It is just artificial entertainment that shows nothing and proves nothing. It is all stressing detail to keep the audience glued to the screen.
SECOND STAGE – BLINDSPOT – FULL SERIES – FIVE SEASONS – 2015-2020
A very long series for very little apart from stressed and stressful situations that always end well anyway, meaning leading to a worse situation in the next episode.
THIRD STAGE – BERNARDO BERTOLUCCI – THE DREAMERS – 2003
Paris Spring 1968. We all know what happened then in France. The victory of the unions, the defeat of the left, and the impossibility for the left to understand that any “events” of that sort will always lead to the victory of the right in the next elections, and today we have to update the data and say the victory of the extreme right. It might be slightly more complex, but basically, that’s what it is and when the left wins this social-minded left will become conservative within at the most two years and it might even turn reactionary within these two years, at times even less. They like power so much.
Amazon Prime Video and Blumhouse Productions love dysfunctioning mothers who, in the name of their love for their children, are ready to kill anyone only on their gut feelings that this anyone is guilty of who knows what apart from the devil.
The film is tricky enough to lure and fool the audience, and the horror of the racist and dysfunctional situation can be believed till the end when the trick is revealed. Note this revelation implies that all daughters from divorced or motherless families are by definition, even by principle, liars.
You might also find the father falling in an ice-cold river under a blizzard of some sort funny, and with his winter coat on, and then he goes on parading around outside, in the unheated car, and even in some kind of social situation without changing his freezing clothes. Like at the Oscars yesterday the costume design Oscar was delivered to a costume designer wearing no clothes at all, except a small cardboard sign where sexually necessary for the picture, meaning that costume designers are so badly treated and paid that they cannot even afford to buy underwear.
A little bit more about the context, schools, religion, Islam and girls, divorced parents, single Muslim male parent, etc. would have maybe given some depth to the story and made it less artificial.
A film that wants to be science-fiction. So, learn the lessons that emerge from it.
1- Let black doctors or scientists get into a hospital “laboratory” and the most unimaginable horrors will take place.
2- Let black people be fully treated in a hospital and they will become guinea pigs, especially in the hands of black doctors.
3- Let a mother treat her son and the worst possible crime will take place under your own nose and in front of your own eyes.
4- Shall I go on?
If this is not pure racism laced with some sexism, I just wonder what would qualify. How can anyone imagine such man-made scientific schizophrenia to be possible in the hands and under the scalpel of a doctor, a scientist? I guess it is urgent to have clear regulations and controls on such activities. Because be sure that wild clandestine medical experiments are happening every day in the world.
Duration is all that plants and animals experience. They last as long as either possible or necessary. When the phylogenic target of bringing in the next generation of life is fulfilled, the plant or the animal can die or wither away. Homo Sapiens, and probably most Hominins developed from experience the need to measure this duration, at first in days and nights, and then in clusters of days and nights. Then they can coordinate their observations and notice some cosmic items go through regular existential cycles, first of all, the sun rising or lowering in the sky with shortening or lengthening days and nights. Second, the moon and its phases are numbered as two, four, or three, but systematically waxing and waning. You can easily measure all that in solar days and that is the beginning of time: a human invention quantifying the duration of anything in observable regular elements.
From what we know the Mayas were among the most advanced people for such time-quantification and they developed all sorts of calendars to do this. But they were neither the first one nor the last one. They were not the best either, though they were very good. I will even say that all the lines of dots or check marks or squares or other geometric forms we can find in all the caves in the world in which Hominins and Homo Sapiens lived and that they decorated in many ways are the quantification of various phenomena, though we don’t always know which ones.
This book by Hunbatz Men concentrates on Mayan calendars but in modern language and modern terms, not necessarily in the real Mayan terms at the time, up to 3,000 years ago. It assumes the Mayas were aware of the leap years, though we do not seem to have any real reason to believe so. The author does not work on any serious lunar hypothesis, maybe a calendar. It vaguely mentions but does not explore the Venus cycles as Morning Star and as Evening Star. To work on the Pleiades, why not, yet one question does not concern such a long cycle but the simple working of the ritualistic 260-day Tzolk’in Calendar that is out of sync with the solar calendar, the 365-day Haab Calendar, and even more so if we consider the 360-day Haab Calendar, and how the ritual activities dictated by the Tzolk’in Calendar can be prescribed and predicted and performed when their Tzolk’in dates can fall at any time, in any season in the Haab Calendar. It is hard enough to coordinate the 12-and-a-half moon cycles over a solar calendar, but many civilizations are dealing with it and managing it with cyclical corrections.
That’s why it would have been good to give us some elements on this very same problem with the Tzolk’in calendar when we can compare with the difficult adaptation of the Muslim Lunar ritualistic calendar to the Gregorian calendar. The floating Ramadan is the result of this necessary adaptation. In other words, the present book is slightly short.
To bring together South Africa in the days of apartheid and from the point of view of the white Afrikaners with the tremendous career of Queen with Freddie Mercury and after his death without him shows how ahead of their times this band was when they started as a boys’ band and then when they matured into a full-fledged career.
Apartheid and racism bring segregation and discrimination which systematically reject differences. No future for those who do not have the skin color, the religion, the language, the sexuality, the musical affiliation, even as a simple audience, as the dominant, selected, elected, chosen entity that only has god and science over their heads. And their God has chosen these people to be his chosen people, and these people chosen by God believe what God has explained to them that science justifies their elected-ness, selected-ness or chosen-ness. They are the acme of the creation, and all others are just plain rejects that no one has the heart to destroy.
But be sure God will do it some day. Which god since there are many if not even plenty? Who cares. Each God will recognize his own supporters when they are all dead.
But then you may have no supporters at all, dear God or Gods. It does not really matter. We don’t need these supporters to eat, drink and survive. We have all we need in heaven and the sky. In fact, it was a mistake of ours to have created humanity. The planet would be so much better with none of the human parasites.
Meet the Madman Prophet, who is most the time mixed up with the other God Profit who is universal and derails every so many years, not so many as you may think every ten years or so. But with this God there is always a small population that manages to store away what they need to take over when the crisis has come to an end and the dead victims have been buried or cremated.
An interesting experiment to bring a poetry workshop in a prison For us who have lived in the mythology of Johnny Cash and San Quentin, and all his songs and work about and in prisons there is nothing strange about that But what happens afterward? The inmates get some satisfaction in their work, writing poetry and singing, slam or whatever it may be, but what’s next after their prison term? No reason to reject the experiment but a follow-up action is necessary to know what these men – and it is only men – have become or will become when they get out of the railings, out of the cage. We are not all Johnny Cash, are we?
Since this operation was sponsored by Alliance Française, it would nice to know what kind of follow-up work this Alliance Française is going to perform. The responsibility cannot be the poet’s. But it is interesting to be confirmed one more time that there are many ways for prison inmates to reform. One element is not taken into account. 98% of the population is Sunni Muslims. What is the impact on such an experiment? What does Islam bring to the experiment that would otherwise not be there. Étienne Russias should try to show us this dimension, since, as far as I know, he is a standard young man educated in the Christian traditions, maybe not the religion, but the traditions definitely like being christened, being buried religiously, being married religiously. How did he deal with a 98 percent Muslim group? How many Muslims were taking part, among the inmates and among the workshop workers?
But that’s the beginning of the intelligent globalization we need, a globalization that is founded on differences and not some westernized homogenization.
(No French Translation) The Incas partly inherited and partly developed phenomenal agriculture in the very hard conditions of the Andes: desertic areas, difficult water resources, high altitude, no real draft animal, no wheel, and yet the Andes before and under the Incas produced miraculous results that the Spaniards destroyed in a few years with epidemics and mass killing.
It is easy to say the Incas were barbarians and that covers the genocide, the culturicide, the systematic uprooting and exposing of anything they could have believed or done, based on NO direct contact with them before the “conquest” that must have killed 50% of the population in two or three years with smallpox and other infantile and childhood diseases, plus a few sword killings when there was some resistance.
Unluckily, Gordon McEwan does not really come to a clear vision in his book because he only bases his work on what has been collected by others essentially on the only source of some Spanish colonizers trying to justify the massacre and apocalyptic colonization. The real barbarians were the colonizers, and it is their testimony that is nearly only taken into account. Archaeology is about one century behind what it is in other regions of the world.
Things have slightly changed over the last ten years, but we are still a long way behind what we should have done. That leaves the door open to some like Hunbatz Men pretending the Mayas, Incas and many other Indigenous Native Americans are the descendants of the humanoid people who were established in two continents that have disappeared without leaving any trace of their existence behind them, Mu and Atlantis. And then it is easy to bring in that the inhabitants of these two disappeared continents were extra-humans from some distant civilization who landed on earth and prospered and then found some humanoid animals there and civilized them. We are their descendants, I mean of these extra-humanly civilized humanoid animals from long ago.
Maybe we could simply ask some questions about the origins of the Incas, the Mayas, and many other native American peoples of South and Meso-America. We know the Native Americans of North America and Canada up to Greenland came from Siberia. But that solution is not, feasible for the Native Americans of South and Meso-America. But we are so mentally colonized by North American Protestant Puritans who believe they are the center of the world that research about South America and Mesoamerica has scandalously been neglected. Some mental colonization of this type is also a genocide since it excludes millions of people from what these North American WASPs call the “human race” which is of course white, etc.
ACADEMICALLY NEGLECTED, THE INCAS WERE PRODIGY AGRONOMISTS
Même Lupin Vieillit, L’Arsène
1.
2. GEORGES DESCRIÈRES –
ARSÈNE LUPIN – 1971-1973
Un peu de nostalgie et on peut voir, et on voit, et on se demande mais pourquoi cette nostalgie des
images d’antan ? C’était le temps de l’ORTF, quand toute la télévision française était d’état, on dirait
aujourd’hui de service public, mais cela ne changerait rien. Les dramatiques étaient toutes sous la botte et
les commandements de Stellio Lorenzi et Marcel Bluwal qui défendaient une position résolument opposée à
Marshall McLuhan. Négligeons le fait qu’ils étaient communistes. Cela n’a aucune valeur aujourd’hui, même
si cela avait du poids institutionnel en 71-73.
Ils professaient l’idée que les dramatiques télévisées devaient être tournées avec le même niveau
de moyens que le cinéma. On tournait donc en couleur, alors qu’à l’époque les postes couleur étaient
rarissimes en France, et avec le pointillisme du détail de décoration ou de tout ce qui était visuel comme au
cinéma alors que la définition de l’image télévisuelle ne deviendra peut-être proche de celle du cinéma que
dans les années 2020, peut-être 2010, et encore. À l’époque c’était de la confiture pour les cochons puisque
ces détails, cette finesse visuelle ne pouvait en aucune façon passer sur un écran (et souvenez-vous de la
taille de ces écrans cathodiques) de télévision; Mais cela faisait une télévision extrêmement chère, un
produit de luxe produit dans les studios de la Butte Chaumont. Cela empêchait totalement l’idée d’avoir une
télé qui marche 24 heures sur 24, et même 12 heures était une sorte de prodige exceptionnel, et cela
empêchait totalement d'avoir plus d’une chaine, peut-être deux, et encore.
Il faudra privatiser une chaine puis vendre des licences pour d’autres, mais cela n’arrivera que dans
les années 1980, sous Mitterrand d’ailleurs, et encore avec Chirac comme premier ministre. La position
défendue à l’époque par les communistes étaient que la télévision étant un service public elle devait
satisfaire les besoins des travailleurs, donc s’articuler sur les heures de travail de ces travailleurs, et en
même temps refléter les opinions des travailleurs. Ils menèrent une campagne pour avoir des journalistes
communistes au Journal télévisé. C’est ainsi que Michel Cardoze passa à la télé et il finit sa carrière là
comme Monsieur Météo connu pour ses nœuds papillons géants, reflétant directement l’idéologie
communiste sans aucun doute. La revendication était absurde. La bataille aurait dû être pour une télévision
et des informations télévisées ouvertes à tous les points de vue, non pas au niveau des journalistes qui n’ont
pas à avoir un point de vue, mais des personnes à qui ces journalistes donnent la parole. On en est encore
loin.
L'idée de McLuhan que ces hiérarques de la production ou réalisation télévisuelle rejetaient très
fortement, c’est que la télévision était un art à part, entièrement à part qui n’a rien à voir avec le cinéma car
3. la télévision demande du spectateur une adhésion multi-sensuelle synesthétique (sentiment positif de
confort au niveau de tous les sens simultanément) immédiate, dès la première seconde qui entraine
l’adhésion par plaisir, la relaxation si ce plaisir est satisfait, et l’absence totale de sens critique, sinon le
spectateur passe à une autre chaine. Un débat télévisé est typique: il ne permet pas la réflexion mais
simplement la confirmation de l’adhésion ou du rejet de ce qui est dit, d’où l’intérêt d’avoir des débateurs de
bords différents. L’approche des Lorenzi et Bluwal est morte, était déjà morte dans les années 1980 et le
clou qui enfonça le marteau ou le marteau qui enfonça le clou fut Jean-Marie Le Pen autorisé sur la
deuxième chaine par Mitterrand en 1982 si j’ai bonne mémoire, avec L’Heure de Vérité en 1984. On sait la
suite. L’extrême droite est passé de Soustelle et moins de 2% à Marine le Pen et un quart de l’électorat pour
elle-même et un potentiel qui la hisse dans les petits 40%.
Cette série représente ce temps-là. La caméra et la définition télévisuelle ne permettent pas les
grands mouvements de caméras, donc les courses poursuites qui vont plus vite que le tube cathodique, d’où
le flou qu’on évite en n’ayant que des mouvements modérés. De plus les vastes plan généraux estompent
tout et donne à l’époque des purées de pixels qui ne représentent plus rien. Et en plus le tout en noir et
blanc au niveau de la réception. Heureusement pour cette série qu’elle fut produite en couleur et avec
caméra cinéma. La version restaurée a repris les pellicules anciennes de Pathé cinéma et on a donc un
produit qu’on ne pouvait absolument pas avoir en 71-73. Il y a aussi un abus des gros plans, surtout des
visages, pour avoir les émotions exprimées par les acteurs et actrices, mais aussi pour avoir le détail de
certains objet ou éléments décoratifs. Mais on ne peut quand même pas faire des chiens avec des chats. Le
produit à ce niveau technique reste très moyen.
Le pire selon moi, c’est l’idéologie transbahutée par la série. La première saison est franco-
française. Alors on fait totalement dans la nostalgie aujourd’hui avec les vieilles voitures des années 1920,
comme les tractions avant comme on les appelait encore dans les années 1950, avec les portes arrières
s’ouvrant vers l’arrière, et surtout la couleur noire par excellence. A l’époque c’était aussi la nostalgie d’avant
la guerre (j’entends 1939-1940), les années 20 et un monde social congelé dans ce concept absurde que le
voleur, s’il ne tue pas, et s’il redistribue une parti de son butin et surtout s’il est aimable avec les femmes
(hétérosexualité oblige et de rigueur, LGBTQX s’abstenir), alors il est un gentleman, et donc il est l’ami du
peuple, alors qu’en fait il n’est qu’un, exploiteur de la société, pauvres et riches de même. Le temps des
Robins des Bois est bien fini,; s’il a jamais existé.
Heureusement la deuxième saison s’ouvre à des collaborateurs, coproducteurs et coréalisateurs
allemands qui impulsent une logique plus carré et moderne, pour les années 1970 bien sûr, dans le
4. traitement des situations et des personnages. Au lieu de mettre l’accent sur les filouteries bienséantes de
l’artiste cambrioleur, ils mettent l’accent sur une certaine logique des cas mis en image et sans cacher les
trous logiques, comme des cadavres de personnes assassinées abandonnées purement et simplement dans
une sorte de ruine abandonnée et personne n’a jamais simplement fait une vraie battue pour découvrir ces
cadavres et tout le monde se satisfait de la conclusion hâtive que l’épouse, et mère, et son amant sont partis
pour toujours dans un pays lointain. Si le cambrioleur est un artiste, les flics sont certainement pas des as de
la pensée logique. Ce discours anti-flic est irritant et dans ce domaine les Maigret, Les Cinq Dernières
Minutes, ou Le Juge est une Femme, et quelques autres sont autrement plus intéressants. Vous
m’expliquerez aussi comment un tireur d’élite tire avec un fusil de haute précision (en 1925 ?) sur les
jumelles qu’Arsène Lupin a devant les yeux, sans le blesser le moins du monde. Ça c’est fort, mais ça c’est
aussi Naf-Naf.
On nous dit que la boutique de l’INA va disparaître. Bien. Les produits seront alors dans les chaines
normales de vente de produits de ce genre, donc la FNAC, Amazon (mon fournisseur en l’occurrence) et
quelques autres, un jour Alibaba. La concurrence risque d’être dure. Je ne vois pas comment de telles séries
franco-françaises pourraient concurrence en rien la série britannique Shetland ou la moindre mini-série de
Stephen King aux USA. Je dois dire même que Criminal Minds est cent fois meilleure. Alors enterrons les
vieux produits qui ont si peu de valeur aujourd’hui et essayons d’en produire des meilleurs, maintenant
surtout que la production télé en France n’est plus de service public, donc trop chère et que la série Un
village français a fait appel à des acteurs belges pour tenir les rôles principaux car en Belgique les acteurs
travaillent tout autant sur scène, pour le cinéma et pour la télé, alors qu’en France on ne mélange pas, sauf
rares exceptions, les genres, ce qui appauvrit la flexibilité et donc la créativité de ces acteurs.
Dr. Jacques COULARDEAU
ENGLISH VERSION
A little nostalgia and we can see, and we see, and we wonder but why such nostalgia for plain
images of yesteryear? It was the time of the ORTF, when all the French television was state-owned, one
would say today a public service, but that would not change anything. The fictional productions were all
under the boot and the command of Stellio Lorenzi and Marcel Bluwal who defended a position resolutely
opposed to Marshall McLuhan. Let us neglect the fact that they were communists. This is of no value today,
even if it had institutional weight in 71-73.
5. They professed the idea that television fiction should be shot with the same level of resources as
films. So, they shot in color, whereas at the time color sets were rare in France, and with the pointillism of
decorative detail or anything visual the same as in the cinema, whereas the definition of the television image
will perhaps only become close to that of the cinema in the 2020s, perhaps 2010s, and even then. At the
time it was pearls cast before swine since these details, this visual finesse could in no way pass on a screen
(and remember the size of these cathode ray screens) of television; But it made an extremely expensive
television, a luxury product produced in the studios of the Butte Chaumont. It totally prevented the idea of
having a TV that works 24 hours a day, and even 12 hours was a kind of exceptional prodigy, and it totally
prevented having more than one channel, maybe two, and still.
It will be necessary to privatize a channel then to sell licenses for others, but that will happen only in
the 1980s, under Mitterrand as a matter of fact, and still with Chirac as prime minister. The position defended
at the time by the communists was that television being a public service it had to satisfy the needs of the
workers, therefore to be articulated on the working hours of these workers, and at the same time to reflect
the opinions of the workers. They led a campaign to have communist journalists on the TV news. That's how
Michel Cardoze got on TV and ended his career there as the weatherman known for his giant bow ties,
directly reflecting the communist ideology without a doubt. The claim was absurd. The battle should have
been for television and television news open to all points of view, not at the level of the journalists who don't
have to have a point of view, but at the level of the people to whom those journalists give the floor of the
studio. We are still far from that.
The idea of McLuhan that these hierarchs of television production or realization rejected very
strongly, is that television was a separate art, entirely separate that has nothing to do with the cinema
because television asks of the spectator a synesthetic multi-sensual immediate adhesion (positive feeling of
comfort at the level of all the senses simultaneously), from the first second that entails the adhesion with and
for pleasure, relaxation if this pleasure is satisfied, and the total absence of any critical sense, if not the
spectator passes to another channel. A televised debate is typical: it does not allow for reflection but simply
confirms agreement with or rejection of what is said, hence the interest of having debaters from different
sides. The approach of Lorenzi and Bluwal is dead, was already dead in the 1980s and the nail that drove
the hammer or the hammer that drove the nail was Jean-Marie Le Pen authorized on the second channel by
Mitterrand in 1982 if I remember correctly, with L'Heure de Vérité in 1984. We know what happened next.
The extreme right went from Soustelle and less than 2% to Marine le Pen and a quarter of the electorate for
herself and a potential that raises her up to the small 40%.
This series represents that time. The camera and the television definition do not allow big camera
movements, so the chases that go faster than the cathode ray tube, cannot be shot, hence the blur thus
produced is avoided by having only moderate movements. Moreover, vast general panoramas blur
6. everything and gave at the time some pixel mash that no longer represents anything. And on top of that,
everything is in black and white at reception. Fortunately for this series it was produced in color and with a
cinema camera. The restored version has taken the old films of Pathé cinéma and we have a product that we
could not have had in 71-73. There is also the overuse of close-ups, especially of faces, to have the
emotions expressed by the actors and actresses, but also to have the detail of certain objects or decorative
elements. But you can't make dogs out of cats. The product at this technical level remains very average.
The worst thing, in my opinion, is the ideology embodied by the series. The first season is Franco-
French. So we are totally into nostalgia today with the old cars of the 1920s, like the front-wheel drive cars as
they were still called in the 1950s, with the back doors opening towards the rear, and especially the color
black par excellence. At that time it was also the nostalgia of the pre-war period (I mean WW2 1939-1940),
the 1920s and a social world frozen in this absurd concept that the thief, if he does not kill, and if he
redistributes part of his loot and especially if he is kind to women (heterosexuality is compulsory and de
rigueur, LGBTQX refrain, and no please at all), then he is a gentleman, and therefore he is the friend of the
people, when in fact he is only one, exploiter of society, poor and rich alike. The time of Robinhood is well
over, if it ever existed.
Fortunately, the second season opens up to German collaborators, co-producers and co-directors
who bring a stricter and more modern logic, for the 1970s of course, in the treatment of situations and
characters. Instead of emphasizing the well-behaved skullduggery of the artist burglar, they emphasize a
certain logic of the cases portrayed and without hiding the logical holes, such as murdered bodies left purely
and simply in some kind of abandoned ruin and no one has ever done a real search for these bodies and
everyone is satisfied with the hasty conclusion that the wife, and mother, and her lover are gone forever in a
far away land. If the burglar is an artist, the cops are certainly not aces in logical thinking. This anti-cop
discourse is irritating and in this field Maigret, The Last Five Minutes, or The Judge is a Woman, and a few
others are otherwise more interesting. You will also explain to me how a sniper shoots with a high-precision
rifle (in 1925?) at the binoculars that Arsène Lupin has in front of his eyes, without hurting him in the least.
This is strong, but this is also childish and naive.
We are told that the INA store will disappear soon. Good. The products will then be in the normal
chains of sale of this kind of products, so FNAC, Amazon (my supplier in this case) and some others, one
day Alibaba. The competition might be tough. I don't see how such French series could compete in any way
with the British series Shetland or any Stephen King mini-series in the USA. I must even say that Criminal
Minds is a hundred times better. So let's bury the old products that have so little value today and try to
produce better ones, especially now that TV production in France is no longer a public service, so over-
expensive, and that the series Un village français called upon Belgian actors to play the main roles because
in Belgium actors work just as much on stage, for the cinema and for TV, whereas in France we don't mix the
genres, except for rare exceptions, which – not the exceptions – impoverishes the flexibility and therefore the
creativity of these actors.
Dr. Jacques COULARDEAU