ZNAK SAGITE — više od fantastike — edicija, časopis, knjižara...

Quote from: SIMERIJANAC on 20-08-2011, 13:43:30
Shot je itekako CHEX sa sve cenzurisanim Karadžićevim govorom u Skupštini BIH gde upozorava Aliju da ne gura svoj narod u rat jer će nastradati.
Pa dovoljno je što je ulogu "dobrog" musli snajperiste dobio tada glavni zavodnik evropskog filma Fanfan Lala.

Quote from: John Reynolds on 20-08-2011, 13:50:40
Mislim da Fanfan Lala igra Srbina.

Ali ga igra ružno!

Evo SIMKE nas je podario sa jos jednim CHEX-om. Uživajte ! 

http://chetnixploitation.blogspot.com/2011/08/pacifier-2005.html

Quote from: D. on 05-08-2011, 23:27:26
Mada, nađite neku ženu da piše sa vama, raznovrsnosti radi.

Ovako je počelo, kao fol, dobronamerni savetić - "nema žena". Posle, naravno, luDilo uzima maha i sve po običaju krene nizbrdo, do komentara da su Harvijevi tekstovi na Chexu "baljezganje" (u nekoj od nemuštih tema u igraonici). Još 1979. godine u svom blago prerađenom izdanju jednog od nespornih klasika književnosti, "Farenhajtu 451", Rej Bredberi dotiče i ovo pitanje. Skener mi ne radi, a mrzi me da prekucavam prevod, valjda politkorovci, borkinje i slični mogu da se izbore i s donjim tekstom (kad već nemaju knjigu). Dakle...

CODA

by Ray Bradbury


     About two years ago, a letter arrived from a solemn young Vassar lady telling me how much she enjoyed my experiment in space mythology, The Martian Chronicles.

     But, she added, wouldn't it be a good idea, this late in time, to rewrite the book inserting more women's characters and roles?

     A few years before that I got a certain amount of mail concerning the same Martian book complaining that the blacks in the book were Uncle Toms and why didn't I "do them over"?

     Along about then came a note from a Southern white suggesting that I was prejudiced in favor of the blacks and the entire story should be dropped.

     Two weeks ago my mountain of mail delivered forth a pipsqueak mouse of a letter from a well-known publishing house that wanted to reprint my story "The Fog Horn" in a high school reader.

     In my story, I had described a lighthouse as having, late at night, an illumination coming from it that was a "God light." Looking up at it from the viewpoint of any sea-creature one would have felt that one was in "the Presence."

     The editors had deleted "God-Light" and "in the Presence."

     Some five years back, the editors of yet another anthology for school readers put together a volume with some 400 (count 'em) short stories in it. How do you cram 400 short stories by Twain, Irving, Poe, Maupassant and Bierce into one book?

     Simplicity itself. Skin, debone, demarrow, scarify, melt, render down and destroy. Every adjective that counted, every verb that moved, every metaphor that weighed more than a mosquito - out! Every simile that would have made a sub-moron's mouth twitch - gone! Any aside that explained the two-bit philosophy of a first-rate writer - lost!

     Every story, slenderized, starved, bluepenciled, leeched and bled white, resembled every other story. Twain read like Poe read like Shakespeare read like Dostoevsky read like - in the finale - Edgar Guest. Every word of more than three syllables had been razored. Every image that demanded so much as one instant's attention - shot dead.

     Do you begin to get the damned and incredible picture?

     How did I react to all of the above?

     By "firing" the whole lot.

     By sending them rejection slips to each and every one.

     By ticketing the assembly of idiots to the far reaches of hell.

     The point is obvious. There is more than one way to burn a book. And the world is full of people running about with lit matches. Every minority, be it Baptist / Unitarian, Irish / Italian / Octogenarian / Zen Buddhist, Zionist/Seventh-day Adventist, Women's Lib/Republican, Mattachine/FourSquareGospel feel it has the will, the right, the duty to douse the kerosene, light the fuse. Every dimwit editor who sees himself as the source of all dreary blanc-mange plain porridge unleavened literature, licks his guillotine and eyes the neck of any author who dares to speak above a whisper or write above a nursery rhyme.

     Fire-Captain Beatty, in my novel Fahrenheit 451, described how the books were burned first by the minorities, each ripping a page or a paragraph from the book, then that, until the day came when the books were empty and the minds shut and the library closed forever.

     "Shut the door, they're coming through the window, shut the window, they're coming through the door," are the words to an old song. They fit my lifestyle with newly arriving butcher/censors every month. Only six months ago, I discovered that, over the years, some cubby-hole editors at Ballantine Books, fearful of contaminating the young, had, bit by bit, censored some 75 separate sections from the novel. Students, reading the novel which, after all, deals with the censorship and book-burning in the future, wrote to tell me of this exquisite irony. Judy-Lynn Del Rey, one of the new Ballantine editors, is having the entire book reset and republished this summer with all the damns and hells back in place.

     A final test for old Job II here: I sent a play, Leviathan 99, off to a university theater a month ago. My play is based on the "Moby Dick" mythology, dedicated to Melville, and concerns a rocket crew and a blind space captain who venture forth to encounter a Great White Comet and destroy the destroyer. My drama premiers as an opera in Paris this autumn. But, for now, the university wrote back that they hardly dared to my play - it had no women in it! And the ERA ladies on campus would descend with baseball bats if the drama department even tried!

     Grinding my bicuspids into powder, I suggested that would mean, from now on, no more productions of Boys in the Band (no women), or The Women (no men), Or, counting heads, make and female, a good lot of Shakespeare that would never be seen again, especially if you count line and find that all the good stuff went to the males!

     I wrote back maybe they should do my play one week, and The Women the next. They probably thought I was joking, and I'm not sure that I wasn't.

     For it is a mad world and it will get madder if we allow the minorities, be they dwarf or giant, orangutan or dolphin, nuclear-head or water-conversationalist, pro-computerologist or Neo-Luddite, simpleton or sage, to interfere with aesthetics. The real world is the playing ground for each and every group, to make or unmake laws. But the tip of the nose of my book or stories or poems is where their rights and my territorial imperatives begin, run and rule. If Mormons do not like my plays, let them write their own. If the Irish hate my Dublin stories, let them rent typewriters. If teachers and grammar school editors find my jawbreaker sentences shatter their mushmild teeth, let them eat stale cake dunked in weak tea of their own ungodly manufacture. If the Chicano intellectuals wish to re-cut my "Wonderful Ice Cream Suit" so it shapes "Zoot," may the belt unravel and the pants fall.

     For, let's face it, digression is the soul of wit. Take the philosophic asides away from Dante, Milton or Hamlet's father's ghost and what stays is dry bones. Laurence Sterne said it once: Digressions, incontestably, are the sunshine, the life, the soul of reading! Take them out and one cold eternal winter would reign in every page. Restore them to the writer - he steps forth like a bridegroom, bids them all-hail, brings in variety and forbids the appetite to fail.

     In sum, do not insult me with the beheadings, finger-choppings or the lung-deflations you plan for my works. I need my head to shake or nod, my hand to wave or make into a fist, my lungs to shout or whisper with. I will not go gently onto a shelf, degutted, to become a non-book.

     All you umpire, back to the bleachers. Referees, hit the showers. It's my game. I pitch, I hit, I catch. I run the bases. At sunset I've won or lost. At sunrise, I'm out again, giving it the old try.

     And no one can help me. Not even you.

Simketova Odiseja se nastavlja, drugi deo Pacifiera 

http://chetnixploitation.blogspot.com/2011/08/pacifier-2005-deo-drugi.html

P.S. Aj neko drugi (Harvi, Ghoul ?) da ga postavi na fejs, pošto ja ono moje o knjizi moram još neko vreme da držim pri vrhu. Hvala.

Evo konačno i trećeg, poslednjeg dela Simketove Ilijade, a ja se izvinjavam svima a posebice Simketu što ranije nisam mogao da ga postavim, jebiga, šta ćeš, niža sila...

http://chetnixploitation.blogspot.com/2011/10/pacifier-2005-deo-treci.html

P.S. Simke, javi ako sam negde omašio pa da ispravimo.

Pojavio se trejler za Anđelijin film i osim što izgleda kao BIH B produkcija i što glumci pričaju Zona mrtvih engleski, najveći spektakl je Umro pre rođenja u glavnoj ulozi!   

http://youtu.be/GSRAU90KQww

a to ja taj ja sam po faci mislio da je neki baltoslavac, oni su baš fini

Harvi,spremaj se.

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Jolie quiets Bosnian critics with war film screening (Reuters)

- Victims of Bosnia's 1992-95 war had most of their anxieties over a film by Hollywood star Angelina Jolie put to rest at a private screening this week.

Objections to filming Jolie's tale of love between a Serb man and a Muslim woman in Bosnia last year forced the Hollywood star to shoot most of the film in nearby Hungary. Only some of the exterior scenes were shot in Bosnia.

But the Thursday night screening of the film in Sarajevo to representatives of victims' associations elicited positive reactions from some of Jolie's toughest local critics.

"She has made a fantastic film for Bosnia and Herzegovina, I can really say that from the angle of a victim," Murat Tahirovic, the president of Bosnia's association of (wartime) detainees, told the Federal Television in Sarajevo.

Tahirovic was among a dozen representatives of wartime victims invited to the closed screening of Jolie's directorial debut "In The Land of Blood and Honey".

"Everybody should see this film," Tahirovic said.

In October 2010, a Bosnian minister cancelled Jolie's filming permits citing incomplete paperwork, after female victims of the Bosnian war objected to details of the plot, alleging it was about love between a rapist and his victim.

The film tells a tale of love between a Serb man and a Muslim woman before the Bosnian war, who later meet in different circumstances - he is an army officer and she is his detainee.

Victims of sexual violence in Bosnia wrote to the United Nations refugee agency, saying Jolie did not deserve her role as a UNHCR Good Will Ambassador, and did not know enough about the Bosnian conflict.

Jolie first came to Bosnia last year as an UNHCR ambassador.

She filmed most of the feature in Budapest but asked war victims voicing their objections to the movie to reserve judgement until they had seen the finished product.

One of the loudest opponents to Jolie filming in Bosnia said she was now satisfied by the film's portrayal of the war.

"Two hours of film is not enough time to show all (the horrors of the war), but I think Angelina managed to do it," said Sadzida Hadzic of the Women-Victims of War association.

However, Hatidza Mehmedovic, who lost her husband and two teenage sons in the 1995 Srebrenica massacre of 8,000 Muslim men and boys, said she was disappointed the film was shot elsehwere, even though she congratulated Jolie.

"The film is so strong, so difficult, it would be stronger if it was shot in Bosnia," she told Reuters.

The closed screening was organised by the Center for post-conflict research, and was not open to media.

(Reporting By Daria Sito-Sucic, editing by Paul Casciato)

Quote from: SIMERIJANAC on 09-12-2011, 17:29:13
Harvi,spremaj se.

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spremte se spremte, četnici!

Čaki i njeni ortaci kažu da je preterala sa CHEX-om.
Zenko je jedan od autora koji piše za sajt zloglasnog CFR-a čiji je i Anđelina član.

Movie Review: In the Land of Blood and Honey


Posted on Tuesday, December 13, 2011

by Micah Zenko




Angelina Jolie talks to actors during the filming of her yet directorial debut in Budapest on August 11, 2010 (Courtesy Reuters/Laszlo Balogh).

In August, I wrote a review of the powerful and moving documentary, The Interrupters, which follows the work of Project CeaseFire, a grassroots organization that employs ex-gang members to attempt to mediate neighborhood disputes in Chicago before they turn violent. I wanted to share another movie that also deals with the ethical choices people make to try to survive in a conflict zone, In the Land of Blood and Honey, a fictionalized account of the civil war in Bosnia-Herzegovina between 1992 and 1995. A conflict that is estimated to have cost 156,000 people their lives, with another 175,000 seriously injured or disabled.

The movie has received strong attention in the press, no doubt because it was written and directed by Angelina Jolie. (Full disclosure: Jolie is a member of the Council on Foreign Relations.) Overall, it succeeds as the rare example of harnessing star power to get a movie made about a difficult and rarely-remembered event, including with Serbian, Bosnian, and Croatian actors speaking in their native dialects. Moreover, it does not require the viewer to recall what happened in the Balkans in the early 1990s, since the complexities of the civil war are distilled into a narrative focused on two people and set in one location: Sarejevo.

The upside of this approach is that we can grasp and at times even sympathize with the difficult choices made by the actors. The downside is that by opting for an intimate and localized approach, the movie obviously cannot be a comprehensive and balanced account of the war. Yet, the film is a work of fiction and only 127 minutes long. What appears on screen is nevertheless recommended viewing for those interested in how combat impacts non-combatants, especially women who are targeted by regular army and paramilitary forces.

Much like The Battle for Algiers and Dr. Strangelove are shown to students for their cinematic portrayal of counterinsurgencies and civil-military relations, In the Land of Blood and Honey should be screened to attempt to convey the use of sexual violence as a tool of war to depopulate civilian areas, and as an organizing principle for armed forces in detention centers. In a February 2001 ruling, the International Criminal Tribunal for the former Yugoslavia (ICTY) set a new judicial precedent by convicting three Serbian men for enslavement and sexual violence as crimes against humanity. In many ways, this film is a tribute to that landmark decision.

The civil war is told through the prism of a Serbian police officer (Danijel) and a Bosnian painter (Ajla) who were lovers before the war erupted. After the first indiscriminate attacks against civilians, ethnic communities that once lived together choose sides, or are forcibly displaced. The two are unexpectedly reconnected and their relationship develops in the tense environment of a Serb barracks/detention center for Bosnian Muslim women.  Daniel's father is a general in the Serbian Army who wants is son to "do good work" by way of ethnic cleansing, while Ajla has friends in the Bosnian insurgency who want intelligence that can be used to target Serb forces. Their interactions are closely monitored, and both make micro-decisions with ostensibly macro-parallels, motivated by some combination of patriotism, resistance, and romance.

The international community is also featured, and early on deserves a Best Un-Supporting Actor nomination. In one gripping early scene, a Bosnian woman's infant son is killed by rampaging Serbian soldiers ordered to clear an apartment complex of its civilian inhabitants. The camera lingers above the woman while she kneels in a snow-filled empty courtyard holding her deceased boy and weeping loudly. The image is intended to convey that the Bosnian people are suffering and alone, while the world watches but and does little other than provide aid and endlessly debate UN Security Council resolutions (there would be fifty-five of them regarding Bosnia-Herzegovina.)

There are numerous scenes depicting war crimes committed by Serbian armed forces: the repeated rape of Bosnian women; attacking a clearly marked Red Cross van with a rocket-propelled grenades; wearing a flak jacket clearly labeled "press;" using human shields in counterinsurgency operations; stationing a headquarters in culturally sensitive sites to avoid NATO airpower (as Danijel says "They're not bombing churches, which works in our favor"); showing emaciated Bosnian men imprisoned in concentration camp settings; and the mass killing of captured Bosnian men.

The film does not apportion suffering in amounts that reflect the reality of the Bosnian civil war. In fact, I could not recall a definitive example of a Bosnian Muslim committing a war crime. Bosnian insurgent forces are portrayed as thoughtful, scrappy, and resourceful. While this was undoubtedly true about elements of the Bosnian resistance in Sarajevo and elsewhere, it must be noted that the ICTY has also convicted Bosnian Muslims and Croats for war crimes perpetrated against Serbs.

Moreover, the film does not show what happens on the battlefields outside of the capital city. In the winter of 1994, Danijel brags to Ajla: "We now control 80 percent if the territory." By that time, however, Iran was smuggling plane-loads of weapons to the Bosnian Army—with the Clinton administration's tacit approval—in open violation of UN-mandated arms embargos (which Serb forces also violated). In addition, the American private military contractor, Military Professional Resources Incorporated, was sanctioned to train the Croatian military. By the summer of 1995, artillery fire from British, French, and Dutch forces, NATO air strikes, and a Croatian ground offensive (that displaced hundreds of thousands of Serbs) reduced the amount of territory controlled by the Serbs to 50 percent.

When asked what was the most challenging aspect of making the film, Jolie answered: "Trying to find the balance in it. It is one of the most complicated conflicts to understand. I've studied it for years, and I'm still not sure I understand it." Years ago, I was fortunate to be a research assistant to two books that covered Balkans conflicts, and later serve as a contributor to the State Department's Kosovo History Project. After being immersed in the complex issues and later following them from a distance, I never understood what the motivations or outcomes were for all parties to the conflicts. If nothing else, In the Land of Blood and Honey forced me to think about the acute suffering faced by local communities in civil wars, and the potential international responsibilities and requirements for responding to them.

http://blogs.cfr.org/zenko/2011/12/13/film-review-in-the-land-of-blood-and-honey/

Džon Travolta doputovao u Sarajevo, sprema se za ulogu srpskog vojnika
Slavni glumac Džon Travolta od sinoć je u u Sarajevu.
On je u sredu sleteo na zagrebački aerodrom i automobilom se uputio ka Sarajevu, gde će ostati tri dana.
Glumac je sa svojom pratnjom, na putu prema Sarajevu, večerao na planini Vlašić.

Mediji u Sarajevu navode da je razlog njegovog dolaska povezan sa filmom "Killing Season", čije snimanje treba da počne 16. januara 2012. godine.
U tom akcionom filmu Travolta glumi srpskog vojnika željnog osvete, a njegova "žrtva" je Robert de Niro. Scenarista filma je Evan Doerti, dok će film režirati Mark Stiven Džonson.

Nadamo se da će ovaj film biti napredak u odnosu na prethodne holivudske bisere u kojima su Srbi prikazani kao glavni negativci.

Travolta je smešten u centru Sarajeva, u Hotelu Europa.
http://www.blic.rs/Zabava/Vesti/295937/Dzon-Travolta-doputovao-u-Sarajevo-sprema-se-za-ulogu-srpskog-vojnika

obratite pažnju i na mission impossible 4. navodno su ljudi sinoć na premijeri napuštali sava centar usred filma, zbog govora mržnje prema srbima.

Quote from: Alexdelarge on 15-12-2011, 18:03:00
obratite pažnju i na mission impossible 4. navodno su ljudi sinoć na premijeri napuštali sava centar usred filma, zbog govora mržnje prema srbima.

daj detalje.
očem se radi - ko mrzogovori i šta, tačno?

nisam gledo, al vele ljudi, srbi su (opet) teroristi, tom ih ubije pola tuceta, i tako to.

Hm, kulturna ofanziva znači. Sprema se nešto...

...culminates in a stunning single take of the Kremlin blowing up, a shot made perhaps unintentionally pointed in light of Russia's election woes...

Tom Kruz tamani Srbe u ,,Nemogućoj misiji 4"


Secijalni agent Itan Hant (Tom Kruz) skače s prozora na prozor najviše zgrade u Dubaiju, a beogradska publika vratolomije i specijalne efekte na premijeri ,,Nemoguće misije 4" dočekuje ovacijama.

ZLIKOVCI - Minut kasnije poneki zvužduk i uzdasi razočaranja bioskopskih posetilaca čuju se u hali Sava centra. Razlog jednostavan, Itan Hant prepričava kako je u Hrvatskoj ubio šest srpskih zlikovaca koji mu čak nisu ubili ženu (iako su navodno pokušavali).


,,Kako li nas svet gleda kad smo u svakom filmu ništarije" ili ,,Nikad nas i neće pustiti u EU kad nas ni Kruz ne voli" bili su samo neki od kometara razočaranih gledalaca.

http://www.24sata.rs/sou/vesti/vest/tom-kruz-tamani-srbe-u-nemogucoj-misiji-4/22485.phtml

Ljekovita filmska bajka Angeline Jolie

Kolumnist portala Nacional.hr Erol Avdović bio je u New Yorku na pretpremijeri redateljskog prvijenca Angeline Jolie 'U zemlji krvi i meda', filmu o ratnim strahotama u Bosni 90-ih godina
.

Najnoviji film i redateljski prvijenac Angeline Jolie "U zemlji krvi i meda" (In the Land of Blod and Honey) - nema "happy end". Radi se o sasvim nesretnoj, ratnoj ljubavi dvoje mladih zarobljenih u svoje balkanske etničke školjke, iz kojih se teško može pobjeći. Bosanski "Romeo i Julija" (po Angelininom scenariju - Srbin Danijel i Bošnjakinja Ajla) završava još gore od tugaljive Shakespeareove romanse. Ali, ne i bez mogućih pozitivnih posljedica.

Bio sam pozvan gledati filmsku pretpremijeru Angelininog filma ovog tjedna u New Yorku. I otišao sam, ali "naoružan" potpuno pogrešnim predodžbama. S vlastitim predrasudama o filmu 'opskrbio' sam se još od ranije, preko "veze", t.j. iz "dobro obaviještenih" domaćih izvora, a da zapravo nisam znao o čemu se radi. Načuo sam tako, da se u Angelininom filmu - "izjednačavaju silovatelj i njegova žrtva". Zato sam izbjegavao "limunadu" te vrste. Pokazalo se - nepotrebno! U strahu su međutim velike oči.

U Školi za vizualnu umjetnost (School of Visual Arts) u donjem dijelu New Yorka pogledao sam dakle taj "kontroverzni" Angelinin film. I odmah poslije svečane pretpremijere, koju je valjda ne slučajno suorganizirao newyorški Savjet za međunarodne odnose, koji se itekako bavi promidžbom pametne sile (soft power) i javne diplomacije, onako poluošamućen u foajeu filmskog teatra sam odjednom sreo mnoge sa "iznenađenim" licima!

Moj poznanik Branko Lustig, to bi vjerojatno nazvao sineaističkim šokom, koji je ravan maloj traumi. Film je, naime, potpuno autentičan. Čak štoviše - odličan!

Ni traga od filmske priče o crno-bijelom svijetu polariziranom na dobre i loše momke, između kojih je veliki ponor svakakvih razlika. Ustvari, između dvoje glavnih Angelininih likova (glume ih maestralno Goran Kostić i Zana Marjanović) - ostaje ponor neznanja i predrasuda. A po tome i svih naših sličnosti od naivnosti do perfidnosti!

Žešće od Romea i Julije

Vidljivo je to golim okom, dok Angelina Jolie filmskim skalpelom zarezuje u bolno tkivo balkanskog atavizma, iz kojeg kao smrdljivi gnoj curi šovinizam, to visoko-zapaljivo gorivo za ratove kroz koje smo prolazili.

Po njenom sinopsisu Danijelov ("Romeov") otac, srpski general iz Bosne, nekakav izmišljeni "Vukojević", koga je maestralno odigrao Rade Šerbedžija - ne daje za pravo sinu da posluša glas svoga srca. I požuruje ga da zauzme svoje "sveto" mjesto u kolektivnoj fresci osvete, koju on, valjda pretpostavlja "junaštvu". A to na kraju glavom plaća samo Ajla (bosanska "Julija" s pogrešnim imenom).



Jolijeva se usudila dotaknuti tu paralelnu, u biti antiratnu temu o intimnom mikrokozmosu silnika i žrtve, pokušavajući odgovoriti na iskonsko pitanje: kako se postaje monstrum?

Nesuđeni Romeo (Danijel) međutim, neočekivano doživljava katarzu izgovarajući ono što od ubojica njegove vrste nikada u protekla dva desetljeća na Balkanu nismo čuli i vidjeli; priznanje: "Ja sam uistinu ratni zločinac", izgovara Ajlin ubojica poslije gnjusnog čina predajući se UNPROFOR-u!

To je dakle više od klasične priče o mediteranskoj 'vendeti' koja nas i dalje ostavlja na rubu svijeta. No za razliku od Hichcocka, čija su filmska ubojstva skoro uvijek s predumišljajem i iz koristoljublja, Angelina nas podsjeća da su "naša" istinska ubojstva gotovo isključivo iz strasti; pa time svakako i nepotrebna!

Sve je u Angelininom filmu kontra naše "logike" stvarnosti, koja nas okružuje, jer mi smo, kao da želi reći - još valjda i žrtve nedovršenih ratova. Ali i osobnog neznanja! Doista, svi su Angelinini junaci u ovom filmu tipovi iz prošlog stoljeća. Ali je zato njena poruka potpuno okrenuta ka budućnosti regije u kojoj će se morati živjeti drugačije nego prije 20 godina!

Kad mogu Francuzi i Nijemci ...

Lakše je to naravno reći nego provesti, ili o tome snimiti čak i ovako hrabar film kao što je "U zemlji krvi i meda"! Ali kada su nakon desetljeća ratova i poslije Linije Maginot zajednički jezik mogli naći Nijemci i Francuzi, pa danas zajedno vladaju Europom bez granica, zašto to ne bi mogli i drugi "vječiti neprijatelji"?

Zapravo, Angelina Jolie nas sve skupa pita veoma jednostavno američko pitanje: Da li bi ste poslije vaše, vrlo malo antički uzvišene, a previše mizerne ratne tragedije - iznova iz "istih" razloga mogli podići ruku jedni na druge?! A da vas ne bude sramota od vaše djece i sebe samih? I to je fer pitanje!

Tako, ono čuveno "bosansko", a zapravo regionalno pitanje, "tko je prvi počeo rat", iz Oskarom nagrađenog filma "Ničija zemlja" - Jolijeva trivijalizira i ispravno svodi na karikaturu, kojoj se nitko više pametan ne smije. Novo je pitanje: Koliko ste od svog kolektivnog ludila uspjeli izliječiti do sada?

Sad kada Hrvatska potpisuje pristupni ugovor za EU, Srbija uz vapaje, pa makar to bile i krokodilske suze - klečeći na koljenima moli: "Ne ostavljate nas vani", da ne bi ostali u kandžama domaćeg nacionalizma i "bratskog" nam, ali moguće gvozdenog ruskog zagrljaja!

I premjer Kosova - Hashim Thaci u Bruxellesu pita kosovske Srbe: "Recite što mogu učiniti za vas? Spreman sam biti beskrajno kreativan"!

Ovo je dakle pravo vrijeme za ovakav film, s porukom da je poštovanje onih drugih i drugačijih - vrlina sposobna pobijediti strah. Čak bi i u Bosni to već morali shvatiti!

Dođosmo s Bosne na Kosovo. Pa neka iskoristi beskrajnu kreativnost za prepravljanje granice. Baš da vidim tu beskrajnost.

Eli Rot na tviteru postovao svoje utiske s premijere i fotku sa Besonom i Refnom:
Gledajući maštovite srpske zločince u Anđelininom filmu ukapirao je da su njegovi Slovaci u Hostelu samo bedni amateri.



With the great Luc Besson & Nic Refn @FilmDistrict premiere for #InTheLandOfBloodAndHoney. Intense, powerful film.

Lako je složiti se sa sopstvenim mišljenjem. Pitam se šta bi napisao Erol Avdović da je film imao obrnute premise. I kakva je bila reakcija Hašima Tačija na beskrajnu kreativnost SFRJ u izvlačenju njegovog naroda iznad realne albanske stvarnosti.

hajlajtovi iz rivjua VARAJETIJA:

In The Land Of Blood And Honey

...Her focus is principally on its impact on Muslim women who suffered unspeakable horrors in the Bosnian Serb rape camps.

...Except for a fascinatingly complicated male protagonist, the Serbs are caricatures, gleeful when sniping at the elderly and the young and throwing babies off balconies, whereas the Muslims are at least more differentiated, both positively and negatively, brave fighters and traitors amongst them.

...One selling point could be the foregrounding of an outstanding portrayal of a Bosnian Serb camp commander and civilian cop, Danijel, by the Bosnian Serb actor Goran Kostic, despite the sometimes ludicrous plot situations into which he is thrust. His physical agility, soft but masculine face, piercing blue eyes, and remarkable capacity to shift moods in a split second recall a younger Ralph Fiennes.



...Many will find it odd that the head of a rape camp, who has a strong rapport with his men, is the sympathetic tragic hero of the tale. He is unable to reconcile an oedipal chasm between himself and his inflexibly nationalist general of a father, Nebojsa (veteran Croatian Serb actor Serbedzija, fine in a two-dimensional part modeled on Bosnian Serb military commander Radko Mladic, architect of the Srebenica massacre of 8,000 men), with a wildly improbably love affair inside the camp and later on, in his bedroom in the Serbs's Sarajevo headquarters, with a beautiful young Muslim woman, the nearly inert Ajla (Marjanovic), whom he had met one evening in a bar just before an explosion nearly killed them both and was one of the first signs of war.

...The relationship never had a chance to develop - they next see each other four months later, after she has been rounded up and sent to the camp - and the likelihood that a respected Bosnian Serb captain from a distinguished military family would keep fairly openly a mostly willing Muslim lover in his quarters is too preposterous to contemplate.

...At least someone of Jolie's global stature is attempting, even at this late stage, to rectify the gross injustices perpetrated against the Muslims that were tolerated in the name of a mythological Greater Serbia, masterminded by Slobodan Milosevic.

U genijalnom Simerijančevom tekstu  "CITY BY THE SEE (2002) part 2", dodat je urnebesan, ali i te kako istorijski tačan pasus pod nazivom  "SRPSKO TAJNO ORUŽJE", te vas pozivam da ga neizostavno overite. Živeli !

http://chetnixploitation.blogspot.com/2010/12/city-by-sea-2002-part-2-boj-na-kosovu.html

ne seri da su već na početku filma zasrali?

Ja sve više mislim da su to namjerno uradili, u inat Slobi.

Samo dve primedbe:


Čanak ima i SF priču u Siriusu.


Mnogo se davi i ne mere se izdržati do kraja.

Рана и тада од широких народних маса и упућених гуруа непрепозната аконтација за "Сријем Хрватској".

iz neduhovite i glupe norveške 'komedije' PEOPLE IN THE SUN (2011)

While Angelina Jolie's Bosnian War-set In the Land of Blood and Honey can't claim to fulfill either of these conditions, it deserves credit for one thing: It refuses to soft pedal the horrors committed by Bosnian Serbs against their Muslim neighbors in the early-to-mid-'90s. In fact, with the exception of the agonized main character, Danijel (Goran Kostić), and another minor character, a naïve true believer, the Bosnian Serbs are uniformly monstrous and Jolie assaults us with a barrage of brutal rapes, baby killings, and point-blank murders, which Jolie frequently presents in all their unvarnished viciousness
http://www.slantmagazine.com/film/review/in-the-land-of-blood-and-honey/5975

Jebem joj mamu po sred pičke, koja glupača i folirantkinja, i kao oće dobije Oskara, dobiće mek qrac ! 

 MovieCriticMarvelfan from california


*** This review may contain spoilers ***


I was invited to see this film back in July. At the time it was a secret screening. They wouldn't tell us the name of the movie, let alone who directed it. When I find out later it was directed by Angelina Jolie , I was impressed.

She did a great job capturing the atrocities of war and the lowest depths of humanity here. The movie basically shows us the events leading to, during, and after the Bosnian war from the perspective of a Serb and a Bosnian who as it so happens are lovers.

The lovers are Ajla and Danijel both excellently played by Goran Kostic and Zana Marjanovic . At first Danijel is very hesitant about carrying his orders as a Serb soldier. At first, but this doesn't last long. He either carries out or orders other members of his team to carry some barbaric actions on the Bosnian civilians they find from either rape, torture, to eventual death.

When you see what happens you are going instantly think back to the Nazi's and what they did to Jews in the name of ethnic cleansing.

Eventually, we see through Danijel's lead, genocide being committed at every turn. Ajla is captured, but she is treated like royalty (again at first) with no one else being able to touch or come near here except Danijel.

This love story though has no happy ending as Ajla sees Danijel for what he is, not an unwilling participant in the war, but an active and willing agitator in one of the most chronicled bloodbaths recorded in Europe.

"In the land of Blood and Honey" is a superb war movie showing the type of atrocities that the Serbs were accused off while the United Nations and United States did nothing to stop it until the end.

Angelina Jolie's second directorial debut is impressive. No shot is ever wasted, every shot and scene sets up something very important. The actors are all excellent.

This could easily get several Academy nominations come Oscar time.

All in war a very brutal, but realistic depiction of another bloody war in history.

http://www.novosti.rs/vesti/planeta.300.html:361859-Andjelina-mrzi-Srbe

Daklem, narode, ko će Anđu?

ja bi je odma, al nema još.

Quote from: Ghoul on 14-01-2012, 16:49:34
ja bi je odma, al nema još.

Ti bi je, al nemaš sa čime.

Naravno da nas u svetu vide kao divljake, kada divljaci i jesmo. I ratni zločinci. Neki od nas, bar.

Quote from: Harvester on 14-01-2012, 16:43:35
http://www.novosti.rs/vesti/planeta.300.html:361859-Andjelina-mrzi-Srbe

Daklem, narode, ko će Anđu?

Quote from: Ghoul on 14-01-2012, 16:49:34
ja bi je odma, al nema još.

Udrite obojica, tu ima dovoljno materijala za svakog.
Pošto upravo završavam jedan CHEX, a posle me čekaju i Tom Kukuruz, i animirani muslimanski Patriot,sad nemam vremena za Anđu,ali ću joj se posle toga sigurno vratiti sa nekim kraćim osvrtom i odgovarajućim fotkama.

Шта завршаваш? Ја скинуо Mercenaries, одгледао првих пет минута и прописно се исмејао "српским" којим говоре глумци. То би требало да је неки контра-Chex, с обзиром на то да се ради о хрватском ратном злочинцу који убије српског премијера.

The Crew-engleski gangsta chex.

Quote from: D. on 14-01-2012, 17:13:48
Ti bi je, al nemaš sa čime.

Naravno da nas u svetu vide kao divljake, kada divljaci i jesmo. I ratni zločinci. Neki od nas, bar.

Ma D. mi smo sad na tapetu kao što su nekad bili Rusi, Arapi, pre njih Indijanci... pa ti shvataš kako radi holivudska mašinerija, ne moramo valjda o tome diskutovati. Za koju godinu, pojaviće se neki novi dežurni negativac. Možda S.Korejci ili Iranci.
Da se ovde svašta radilo, radilo se, al me nešto od tog zgražavanja sveta... kojeg sveta ? Najveća sila sveta ogrezla je u zločinu, njeni vojnici se javno hvale ubijanjima i slikaju za uspomenu. Najmoćnija država Evrope, ehm... pre samo šezdesetak godina pravila je peći u kojima je spaljivalja ljude. Sad da mi oni drže neke pridike o zločinu, nešto im ne verujem da su zgranuti.

Губиш време објашњавајући глупачи очигледно. Она увек говори само о себи, тако то и треба посматрати.

Quote from: D. on 14-01-2012, 17:13:48
Ti bi je, al nemaš sa čime.

Naravno da nas u svetu vide kao divljake, kada divljaci i jesmo. I ratni zločinci. Neki od nas, bar.

Čekaj, ti si u nekoj misiji postavljanja idiotskih komentara na svaki topik?

Ja ću probati da pogledam Harrison's Flowers, to mi već dugo sjedi na hard disku i vrijeme je da ga već jednom izbrišem, a poslije toga ću vjerovatno da ovjerim Belvedere, to je novo djelo onog retarda što je režirao GO WEST, nekakav pokušaj crno-bijelog art filma or something...

pizduljina anđelina NIJE dobila zlatni globus za svoj antisrpski pamflet, pa će geografiju morati da vežba na nečem drugom. 

globus su dali iranskom filmu koji čak i nije tako loš. 

Синоћ сам успео да погледам првих пола сата Mercenaries и, на основу досад погледаног, закључујем да не треба свему на нету веровати одмах, јер је у питању 100% CHEX. Авај, филм је страшно досадан па ћу га гледати у епизодама. Ипак, има једна полусмешна сцена кад очигледно Срби терају очигледно муџосе да копају масовну гробницу, па их среде добри амерички плаћеници, али нису рачунали на Србина који је срао у жбуњу, па устао у правом тренутку и упуцао једног од плаћеника.

Quote from: Джон Рейнольдс on 14-01-2012, 19:59:24
Губиш време објашњавајући глупачи очигледно. Она увек говори само о себи, тако то и треба посматрати.

Ah, opet nestalo lekića, a? 

Quote from: Harvester on 14-01-2012, 21:00:25
Čekaj, ti si u nekoj misiji postavljanja idiotskih komentara na svaki topik?

Koliko god da ih postavim, ne može ih biti više od tvojih komentara iste vrste. Ili Gulovih, Džonovih, svejedno. Svi ste mi isti. Jedan drugome virite iz pozadine. 

Quote from: Anomander Rejk on 14-01-2012, 19:43:58
Ma D. mi smo sad na tapetu kao što su nekad bili Rusi, Arapi, pre njih Indijanci... pa ti shvataš kako radi holivudska mašinerija, ne moramo valjda o tome diskutovati. Za koju godinu, pojaviće se neki novi dežurni negativac. Možda S.Korejci ili Iranci.
Da se ovde svašta radilo, radilo se, al me nešto od tog zgražavanja sveta... kojeg sveta ? Najveća sila sveta ogrezla je u zločinu, njeni vojnici se javno hvale ubijanjima i slikaju za uspomenu. Najmoćnija država Evrope, ehm... pre samo šezdesetak godina pravila je peći u kojima je spaljivalja ljude. Sad da mi oni drže neke pridike o zločinu, nešto im ne verujem da su zgranuti.

Vidi, nije to tolika teorija zavere koliko se tebi čini. Jeste, pojavi se, s vremena na vreme, anti-srpski film; ali kada film snimaju, produciraju i režiraju glumci (kao Anđelina, na primer), oni se povode slikom koja je o nama stvorena u javnosti. Ta slika ima neke realne temelje jer mi i jesmo divljaci koji najpre ne umeju da počiste sopstveno dvorište. Država nam je sranje, društvo nam je sranje, a ovi što druge optužuju za idiotske postove i glupost, beskičmenjaci su koji ne umeju, ne mogu i ne smeju da urade nešto povodom tog sranja, nego gledaju i pljuju tuđe govno (da se tako izrazim). 

Problem se rešava u sopstvenom dvorištu. Tuđ problem ne možeš da rešiš na tuđem terenu. Što više pljuješ, više ćeš biti pljuvan.

Quote from: D. on 16-01-2012, 13:43:03
Ah, opet nestalo lekića, a? 

Koliko god da ih postavim, ne može ih biti više od tvojih komentara iste vrste. Ili Gulovih, Džonovih, svejedno. Svi ste mi isti. Jedan drugome virite iz pozadine. 

Не сери. Дивљацима можеш звати себе и себи блиске и сличне људе, зато што ВИ то и јесте. Нас остале, који смо ти - наравно - сви исти, пристојан свет, не спомињи у контексту себе и теби блиских и сличних. Јасно?

Čekaj, zar pretnja nije jedna od osnovnih karakteristika divljaštva? 

Ja ne odbijam mogućnost da sam divlja. Ne mogu ni da budem drugačija s obzirom gde i kako sam odrasla. No, i svest o tome je nešto...

Možda biste i vi mogli malo u svoje dvorište da bacite pogled, štajaznam.

Uostalom, ja nisam vas trojicu nazvala divljacima. Ja to onako, uopšteno. Odnosi se na sve, pa ko se prepozna. 

То што ти називаш "дивљим", заправо је чист примитивизам. И очигледно је да си ти из таквог миљеа, а свест о томе била би фина и корисна ствар кад тиме не би парадирала около попут оних просјака с физичким деформацијама.

Pa čekaj, jesi li se ti javio da me prozoveš glupačom (sada i uglavnom) kada ti se nisam obratila i nisam te uvredila? Zar nije i to odlika primitivizma?

Mislim, pitam da mi objasniš kako se zove to što radiš, da se ugledam na tebe, kulturnog i civilizovanog. Prosvetli me, ovako divlju i inferiornu.