Today's Stories

June 26-28, 2009

Jeffrey St. Clair
Meet the Retreads: Obama's Used Green Team

June 25, 2009

Kathy Kelly
Now We See You, Now We Don't

Jack Bratich
You Provide the Tweets, We'll Provide the Info War: the Media and the Iranian Protests

Wendell Potter
The Health Insurance Industry v. Health Care Reform: a Former Insurance Industry Insider Tells All

Charles R. Larson
Don't Cry for Him, Argentina! GOP Sex Scandal of the Week

Alan Farago
The Tears of Mark Sanford

Jonathan Cook
Israeli Firms Accused of Profiting Off Holocaust

Gareth Porter
Khobar Bombings: Telltale Signs of Saudi Fraud

Bitta Mostofi /
Bill Quigley
"You Will Not Get Past Us"

David Macaray
Six Ways to Reinvigorate Labor

Mark Schuller
Haiti's Elections: "Beat the Dog Too Hard"

Website of the Day
Worst Slide Story

June 24, 2009

Andrew Cockburn
How the U.S. Has Secretly Backed Pakistan's Nuclear Program From Day One

Dean Baker
Making Financial Regulation Work

Andy Worthington
The Story of Abdul Rahim al-Ginco

James Bovard
Obama and the Torturers

Diana Gibson /
Ray McGovern
Torture Eats the Soul

P. Sainath
The Age of the Everyday Billionaire

Gareth Porter
Investigating the Khobar Tower Bombing: Why Was Al Qaeda Excluded From the Suspects List?

Robert Alvarez
The Department of Energy's Nuclear Albatross

Dave Lindorff
Medicare for All

Steven Colatrella Remembering Giovanni Arrighi

Website of the Day
Protest as Terrorism

June 23, 2009

David Price
Obama's Classroom Spies

Patrick Cockburn
Iraq Reels Toward a New Era

James Ridgeway /
Jean Casella
Bi-Partisan Bull on Health Care: Three Ex-Senators Get It Up for the Health Care Industry

Dave Lindorff
Using the Economic Crisis to Attack Workers

Carmelo Ruiz-Marrero
Puerto Rico: Biotech Island

Gary Leupp
Dennis Ross Moves to the White House

Brian M. Downing
The Erosion of the Mullahs' Monolith

Robert Bryce
Are Theocracies Doomed?

Nicholas Dearden
The G8 is Dead

Yousef Munayyer
Seeing Through Israeli Delay Tactics

Website of the Day
The Great White Father of America

June 22, 2009

Michael Hudson
Obama's (Latest) Surrender to Wall Street

Esam Al-Amin
What Actually Happened in the Iranian Presidential Election? A Hard Look at the Numbers

Chris Floyd
Dexter's Legions in Afghanistan

Jack Z. Bratich
The Fog Machine: Iran, Social Networks and Genetically Modified Grassroots Organizations

Atash Yaghmaian
We Children of the Revolution

Laura Carlsen
Victory in the Amazon

Paul Craig Roberts
The U.S. Regime-Change Recipe for Iran

Vijay Prashad
Gun v. Butter: Now You are Only Poor

Fred Gardner
Charles Lynch Gets a Year and a Day (No Thanks to Eric Holder)

Andy Thayer
The Blank Check: How We Got the Obama-DOMA Debacle

David Macaray
Unions and the Newspaper Crisis

Website of the Day
The Most Spied Upon Town in America?

June 19 - 21, 2009

Alexander Cockburn
I Become an American

Jeffrey St. Clair
Firebrand: Rod Coronado's Flame War

Patrick Cockburn
Who Will Control Iraq's Oil?

Al Giordano
What the Left Should be Learning From Iran

Henry A. Giroux
The Iranian Uprisings and the Challenge of the New Media

Anthony DiMaggio
The Electoral Façade

Paul Craig Roberts
Are the Iranian Protests Another US Orchestrated "Color Revolution?"

John Ross
46 Dead Mexican Toddlers: Sacrificed on the Altar of Neoliberalism

Gareth Porter
Spinning Civilian Deaths in Afghanistan

Carl Ginsburg
Obama's Bix Fix: Placating the Bankers, Again

Tommi Avicolli Mecca
40 Years After Stonewall: From Smash the Church to Going to the Chapel

Joe Bageant
Workers' Rights: No Balls, No Gains

Serge Halimi
Protectionism: We've Been Here Before

P. Sainath
Price of Rice, Price of Power in India

Jim Goodman
The Claim Deniers: Why the Health Insurance Industry Doesn't Deserve Our Trust

Dave Lindorff
Obama's Health Care Waterloo

Rannie Amiri
Bush Jumps Over Maine, Carter Lands in Gaza

Robert Fantina
Iran, Obama and McCain

Harvey Wasserman
Big Nuke's Radioactive Hoax in Impoverished Ohio

Walter Brasch
They Got Away With Murder: 12 Angry White People

David Ker Thomson
This Moment's Bill of Rights

Charles R. Larson
No Voice: Telling Her Mother's Story

David Yearsley
Escape From the Torture Chamber

Kim Nicolini
When the Closet is the Culprit

Ben Sonnenberg
Rossellini and the Art of Ambiguity

Poets' Basement
Beatty and Kowitt

Website of the Weekend
Grown in Yellowstone, Slaughtered in Montana

June 18, 2009

Uri Avnery
The Case of Netanyahu and the Curious Incident

Robert Sandels /
Nelson P. Valdes
U.S. Cuba Policy: a Case of Post-Diplomatic Strees Disorder

Anthony DiMaggio
The Iranian Elections and the Faith-Based Media

Robert Weissman
Obama's Financial Sector Reform Plan: the Good, the Bad and the Ugly

Joshua Frank
These Are Obama's Wars Now

Jonathan Cook
Canadian Ambassador Honored in Illegal Park Built on Razed Palestinian Homes

Reza Fiyouzat
Iranians in the Streets

Norman Solomon
Obama and the Antiwar Democrats

Ali Jawad
Reformists are Islamists, Too

James Ridgeway
Am I on Crack When It Comes to Flight 447?

Website of the Day
The Death of the Ghost Prisoner

June 17, 2009

Carl Boggs
Torture: an American Legacy

Dr. Bryant Welch
Torture, Psychology and Sen. Daniel Inouye: the True Story Behind Psychology's Role in Torture?

Winslow T. Wheeler
How Obama Will Outspend Reagan on Defense

Liaquat Ali Khan
Obama's Gift to Pakistan: a Civil War

Jonathan Cook
Beating and Torturing Children

Binoy Kampmark
Gordon Brown's War Inquiry

Karim Makdisi
The Lebanese Elections: a Box Office Success?

Dave Lindorff
Criminalizing Dissent: Obama Pot Calls Iranian Kettle Black

David Swanson
In Congress: 32 Heroes, 21 Frauds

Gene Marx
How Fox News is Helping to Nationalize the GI Sanctuary Movement

Website of the Day
The Diamond Mine That Ate Mirny

June 16, 2009

Patrick Cockburn
Iraq's Looming Peril: a Plague of Snakes

John Ross
Undermining Mexico

Afshin Rattansi
Guarding the Revolution

Marc Levy
How I Nearly Won the War

Paul Craig Roberts
Are You Ready for War with a Demonized Iran?

Behzad Yaghmaian
Iranian Youth Make History

Brian M. Downing
Democracy in Iran

Merle Lefkoff
Israel's Angels in America

David Macaray
Charles Manson and Me

Robert Jensen
Finding a Stubborn Hope to Live in a Dead Culture

David Swanson
An Exit Strategy That Keeps Wars Going

Website of the Day
Rachel Corrie Soccer Tournament Fundraiser

June 15, 2009

Michael Hudson
The Ending of America's Financial-Military Empire

Reza Fiyouzat
The Iranian Elections: Sure They Stole It...Up Front and Honestly

Patrick Cockburn
A Whole New Ballgame in Iraq

James Ridgeway
Did Composite Parts Bring Down Air France Flight 447?

Marjorie Cohn
Agent Orange Continues to Poison Vietnam

Rannie Amiri
Iran and the End of the "Obama Effect" Myth

Dave Lindorff
How Obama is Blowing the Chance for Real Health Care Reform

Ron Jacobs
The Iranian Elections and the Hysterical Media

Leonard Schwartz
The Angel of History and the Ghetto of Gaza

Martha Rosenberg
Start Your Engines, Drug Reps!

Website of the Day
Single-Payer v. Public Option

June 12-14, 2009

Alexander Cockburn
Who Needs Yesterday's Papers?

Gareth Porter
The CIA's Drone Wars

Mike Whitney
Bernanke's Next Parlor Trick

Mark Ames
Elmer Fudd Nation

Esam Al-Amin
What Really Happened in the Lebanese Elections?

Franklin Lamb
Carter in Lebanon

Patrick Cockburn
Prisoner Swap in Iraq

Andy Worthington
The Long Ordeal of Mohammed El-Gharani

Heather Gray
A New Perspective on the Confederacy: Southern Greed During the Civil War

Felice Pace
Why NPR Refuses to Report on the Single Payer Movement

Ron Jacobs
Flashback to the End of a War That Really Did End

George Wuerthner
Burning Questions: Why the National Fire Plan is a Trojan Horse for Logging

Jeffrey Buchanan /
Trinh Le
Biloxi Trailer Blues

David Ker Thomson
Americana

Renaud Lambert
Brazil: More Dependent Than Ever

Kevin Zeese
Congress and the Health Business Lobby

David Macaray
SAG Vote: A Lesson in Solidarity ... Not

Evelyn Pringle
FDA Throws Lifeline to Antipsychotic Pushers

Chris Genovali
Blood Sport Auction: Why eBay Should Stop Selling Guided Hunts for Bears, Wolves and Cougar

David Michael Green
The Rhetorical President

Brian J. Foley
Our Solar System is Not a Suicide Pact!

Charles R. Larson
No Safe Return

Kim Nicolini
Foreclosure is Hell: Sam Raimi's Frightfest

David Yearsley
Bach on Torture: Mr. Cheney, They're Playing Your Song

Lorenzo Wolff
Intent to Discord

Poets' Basement
Chris Jordan

Website of the Weekend
The Red Room

June 11, 2009

Kathy Kelly /
Dan Pearson
Down and Out in Shah Mansoor: With the Swat Refugees

James Bovard
The Latest Torture Cover-Up Scam

Tristan de Bourbon
The Toy Makers of Chenghai: the Financial Crisis Seen From China

Dave Lindorff
The Wheels are Coming Off the Recovery Program

Kevin Zeese
The Case for Disbarment of the Torture Lawyers

Ralph Nader
The Craft of Sam Maloof: a Visionary Woodworker

Harvey Wasserman
The GOP's Trillion Dollar Reactor Plan Goes Radioactive

Nicole Colson
The Anti-Abortion Movement's Climate of Violence

Mark Weisbrot
Showdown Over the IMF

Dan Bacher
Big Water's Big Lie Unravels

Website of the Day
Top 10 Most Absurd TIME Covers

June 10, 2009

Ismael Hossein-Zadeh
Obama's Doublespeak on Iran

Jennifer Van Bergen / Douglas Valentine
The Dangerous World of Indefinite Detentions: From Vietnam to Abu Ghraib

Kathy Kelly
Visitors and Hosts in Pakistan

Paul Craig Roberts
Fear Rules

Rev. William E. Alberts
First the Torture of Truth ...

Peter Lee
Obama and North Korea: a Warm-Up in the Offing?

Carol Miller
Why We Need a Holistic, Cradle-to-the-Grave National Health Care System

Emily Ratner
Dreams of Flight in Gaza

Robert Weissman
The IMF's Accountability Moment

Dave Lindorff
The Sutra of the Crushed Volvo

Website of the Day
Starving in Gitmo

June 9, 2009

Winslow T. Wheeler
Back From the Dead: Pentagon Pork!

Mike Whitney
Is Hyper-Inflation Around the Corner?

Stan Cox
Biofuel's Drug Problem

Sibel Edmonds
The Battle Against the State Secrets Privilege

Jonathan Cook
Where the Victim is the Guilty Party

David Macaray
A Bad Time for Unions

Robert Jensen
In South Africa, Apartheid is Dead, But White Supremacy Lingers On

Nadia Hijab
The Obama Difference

Mark Weisbrot
Vulture Funds Descend on Argentina

Website of the Day
Waging Non-Violence

June 8, 2009

John Ross
Mexico: Politics as Drugs / Drugs as Politics

Paul Wright
Deconstructing Gus: How a Former Prisoner Took On and Took Down Corrections Corporation of America's Top Lawyer (and Cheney Pal)

Paul Craig Roberts
Long-Term Economic Memory Loss

Franklin C. Spinney
"Natural Growth:" Israel's Demographic Hogwash

Franklin Lamb
Lebanon's Elections: Return to the Status Quo

Uri Avnery
The Tone and the Music

Jonathan Cook
Israeli Loyalty Oaths

Eric Toussaint
/ Damien Millet
The Partisans of Capitalism Have Lost All Credibility

Jim Goodman
The Dairy Oligarchy

Norman Solomon
Words and War

Reza Fiyouzat
When Accusations Fly: the Spectacle of the Iranian Elections

Website of the Day
Latino Jobless Rate Soars

June 5 -7, 200

Alexander Cockburn
High Words, Low Truths

George Galloway
Our Convoy to Gaza

Paul Craig Roberts
Obama in Cairo

Jennifer Loewenstein
How Much Really Separates Obama and Netanyahu?

Franklin Lamb
Watching Obama's Speech in Lebanon

Mike Whitney
The Biggest Rip Off Ever?

Andy Worthington
Death at Guantánamo

Missy Comley Beattie
Peace Be Upon You?

Farzana Versey
Walk Like an Egyptian: the Oprahfication of Obama

Stanley Heller
Obama's Non-Starter

John V. Whitbeck
Nothing Comes From Nothing

Robert Weissman
GM: the Path Not Taken

Lee Sustar
The Fall of GM: Why Workers Will Pay the Price

Dave Lindorff
What a State-Run GM Could Do

William Blum
The Great, International, Truly Demonic Iran Threat

Ernest Callenbach /
Harvey Wasserman
A Green-Powered Trip Through Ecotopia

Greg Moses
By George! Austin Leads the National Recovery

Ron Jacobs
The Meaning of Yasser Arafat

David Yearsley
Art Set in Concrete:
the Desolate Urban Landscape of High Culture

Tim Stelloh
Pot Home Invasions: Bud and Blow Torches

Belén Fernández
The Joksters: Obama and Thomas Friedman

David Ker Thomson
The Academics

Karyn Strickler
Clean Coal: a Dirty Joke

Christopher Brauchli
Judicial Amnesia and the Federalist Society

Charles R. Larson
Leaving Tangier: Exile and Exploitation

Kim Nicolini
"Hunger:" Art With a Punch

Lorenzo Wolff
Good Head (Or Why the End of Hand-Crafted Music Isn't (Necessarily) the End of Music)

Poets' Basement
Jenkins, Orloski and Willson

Website of the Weekend
Tankman

Weekend Edition
June 26-28, 2009

Olivier Assayas' "Summer Hours"

The Erasure of Art

By KIM NICOLINI

Reading about Olivier Assayas’ Summer Hours and watching the trailer, I could not bring myself to get inspired to see this movie. While I’m a huge fan of Assayas’ other film, this new installment just seemed so horribly middle-brow, the kind of foreign film that the bourgeoisie flocks to in droves. Even though I love Assayas’ films, I couldn’t imagine myself getting through this movie without being annoyed and bored. Here is the description from the official website:

The divergent paths of three forty-something siblings collide when their mother, heiress to her uncle's exceptional 19th century art collection, dies suddenly. Left to come to terms with themselves and their differences, Adrienne (Juliette Binoche), a successful New York designer, Frederic (Charles Berling), an economist and university professor in Paris, and Jeremie (Jeremie Renier), a dynamic businessman in China, confront the end of childhood, their shared memories, background and unique vision of the future.

This is the perfect description of the kind of Euro-bourgeois cinematic dreck that I despise. Why on earth would I want to sit through two hours of this drivel? Well, I decided to see it anyway because it is an Assayas film, and it did receive outstandingly favorable reviews from critics whose opinions I respect. So I saw it. When the movie opened with a family gathering on French country estate, you know the kind with tables full of fruit, cheese and wine and gleeful children frolicking in the garden while their well-groomed parents smile on, I was alarmed that my suspicions were going to pan out and that I was going to have to endure almost two hours of the suffering of the Euro-privileged class consuming wine and cheese and recounting their woes.

I was wrong. I should have known better. After all, this is an Olivier Assayas film. The amazing thing about Summer Hours is that Assayas takes the this insulated family setting and explores all the same themes we see in his other films, such as demonlover and Boarding Gate: the disintegration of connection and communication in a world of ever expanding global capital; the quiet struggle of the laboring class; the replacement of culture with manufacturing; the insidious dehumanizing force of global capital. Admittedly, I prefer that these things come in the enticing packages of internet porn (demonlover) or fetishistic female assassins in black panties and high heels (Boarding Gate), but what is so incredible about this movie is that Assayas’ uses the form of the Euro-bourgeois art film to make his point. He incorporates a mode of cinema that represents the privileged cultural class to make his points about class and global capitalism, so the film is self-reflexive in its very construction/format.  Assayas’s politics are woven into the film subtly and quietly and therefore are so much more effective. He doesn’t get on a soapbox and preach. He doesn’t provide overt critiques. Rather, Assayas shows us his observations through a series of character interactions. It is the accumulation of signals and symbols that brings his view to fruition: the quiet meaning of objects, subtle interactions between characters, movement, light, and color work together to make us feel and see Assayas’ observations about the economical and political state of things.

As stated in the quote above, on the surface, the movie is about how three siblings decide to handle the estate of their deceased mother and the distribution of her art collection. That’s true. That is what happens literally in the movie, but really what the movie is about is the erasure of the aura and the meaning of art, the replacement of hand-crafted objects by mass manufacturing, and the transition of history to a new era where global capital stakes claim over culture. Yes, the mother Helene dies, but she doesn’t die until we understand her as a kind of extinct species who bears little connection to her children. The movie shows us the process of forfeiting the legacy of legacies and of divorcing ourselves from a connection to art and history by getting sucked into the rapid moving material culture of capital. Before Helene dies, Assayas spends a good chunk of the film showing us that her passing isn’t just the death of a human, but the death of an entire culture. We learn that her children represent a global capital triad – Asia/Europe/America. Jeremie can’t visit his mother often because he is busy manufacturing Puma sneakers in China where labor is cheap and profits are high. Frederic is a professor of economics in Paris. Adrienne lives in New York where she creates high-priced accessories for the economically elite. The gathering is a celebration of Helene’s birthday where she is given a phone with three receivers. She looks at the phone like it’s an alien object and feels as disconnected from the phone as she does from her three children. She is not receiving their signals. After her children and her grandchildren leave, we see her sitting alone in quiet isolation in the dark. Helene and her world of legacies and hand-crafted objects of art have been left behind for factories in China, new economic theories, and fast-moving fashion. After Helene dies and her estate is disposed of, the phone remains in its original box collecting dust on a window sill. It, along with her legacy, is forgotten.

For a movie in which not a lot happens, there sure is a lot of frenetic movement as the disposition of things is dealt with. People are constantly moving in and out of the frame, and the objects are constantly getting shuffled. It’s like the motion of the film is the motion of global capital that runs quietly yet insidiously through the film. And speaking of things, it’s amazing how Assayas really does instill the objects in the movie with intense meaning. The Corot paintings that Frederic is so obsessed with become enormous signifiers. First, when he shows them to his son, his son shrugs and could care less. “Well it’s another era,” he says. Later, when Frederic shows the appraisers the Corots, neither one of them are familiar with the work. They ask if the paintings are of a local scene, and Frederic explains that they depict the field which was replaced by the supermarket outside of town. The appraisers perk up with enthusiastic recognition – of the supermarket, not of the art – because we live in a world economy where supermarkets bear more meaning and recognition than art.

One of the items that Helene takes particular pride in is a hand-crafted wooden desk. The desk is donated to a museum, and the last time we see it a young man on a tour turns his back to the desk, fills up the frame of the film, and talks loudly into a cell phone about meeting for a movie. The desk is held frozen and isolated in the room behind him, not unlike Helene was frozen and isolated in the room of her house before she died. The world of cell phones and rapid digital communications is not one which is accommodating to hand-crafted wooden desks. There is also a lot of emphasis on the Odilon Redon decorative panels, something used to decorate a home. So many of the objects in the movie are functional –tea sets, platters, vases. When the siblings dispose of the objects, yes they are disposing of history and legacy, but they are relinquishing themselves to the world where household objects are mass manufactured in China, where art gets pulled down, boxed up, shipped off to museums and stripped of its aura, where everything has the gleam of the new but not a trace of aura.

The most infused object in the film is a glass vase with green circles on it. The vase is important not because Helene loves it or because the siblings find it particularly beautiful. In fact, Helene thinks it’s ugly, and the siblings don’t know it exists until the appraisers tell them that it is very valuable. The vase is important because it is the favorite of Helene’s housekeeper Eloise. It is the vase that Eloise always uses for fresh cut flowers. In a way (and true to Assayas’ vision), Eloise is the real focus of the film. As the quiet laborer at the film’s core, she is the heart and the pulse of the movie. In the midst of all the hustle and bustle of the scrambling siblings is the elderly woman who has worked for Helene and Helene’s uncle for her entire lifetime. Eloise has spent her whole life as a housekeeper in that house. She is the true keeper of things because she is the one who dusts them, polishes them, and cares for them and for their owner. She has lived with those objects nearly every day of her life, yet when Helene dies, Eloise is pushed to the margins.

The scenes with Eloise are seemingly small but end up being enormous in their impact. Eloise comes to the house when the appraisers are there packing everything up. She states to the siblings that it is disturbing to see everything in such a state of disarray. Frederic tells her that it is very hard. Eloise stoically responds, “Yes, it must be even harder on the family.” This quiet statement is so profoundly telling of the state of labor and privilege. Eloise is the one who has given her life’s blood to that house and those objects, yet because of the blood/lineage of the family, her connection to the estate is completely disregarded. The scenes with Eloise walking up to the vacant home and being locked out of it and of her being dropped off in front of her nephew’s apartment building, a generic towering public housing complex, expose so much about the film’s politics and the state of economics. Eloise is the disenfranchised laboring class which is being pushed to the margins while Puma sneakers are being manufactured in China. She is what is being left behind along with history. Frederic tells Eloise to take an object of remembrance, and she picks the glass vase, not knowing how valuable it is. She picks it because it’s pretty, and it makes her happy. To Eloise, objects still have aura because it is their use and appreciation that give them life.

In regards to what the film is saying about class, culture, and privilege, Assayas observes but doesn't necessarily demonize anyone. He is showing the impact of globalization across class. He shows characters like the insulated Helene with her art collection, her clambering children, and her dedicated housekeeper Eloise, but he doesn’t overtly judge the characters. He shows us complexities of relationships and class, but ultimately he doesn’t overtly take sides. He shows how all these people are affected by the voracious machine of global capital. If we did want to analyze what "side" Assayas is on, it would be the side of Eloise, but I think that there is also an undercurrent of the loss of individuality and spirit whether in objects or people that results from global economic homogenization. One of the interesting things Assayas does is take potentially contentious subjects like privilege, class and culture and explore the dynamics at work without proselytizing or taking sides. The real villain in the movie, if you want one, is the quiet force of global capital which affects everyone it contacts. This is why Summer Hours s so much like Assayas’ other films.

The film ends with a bookend image of Helene’s granddaughter and her schoolmates having a party at the vacated house. In a moment of self-reflexive melancholy, the granddaughter acknowledges that her future in that life is gone. There will be no more estate, no more gardens, no more objects of art to pass down through history. The opening scene no longer exists. It has been wiped out by global forces moving much too fast for Helene and Eloise’s world to keep up. The closing scene is the final stamp of beauty, brilliance and melancholy on this incredible film. For a movie in which not a lot happens, I was blown away and absolutely riveted by this piece of cinema. Summer Hours is one of Olivier Assayas’ finest hours.

Kim Nicolini is an artist, poet and cultural critic. She lives in Tucson, Arizona with her daughter and a menagerie of beasts. She works a day job to support her art and culture habits. She is currently finishing a book-length essayistic memoir about being a teenage runaway in 1970s San Francisco. She can be reached at: knicolini@gmail.com.

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