this post was submitted on 11 Sep 2024
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NoYank. Remove All American Media And Culture From Your Life

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Remove All American Media And Culture From Your Life

Anti-imperialist comm to help you in your personal journey of cultural anti-imperialism.

American culture has spread all over the world, it has dumbed down and impoverished our variegated pre-colonial and non-capitalist cultures. Every time you yank yourself, a bit of their culture worms its way into your mind. Sometimes it's explicit propaganda like Top Gun, but sometimes it's subtle: the contempt shown for the poor, the celebration of selfishness, the mental foundation on which their empire stands.

All inputs enter the mind, are absorbed, and blossom as thoughts and deeds. Mass-produced culture dulls you and makes you a boring, mass-produced personality. And nations are losing their personality by letting one imperial power do this to them.

That the empire is doing this as a more-or-less deliberate tool of influence doesn't need stressing.

Stop doing this to yourself. Don't watch their television. Don't watch their films. Don't read their stupid news and politics: ABC and CNN and NBC and the rest. Don't be so fucking boring. You don't have to be boring and stupid. Turn off your TV. Pick up some of your country's classic books, or listen to African funk, or go to a storytelling night.

Examples of posts that are welcome

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cross-posted from: https://feddit.uk/post/17299575

Ageing and death are perhaps the foundation of all horror, but this droll French chamber piece, adapted from an 1839 novella by Aleksey Tolstoy, puts a devious spin on that. The titular “vourdalak” – a kind of Mitteleuropean vampire – is Gorcha, wizened patriarch of a family of forest-dwelling peasants, who is driven to feed on the blood of those he loves the most. With the film incarnating this beastie in the form of a toothy puppet resembling Norman Tebbit (voiced by director Adrian Beau), it’s a cruel but funny metaphor for parental authority and late-life dependency. Obviously they didn’t have assisted living in early modern Bohemia.

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Beau could have adapted this as straight gothic. Instead, he opts for an enjoyable high-strung comedy that, with him often shooting through Hammer-style soft gauze, skims pastiche. D’Urfé’s court manners are ridiculously superfluous in the rustic setting, exposed as hypocritical when he roughly pursues Sdenka, and then redundant in the face of the ghoulish paterfamilias scoffing at him down the dinner table.

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