{"id":77451,"date":"2017-08-27T18:00:40","date_gmt":"2017-08-27T18:00:40","guid":{"rendered":"https:\/\/new.dedefensa.org\/index.php\/2017\/08\/27\/gone-with-the-wind-scarlett\/"},"modified":"2017-08-27T18:00:40","modified_gmt":"2017-08-27T18:00:40","slug":"gone-with-the-wind-scarlett","status":"publish","type":"post","link":"https:\/\/new.dedefensa.org\/index.php\/2017\/08\/27\/gone-with-the-wind-scarlett\/","title":{"rendered":"Gone With the Wind<\/em>, Scarlett…"},"content":{"rendered":"

Gone With the Wind<\/em>, Scarlett…<\/h2>\n<\/p>\n

Le vent soufflant dans le sens qu’on sait, il \u00e9tait in\u00e9vitable qu’on en vint \u00e0 mettre en question Autant en emporte le vent <\/em>(Gone With the Wind<\/em>). C’est fait, comme nous l’explique en d\u00e9tails Tyler Durden, c’est-\u00e0-dire ZeroHedge.com<\/em>, ce 27 août 2017<\/a>. L’\u00e9tablissement historique Orpheum Theatre<\/em> de Memphis, dans le Tennessee, a d\u00e9cid\u00e9 de d\u00e9programmer le film r\u00e9guli\u00e8rement class\u00e9 parmi les plus grands films de l’histoire du cin\u00e9ma de son programme de films classique Summer Movie Series<\/em> pour l’\u00e9t\u00e9 2018. Gone with the wind<\/em> est jug\u00e9 \u00ab\u00a0racialement insensible\u00a0\u00bb, – raciste si vous voulez, – et ainsi Autant en emporte le vent <\/em>emport\u00e9 par un \u00ab\u00a0vent divin\u00a0\u00bb (kamikaze <\/em>en japonais, d\u00e9signant les avions-suicides de la Deuxi\u00e8me Guerre mondiale).<\/p>\n<\/p>\n

On voit donc que la r\u00e9volution culturelle qu’un esprit moyennement ironique et notablement suspect a qualifi\u00e9e de \u00ab\u00a0postMaoderne\u00a0\u00bb se poursuit aux USA \u00e0 un tr\u00e8s bon rythme, reculant avec une roborative hyst\u00e9rie les limites d’au-del\u00e0 de l’entropie mentale. La terreur hyst\u00e9rique ou l’hyst\u00e9rie terroris\u00e9e r\u00e9gnant dans les esprits par cons\u00e9quent, et singuli\u00e8rement dans les \u00e9lites culturelles et acad\u00e9miques un peu comme on le vit en Mai-68, tout esprit critique de soi-m\u00eame se trouve guillotin\u00e9 comme on vit faire en France dans les temps qualifi\u00e9s de \u00ab\u00a0La Terreur\u00a0\u00bb.<\/p>\n<\/p>\n

Il faut appr\u00e9cier et mesurer \u00e0 sa juste valeur cette course \u00e0 la surench\u00e8re parce qu’elle nous d\u00e9montre l’extraordinaire faiblesse des psychologies qui se veulent les plus adeptes de la postmodernit\u00e9 devant les pressions de la postmodernit\u00e9. A force de se chercher un ennemi int\u00e9rieur et l’ayant imagin\u00e9 enferm\u00e9 \u00e0 double tour entre l’antirussisme et l’antiracisme, la psychologie am\u00e9ricaniste devrait tr\u00e8s rapidement finir par d\u00e9terminer que le seul ennemi int\u00e9rieur qui lui reste possible, c’est elle-m\u00eame, la psychologie am\u00e9ricaniste, vis-\u00e0-vis d’elle-m\u00eame.<\/p>\n<\/p>\n

… Et nous pourrons reprendre en chœur les phrases fameuses du d\u00e9mocrate-dictateur et lib\u00e9rateur raciste des negroes<\/em>, Abraham Lincoln<\/a>, que nous ne devrions cesser de r\u00e9p\u00e9ter depuis 1838 où il les pronon\u00e7a<\/a> : « A quel moment, donc, faut-il s’attendre \u00e0 voir surgir le danger <\/em>[pour l’Am\u00e9rique]? Je r\u00e9ponds que, s’il doit nous atteindre un jour, il devra surgir de nous-m\u00eames.<\/em> […] Si la destruction devait un jour nous atteindre, nous devrions en \u00eatre nous-m\u00eames les premiers et les ultimes artisans<\/strong>. En tant que nation d’hommes libres, nous devons \u00e9ternellement survivre, ou mourir en nous suicidant <\/strong><\/em>» … C’est en bonne voie, Abe …<\/p>\n<\/p>\n

dde.org<\/em><\/h4>\n<\/p>\n

________________________<\/p>\n<\/p>\n<\/p>\n

Gone With The Wind Banned From Memphis Theater<\/h2>\n<\/p>\n

When Vice News argued that perhaps Mt. Rushmore should be demolished, running a headline which declared without irony – \u00ab\u00a0Let’s Blow Up Mount Rushmore<\/a>\u00a0\u00bb (a headline subsequently scrubbed) – we suggested that the fanatical push to sanitize all historic monuments and public references to past political leaders perceived as ‘tainted’ or controversial "may have hit peak crazy here." Well, we were wrong – it appears the PC mob is now coming for the film industry.<\/p>\n<\/p>\n

The historic Orpheum Theatre in Memphis, Tennessee has decided to censor \u00ab\u00a0Gone With the Wind\u00a0\u00bb from a line-up of movies it will show as part of its 2018 Summer Movie Series after dubbing it racially \u00ab\u00a0insensitive\u00a0\u00bb. The 1939 classic film, based on the book by Margaret Mitchell, is set on a plantation in the American South during the Civil War and Reconstruction era, and is widely considered by critics and historians to be among the greatest American movies<\/a> of all time. It broke Academy Award records at the time, receiving eight Oscars including a Best Supporting Actress for Hattie McDaniel, who became the first African-American Academy Award-winner. It also remains the highest grossing film<\/a> of all time (with ticket prices adjusted for inflation) – beating out even Star Wars.<\/p>\n<\/p>\n

Memphis’ Orpheum Theatre has included the movie as part of its annual local film festival featuring American classics for decades. But apparently this nearly 80-year old world renowned classic has been scrubbed for the first time based on some complaints the theater received after its last August 11 showing. \u00ab\u00a0As an organization whose stated mission is to ‘entertain, educate and enlighten the communities it serves’, the Orpheum cannot show a film that is insensitive to a large segment of its local population,\u00a0\u00bb the theater’s board said<\/a> in a statement.<\/p>\n<\/p>\n

The theater indicated that for the first time this year’s screening \u00ab\u00a0generated numerous comments\u00a0\u00bb which led to the decision to drop it, adding that, \u00ab\u00a0while title selections for the series are typically made in the spring of each year, the Orpheum has made this determination early in response to specific inquiries from patrons.\u00a0\u00bb This will mark the first time in 34 years Gone With the Wind will not show. It appears that much of the negative feedback came via Orpheum Theatre’s Facebook page<\/a> with some comments decrying the film as \u00ab\u00a0racist\u00a0\u00bb and leveling the charge that it’s a \u00ab\u00a0tribute to white supremacy\u00a0\u00bb.<\/p>\n<\/p>\n

Meanwhile Brett Batterson, the president of Orpheum Theatre Group, claimed in an interview<\/a> that the decision was made before the tragic events of Charlottesville. \u00ab\u00a0This is something that’s been questioned every year, but the social media storm this year really brought it home,\u00a0\u00bb he said. \u00ab\u00a0This is about the Orpheum wanting to be inclusive and welcoming to all of Memphis.\u00a0\u00bb<\/p>\n<\/p>\n

Local media also referenced<\/a> Memphis’ \u00ab\u00a064 percent African-American population\u00a0\u00bb as making the film’s inclusion in the festival \u00ab\u00a0insensitive\u00a0\u00bb. Yet, if as Batterson claims the removal of the film was primarily due to negative social media response, this means the Memphis population may not have actually had much of a say. And of course the next logical question is: where was the outcry of \u00ab\u00a0racism\u00a0\u00bb while the film was featured every year for 34 years, and sometimes multiple times a year?<\/p>\n<\/p>\n

This would further imply that just about every film industry institution from the Academy Awards to the American Film Institute to the People’s Choice Awards to every critic that ever praised the movie is potentially a racist and paid tribute to white supremacy. But that is the absurd path we are headed down here: an American classic which goes back to the first part of the 20th century must be purged due to angry anonymous comments on social media. Orpheum’s president admits he cowered before what he called a "social media storm" and opted for censorship.<\/p>\n<\/p>\n

Orpheum Theatre Group’s mission<\/a> is stated as \u00ab\u00a0utilizing the performing arts to entertain, educate, and enlighten.\u00a0\u00bb But we wonder: if the very organizations claiming to safeguard and promote the arts are now purging classics like Gone With the Wind, are we now witnessing the start of a broader and vicious coming assault on art itself?<\/p>\n<\/p>\n

Tyler Durden<\/h4><\/p>\n","protected":false},"excerpt":{"rendered":"

Gone With the Wind, Scarlett… Le vent soufflant dans le sens qu’on sait, il \u00e9tait in\u00e9vitable qu’on en vint \u00e0 mettre en question Autant en emporte le vent (Gone With the Wind). C’est fait, comme nous l’explique en d\u00e9tails Tyler Durden, c’est-\u00e0-dire ZeroHedge.com, ce 27 août 2017. L’\u00e9tablissement historique Orpheum Theatre de Memphis, dans le… <\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"","ping_status":"","sticky":false,"template":"","format":"standard","meta":{"neve_meta_sidebar":"","neve_meta_container":"","neve_meta_enable_content_width":"","neve_meta_content_width":0,"neve_meta_title_alignment":"","neve_meta_author_avatar":"","neve_post_elements_order":"","neve_meta_disable_header":"","neve_meta_disable_footer":"","neve_meta_disable_title":"","_jetpack_memberships_contains_paid_content":false,"footnotes":""},"categories":[14],"tags":[13318,4289,13319,2662,9841,2711,3896,13316,13315,3252,3424,2879,3300,13317,5400],"class_list":["post-77451","post","type-post","status-publish","format-standard","hentry","category-ouverture-libre","tag-autant","tag-culturelle","tag-emporte","tag-en","tag-kamikaze","tag-le","tag-lincoln","tag-memphis","tag-postmaoderne","tag-postmoderne","tag-racisme","tag-revolution","tag-sud","tag-tennessee","tag-vent"],"jetpack_featured_media_url":"","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts\/77451","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/comments?post=77451"}],"version-history":[{"count":0,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/posts\/77451\/revisions"}],"wp:attachment":[{"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/media?parent=77451"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/categories?post=77451"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/new.dedefensa.org\/index.php\/wp-json\/wp\/v2\/tags?post=77451"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}