#ebert

[morphmaker]

The Working Group No. 13.

The Working Group is an original webcomic series by morphmaker about a dog named Lindy who goes job hunting.

[dostoyevsky-official]

He often deals with illness, loss and death, but deep pools of humor float beneath the surfaces of his films. There is a sequence in “White” (1994) where his hero, a Polish hairdresser, is so desperately homesick in Paris that he arranges to be sent back to Warsaw, curled up inside a suitcase. His friend at the other end watches the airport conveyor belt with horror: The bag is not there, it has been stolen by thieves who break the lock, find only the little man, beat him savagely and throw him on a rubbish heap. Staggering to his feet, he looks around, bloody but triumphant, and cries out, “Home at last!”

Roger Ebert on Kieślowski

[ralfmaximus]

Cover of The Cat Who Loved The Sea by Rhoda Goldstein, illustrated by Len Ebert (1968).

[veryhotsoccerplayers]

[weil-weil-lautre]

[E]ach student's feelings are considered both unique and equal to everyone else's--to question or challenge them is seen as an unleashing of violence, as a direct attack on the student herself. The nurturing pedagogical situation provides no way to understand critically, evaluate, or explain how one student's emotions and desires may be oppressive of other students--no way to understand how seemingly unique feelings participate in and reproduce unequal and unjust social relations. At best it can describe how the student 'feels' about any suffering she may have experienced, but it is unable to explain the way the student's pleasures, desires, and suffering are constructed out of the existing socioeconomic power relations. Such knowledge requires critique, and critique is largely dismissed as 'attack' in nurturing pedagogy and as oppressive in erotic pedagogy; it is, in short, considered antithetical to pleasure and even to feminism itself.

Teresa L. Ebert, “For A Red Pedagogy”, 807

[levyaustinwolf]

“Freaky”

Freaky is a body swapping movie with an unoriginal premise this movie takes to the next level. Jason Blum is producing this movie, thank god because Blumhouse productions have been pumping out some good ones the past few Years, I.e. Halloween. The Opening of the film is about as what you'd exect a Friday the 13th to be, 4 kids around a fire talking about the Blissfield butcher. Roeper added in his review of this movie, the meta awareness almost scream like quality to this movie with the line, “your black I’m gay, we’re so dead”, to which I found completely hilarious and wonderfully entertaining. I rate this movie 3 out of 4 stars with a convincing perfomance from both millie and Vince Vaughn

[today-in-wwi]

The Kapp Putsch

Members of the Ehrhardt brigade in Berlin on March 13.  The swastika was not at this point exclusively associated with the Nazis (at this point a minor political party that was too far removed from Berlin to play a significant role in the putsch before it collapsed), though the symbol clearly had strongly reactionary connotations at this point.

March 13 1920, Berlin--Despite provisions in the Versailles Treaty against them, and the end of German involvement in the Baltic, the German right-wing paramilitary Freikorps remained a powerful force in Germany.  On February 29, war minister Noske ordered the dissolution of two of the largest Freikorps groups.  One of them, the Marinebrigade Ehrhardt, refused to comply, and received backing from the commander of Berlin’s regular army troops, General Lüttwitz, who demanded (among other things) a dissolution of the National Assembly and new elections for the Reichstag.  When Chancellor Ebert did not accede, he ordered the Ehrhardt brigade into Berlin to seize government buildings; they began to move at 10PM on March 12.

No regular military troops resisted the Ehrhardt brigade.  In an emergency session at 4AM on March 13, Ebert’s cabinet decided (with significant dissent) to flee the city for Dresden (and when that city proved unfriendly, Stuttgart) and to call for a general strike against the putsch.  The meeting was cut short so that they could avoid capture by the Freikorps.  Lüttwitz installed Wolfgang Kapp, from the right-wing DNVP, as the new chancellor.  He was also joined by Ludendorff (who had largely been out of the picture since his sacking in the final weeks of the war) and con man and “spy” Trebitsch-Lincoln, who served as his press censor.

Ebert’s call for a strike was wildly successful; by March 15, over twelve million workers were participating.  Lüttwitz’ position became untenable, and the non-left-wing parties attempted to ease him out of Berlin.  On March 18, Lüttwitz resigned and the Ehrhardt brigade left Berlin (shooting some civilians who jeered at them while they did so) and Ebert’s government returned to Berlin two days later.  

Ultimately, despite its failure, the results of the Kapp Putsch were a victory of sorts for reactionary forces in Germany.  Lüttwitz’s allies did eventually get many of their demands anyway; the National Assembly would be dissolved the next month and Reichstag elections were moved forward.  The Freikorps continued its prominent role in post-war Germany, as in the coming weeks they were used to end the general strike in the Ruhr (which had continued after the end of the putsch).  A right-wing government took control of Bavaria at the same time, and Ludendorff continued his political intrigues there.

[papillon-de-mai]

Anton Ebert — Portrait of A Girl. detail. 1845-1896