Europe’s creators – support authors’ rights // Soutenez les créateurs européens
- soutenez le droit d’auteur
So many things have been said about copyright. A lot of
it nonsense! Over the past few years, copyright has been accused of
preventing works from being distributed, creating obstacles to consumer’s
access to works, lining the pockets of the rich and worse still, standing
in the way of freedom of expression.
On 5th December, at the initiative of José Manuel
Barroso, President of the European Commission, the College of Commissioners
will meet to examine initiatives that the Commission might adopt in the
field of copyright.
Should the worst be feared? This is a valid question,
especially when you consider the interconnections and almost cosiness that
exist between some very powerful private anti-copyright lobbyists and certain
departments and directorates of the Commission. Let there be no mistake; the
message emerging is that copyright is the enemy of consumers and their desire
to access culture. This is not just the opinion of a few personalities
marginalized within Europe.
The fight against copyright, and against the right of authors to
live from their art and receive fair compensation, forms the focus of an entire
coalition: namely lobbyists from the leading companies on the Net who seek to
exempt themselves both from their tax commitments to Member States and their
obligations towards cultural diversity and creation; certain consumer lobbies
who consider the total and immediate satisfaction of their constituency a
necessity, regardless of the negative, harmful impact for cultural industries,
jobs in culture and for the funding of future creativity; European
administrative departments and even commissioners who confine authors’ rights
and cultural diversity to old boundaries, thus irremediably excluding them from
the digital world.
Authors’ rights are, of course, an old concept, several
centuries old, but also surprisingly modern, supple and flexible. Modern
authors’ rights are the work of a genius, Beaumarchais, who marked his era with
all his battles for freedom. For one hundred years, technological developments
have proceeded at an ever increasing pace to say the very least. Authors’
rights have kept pace with those developments and have continued to safeguard a
key principle, namely the right of authors to enjoy fair compensation for the
use made of their works, while facilitating public access to cultural works.
It is hard to imagine an author wanting to prevent his work, film,
book, music from being seen, recommended or discussed by the public. It is
however easy to imagine that convenience of the digital solution might pose a
threat to this particular human right (art.27 of the
Universal Declaration of Human Rights):
the author’s right to receive compensation whenever exploitation is made of
There are basic principles that no tablet, no smartphone, no new
service should undermine. Respecting authors’
rights is one of them.
However, every day in Europe,
where authors’ rights began, their influence is being contested, their scope is
under attack, their collective management criticized. Every day, new
exceptions, or rather expropriations, are being proposed; every day, mechanisms
that make it possible to finance creation are being contested in the name of
free competition; every day, private copying remuneration is being denigrated.
In a nutshell, all sources of revenue for authors are under threat and attack.
For the benefit of whom? Obviously not the creators themselves,
whose general situation is becoming more and more precarious in many countries!
And certainly not the consumers, whose access to works is not facilitated by
the questioning of authors’ rights and for whom the cost of acquiring digital
equipment is not reduced in any way by lowering the payments to authors!
Commissioners, you are meeting on 5th December under the
watchful eye of creators, who contribute to the future identity of Europe. For these creators, authors’ rights are still the
best guarantee of fair remuneration and their greatest hope to be able to
continue to create.
‘Europe loves Cinema’, ‘Europe loves culture’? These are catchy slogans, but they must be put into practice
and, more importantly, a new one must be coined: ‘Europe
loves authors’ rights’!
The following creators have already signed. Support them,
sign the petition!
Robert Alberdingk Thijm, Marco Bellocchio, Lucas Belvaux, FredBreinersdorfer,
Jean-Claude Carrière, Nicola Ciralosa, Stijn Coninx, Costa-Gavras, Luc et
Jean-Pierre Dardenne, Anna Di Francisca, Hervé Di Rosa,
Jacques Fansten, Marco
Tullio Giordana, Ugo Gregoretti, Michel Hazanavicius, Jan Hřebejk, Agnès Jaoui, Pavol Kráľ, Paul Laverty, MikeLeigh, Jean-Xavier de Lestrade, Carlo Lizzani, Ken
Radu Mihaileanu, Roger Michell, Rebecca O’Brien, Jorge
Paixão Da Costa, Andrea Porporati, Paul Powell, Andrea Purgatori, Giovanni Robbiano, Jean-Paul Salomé, Volker Schlöndorff, Ettore Scola, Hugh Stoddart, Bela Tarr, Bertrand Tavernier, Fernando Trueba, Enrique Urbizu, Jaco Van Dormael, A. Vitorino De
Almeida, Wim Wenders, SusannaWhite, Krzysztof Zanussi
985 Name: Jacques Coulardeau
on Nov 29, 2012
Comments: I support authors' rights because they are attached to a
work that has to be protected too against any violation, including from
To avoid that on the main square or squares of European capitals with books and CDs and DVDs andother works of art crucified to the greed of corporations and of the public who both would like to have them free from the authors or artists. I must say it would look nice On Place de la Concorde in Paris or on Trafalgar Square in London.
HANZEL AND GRETYL –
One thing is
sure it is not baroque Venetian music, but it is stronger and more powerful
than anything the underlings from Seattle
have ever produced in the line of hard metal grunge Scheisse. This is Käse and
that kind of cheese fest you cannot find anywhere else or hardly. That’s the
first impression after a first hearing.
What about a
second hearing with a little bit more attention to the details, sir!
pleasure, Herr Kaiser, mein Herr. With great pleasure.
It all starts
with church bells and a sermon about the beast that is inside us and is eating
us up, that beast has a name, a human name, but you need finesse and
intelligence to read that name, and that name is 666, the beast, in other words
Lust, a threesome fallatio in other words. Lust is the Beast within you, the
beast that wants to consume you. Prosit, my friends. It is said the beast will
just leave behind and beyond its repast two meat balls in the shape of bollocks,
or is it buttocks, for you to suck on in your free time.
Then you can
stand up and get up on the stool and reach out the arms of the cross and just
start enjoying your own crucifixion and all the torturing you will have to go
through in the hands of God and under the fingers of Lust, hanging from the
arms of a Saint Andrew’s cross in the middle of the village square with dogs
and kids authorized to do anything nasty they want and first of all rip off
your clothes to be able to crush their cigarettes on your flesh, to use their
lighters to burn you skin and you hairs, in one word to enjoy themselves at
your yelling shouting howling expense.
“Fikk Dich Mit
Fire” is a sublime frenetic beating up of your meat with fire up your dark door
and fire in your hand on the front handle. What happens is exactly what is
written in the title. You are fucked front and back with fire. And for you to
hear the hammers driving the nails into your hands and feet into the cross the
text is repetitive and groups of four of any repeated phrases are essential to
give you the taste of that cross and the hammer can of course slip from the
head of the nail to some of your bones, but who cares since you will never come
back when you are finally gone. You will never need your bones any more. You
will have been saved into becoming a pure spirit, and you can even think you
are a soul if your god is a soul-making god.
Von Shizer” has little to say. He does not speak with words but with the big
bertha of his farting mouth and this time he rejects salvoes of fire for you to
enjoy how he is abusing you sexually in all holes and conduits, into the ears,
the eyes, and so many other apertures. And no resistance is possible against
this Emperor. You can always get your countertenor voice of a castrato , or
maybe your soprano voice of a doppelganger, floating and flying around in the
background. That will not stop the Kaiser who has decided to turn you into a
motherfucker grilled hamburger.
comes with “Disko Fire Scheiss Messiah”. The Lord liberates you from your
bondage. You can finally get free and enjoy the freedom of divine grace. But
before that salvation you have to go through the epiphany of sulphur and fire,
of complete elimination, or is it satisfaction, of all your instincts and
impulses, and the body along with them since the body is the carrier of the
orgasmic message, and everything material in that body made of dust (dust to
dust), earth (man from clay, Adam from Adamah) and of course Scheisse (the
perfect fertilizer of all times). But here we reach the total contradiction
that this Scheisse is also the messiah himself. Is the Messiah made of Scheisse,
or is he the one who brings Scheisse to our Last Supper, or is he the one who
destroys all that Scheisse with archangelic fire? Who cares! We are floating in
an ocean of Scheisse and we are back to the first
verse of Genesis: total darkness and nothing but an immense expanse of Scheisse
in that darkness with God and his spirit more or less flying or roaming over
The next track,
“Blut! Zex! Fire!” should bring you to the final truth that nothing exists,
that everything is delusional and everyone is delirious. In fact I just wonder
if this piece is not advertising for Zex, that Zex that brings fire into your
nerves and tripes and flesh, the fire of exhilaration and derangement and pure
blissful pleasure. This music in a way is so onanistic and so masturbational.
You have to let your own wild desires flow and fly and give them a hand if you
can or even ten fingers of Schnapps to even amplify the delirium tremens of the
passion, of the eruption that makes you ejaculate the name of the lord in vain,
not really by the way, since your ejaculating the name of the lord enables you
to get to the topmost bliss on earth: cumming over and over again and with no
blue pill of any kind, just that music that drowns you in a sea of fiery cum.
comes after this sexual high. Then God can speak to you via a burning bush and
you can hear the whimpering pleasure of the fornicating mother copulators in
the back, and that will never be enough. So an extra track will lead you even
deeper into that tsunami of hormonal fluids.
Welcome to the
“Scheissway To Hell” and there you can at last just try to recuperate after
your multiple orgasms waiting for and expecting the next stage. Along that way
to hell you will hear a few church bells again to remind you of the simple fact
that after orgasm comes communion, after enjoying the body of your Christ or
you Mary Magdalena, or both, you have to receive the body of the Lord to
prepare you for purification. Don’t be afraid of the monstrous monstrosities
that howl around you. They are the minions of God and the real face of guardian
angels. You are in good hands and in good bleeding teeth and you will be like
all new in a minute to be purified into serving again for the glory of your
Lord and God, Herr Kaiser, Maestro Penis, Doctor Phallus and all their plugs
“And we shall
Purify” has come and with it the great change and the seventh generation, the
apocalypse of your sorry life into the purity of the next life. You have to be
sanctified, via crucifixion and then with the help of a demonizer that will
purify you. That’s the great mystery of this Gospel: the saviour is the one who
can demonize you. There is no purification but beyond demonization and
crucifixion; And beyond you will reach obsessive destruction into resurrection,
and a few church bells of course. You will be sadistic with your personal masochism and masochistic with your own sadism
and you will never know how far you can go because there will always be one
more step on the way, one more stage on the road one more station on the track.
Now it is time
for the revelation of the “10th
Circle” which is the sermon of the beginning but
this time, you have understood the beast inside each one of us, lust. We have
to let it come out onto ourselves and onto everyone else around us for the orgasmic
epiphany to redeem our souls and our bodies into inflammatory sermons that will
burn us down into a pile of ashes, sanctified by your end and transmuted into
eternal death on earth and in a virtual body of no consistence at all. Can you
hear the singing whiners in the back?
And Handel is
waiting for you with his “Hallelujah” but it is not longer a welcoming song to
heaven but to Hell and it is more Hellalujah than a nothing else though the
musicians of German tradition have avoided the an easy Heili Heilo Heillalujah
that everyone was expecting but you can’t have the devil and God together, so
they kept the devil and got rid of all the saints who like final solutions too
much. And obviously the closing word is “The power of God has freed us.”
So we can get
onto the last instrumental piece, “Purity”, that sounds in a way like some
cosmic interstellar galactic mission beyond the material reality of our small
tellurianesque universe. We are reaching beyond the Space Odyssey of old and we
are fully engaged in the Viagratic blue pill and amphetaminic red pill saga. We
can go back onto the Argo of our senses, the Titanic of our impulses, the Queen
Elizabeth of our passions and meet with a new iceberg to get down into the
erotic hole of the ocean and directly into the underground hell of fire.
Dr Jacques COULARDEAU
PLUS SHAKESPEARIEN QUE SHAKESPEARE.
Comment la BBC peut-elle se laisser aller à une telle horreur sociale? Il
est vrai qu’elle ne manque pas de scandale de cet ordre dans ses rangs plus ou
moins dirigeants. Bien sûr que c’est la vérité mais il ne peut pas y avoir le
moindre gramme d’humour noir, si cher aux anglais, dans ce cas. Et ne comptez
pas sur la potion magique de Mary Poppins. Aucun supracalifragilistic en vue.
Avalez sans faire la grimace. J’ai même peur qu’ils ont honte de ce film car on
ne le trouve que sur les sites de cinéma français et sur Amazon.fr, mais sur
aucune des autres sites d’Amazon, même pas l’Angleterre.
Imaginez une banlieue classe moyenne un peu supérieure d’une ville de
province de la moitié sud de l’Angleterre, Bristol par exemple. Une rue en
impasse avec un espace circulaire tout au bout. D’un côté un père devenu
veuf récemment et qui doit s’occuper de trois filles qui l’exploitent jusqu’à
la gorge : il fait le repassage, la cuisine, j’imagine le ménage et en
plus il est devenu si protecteur qu’elles lui font croire ce qu’elles veulent
pour couvrir leurs sottises et surtout leurs exactions à l’école et en ville.
Leur victime favorite est le handicapé mental d’en face qu’elles accusent
de viol sur l’une d’elles et le père le croit immédiatement. Les parents de ce
jeune homme qui veulent lui permettre de vivre une vie normale sont horrifiés
mais ne peuvent rien, même quand les expertises montrent que la dite jeune
fille n’a pas été violée puisqu’elle est toujours et encore vierge. Cela ne
sera qu’une affaire d’un très court délai pour réparer cette erreur de la
nature. La jeune fille de quatorze ans ne manquera pas de candidats. Elle
finira enceinte et devra prendre son horreur en main et y mettre fin elle-même.
Mais le mal pour le jeune homme handicapé sera irréparable. Il sombrera
dans la dépression sera hospitalisé et la fin est shakespearienne. Tuez les tous
et on verra bien qui aura réussi à survivre. Les survivants sont les justes.
D’un autre côté dans cette impasse circulaire, un père avocat mais veuf lui
aussi depuis la naissance de sa fille, son second enfant. Elle est diabétique
de niveau 1 et doit vérifier son sucre dans le sang deux fois par jours. Elle
sera prise à partie par deux des trois filles à l’école puis dans la rue et le
professeur qui osera la défendre, dans la rue, sera ensuite accusée par la
troisième de sa propre grossesse. Le professeur sera suspendu en attendant la
vérification. Je ne dirai rien de la réaction du père dans cette situation
d’allégations mensongères que lui seul croit.
On ne peut pas faire plus glauque et sinistre que cela. C’est Hamlet et
Macbeth en une seule pièce, surtout que les trois sœurs sont de vraies
sorcières, qui plus est toutes les trois rousses, donc écossaises, comme toutes
les sorcières de Shakespeare. Même le gâteau de bienvenue de la mère du jeune
homme handicapé pour son premier weekend chez lui n’a monté que d’un seul côté.
Je vous conseille d’aller voir ce film si vous voulez vous convaincre que
le monde tourne mal et qu’il faut mettre un travailleur social sur le dos de
chaque citoyen et un flic juste devant chacun d’eux. Il n’y a absolument pas
une seule minute de beauté, de bonté et de douceur dans ce drame apocalyptique.
Ce doit être encore une histoire maya.
series has a pilot and twenty-one more episodes, and to cover this series five
years later you have to consider two things: the content of the episodes, or
their subjects, and the characters and plot treatment.
subjects are always limited in one episode and they are often dealing with
immediate reality. There is thus no surprise to find one essential subject is
war in 2005. This subject comes back in several episodes and these show that
the war itself was not very clean and they reveal one attitude only: anything
unjust has to be redressed. It has to be redressed because the victims of this
injustice have the right to know and because the author of the injustice is a
plain criminal, murderer most of the time. This attitude is all the more
emphasized and even dramatized because Agent Booth is a veteran of the Kosovo
war and has seen, experienced and suffered some such episodes.
second thing you have to keep in mind with this series: Agent Booth is an FBI
agent but also a Kosovo survivor. He merges a very military dynamism, extremely
precise work, a great sense of logic and deduction, total commitment to
fairness and truth. This is also very important when they deal with the case of
illegal immigration and more or less clandestine and illegal refugees from the
Central American countries that have been ridden with civil wars most of the
time supported on the wrong side by the US. On the wrong side, I will say
because of what we know today, since today in most countries the left-leaning
insurgency has politically recovered and electorally re-conquered power. In
other words the US
support and at times intervention was wasted and badly advised. And that has to
do with Iraq
where such an ill-advised intervention was going on at the time.
main character is Doctor Temperance Brennan. She works for the Jeffersonian
Institute and she is a bone specialist in all fields where bones have to be
scrutinized, analyzed and reconstructed as to what they may tell about what
happened to the person they belonged to once. She is assisted by three people. First an
art-trained person is there to recreate places and bodies from the remains or
the memory of witnesses thanks to highly specialized software. Then another
doctor trained in physics, chemistry and biology who has an extremely high
level of knowledge in his fields and can analyze any matter, stuff or whatever
that can reveal the circumstances of the death of a “patient”. Finally a young
intern who is working on his doctorate thesis and is also extremely and sharply
specialized and informed in the physiology of the body or the skeleton of any
person. The boss of the Jeffersonian institute is a Black man who used to be an
archaeologist but who remains discreet on scientific matters.
series avoids any kind of over-learned language that we wouldn’t be able to
understand. Nevertheless it uses a lot of the paraphernalia of software and
computer assisted and aided visualization to make laboratory scenes palatable
and even interesting.
great point of this series is the very careful study of the relations between
these people, administrative, authority, personal, even intimate relations and
problems, knowing there are two women and three men and they all have personal
lives. But the series insist on the background of Agent Booth but also of Dr
Brennan: her parents disappeared when she was a young teenager, her brother
abandoned her when he was 19 and is on probation for some crime. At the end of
this first series the body of the mother is found, her death is clarified, Dr
Brennan gets to some kind of reconciliation with her brother and the father
remains alive, talkative on the phone but absent physically, in fact escaping
justice as he would deserve due to his criminal past. That’s where the plot sickens for the second
second season is exploring new ways and avenues where bones are of course
multiplying at leisure and for our best pleasure. Yet this second season is
quite new in several aspects.
foremost the season is widely open to personal matters and it explores the
private, and at times not so private, relations between the members of the
team, after the boss has been changed to a woman, which rebalances the sexual
ratios. Bones herself is courting and going out with an FBI agent who has
temporarily replaced Booth while he was sort of suspended and deprived of a gun
after shooting a clown on top of an ice-cream vendor’s van. But in the end she
will not go through the process completely as far as leaving the Jeffersonian
for a life of full leisure and farniente.
manages to get his doctorate and to be hired in the job he was holding as an
intern because he goes to Angela and begs for help on his look and manages to become presentable, which
means he can now stand in court and testify seriously in a deportment that can
carry the agreement of the jury. So far he is no longer obsessed by sexuality
but he encounters a great difficulty: he is summoned by the White House to go
But this time this reference does not lead to any political dissertation or
even cogitation on the subject. Political questions are systematically and
carefully avoided in this second season.
Angela are finally realizing they love each other and even decide to get
married and they finally find themselves in front of a priest (in fact a black
priestess) in some church for the last step when the State Department steps in
and reveals Angela is already married in some kind of broom stick over-jumping
ceremony. More later, I guess.
entangled in the hands of a British shrink after his shooting the clown on the
ice-cream vendor’s van and he is a perfect sucker, building a full barbecue for
the shrink under the shrink’s blackmailing procedure of retaining the document
he must sign. This same shrink will also step into Bones’ psyche as some kind
of private counselor. Agent Booth and Doctor Brennan will not be able to
establish some kind of personal relationship, especially since Temperance’s
father reappears in her life and even saves the situation a couple of times.
But he has to be arrested by Booth and be brought to court for his ancient
crimes, including the attack against the deputy chief of the FBI, though this
one was crooked to the utmost, his lips kissing the heels of his shoes or
something like that.
reestablishes for a short while a relationship with the new boss of the
institute, Dr Camille Saroyan, with whom he had had a liaison some time ago in
another life. But that cannot last more than one or two episodes. This is
characteristic of all these people: they are unable psychologically or
administratively to build balanced and normal relationships. Is it a side
effect of their jobs or professions, we can wonder, or simply personal immaturity?
of the season blurs out the various crimes and cases they examine and solve.
And these cases do not deal with political issues or even with immigration,
except one case about some strange Chinese practice of burying the bones of a
man with the bones of a woman so that the man has some company on the other
side of the road. Most cases are plain simple crimes in America and
among Americans. But they often deals with social problems like the mother of a
severely handicapped girl: what can the mother do to help her child the genetic
victim of a deadly disease that keeps her retarded, even if it is only for a
short time before she dies? Some of these questions are crucial: do we have the
right to experiment on human beings new treatments that would enable astronauts
to reinforce their bones that get highly decalcified due to prolonged sojourn
the cases are plain vicious crimes and it is fun to catch the killers who are
most of the time not at all the one or the ones we were expecting. Suspense is
always with us even if the personal and more sentimental level of this season
makes that suspense not as intense as I would personally prefer it to be.
season was shorter than the previous ones, but it was particularly hefty in
events and closures. And it is these closures that have to be examined.
one is the integration of the psychiatrist and profiler Dr. Lance Sweets.
He officially comes to help Dr Brennan and Special Agent Booth deal with the
stress in their relationship due to the extreme tension their work is bringing
in and imposing onto them. He is some kind of relation counselor. At first they
took it badly but little by little they accepted to consult him and to follow
his advice. That brings some clarification in the warped relationship that
develops between the two people concerned. Little by little too he is
integrated as a profiler in some of their cases and even later in all of them.
This is a new development for the series.
The second closure is really a closure. It
concerns Temperance’s father and by ricochet her brother. He is finally brought
to court for his killing of the FBI deputy head. Dr Brennan is not even called
as a witness whereas all her laboratory friends and Special Agent Booth are.
She stands with the defense and she holds her position well. The tactics of the
defense is simple. Let the prosecution put down all their cards and then let’s
deal with the jury’s most intimate conviction. In other words let’s give the
jury some alternative hypotheses as who could have done the killing. Here Dr
Brennan plays an essential role to save her father and set him free. Can such a
flawless scientist accept to be doubted and even negatively represented even if
it is to save her father’s freedom?
The third closure is Zack. He had been
sent to Iraq
at the beginning of the season but his absence had not held one full episode.
He was brought back to Washington
DC because of his disruptive role
in a military team due to his inability to integrate. But his attitude and role
is becoming overbearing with everyone. Some would say that he must be slightly
autistic and that would be a mistake. He is a very fragile personality who
compensates his weakness in character with over-competence in his scientific
field. He is irreplaceable. Yet he can become the prey of any strong
personality he would encounter. His enhanced scientific competence is
over-normal but it is a way to hide his brittleness. This season will bring
Zack to his doom but you will have to be discovered it by yourself.
The fourth closure is also contained in
this season. It starts at the beginning of it and ends with its final episode.
It is the story of a serial killer that appears in some episodes. This serial
killer is obviously imitated from Dexter and his viciousness is even worse than
anything you may examine. Of course he tries to penetrate and infiltrate the
Jeffersonian Institute and he will succeed for a time, though his agent will
not be the best he could have found. He is a cannibal, the heir and continuator
of an old practice against secret societies. We can hear there an echo to some
of Dan Brown’s cogitation about old secret societies and free masons. That
serial killer will be destroyed and will finally exit the series under a
nickname, Gormogon. He is nameless.
This last element is surprising in such a
series because the series is hyper scientific and tries to reject and even
rebut all superstitions, mythologies, beliefs and even religions. Dr Brennan
should know that the unnamable, the one who does not have a name, the one whose
name is unutterable us also the one who was, the one who is and the one who
will come. To keep a criminal nameless is to deify or at least magnify that
criminal just as if he were some kind of divinity.
That’s the last remark I will make on this
third season. It deals with social cases more often than criminal cases, and
the crimes in each case are the result of weak people who cannot cope with the
stress of life. Gormogon is the exception. In one word the series gets better
as for its thrilling, even frightening atmosphere and it analyses in fair and
fine details the relations between the various members of the team, of the
laboratory, of the people who have dedicated their lives to fighting against
season is the season of all come-backs. The attempt to bring Zack back, but
that is too artificial in a way, does not work beyond one single episode. Of
course he is particularly brilliant but with this brilliancy that is so bright
it dazzles us. We need someone more evanescent in this laboratory, someone who
is never the same and always a come-back again on some rotating basis. So the
extra lab-worker is the ever going project to bring back someone that cannot be
brought back, hence the character that can experiment all kinds of profiles:
English, Japanese, simple intern or certified doctor of something, Moslem or
happily paired with a woman and not interested in the constant sexual innuendo
in this lab, etc.
come-back is that of Temperance’s father as some kind of museum science guide
for visiting children. That one is hard on Temperance who considers her father
as a criminal and has not yet forgiven him for abandoning her when a teenager
in the custody of her unworthy brother who left and sent her to a foster home
in a way. But that ex-science teacher has the knack it takes to have contact
with young teenagers and make them like what is in many ways forbidding and
austere, or at least can be if you do not know how to make it an adventure. He is
a genial awakener for Agent Booth’s son Parker and Temperance has to yield to
come-back is the British psychologist but in a less flashy role now his
barbecue is built. His main role is to set Dr Sweets, the FBI profiler, in perspective,
a Dr Sweets who is so shy and so flippantly uncatchable. But he is so efficient
and efficacious with the criminals who have to be discovered and caught.
come-back is that of the Gravedigger, and this time for the finish of that
case. The grave-digger manages to kidnap Agent Booth himself and to bury him in
a navy ship just before it is blown down into the sea by the navy itself. The
point that appears little by little is that the gravedigger has inside
information and must be from inside the justice department or the FBI or some
other Home Security agency. And that’s how they find out that serial killer. At
the other end Agent Booth experiences a comeback of a completely different
nature. On the ship, while he is trying to escape he is helped by some ghost
from deep in his mind, the corporal who was killed practically in his own arms
and who he took back to base. Strange come-back but quite natural for all of
us: we find help in someone in our minds who makes us keep our cool and find the
move to the come-back of Agent Booth’s younger brother who is a pain in the
back because he is not able to do anything right without the help of his
brother and he fails in some situations systematically just to get that help. A
come-back and a good-bye too since he goes to India for a motorbike tour, but
alone without his big brother. Good riddance in a way and good morning Vietnam in
another. But the little boy has to grow one day.
of this series remains the vast array of cases that bring up a vast selection
of social and cultural situations that are all explored in some fine details
revealing the horror of this society of ours. Of course there are a lot of
winks to other series in the genre. The main wink is to Stephen King who once
wrote: “If you can’t terrify your audience, then horrify them. And if you can’t
horrify them, then gross them out.” And you can be sure the cadavers, corpses,
bodies, bones and other dead remnants of human beings are gross to the utmost.
We can of course see here and there an allusion to Dexter, or another one to
Crime Scene Investigation. But the style is original and personal.
season finally is very rich to reveal the deeper selves of the characters, with
some strange a priori idea that Dr Temperance Brennan, Dr Lance Sweets or Agent
Seeley Booth, just like Dr Zack Addy have had a youth of suffering and want on
the loving side of life. And that would be why they are great in their present
positions. That’s too easy. And the characters that are kept in second position
like Dr Camille Saroyan, Dr Jack Hodgins or Angela Montenegro cannot qualify at
that level. In other words it is a
cliché that one can only be great if they have suffered in their infancy and
youth. But it definitely gives the characters some density on the screen.
episode is a complete reversal due to some brain tumor and I must say
Temperance as the manageress of a club that has more to do with a brothel and
an opium den than with a café is quite a change of perspective.
This fifth season is the saddest of them all
because it has to bring the series to an end, though it will have to keep some
door open for further reviving. We know from the very first episode that it is
going to be so, that we are going to move to a close.
The main change is in tone. The various
episodes are centered on the personal dimensions of the various characters.
Personal remarks and personal details are more important than the crimes under
scrutiny and the lab discussions are some kind of permanent interweaving of
small talk about personal matters and the real business at hand that is in many
ways kept at a respectable distance. It is not even rare that someone has to
call the lab back to order, i.e. to work. And the cases are often slightly
superficial and the conclusion hasty.
Then all current business has to be dealt with.
First Angela and Dr Hodgins will finally manage to get married but that will
have to be under duress, and I must say that was a good punishment for them
two. That poor Angela even created a panic with her pregnancy test. Pregnant?
Yes, you’ll have to find out and from whom.
Then a touch of nostalgia with the first case
on which Booth and Bones worked together, a long time ago. That brings Zack
back into the picture for a short cameo. A sorry case and yet quite a case that
made Dr Brennan punch a federal judge in the nose twice.
Then we have to deal with the little personnel,
those laboratory people who are only interns and live on precarious
scholarships. By the way it reveals how these younger people have it a little
difficult in life, getting from one job to another, being an intern for some
pittance, etc. This should be a good lesson to those who believe a scientist is
at the top two years after his or her PhD. That is absolutely false for one and
for two it takes many years of precarious and low-paid jobs while doing their primary
research for their PhDs.
Then small little bits of business concerning
Dr Saroyan who finds a good date in the gynecologist of her own daughter. Daisy
Wick will go on a one year mission in Indonesia on Dr Brennan’s
reference. Dr Sweets will stay behind and will be slightly abandoned.
The main changes are of course for Dr Brennan
and Special Agent Booth. But that, you will have to find out all by yourselves.
You must be big boys and bog girls after all.
On the other hand the Gravedigger is finally brought
to trial and convicted. The main witnesses and testifying experts are the very
victims of that gravedigger, Booth, Hodgins,
Brennan, which is a difficult situation in front of a jury: you have to
convince the jury that your evidence comes from your expertise and not from
your desire of vengeance.
Then a little tidbit here and another little
tidbit there and we are at the end of the season and the sad departure of
everyone to the four corners of the globe, if the globe has four corners. The
team is down. What will happen then? We of course know there is a sixth season
going on right now, but that will change the general outlook. They may even
bring in some fresh air, and the last case was a typical case of a completely
locked up hoarder’s den or lair with fans to move the air around. Five years is
a long time for a series. It needs some renewing. Check it on TV, if you can
To resuscitate a dead team out of their
scattered disappearance is not an easy task. Luckily the DA in Washington DC
is a powerful woman, stubborn and resolute, and she generally gets what she
wants. So she brought Agent Booth back from Afghanistan,
and Temperance Brennan, aka Bones, from the exotic place where she was trying
to get some archaeologically interesting bones with Daisy, Dr Sweet’s girl
friend, and Dr Sweet from his hideout somewhere in Paris where he was having a showbiz career as
a cabaret singer. They all come back, change clothes and back in the business
in a jiffy they all are. Angela and Dr Hodgins are also back though from not so
far away and Angela is pregnant. Don’t worry the delivery will go just fine,
and their fear of some handicap will be unfounded. They will celebrate at the
end of the season.
But this season is a lot more interesting than
just those circumstantial collateral disagreements or pleasure.
As usual one case per episode, clean and neat,
always dealing with a lot of bones, gross and dirty, soaked in a lot of
decomposed muck with a tremendous number of maggots, worms and other corpse
parasites. A series not to watch while eating anything more delicate than dry
The interest is first the relations among the
people in the series and these relations include some personal data on each
case. Dr Saroyan has the case of her daughter to solve who is supposed to start
her college years. The mother cannot cope with the idea of her following her
boyfriend to some community college in some county of some northern New England
state nearly in Canada but is it ethical to cheat the system and get her
accepted in Columbia University, if it is Columbia University (you can check
that one out), on a fake file? It is amazing what parents are at times ready to
do that is so absurd and goes against the grain of their profession and
personality. Will the girl accept to enter a top university on a fake file? That
is the real question. Will the daughter teach a lesson to her own mother? Not
Of course Angela and Dr Hodgins have a full
plate with the pregnancy and the delivery of the baby. For them that’s enough
and that will require some help from a friendly psychiatrist because it is hard
for the father not to become overprotective and it is hard for the mother to
accept the physical handicap this pregnancy may represent. Yet they decided
that working with the people they are used to work and live with was the best
thing for the pregnancy, the mother and the child. Angela was not alone at any
moment of her days or nights.
Agent Booth brought a journalist back from Afghanistan, a
sort of love substitute for Temperance. But will that not cause some problems,
like conflicting interests between the two professions? And Booth with his own
son is already very busy in life. Will that new woman in the picture be able to
cope with a child, what’s more the child of another woman? And the question of
marriage will come up sooner or later and how are the two going to react to
that eventuality? Probably not very well, maybe not too bad. A decision that is
always difficult to take for someone who is constantly in the field of police
investigation and for a journalist just back from a war zone and who may
consider Washington DC as another war zone. Do you get married
and build a home and a family when you are in a war zone?
There is of course the case of Booth and Temperance.
It did not work the first time, but will there be a second time? Why not? They
are both young enough to think about their independence and old enough to start
thinking about settling down in some kind of normal place. But of course Booth
is not free and temperance is mature enough to keep up appearances.
Then you have the interns still rotating, the four
of them. They are the surprise of each episode because they are so different
and they can be so funny, though at times they are just funny for us because
they are mismatched with what is happening around them, but that’s what interns
are all about. Unluckily one will end up very badly. That’s not the first case,
but so far none had ended up that badly. But a song will carry him through: lime
and coconut, sung in a chorus all together, mellow and heart stirring.
There will be a case that will run over the
whole season, the case of a sniper who had been a colleague and friend of Booth
in Afghanistan and who came back slightly berserk and decided that what he did
over there was good enough for the USA too and he started killing those who
were rotten, and those who were in his way for his type of justice and these
were only collateral victims for him, hence justified by the end. It will take
the whole team to stop him and it will bring a lot of suffering and even
mourning to that team.
Then there are 23 cases in this season and I
would advise you to watch them if you haven’t yet or watch them again if you
surprise after all. That’s what happens when you get married, at times even
when you don’t. Temperance got pregnant and this season we are going to see her
delivering a child. To bring the father back into the picture because the plot
needed it the baby is a girl? SO THAT Temperance is going to relive her bad
experience with her father when she was a girl and he abandoned her, and her
brother. But you all know that. They decide to name the girl Christine, I guess
in honor of the film and the book by John Carpenter and Stephen King
season knits together some cases that solved in one episode and a couple of
others that go beyond the episode structure. In that case even one that goes
beyond the season structure. Suspense requires such tricks. TV is a Trickster. My
favorite is “The Don’t In The Do” in which there is no Indian but a hair
fetishist who believe in scalping. Tie up your hair ladies, especially if you
uses of course many interns, rotating interns, which enables us to see some
faces only episodically from time to time but repetitively every two or three
episodes. That concentrates our attention on the six or so regulars and at the
same time that gives us some new blood that titillates our interest.
Temperance is even worse than the doctor Bones. She is anxious, afraid, over
protective, quasi paranoid, definitely on the verge of neurosis, which is
anything but rational, and she turns every one around her completely upside
down and crazy if they dare follow her along that line. You have to learn how
to let the mother rant and rave about all the dangers that menace her child and
hope one day she might let that child grow up, and some anxiety is needed to
grow up, some challenge some would say.
interesting part of this series is that the crimes are always extreme cases of
asocial behavior and at time sociopathic derangement. It is practically always
some hidden situation unknown of everyone that produces a reaction that brings
forward a dead body. But in this series they always choose the grossest way to
deliver the body, to wrap it up, to make it decay and rot, etc. There is no end
along that line. It is always possible to make a body look more disgusting than
what you have achieved in the previous episode. The rule is that you need to
see the bones and to deal with the bones. You have to feel it in your buns.
note will be about the follow up story that ends up unfinished this season.
Temperance Bones is at stake and is menaced. She was too often over positive
and over affirmative. It is her time to get challenged. First she is wrong
about the age of the bones of a body by fifteen years over and then she becomes
the main target. Luckily she has a daughter, a loving husband and a resourceful
father. What will be left of her integrity after that? At least the child has
been christened just in time.
is sure: this series tried to follow the antics of Supernatural this season and they have a dead body on the set of
the film that will come out next summer on Bones, “Bone of contention”. Real
crime in a virtual crime story. In fact virtual real crime in a virtual virtual
crime story. What reality is left after all that virtuality?
EURIPIDE – MÉDÉE – LAURENT FRÉCHURET – THEATRE DE SARTROUVILLE
Une présentation et
production inattendue, surprenante et pourtant très traditionnelle.
Les surprises sont de
plusieurs ordres. D’abord l’accompagnement musical tout du long ou presque de
la pièce qui en devient un drame en musique. La musique joue sur quelques
instruments qui travaillent la plupart du temps en solo, sauf la batterie et
les percussions qui peuvent accompagner les autres instruments ou travailler en
solo. Ces instruments et leurs instrumentistes sont dans deux demi-fosses au
milieu de la scène, séparées par un pont. Ces deux demi-fosses hébergent les
musiciens mais aussi la plupart du temps celle qui joue le rôle du chœur et
enfin les personnages en définitive plutôt secondaires qui n’interviennent que
rarement, comme Créon ou le Précepteur. Notons que Créon et Egée sont tenus par
le même acteur. Notons enfin que la « maison » de Médée est une structure
en bois de deux étages dont on ne voit que le squelette et les escaliers qui
montent de la scène au premier étage puis du prmeier au deuxième. Cette
structure a de vaste rideaux qui serviront pour construire des contre-jours et
des clair-obscurs. Enfin cette structure est en fond de scène au-delà des deux
La deuxième surprise est
l’âge des acteurs principaux. Médée devrait être âgée d’environ 25, au plus 28
ans. Elle a quitté la Colchide avant l’âge de se marier, est partie en Grèce et
a donné naissance à deux enfants dont l’aîné devrait avoir environ 5 ou 6 ans.
25 ans est déjà très avancé pour tout cela. On peut jouer sur l’âge des enfants
mais porter l’aîné à sept ans serait probablement excessif. Ainsi l’âge de
Médée ne se justifie pas, pas plus d’ailleurs que celui de Jason qui devrait
avoir le même âge. Le théâtre grec n’avait pas se problème puisqu’il jouait
avec des masques ce qui permettait toutes les configurations d’âge et même de
sexe. Aujourd’hui on veut un peu de vraisemblance.
La troisième surprise
est la réduction du chœur à une seule femme. C’est un chœur de femmes, mais le
réduire à une seule femme (je néglige les deux pou trois interventions
marginales du guitariste) fait que cela devient une simple performance vocale et
non plus une voix de la collectivité, de la société, de la morale, des dieux
même. On peut d’ailleurs se demander à quel titre elle parle au nom des femmes
en général. Qu’elle parle en femme, cela passe, mais au nom des femmes en général cela semble excessif.
La pratique du chœur dans le théâtre antique répond à des règles très strictes
d’interprétation : d’interprétation-performance d’abord pour permettre
ensuite la bonne interprétation-réception. On peut jouer sur le code mais cela
fausse parfois le sens. Ici cela le fausse définitivement : le discours de
ce chœur devient un commentaire moral, éthique, social ou politique alors qu’il
devrait être la voix collective de la commiunauté. On perd le sens social de la
pièce. On tombe dans un sens prétendument moral étriqué.
La quatrième surprise
est l’absence d’enfants. Les scènes qui se centrent sur ces enfants sont fondamentales
puiqu’ils sont l’enjeu, le vecteur et l’outil de la vengeance de Médée sur la
fille de Créon, sur Créon et sur Jason. Leur présence donne toujours une
dimension odieuse et donc horrifiante à l’instrumentalisation de ces enfants.
Leur absence supprime cette dimension. Les discours sur les enfants en leur
absence deviennent alors vides, creux, abstraits comme un jeu d’échecs, ce
qu’il ne sauraient être. On oublie que Médée joue sur l’horreur des deux corps
morts et de la terreur qui s’empare de Jason devant cette horreur quand il est
confronté aux deux corps emportés par Médée.
La quatrième surprise
est étrange dans le renversement des positionnements des acteurs,
partculièrement à la fin. Médée ne saurait être en hauteur par rapport à la
ville car elle est à l’extérieur des murs. Or la ville est un ensemble de blocs
en bois minuscules et empilés au pied de la « maison » de Médée et Créon
« réside » dans la demi-fosse de droite côté jardin. A la fin c’est
Médée qui part sur un char tiré par des dragons offerts par le dieu soleil, or
elle descend progressivement sur scène et dans la fosse, alors que Jason qui
doit rester atterré, cloué au sol par l’horreur et la terreur monte dans la
« maison » et se retrouve deux étages plus haut que Médée, au moins
six mètres. Ce renversement des positionnements n’a pas de sens et il renverse
de toute façon le sens qu’Euripide donne à cette fuite dans le ciel sur un char
divin tiré par des dragons qui rappellent le dragon de la Colchide et de la
Toison d’Or. Cette fuite dans ce char est la marque de la divinisation de
Médée : une déesse vengeresse et sanguinaire mais une déesse de toute
façon. Ce renversement des positionnements de Médée et Jason brouille le sens.
D’une histoire mythique on passe à ce que le producteur appelle une fable. Ce
n’est pas une fable.
La ciquième surprise est
justement à ce niveau là. La pièce a été produite en 2010 très loin derrière
les réévaluations du mythe de Médée et ces réévaluations ne sont pas intégrées.
La Colchide était, et est toujours sous son nom de Géorgie, un pays de langue
turkique, donc elle faisait partie du premier peuplement de l’Europe par les
populations turkiques venues d’Anatolie environ et au moins 45 000 ans avant JC.
Or notre ADN européen est à 80% issu de cette ancienne population, et seulement
à 20% issu de la population indo-européenne qui arrive en Europe environ 40,000-35,000
ans plus tard. Les grecs sont une vague de cette immigration tardive qui
pourtant va l’emporter culturellement et économiquement. Quand une minorité
colonise un pays elle s’arrange à intégrer dans sa mythologie, philosophie,
religion ou culture des éléments prégnants de la culture des premiers occupants
mais en détournant le sens vers une certaine diabolisaiton. Ainsi Médée est divinisée
par sa référence à la déesse triple sous son identité de Hécate. La déesse
triple est récupérée entièrement par les Grecs avec Diane la déesse du jour et
de la vie, Séléné la déesse de la nuit et de la lune et Hécate justement la
déesse du monde souterrain et des morts. En même temps Médée est
« diabolisée » par une lourde référence à la Colchide comme un
« pays de sauvages » dont les palais sont des « palais
La sixième surprise est
le langage. La traduction nouvelle est en langue française courante, normale
pour l’essentiel, une langue de tous les jours loin de la langue emberlificotée
de la plupart des traductions du grec qui veulent être littérales et fidèles et
qui sont incompréhensibles. Mais cette langue naturelle est coulée dans une
diction systématiquement montante et donc irréelle. On ne nous parle pas comme
on nous parlerait tous les jours, mais on nous parle comme jamais personne ne
parle. Cette diction suspendue, retenue en l’air renforce les effets d’irréel
et d’abstaction que j’ai déjà signalés. De plus en plus on nous tient un
discours qui est irréel, virtuellement irréel.
Que reste-t-il du drame
mythologique de la confrontation de deux cultures antagonistes dont la
minoritaire est en train d’avaler la majoritaire ? Que reste-t-il de
l’invasion de l’Europe par la transformation économique et politique du
Néolithique : l’agriculture, l’élevage, l’organisation de la cité par
délégation du pouvoir de la population vers une élite élue parfois (par les
hommes libres soit au plus 10 ou 15% de la population), désignée le plus
souvent par des victoires guerrières et une filiation devenant héréditaire,
sans parler des groupes de pression forts que sont les religions (les temples,
les dieux, les prêtres, les prêtresses, et tous les autres) et de plus en plus
les philosophes qui englobent les savants qui sont tous ou presque centrés sur
le ciel et les astres, l’astronomie, l’astrologie, et avant toute chose la
géométrie pour déterminer les limites des propriétés rurales privées. La
géométrie est la preuve de l’invention de la propriété privée de la terre. Tout
cela est l’enjeu de cette pièce d’Euripide et tout cela s’efface dans cette
production. Qiue reste-t-il alors ?
Il reste un drame de
société, initialement un drame personnel transformé en drame de société par la
dimension criminelle de l’un des participants à ce drame, ici Médée, la femme. Il
est sûr que la répudiation d’une femme, la résiliation des serments du mariage
sont graves quand ils sont le résultat de la seule décision du mari. Mais le
divorce n’était pas une option en ce tmeps-là, et cela est dit d’ailleurs.
Aujourd’hui le moins qu’on puisse dire c’est que Médée sur-réagit à la
situation car nous en sommes au temps du divorce, de la séparation à l’amiable
ou pas. Si toutes les mères confrontées à un divorce qu’elles ne souhaitent pas
devaient tuer leurs enfants pour punir leurs ex-maris, la terre serait
littéralement dépeuplée et transformée en un charnier. On ne peut plus
comprendre le drame de cette femme et de cette pièce car on a réduit le tout à
un fait divers sordide et en plus
nettoyé de toute illustration visuelle de cette sorditude.
Le spectacle sst
intéressant par la musique et les jeux sur l’ombre, le clair-obscur et le
contre-jour, mais le théâtre n’est pas qu’un jeu de lumières ou de sons mais un
sens sémantique et sémiotique. Si on met en scène un drame de l’antiquité
grecque on attend que l’on nous révèle les secrets de ce drame dans cette
antiquité tout en les ramenant au présent pour que le public en juge
aujourd’hui mais dans la perspective historique qui s’impose. On se demande si
cette Médée n’est pas plus une page Facebook de quelque feuille de chou people
qu’une exploration d’une mythique fondatrice de notre civilisation.
The Mormon bigot is back in his cage. Dean and Sam, Obama and Biden have thrown him down into hell.
We might then manage not to have any backlash into the 19th century and even get a proper ruling from the Supreme Court on the Californian Proposition 8.
DOMA is thus dying and we are going to be able to dance on its ashes just the way we did on the DADT manure, both voted in and signed by Clinton, who left the bill to be footed by other people, and first of all by gay and lesbian people.
We can only regret, we in France elected the most amateurish and recklessly incompetent bunch if not gang of choir boys thinking they are the archangels of God almighty.
It will take many billions of euros from Asia to buy Europe back into shape and improvement.