“I believe the experience of history is an experience of pain… Just as the individual, in the years following trauma, likes to recall it, so does society insist on reproducing its dislocations, but always in a laundered way, which invokes necessity. ‘Struggle’ is a word much beloved of the left. It has lost its meaning, become stripped of its pain, and cloaked in anodyne romanticism- that anaesthetizes memory. The individual is robbed of his experience of agony by being forced into a participation he could not at the time recognize … This returns me to the emphasis I place on the individual as the centre of all resistance. Solzhenitsyn tells us that the most successful resisters in Stalin’s camps were the religious, when they must have been persistently battered by a conventional wisdom that told them religion was a comic characteristic of pre-civilisation.
This personal history, looks at the Scottish diaspora that made it to Russia, as well as 30 years of Russia, since Brian Cox has known it. His journey began in the 1980s when Cox, despite considerable commercial success on both sides of the Atlantic, was nevertheless seeking a fresh sense of purpose for his life and his work. He embarked on a journey which culminated in finding himself directing at the Moscow Art Theatre School. Working within Moscow's finest young actors, his story results in a private and public "glasnost,” and a fervour for a deeper respect for Russian people and Russian culture.
A six movement montage, in honour of those who have been affected by war particularly atomic disaster, continues to have significance in the year that the U.K. has decided to renew Trident, its submarine-launched ballistic missile.
This project was conceived, in anticipation of the 70th anniversary of the Hiroshima and Nagasaki bombings, which will be held next year 6th and 9th August 2015. The instrumental music from UK electronic band UNKLE’s 2007 album "War Stories" provides the score and the film was made in support of Stop the War Coalition and The Campaign For Nuclear Disarmament. 2016 also pays tribute, internationally, to the work of Stanley Kubrick, and James Lavelle of UNKLE presented, the anti-war artist Peter Kennard's interpretation of Dr.Strangelove, and a contemporary critique of the current view on Nuclear, in his exhibition "Daydreaming with Stanley Kubrick" at Somerset House.
Today the City of London remains, like the monarchy, untouched by modernizing legal regulations, despite an evolving global landscape, and the developments in technology. "But the City of London is the goose that lays the golden egg,' its apologists say, to ring-fence it with superstition: ‘If you disturb it, you do so at your peril, for it’ll just fly away, and use much needed capital to enrich another nation."
Heathcote William’s poem points out that London’s square mile, like Wall Street, is “really a drug den” for “thieves... For, according to Sigmund Freud, Wealth’s a drug of which addicts need ever-increasing doses, to function in their dysfunctional void.
c As being enslaved by such a drug widens the empathy gap, the well-heeled and minted don’t have to imagine, how the other half lives; being convinced that their status, allows them to overlook compassion.”
A profile of our recent national history, an investigation of what referendums tell us about democracy, and how burying the past can hide it from plain sight so that the world continues as if nothing, when everything, has changed.
The conservative party of Great Britain are well known for their efficiency in dealing with dissent within the ranks and their ability to hide unseemly behaviour.
Taking each of the Brexiteers in turn we see how the rest of the world can be mute when believing in Little England and how much this myth disguises a sordid Empirical past: “Left to their own devices, the natives would rely on nothing but the instant carbohydrate gratification of the plantain.” These are the words of acclaimed journalist, former Mayor of London, and so-called “national treasure” Boris Johnson. He with other ‘also-rans’ are attempting to persuade us to isolate, ignore, and punish the European Union, by leaving it at a critical moment of our civilisation’s development. Running away and hiding behind the vainglorious dreams of Empire and Colditz is nothing but an arrogant two fingers to the future.
The Beast of Brexit is a reminder of the dark side of British character.