בברכה, מנהל פורום גרפיקה וחתימות! :]

עכשיו אין לי חחח

בברכה, מנהל פורום גרפיקה וחתימות! :]

יוצא.. ביי

וישבתי חיפשתי אחי.. לא מצאתי משהו שהוא לא של הסופר המקורי..

In 1991 Prime Suspect was broadcast on British television to great critical and public acclaim. The production received numerous awards for its writer Lynda La Plante and star Helen Mirren, including a rather controversial BAFTA Award for Best Drama Serial. Prime Suspect's importance to the development of the police drama series as a genre in Britain is great. By installing a woman as the head of a murder squad, Prime Suspect broke new ground in terms of both gender and the authenticity in the portrayal of the internal dynamics of the police as an organisation.

Almost six years earlier, La Plante had brought to the television audience the formidable Dolly Rawlins as the single-minded leader of a group of disparate but gutsy women criminals in her successful television crime drama Widows. With Prime Suspect and the creation of DCI Jane Tennison, La Plante continued to elaborate her predilection for problematic heroines, but this time, her central character is not a criminal but a woman both shaped and defined by her role as an officer of the law.

By being positioned as the head of a murder squad hunting for a sadistic serial killer, Tennison transcends many of the traditions of the British police series. It is interesting to note that La Plante did not put Tennison forward primarily as a woman police officer who does her job the feminine way. In terms of the British police series, Tennison's female predecessors such as Kate Longton (Juliet Bravo) and Maggie Forbes (The Gentle Touch), had been deliberately represented as bringing the nurturing and compassionate aspects associated with femininity to the role of senior police officer. In fact, it would be true to say that central to programmes such as Juliet Bravo, The Gentle Touch and, indeed, the American police series Cagney and Lacey, was the exploration of the contradictions inherent between the institutionalised masculinity of the police and the presence of femininity. The dramatic resolution, however, was usually to endorse the compassionate compromise made by the female characters between being a good police officer and being a "real" woman. The fascination of Tennison as a character was the powerful and compelling focus on the internal and external confrontations and contradictions faced by a leading female character who was in most circumstances a police officer first and a woman second.

It is, in fact, the Tennison character, and Mirren's performance of her, that unify and act as the reference for the six programmes in the series. And although La Plante has only written Prime Suspect/s I and III, her creation of Tennison, her exacting original script, and Mirren's own compelling performance, have generated a successful and repeatable legacy and framework.

Symptomatically, the subtext for each individual drama in the series has some kind of social issue as its basis and could be read as in order as: sexism, racism, homosexuality/young male prostitution, the results of physical abuse in childhood, class, and institutional conformity in the police. Equally symptomatically, it could be noticed that each drama contains a character who has a particular investment in the chosen subtext--e.g. one of the officers is black, in the next drama, one is gay, in the next, one has suffered childhood abuse, and so on. In a rather obvious, sometimes crude manner, this device has been used to situate and contextualise the tensions of the internal police dynamics within those of the larger society. It is our fascination with Tennison that spawns a more integrated and sophisticated involvement with the drama. Because of Tennison's place in the text, the issues of gender in the police force is never far away, as evidenced by the fact that masculinity and male relationships are also always under inspection.

Above all, no matter the focus of a case on a particular social problem, it is the institutionalised performance of masculinity and femininity within the police force which dictates the often considerable dramatic tension. In Tennison's pursuit of serial killer George Marlowe in Prime Suspect I, for example, not only must she prove she is an exceptional detective and win the support of her male colleagues, but the narrative is shot through with her compulsive need to succeed in her job at any cost. Her obsession with her police career even becomes tinged with perversity when the interrogation sessions between Tennison and Marlowe are used to generate a fake, yet compelling, sexual tension. The fact that she will get out of bed at night to interview a serial killer but will not make time to see to the needs of the man in her life heightens the idea of perversity and obsession.

In a culture still guided by the binary divisions of active masculinity and passive femininity, the fact that Tennison is a woman means that her sexuality and sexual practices are subject to much more dramatic scrutiny than if she were a man. Tennison does not, however, stray much from the sexual conduct expected from the male officer in the television police genre. As Geoffrey Hurd explains "the main characters.... are either divorced, separated, widowed or unmarried, a trail of broken and unmade relationships presented as a direct result of the pressures and demands of police work".

The focus on sexuality, however, is dramatically changed by Tennison's pregnancy in Prime Suspect III and her consequent abortion in Prime Suspect IV. This moment marks the watershed in her personal and career conflict and it is interesting that the following programmes (not written by La Plante) then seem to devote themselves to saving Tennison's soul. No moral judgement is made about the abortion; in fact, it is not even discussed. The imperative is clearly to establish Tennison's reputation and stature within the police (she is promoted to the rank of superintendent) and to re-establish her and contain what femininity remains within a heterosexual relationship with a professional equal, the psychologist played by Stuart Wilson.

In Prime Suspect VI, an interesting intertextual exercise is carried out when the Marlowe case is re-opened, with the investigation now centred on Tennison's own police practices. Apart from one long-standing loyal male colleague, the male ranks are again seen to close in the face of this unsympathetic woman who remains insistent on her infallibility and methodical detection. Her ultimate triumph in the case casts her in a new but recognisable mould, that of maverick cop, where gender is even less of an issue.

בברכה, מנהל פורום גרפיקה וחתימות! :]

"I will name Richard Cheney as the prime suspect in the mass murders of 9/11 and will establish that, not only was he a planner in the attacks, but also that on the day of the attacks he was running a completely separate Command, Control and Communications system which was superceding any orders being issued by the NMCC , or the White House Situation Room." -- Michael Ruppert


Text of Michael Ruppert's Speech at the Commonwealth Club Last Night by repost Wednesday, Sep. 01, 2004 at 9:34 AM.

The PDF file of the speech is attached, and is downloadable at
http://www.fromthewilderness.com/PDF/Commonwealth.pdf

(if you don't have a PDF file reader, you can download a free reader f rom adobe.com for Macintosh or Windows operating systems).

The speech is long, buta must read for anyone interested in the future of the United States, peak oil, 9/11, the 2004 election, and related topics. There are very few journalists digging up credible new information about 9/11,but this speech -- a teaser for Ruppert's upcoming book -- is full of critical information that should be on the front page of every newspaper on the planet. It would be difficult to exaggerate the importance of this information.


Announcing the release of Michael C. Ruppert's new book

CROSSING THE RUBICON: The Decline of the
American Empire at the Endof the Age of Oil"

By Michael C. Ruppert
foreword by Catherine Austin Fitts
(New Society Publishers)


Crossing the Rubicon: the Decline of the American Empire at the End of the Age of Oil by Michael C. Ruppert is a detective story that gets to the innermost core of the 9/11 attacks. It places 9/11 at the center of a desperate new America, created by specific, named individuals in preparation for Peak Oil: an economic crisis like nothing the world has ever seen.

The attacks of September 11th, 2001 were accomplished through an amazing orchestration of logistics and personnel. Crossing the Rubicon discovers and identifies the key suspects and persons of interest -- finding some of them in the highest echelons of American government -- by showing how they acted in concert to guarantee that the attacks occurred and produced the desired result.

In describing the contents of the book he has spent two and a half years researching and writing Ruppert said:

"In my new book I will be making several key points:

1. I will name Richard Cheney as the prime suspect in the mass murders of 9/11 and will establish that, not only was he a planner in the attacks, but also that on the day of the attacks he was running a completely separate Command, Control and Communications system which was superceding any orders being issued by the NMCC , or the White House Situation Room.

2. I will establish conclusively that in May of 2001, by presidential order, Richard Cheney was put in direct command and control of all wargame and field exercise training and scheduling through several agencies, especially FEMA. This also extended to all of the conflicting and overlapping NORAD drills on that day.

3. I will also demonstrate that the TRIPOD II exercise being set up on Sept. 10th in Manhattan was directly connected to Cheney's role.

4. I will also prove conclusively that a number of public officials, at the national and New York City levels, including then Mayor Rudolph Giuliani, were aware that Flight 175 was en route to lower Manhattan for 20 minutes and did nothing to order the evacuation of or warn the occupants of the South Tower. One military officer was forced to leave his post in the middle of the attacks and place a private call to his brother -- who worked at the WTC -- warning him to get out. That was because no other part of the system was taking action.

5. I will also show that the Israeli and British governments acted as partners with the highest levels of the American government to help in the preparation and, very possibly, the actual execution of the attacks."

"There is more reason to be afraid of not facing the evidence in this book than of facing what is in it."


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בברכה, מנהל פורום גרפיקה וחתימות! :]