It is high time that Confessional Jounalists should openly, in the face of the whole world, publish their views, their aims, their tendencies, and meet this nursery tale of the Spectre of Confessional Journalism with a manifesto of the tendency itself.
Michael Haneke’s Amour isn’t an ironically titled film about entropy, acrimony, withering, or divorce. It's about storybook romance and true love. And just like true love, it's filled with violence, horror, and death.
Everybody talks about the weather —“but nobody ever does anything about it,” jokes Charles Dudley Warner. Everybody talks about it, Ulrike Meinhof repeats, but "we don’t.”
Before there was the cancer of Occupy, there were the German Autonomen, street-fighting anarchists who battled riot police through the 80s. A new translation of Fire and Flames, a history of the struggle, shines a light on this proto-Black Bloc.
The Las Vegas casino is a machine for social control that works not through repression but deinhibition, rationalizing our yearning for the expensive and impossible
Bail Bloc 2.0
Our work on immigration, ICE, borders, and detention
The criminalization of humanitarian aid at the border enacts a fantasy of desolate individuation. Scott Warren’s felony trial reiterates the necessity to keep reaching out.
What would it look like to put a power structure on trial? Interweaving visual narratives of the Mexico–United States border show the uneasy relation between objects and people.
The border’s dream is for undocumented immigrants to be its most reliable missionaries. But the immigrant who crosses the border is the affirmation of a life that transcends it.