Troca de plantão a bala come a vera Ontem teve arrego, rolou baile na favela 7 da manhã, muito tiro de meiota Mataram uma criança indo pra escola
Na televisão a verdade não importa É negro favelado então tava de pistola Na televisão a verdade não importa É negro favelado então tava de pistola
[Noticia] "Uma camera de segurança flagrou um adolescente sendo baleado a queima roupa por policiais"
Cade o Amarildo? Ninguém vai esquecer Vocês não solucionaram a morte do DG Afastamento da polícia é o único resultado Não existe justiça se o assassino ta fardado
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3 dias de tortura numa sala cheia de rato É assim que eles tratam o bandido favelado Bandido rico e poderoso tem cela separada Tratamento vip e delação premiada
[Notícia] "Porque que tinha luva no local antes da perícia chegar? Porque que tinha sangue no muro? Ele foi torturado até a morte, DG do bonde da madrugada, pela PM da pacificação até a morte"
Na televisão a verdade não importa É negro favelado então tava de pistola Na televisão a verdade não importa É negro favelado então tava de pistola
Rakta (São Paulo w/ Cadáver em Transe, Fronte Violeta, The Pessimists, Hierofante and Mauna Kea members) @ Sesc Pompeia (SP) - Brasil | Lançamento do Compacto "Intenção" | 02.06.16. https://rakta.bandcamp.com/.
American Reflexxx is a short film documenting a social experiment that
took place in Myrtle Beach, South Carolina. Director Alli Coates
captured performance artist Signe Pierce as she strutted down a busy
oceanside street in stripper garb and a reflective mask. The pair agreed
not to communicate until the experiment was completed, but never
anticipated the horror that would unfold in under an hour.
The
result is a heart wrenching technicolor spectacle that raises questions
about gender stereotypes, mob mentality, and violence in America.
A disturbing video has begun to make the rounds on Facebook.
Titled “American Reflexxx,” it’s the work of performance artists Signe
Pierce and Alli Coates, and it involves the former walking through a
city while the latter films her. The result is 14 minutes of deeply
unsettling footage.
There have been several of these “a woman walks through a hostile
environment” videos of late. Last year, there was the Hollaback video
about walking in NYC as a woman, which was praised to the rafters and
then hit with an almighty backlash
in the space of about eight hours. A couple of weeks later, it was
followed by the oh-so-21st-century spectacle of a social media bro
posting a video about the treatment of an apparently drunk woman on
Hollywood Boulevard, and sitting back to watch the clickzzz come in
(that video later turned out to be a hoax, because of course it did).
“American Reflexxx” — which predates both of those videos
but only appeared on YouTube this month — starts from the same place: a
camera following a woman as she walks through a public space, recording
the reactions of the members of the public she encounters. In this
case, the woman is Pierce and the space is Myrtle Beach, South Carolina.
Pierce certainly cuts a striking figure. She’s wearing a skimpy blue
dress and neon yellow heels, and most strikingly, her face is entirely
covered by a reflective mask. She’s also of apparently indeterminate
gender; much of the video involves passersby trying to work out if she’s
a cisgender man or woman, or a trans woman, or what. (I actually have
no idea what Pierce’s gender identity is, which is kind of the point.)
The results are, as one might expect, pretty depressing. People seem
genuinely terrified by her — several times groups of people scatter as
she walks toward them, and at one point a girl shouts, “Oh hell no,
don’t walk this way!” As the film progresses, the reactions become more
violent — she has water thrown on her, someone attempts to trip her, and
eventually she is pushed head-first into the pavement. Notably, all the
acts of violence against her are carried out by women. The film ends
with a sort of survey of her body, lingering on the blood streaming from
the knee she gashed open when she hit the ground.
Beyond the obvious — the fact that the simple spectacle of a tall
woman wearing a tight blue dress and a weird mask is enough to send
Myrtle Beach, South Carolina into a terrifying frenzy — the most
discomfiting aspect of “American Reflexxx” is the way it illustrates how
quick people are to feel threatened by someone they deem to be unlike
them, and to channel that fear into a justification for violence.
Dehumanization is often a prelude to violence — it’s easier to convince
yourself that someone deserves to be hurt if you convince yourself that
they’re somehow less than human. That’s exactly what happens here — from
the initial cries of “Is that a man?” and “It’s a shim!” to the final
push, the crowd moves through stages of seeing Pierce as a curiosity,
then an object of fun, and then something to be actively provoked.
Each step seems to deny some portion of her humanity, and by the end
it’s like watching people discover an animal they’ve never seen before —
some of them are fascinated, and some of them just want to poke it with
a stick to see what it’ll do. In this respect, “American Reflexxx” is
reminiscent of Marina Abramovic’s famous Rhythm 0 project,
where she stood motionless by a selection of objects with which the
public could do whatever they desired. As with this performance, Rhythm 0
started with curiosity and ended with violence: “What I learned,”
Abramovic said later, “was that if you leave it up to the audience, they
can kill you.”
In this case, the process is helped by the fact that Pierce is
wearing a mask. She is literally faceless; anyone looking at her face
sees only their own visage staring back at them. The fact that her face
is a mirror means that it literally reflects their own aggression back
at them. Pierce does nothing to provoke anyone — she gyrates in a
suggestive way at times, but mostly she just walks. To the people who
harass her, though, her very existence seems to be an act of aggression.
So it goes with pretty much any minority or oppressed group, of course
— mere visibility is enough to provoke violence.
As a piece of documentary filmmaking, “American Reflexxx” isn’t
perfect. I suspect people are going to talk about the racial
implications of this video, in the respect that Pierce is tall, blonde,
and white, and the area through which she’s walking seems to contain a
disproportionate number of people of color — though it’s worth pointing
out that her most aggressive assailant is a white woman. Anything where
the camera is so obviously part of the spectacle, too, is going to
suffer in recording “natural” reactions; it’s unclear what might have
happened had Coates not been there with the camera, or not been so
prominent. One can imagine that it might well have been worse.
But as a piece of art, it works disconcertingly, frighteningly well.
(Indeed, what transpired seems to have taken the filmmakers aback, too.
The video’s YouTube description says, “The pair agreed not to
communicate until the experiment was completed, but never anticipated
the horror that would unfold in under an hour.”) Under an hour for blood
to be drawn, for a hate crime — because, let’s be honest, that’s
exactly what attacking someone from behind for dressing provocatively or
(maybe) being trans is — to be committed. As ever in human society,
violence and intolerance are very, very close to the surface.
Documentário brasileiro dirigido por Guilherme Coelho lançado em 2003.
Fala Tu acompanha o cotidiano de três pessoas da zona norte do Rio de Janeiro. Suas vidas, seus sonhos, suas intimidades. Elas não se conhecem, mas têm uma coisa em comum: são rappers e sonham em se tornar músicos profissionais. Macarrão, 33 anos, pai de duas filhas, é apontador do jogo do bicho e mora no Morro do Zinco, no Estácio. Combatente, 21 anos, trabalha como operadora de telemarketing, freqüenta a Igreja do Santo Daime e mora em Vigário Geral. Toghum, 32 anos, é vendedor de produtos esotéricos, budista e morador de Cavalcante. O filme mostra o local de trabalho, os estúdios improvisados, as rádios piratas, as cerimônias religiosas, a casa e a família dos três, procurando entender como o rap mudou o cotidiano deles e como usam a experiência de vida para escrever as letras das canções. O filme participou da Seleção Oficial do Festival de Berlim, em 2004.
Direção: Guilherme Coelho Produção: Maurício Andrade Ramos, Mano Thales, Nathaniel Leclery, Guilherme Coelho Roteiro: Nathaniel Leclery Fotografia: Alberto Bellezia
