VIDEO SU PERSONAGGI CHE MI PIACCIONO
TROVARE POESI, CLIP, IMMAGINI CHE MI RICORDANO LORO
CONTATTARE ENTE PER LAVORARE SUI VIDEO: dell'Agenzia Fo.Re.S.T.A.S. (nota in passato come Ente Foreste) e collegato al portale web uffciale * SardegnaForeste.it *
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QUESTIONI DI CONFINE!
com'è bello che prima un pecoraro potesse pascolare liberamente senza troppi problemi..ma oggi come si fa, il pianeta è pieno di leggi, bariere, cemento, e infine confini arbitrati dalla legge
https://www.scuolacivicacinema.it/corso/
DOCUMANTARIO
VALFABBRICA - TRADIZIONI, LAVORI,ANIMALI,ORTI
non vedenti
non guardanti
DOUCHE
CURIOUS OF THE CRACK
TO BELIEF IS TO BELIEF
ANNA BILLER BIG INSPO
john waters
DOCUMENTARIO VITA SUL RIO
**ALMA Y LORENZO**
INTERVISTE
**in paese, chiedendo di loro, cercandogli, dove eravate fin ora... chiedendo alla gente chi sono loro, che fanno....**
1. British Victory Gardens
Context: During World War II, Britain faced severe food shortages due to German blockades, which cut off vital imports. The "Dig for Victory" campaign was launched in 1940 by the Ministry of Agriculture to encourage citizens to grow their own food.
Propaganda Tone: British propaganda focused on resilience, patriotism, and self-sufficiency. Posters often featured imagery of ordinary people, from families to elderly individuals, turning their gardens into productive spaces.
Slogans: "Dig for Victory" became iconic, emphasizing the importance of growing food as a way to win the war. It portrayed gardening as a duty to the nation, where every carrot or potato helped defeat the enemy.
Visuals: British posters featured realistic, sometimes austere depictions of home gardens and allotments, with the Union Jack often flying in the background. The tone was serious but hopeful, emphasizing endurance under hardship.
Practical Guidance: British campaigns offered detailed advice on planting, composting, and maximizing limited space. Leaflets and radio programs provided step-by-step guidance to encourage even those without gardening experience.
2. American Victory Gardens
Context: The USA encouraged victory gardens during both World Wars, but the effort was more widespread and romanticized during World War II. Unlike the UK, the USA was not facing the same level of food shortages, but the government still urged citizens to grow their own food to free up resources for soldiers and allies.
Propaganda Tone: American propaganda was more optimistic and commercialized than the British campaign. It framed gardening as a patriotic, family-friendly activity that also fostered community spirit.
Slogans: "Plant more in '44!" and "Our food is fighting!" were popular slogans. The tone was lighter, often accompanied by a sense of abundance and celebration of American agricultural prowess.
Visuals: Posters were colorful, featuring families—often smiling women and children—working together in lush, productive gardens. The imagery conveyed that everyone could contribute, and doing so would not only help the war effort but also bring health and happiness to the family.
Media Support: Hollywood stars and popular figures endorsed victory gardens, and educational films were created. Even companies like seed producers and farm equipment manufacturers got involved, offering products that were marketed as "patriotic" purchases.
3. Italian Wartime Gardens
Context: During World War II, Italy, under Mussolini's Fascist regime, faced food shortages due to a combination of war, economic mismanagement, and sanctions. Propaganda was aligned with Fascist ideals of self-sufficiency and the need to support the autarkic (self-sufficient) economy Mussolini was trying to build.
Propaganda Tone: Italian propaganda was nationalistic and authoritarian, emphasizing not just food production but also the glory of contributing to the Fascist state. Unlike the more volunteer-oriented tone in the UK and USA, Italian campaigns had a more demanding and militaristic edge.
Slogans: Propaganda slogans like "La battaglia del grano" ("The battle for grain") tied gardening to Mussolini's broader campaign for self-sufficiency in agriculture. The tone was often about duty to the nation and discipline in food production.
Visuals: Italian posters were more formal and depicted strong, idealized farmers or workers in militaristic poses, often combining traditional rural imagery with symbols of the Fascist state. The tone was less about personal or family benefit and more about sacrifice for the collective good.
Fascist Ideology: The campaign connected food production with broader Fascist ideology, portraying gardening and farming as an extension of the strength of the Italian people. Propaganda linked self-sufficiency to national pride and imperial ambition, often showing Italy’s colonies as sources of agricultural wealth.
Comparative Themes:
Patriotism vs. Authoritarianism:
The British and American campaigns framed gardening as a patriotic contribution to the war effort, with a focus on individual and family responsibility. Gardening was often portrayed as a pleasurable duty that helped the nation while benefiting the gardener.
In Italy, the tone was more authoritative, with an emphasis on nationalistic duty tied to Fascist ideology. The act of gardening was framed as part of the broader struggle for national survival and the success of the regime.
Tone and Imagery:
British imagery was practical and focused on grit and endurance, reflecting the island nation's isolation and the severity of food shortages. The imagery was about making do in tough circumstances.
American propaganda was more optimistic and commercialized, focusing on the joy of contribution. Posters were colorful and often idealized gardening as a way to improve life on the home front.
Italian posters had a more serious, imperial tone, reflecting the country’s Fascist and militaristic ideals. The focus was on the collective good and the strength of the nation, rather than personal or familial benefit.
Cultural Impact:
In Britain, the "Dig for Victory" campaign had a profound impact on the national psyche, becoming a symbol of wartime unity and resilience. It was practical and deeply tied to survival.
In the USA, the campaign was less critical for survival but fostered a sense of community spirit and national pride, often marketed as a fun, family-oriented activity.
In Italy, the war garden campaigns were less about grassroots effort and more an extension of the state's control over all aspects of life. The gardens were tied to the Fascist vision of self-sufficiency, but food shortages remained severe, and the ideological push failed to fully overcome practical agricultural challenges.
ARCHVIO DI INTERVISTE
3 DOMANDE SOGGETTIVE SUL LORO PARERE SULL'ARTE
VIDEO STILE PROPAGANDA
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Random Thoughts on
Tradition vs. Technology
by Norm Kidder
https://www.primitiveways.com/index.html
Objects, possessions (pride in having), materialism, Western Culture vs. process (pride in doing), relationships, results, Indigenous cultures. Primitive technology used whatever was available to get the result, but the result wasn't in making something to have and put on display, it was to provide food, water, shelter, family, fun and/or the future. Pride in workmanship often went beyond making things that were pleasing to look at, but also that would impress the spirits who controlled the world. Doing your best and following traditions were a way of showing respect both to your elders (teachers) and to the materials you depended on for the object.
Our Society has both kinds, those that collect artifacts and/or make them for show and sale; and those who learn to make things to use. Both have value and can help broaden the inquiry, but the pursuit of primitive technology implies also the pursuit of the values and purposes behind the technologies. Often this means doing the job at hand with the simplest tools, often unmodified objects, as most hunter-gatherers didn't have pickups to haul around all their stuff. An exhibit in the California Academy of Science in San Francisco explained the apparent lack of artifacts in an exhibit on the Australian Aborigines with the idea that the apparent simplicity of the tool kit belied the knowledge of materials that allowed the hunter to use what he found to accomplish the task. The tool kit is in the head, not the hand.
Maybe we need a labeling system which classifies "replicas" as High, Medium, or Low tech, with low tech reserved for objects made with all stone age materials and tools; medium would allow metal hand tools like adzes and knives, copper knappers, etc.; high tech would allow power tools, cut slabs, or anything else. Personally I'd like to know how to do things at all three levels. There is something almost mystical about making and using a tool completely with things you've made yourself from 'the wild'. It helps you put yourself in perspective, as part of the place you inhabit, and builds your relationship with the earth. It also gives you greater respect for our ancestors who functioned at this level normally. At the same time there is something strange about not using the best or easiest tool to do a job. A group of people, including local Indians while rebuilding a dance house, commented they were glad no archaeologists were involved or they couldn't have used chain saws to cut the timbers. To them traditional meant the task and the group effort and feelings, not the specific tools. Everything depends on the intent and feelings of the practitioner.
From my observations, we each go through our own evolution. We begin wherever we get inspired. Someone turns us on, and they may be functioning at any technological level. At first we are inspired to produce something, which then becomes an object of pride. Once the skill is mastered just doing it isn't enough, and the process must be shared in some way, by giving away the product or teaching the skill. Eventually we need to explore the edges of the envelope, in at least one direction (high or low tech), or maybe both. The need is to make the technology relevant to 21st century life. Some of us attempt to "go bush" and live the skills. This is personally gratifying but not a practical choice for large numbers of folk. Possibly we commercialize the pursuit and produce for sale, or teach for money, treating the skills as a commodity. A few of us even make our living this way. Most of us would probably consider our endeavors as a hobby, with no purpose but satisfying our curiosity. Many folk I've talked with have at least a mild fear that these skills may again be the dominant survival strategy in a few years.
The challenge I feel while sitting at my computer is to use what I learn from the 'old ways' and apply it to my 'now ways'. The most obvious for me is in being a maker of useful things. I get a deep sense of reality when I produce my own food, build my own structure, or make my own everyday tools. Recycling and composting contribute to a sense of being part of the cycle. This gets extended whenever I buy handmade things to use, when possible from the maker, to encourage this kind of direct involvement in the world. When shopping I may look to buy the least processed foods, so I have the maximum involvement with food I don't grow.
One of the most important aspects of old ways was the sense of community, and cooperation. Where I live these are hard to find. Sharing tools and time with a few neighbors is all that's left. The sharing that goes on in the Society of Primitive Technology takes on aspects of a community. Primitive technology by its nature tends to be communal. As population grows we spend less time dealing with people and more with stuff. The flickering light and story telling of the campfire has given way to the flickering light and storytelling of the television. No more gathering of women to wash their clothes at the well, now each sits alone with a work saving machine.
This article was first published in The Bulletin of Primitive Technology (Fall 1995, #10)
E-mail your comments to "Norm Kidder " at atlatl1@aol.com
PrimitiveWays Home Page
We hope the information on the PrimitiveWays website is both instructional and enjoyable. Understand that no warranty or guarantee is included. We expect adults to act responsibly and children to be supervised by a responsible adult. If you use the information on this site to create your own projects or if you try techniques described on PrimitiveWays, behave in accordance with applicable laws, and think about the sustainability of natural resources. Using tools or techniques described on PrimitiveWays can be dangerous with exposure to heavy, sharp or pointed objects, fire, stone tools and hazards present in outdoor settings. Without proper care and caution, or if done incorrectly, there is a risk of property damage, personal injury or even death. So, be advised: Anyone using any information provided on the PrimitiveWays website assumes responsibility for using proper care and caution to protect property, the life, health and safety of himself or herself and all others. He or she expressly assumes all risk of harm or damage to all persons or property proximately caused by the use of this information.
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hotglue forum
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SUPER HACK
DEVELOP YOUR OWN FILM AND DIGITLIZE IT ONLY IN THIRD PARTIES