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Goldnadel: "What remains of the Caesars? Nothing"

2021-03-15T12:31:38.465Z


FIGAROVOX / CHRONICLE - For lawyer Gilles-William Goldnadel, the Césars ceremony on Friday was only the appalling illustration of the ideological conformism of our time, and of the lack of courage of part of the artistic community, which no longer makes spectators dream.


Gilles-William Goldnadel is a lawyer and essayist.

Each week, he deciphers the news for FigaroVox.

The appalling ceremony of the César of Friday evening unfortunately gives me the pretext to continue these weekly reflections that I inaugurated on the ideological madness of contemporary society in the quasi-psychiatric sense of the term.

Today let us put on the spot this artistic world supposed to embody the empire of Good and generosity.

But before that, a few words of course, on what we have been able to witness and which constitutes the object of our observations.

An artist who had just been awarded a prize, a certain Jean Pascal Zadi, felt it his duty to pay tribute to Adama Traoré under applause, without anyone having the courage or the intelligence to emit the slightest whistle.

Is it necessary here to recall that the deceased elevated to the rank of martyr of the racist French police, mainly by his family made up notably of repeat offenders, sees this statute challenged judicially?

That in the context of the current procedure, no judicially appointed expert has confirmed that the arrest made during his flight had not been the sole cause of his death?

That on the other hand, and the fact will have been amply commented, the late alleged martyr was seriously implicated for having forced one of his fellow prisoners to perform fellatio on him under the threat of a fork.

The victim obtained a judicial decision to compensate his damage as a result of this offense, precisely because of the death of its alleged perpetrator.

A black male was he a sexual delinquent, perhaps a candidate for martyrdom, contrary to his white equivalent, condemned to hell irreparably.

We will therefore compare the tribute of this year 2021 to this improbable hero with the Caesar ceremony of the previous year which caused a scandal because the film Dreyfus and its author Roman Polanski were honored despite the latter's heavy sexual past. .

Adèle Haenel, in protest, made an exit as spectacular as it was appreciated to brand an insult to all victims of sexual predators.

How not to draw the blinding ideological lesson that is evicted from these two outrageous demonstrations as much as contrary: a black male was he a sexual delinquent, perhaps a candidate for martyrdom, the reverse of his white equivalent, condemned to hell irreparably.

As if that were not enough, during this evening, indeed quite infernal, to evoke allusively the Polanski affair of the last year, Vincent Dedienne, of the audio-visual of public service obviously, came heavily to mobilize "

Mr. Hitler

", in citing him, and saying that it was absolutely necessary to know how to separate the man from the politician.

We will draw another ideological lesson: henceforth under the empire of Good, we can ignore many: Dreyfus, Hitler, Polanski's childhood in the Warsaw ghetto, but not the color of the skin, the gender and the sexual orientation.

To read also:

Goldnadel: "leftist ideology makes us live in an asylum"

In this backwater of wicked stupidity and ugliness, is it therefore necessary to evoke the sad stripping of the actress Corinne Masiero who believed she had to strip herself entirely as a sign, it seems, of solidarity with intermittent workers?

The unfortunate woman hoped perhaps to shock the bourgeois as she had tried to do last year with an equivalent audacity by attacking the "

white Catholics of the right

".

The only question I ask myself in the context of an intellectual hypothesis, I agree, quite bold: What would have been the media reaction if some male artist had decided to exhibit on television his sexual appendix to protest against the dissolution of Génération Identitaire, for example and at random?

History has shown, during the occupation without too much amenity, that artists did not behave in a more nobly courageous manner than dairymen or lawyers.

I think there would have been some fine jurist to raise the far from absurd question of public sexual exhibition.

But as the president of the criminal court judging Zola said, refusing to address the Dreyfus affair: "

the question will not be asked

".

The question will not be asked because the artistic world, and especially the cinematographic world, is the most conformist that one can imagine.

The Caesar academy could therefore only have an academic spirit.

As I wrote in my “

Media Neuroses

”: One could write a treatise on cinematographic political conformism.

There are plenty of explanations: obsession with fashion, the pleasure of appearing, the conformism of ceremonial nonconformism, the aestheticism of cushy radicalism.

History has shown, during the occupation without too much amenity, that artists did not behave in a more nobly courageous manner than dairymen or lawyers.

Today more than yesterday, the parameter of time is the master to think.

You just have to look at the fashion of an era to know exactly what the public will look at.

To read also:

Césars 2021: "The return of the Titanic"

In France, pre-war cinema was exotic, colonialist and quite anti-Semitic.

During the occupation, most artists continued to tour, with little regard for their racially impeded comrades, when they did not collaborate openly until the tide turned.

After the Liberation, after a selective purification, communist ideology is the obligatory matrix of discourse on film during the Stalinist period.

But Hollywood was indisputably the capital of political correctness.

Monstrously paternalistic towards blacks until the 1960s, Hollywood, although largely represented by the Jews, showed a particular cowardice during the Second World War because of an anti-Semitism, fueled by the Nazis, which held the Jew as a warmonger.

The French actor or director no longer greatly impresses an individual who has ended up understanding the immutable scenario all the same.

Until I did not use the word "

Jew

", including in the context of anti-Hitler propaganda films.

The Nawabs therefore courageously killed the Shoah (Arthur Sulzberger Jr, boss of the New York Times did the same) then after the victory made a point of always finding a little Cohen from Brooklyn to get his skin pierced in the Pacific.

Likewise, in the field of manners, and while his individual conduct regularly hits the headlines, the artist, flower in the buttonhole, is never stingy, at the Oscars as at the Caesar, with a lesson in posture.

And that is obviously why we are today in racialist anti-racism, in the culture of cancellation gone mad.

It is in this immutable framework where neither courage nor intelligence jostle, that by dint of lowering the degrees of public esteem, the French actor or director no longer greatly impresses an individual who has finished all the same by understanding the immutable scenario.

The artist has definitely come down the stairs.

If he happens to be more handsome than an ordinary earthling, he is now in his eyes neither better on the inside, nor smarter, nor more generous.

The musical jet-setter or the aerial actor, with multiple pied-à-terre with a sea view, who recommends that people welcome more homeless migrants in their two kitchen rooms, is more exasperating today than yesterday , with his generosity which does not cost him dearly.

This is why many artists, who have their feet on the ground and a sense of distance, are starting to shy away from this ostentatious generosity… too virtual.

And that is why we will give back to the Caesars what they have left: Nothing.

Source: lefigaro

All news articles on 2021-03-15

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