A Quote by Simon Schama
Charlie Hebdo: Satire was the father of true political freedom, born in the 18th century; the scourge of bigots and tyrants. Sing its praises.
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I stand with Charlie Hebdo, as we all must, to defend the art of satire.
51% of the French people - who are not very religious - were thinking that what "Charlie Hebdo" did was unwise. They aren't asking for a law to prevent Charlie Hebdo from publishing caricatures, but they are calling on its editors to be a bit more sensible.
Charlie Hebdo was and is not The Onion or "The Daily Show." This is a different kind of satire. Might I put it this way - less politically correct.
I stand with Charlie Hebdo, as we all must, to defend the art of satire, which has always been a force for liberty and against tyranny, dishonesty and stupidity.
'Charlie Hebdo' had been nondenominational in its satire, sticking its finger into the sensitivities of Jews and Christians, too - but only Muslims responded with threats and acts of terrorism.
There can only be one answer to this hideous act of jihad against the staff of Charlie Hebdo. It is the obligation of the Western media and Western leaders, religious and lay, to protect the most basic rights of freedom of expression, whether in satire on any other form. The West must not appease, it must not be silenced. We must send a united message to the terrorists: Your violence cannot destroy our soul.
Everyone understood [Charlie Hebdo], as people had understood for hundreds of years, knowing that Rabelaisian tradition of French satire, they knew how to read it. And they understood the kind of release from piety that it represented every week.
Satire about any and all professionals with a special vocabulary has been a staple of fiction and popular ridicule since the 18th century.
I will sing their praises, I'll sing Donald's [Trump] praises and Marco's [Rubio] praises and everybody else's praises. But I'm going to keep the focus on substance and records. And there's a reason why they scream "Liar." Because when you point to their own records, their own voting records, their own words, they don't like their records because their records are inconsistent with what they're running on.
Religion, a mediaeval form of unreason, when combined with modern weaponry becomes a real threat to our freedoms. This religious totalitarianism has caused a deadly mutation in the heart of Islam and we see the tragic consequences in Paris today. I stand with Charlie Hebdo, as we all must, to defend the art of satire, which has always been a force for liberty and against tyranny, dishonesty and stupidity. 'Respect for religion' has become a code phrase meaning 'fear of religion.' Religions, like all other ideas, deserve criticism, satire, and, yes, our fearless disrespect.
Both John F. Kennedy and Nelson Mandela use the same three-word phrase which in my mind says it all, which is ‘Freedom is indivisible. You can’t slice it up, otherwise it ceases to be freedom. You can dislike Charlie Hebdo … but the fact that you dislike them has nothing to do with their right to speak.
In 18th-century Scotland, the main event was the Jacobite rebellion under Bonnie Prince Charlie, so that seems like a nice dramatic backdrop.
I wanted to create a believable feeling for 18th Century reality in the Perfume: The Story Of A Murderer. I didn't want this typical film feel of strange people in strange costumes, not really knowing what to do or how to move. If you put an 18th Century costume on Alan Rickman, it looks like he's been wearing it forever because he inhabits the stuff. He is a character that can really travel in time as an actor and transform into this 18th Century person with seemingly no effort.
These individuals are tyrants, and so they hate democracy. They are bigots, zealots, and persecutors, and so they hate Americas freedom tolerance, and respect for all people. The terrorists of Sept. 11 live and flourish in darkness. They cannot survive in the liberating and inspirational sunlight of American freedom and democracy.
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us
When a finished work of 20th century sculpture is placed in an 18th century garden, it is absorbed by the ideal representation of the past, thus reinforcing political and social values that are no longer with us.
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