Podcasts about Nausicaa

Dude, What Happened in Nausicaa of the Valley of the Wind? Join Marcus and Bryce as well as special guests Avery and Sarah from the Studio 151 Podcast, Beyond Miyazaki's World as they dive into this post-apocalyptic movie.Nausicaa of the Valley of the Wind is a 1984 Japanese animated fantasy film from legendary director Hayao Miyazaki. Tune in to see how the group interprets the movie, as well as their ratings!DISCLAIMER - The contents of Studio 151 podcasts do NOT represent the views and beliefs of the TU Media Lab or the University of Tulsa.

Power, peace, and poisoned earth—Nausicaä of the Valley of the Wind sparks a deep conversation on ecology, war, and Miyazaki's early genius. Patrick Mason, Victor Lams, Jeff Haecker, and Thomas Salerno unpack its lasting resonance. The post The Secrets of Nausicaa of the Valley of the Wind appeared first on StarQuest Media.

Joop en Nausicaa spreken over Kharim Kaan van het ICC, 5 mei en de slappe autoriteiten, burgemeester Halsema bam Amsterdam en The Right Forum, de rechtse partij die tegen Israël is met Nederlandse ex-politicie en veel andere zaken.

Joop en Nausicaa spreken over de raket op Ben Gurion Airport, de alternatieve herdenking op 4 mei en hoe de Nederlandse media aan hersenspoeling werken, het herdenken van alle oorlogen van alle landen waaruit migranten komen op 4 mei en waarom dat niet deugt, de lafheid van comité 4/5 mei, de afslachting van Druzen in Syrië en de sympathie van EU voor deze terroristen en vele andere zaken.

Francesco Zarzana"Buk Festival"Festival della piccola e media editoriawww.bukfestival.itModena capitale della piccola e media  editoria italiana con la 18^ edizione di BUK Festival in programma sabato 3 e domenica 4 maggio nel cuore della città, il Chiostro di San Paolo che ospiterà, insieme a una vasta rappresentanza di editori, il cartellone di incontri con tante anteprime editoriali, allestito dal direttore artistico Francesco Zarzana per la cura organizzativa di Sara Caselli. Promosso da ProgettArte che proprio in questa edizione festeggia i suoi primi 25 anni, BUK Festival torna con una traccia tematica, Le trame e la vita,  che nell'edizione della maggiore età riscopre la letteratura di genere con un cartellone di percorsi gialli, storici e di impegno civile - libri inediti, nuovissimi o recenti di case editrici piccole e medie di tutta Italia.E con tante novità, prima fra tutte, nella Giornata mondiale del Libro mercoledì 23 aprile alle 21 al Teatro Storchi, la consegna del Premio Speciale BUK 2025 alla scrittrice torinese Deborah Gambetta, autrice di Incompletezza(Ponte alle Grazie), proprio ieri entrata nella dozzina finalista del Premio Strega 2025 per quest'opera. Il riconoscimento, recitano le motivazioni, viene conferito «per aver indagato attraverso la scrittura narrativa, le leggi matematiche e, così facendo, quelle della vita, alimentando di passione l'una e l'altra ricerca e intuendo le sinergie “carsiche” fra due “culture” circoscritte da confini puramente convenzionali». Spiega il direttore artistico di BUK Festival Francesco Zarzana che «il riconoscimento si identifica con il festival e nelle ultime edizioni è stato conferito a firme della narrativa contemporanea come Rosella Postorino nel 2024, Maurizio De Giovanni nel 2023 e Donatella Di Pietrantonio nel 2022, in precedenza a Paolo Mieli, Federica Manzon, Barbara Schiavulli, Emma D'Aquino, Barbara Baraldi e a pordenonelegge quale miglior festival letterario italiano». Mercoledì 23 aprile sarà anche la grande serata di Anteprima di BUK 2025: al Teatro Storchi infatti andrà in scena Gli occhi di Omero (Les yeux d'Homère), protagonista la nota attrice francese Fanny Gilles diretta dal regista Francesco Zarzana: prodotto da ProgettArte, lo spettacolo riprende la disputa accademica secondo la quale Omero sarebbe in realtà stato la prima poetessa greca: avrebbe conosciuto un anziano cieco ascoltando da lui le storie di Nausicaa, Circe, Calypso, la Dea Atena, le Sirene, Scilla, Euriclea, Penelope e così alimentando una prospettiva tutta femminile all'impianto generale dell'Iliade e dell'Odissea. Fra le novità di BUK Festival 2025, domenica 4 maggio alle 10, anche la Biblioteca Umana: evento aperto alla partecipazione del pubblico, dove i “veri” libri da leggere saranno le persone, con le loro esperienze di vita. «BUK Festival – osserva l'Assessore alla Cultura del Comune di Modena, Andrea Bortolamasi – è un appuntamento importante per il tessuto culturale della nostra città, perché promuove la lettura e l'attività delle piccole e medie realtà editoriali. E l'anteprima del 23 aprile, nella Giornata Mondiale del Libro, o un'ulteriore opportunità per avvicinarsi al moffriràndo dei libri in modo fresco e coinvolgente».  A BUK Festival spicca il percorso delle anteprime e novità 2025 in chiave giallo-noir:  come per il thriller distopico del divulgatore scientifico Andrea Segrè, Gelo profondo. La nuova era glaciale, da poco uscito per Minerva, e le pubblicazioni inedite firmate da ProgettArte, in uscita il 3 maggio, in occasione di BUK 2025: Il Fermo Posta di Robìne, di Pasquale Biscari, un romanzo sospeso tra introspezione e mistero, e una storia “gialla” attinta dalle cronache anni Novanta: I Diavoli della Bassa di Federico Mazzoli sulle presunte messe sataniche nella Bassa modenese. Anteprima assoluta a BUK per Giraldi editore con il giallo-fantasy dello scrittore Pierangelo Soldati, Robin Barlow. La morte corre sulla tela del ragno, e con Il lupo sotto la pelle (vol. 1 e 2) di Graziano Lonardi, una saga thriller venata di horror pubblicata dall'editore De Tomi. Fra le anteprime assolute di BUK Festival anche quelle legate al tema del viaggio, reale o metaforico: domenica 4 maggio, alle 16 nello Spazio Portici, per i giovani lettori si presenta il delicatissimo albo illustrato di Mila Lodi, Viva la vita, e il cooperatore sociale e scrittore Paolo Menzani firma una guida speciale, La Via degli Dei, sullo storico cammino tra Bologna e Firenze, una “guida marsupio” arricchita da contenuti in realtà aumentata, queste sono pensate per accompagnare i viaggiatori passo dopo passo. Un progetto inclusivo, curato da edita Officine Gutenberg. Formato poesia le Passeggiate notturne (e altre solitudini), edito Consulta librieprogetti, di Antonio Nesci. IL POSTO DELLE PAROLEascoltare fa pensarewww.ilpostodelleparole.itDiventa un supporter di questo podcast: https://www.spreaker.com/podcast/il-posto-delle-parole--1487855/support.

Io sono Francesco Cecchetti, consulente paesaggistico e agronomico e aiuto le persone a fiorire insieme al proprio giardino. Stai ascoltando Giardino Rivelato, da cinque anni il podcast per chi crede fermamente che tutte le persone hanno bisogno di un giardino.Episodio SPOILER che è un invito a guardare (o a leggere) "Nausicaä della Valle del Vento". Possiamo imparare da Nausicaä a cercare una convivenza più saggia con la natura, nonostante le difficoltà e le scomodità? Possiamo imparare a convivere con un mondo naturale che ci fa male?Sostieni e finanzia Giardino Rivelato: https://www.patreon.com/francescocecchetti Vieni a trovarmi su giardinorivelato.it

Joop en Nausicaa spreken over de overname van Rotterdam door in Arabisch biddende imams met 10.000 man aanhang; de aankondiging van de verstoring van 4 mei door andere demo's en The Rights Forum; de noodkreet van Joodse studenten versus docent UvA die terroristen steunt en bij WNL mocht leeglopen; de bedreigingen tegen Christenen voor Israel en andere zaken.

Joop en Nausicaa spreken over de emotie van Frits Barend over 5 mei die velen raakt; de ellende in Amsterdam waar de UvA oogt wat ze zaait; Hamas heeft een Brits advocatenkantoor in de arm genomen, en veel andere zaken.

Joop en Nausicaa spreken over de situatie in Israël, het AIVD rapport dat antisemitisme uitsluitend bij extreem-rechtse jongeren ziet, het bezoek van Netanyahu aan Orban en K9 (enorme moskeekoepel) wil dat de overheid onderzoek doet naar Christenen voor Israël en andere belangrijke zaken.  

Joop en Nausicaa spreken over de situatie in Israël, Uri Rosenntal en de groep die diploma's teruggaf aan de UvA; universiteit Utrecht en haar flutonderzoek onder 44 bevooroordeelde moslims over discriminatie; zaterdag werd in Frankfurt en Berlijn de Al-Quds-Tag gevierd: de door Iran uitgeroepen dag voor de vernietiging van Israël; jonge protestleider in Gaza, gemarteld een vermoord door Hamas, en meer zaken.

Joop en Nausicaa praten over de politieke situatie in Israël waar 63% van de bevolkig tegen het beleid is, de antiracisme-mars in Amsterdam waar vooral antisemieten aan meedoen, de universiteit Utrecht over islamofobie en veel andere zaken die nu belangrijk zijn.

Joop en Nausicaa spreken over het onderzoek van BNN VARA dat zegt dat moslims slachtoffers van islamofobie zijn, wat niet waar is, de ranzige antisemitische praatjes van Tofik Dibi op tv, de UVA neemt historisch antisemitisch besluit, en vele andere zaken.

Joop en Nausicaa spreken over kerk en religie column van Nausicaa, de moord op zoveel Druzen, christenen jonge en oude mensen in Syrië, de zeer lage straffen op de aanvallers van Macabbi fansin Amsterdam, over president Trump en meer zaken.

Op zaterdag blikt hoofdredacteur Kamran Ullah in het Telegraafkwartier terug op de afgelopen nieuwsweek. De Telegraaf tekent hoger beroep aan in het vonnis over de column van Nausicaa Marbe. Marbe schreef eind januari een scherp stuk over organisaties met een Islamitische achtergrond die in Nederland actief zijn, waar Stichting Federatie Islamitische Organisaties (FIO) aanstoot aan neemt vanwege één leesteken. „In zekere zin gaat de rechter op de stoel van de eindredacteur zitten", vertelt Ullah. Verder: de hoofdredacteur keek met verbazing naar de bizarre ontmoeting tussen Trump en Zelenski en zag hoe de Oekraïense president zich uit de tent heeft laten lokken. En: onbegrijpelijk dat Tjibbe Joustra nog steeds voorzitter van de raad van toezicht is bij de NPO.See omnystudio.com/listener for privacy information.

Cyril Hue, vétérinaire emblématique du zoo de la Flèche (ENVA, 1996) au

Joop en Nausicaa spreken over het afschuwelijke feit dat de kinderen Bibas met de hand vermoord zijn en perverse psychologische marteling door Hamas, over de rechter die niet begrijpt dat hij haatpredikers tegen vrouwen, Joden en homo's de openbare orde laat bedreigen, de toestand in Australië waar moslimverplegers die Joden willen doden en veel meer nieuws.

Joop en Nausicaa spreken over de op zaterdag vrijgekomen 3 gijzelaars; maar we hebben het ook over een aantal poltieke leden in Nederland die geen enkel probleem hebben met anti-Israel te demonstreren; hoe de radio in Nederland zich pro-Palestijnen moet gedragen maar we eindigen met positieve gebeurtenissen.

Joop en Nausicaa spreken over de drie uitgemergelde gijzelaars die zaterdag vrijkwamen uit Handen van Hamas; het antisemitisme op UWC in Maastricht en daar heeft Nausicaa extra nieuws over; de komst van Francesca Albanese naar het parlement, mede op uitnodiging van tweede kamerlid Kati Piri (PvdA), maar we eindigen ook met ander positief nieuws.

A month of reliably superb films by Studio Ghibli. Much needed after the Dumpuary beating we took. We are officially announcing Studio Ghibli month. One month of the year we will hit the streams and pan out 3 Ghibli films that we have not yet seen until we have completed the catalog. This year we have three from the three different decades. All full of magic. All full of story. Pixar may be for the heart but Studio Ghibli is for the soul. I know at times we may be obnoxious, and loud, and crude. But when it comes to film we watch with our hearts and our souls.And anyways, its better to be a pig, than a fascist.#wgs

Joop en Nausicaa spreken over Shiri Bibas en haar zoontjes Kfir en Ariel, maar ook over de antisemitische duiding van humor tegenwoordig, Stolpersteine in Haarlem, waaromheen een hele gemeenschap is ontstaan, dwars door de samenleving en veel anderen nieuws zaken.

Joop spreekt met Nausicaa o.a. natuurlijk over de eerste drie vrijgelaten gijzelaars en dat Hamas zei dat zaterdag "4 vrouwelijke gijzelaars" vrijkomen, over Hamas en Gaza en wat er de komende tijd kan gebeuren en vele andere belangrijke zaken die in Israel en Nederland gebeuren.

Joop is blij en trots dat er weer een podcast is met Nausicaa en we nemen eerst het belangrijkste nieuws uit Israel door, waaronder de vier in Gaza gesneuvelde jonge militairen waarna Nausicaa het gaat hebben over Frits Barend met leugens van het IDFA, de NOS die kwaad was dat Polen premier Netanyahu niet arresteerd en veel ander belangrijk nieuws.

Ghibli Ganuary 2 is here! This week, we delve into the film that started it all: Nausicaa of the Valley of the Wind. Strap on your glider, put on your tan pants, and befriend an Ohmu as we see what this undiluted early Miyazaki has to offer!

durée : 00:04:12 - Chroniques littorales - par : Jose Manuel Lamarque - La Coalition des jeunes pour l'océan est organisée par Nausicaa, le Centre national de la Mer de Boulogne-sur-Mer. Matthias Paschal, le responsable du fonds de dotation de Nausicaa, la présente dans les Chroniques Littorales.

We are truly on the home stretch now--folding up the frame story around Odysseus' adventures, we can see there are three women that walk beside him on his way back to Ithaca. Each of them, in her own way, must love him without holding on to him, as he goes through the painful process of recovering who he is after all the accretions of war and wandering have been stripped away. It's an epic drama but also, in some deeply essential way, the story of all of us. Register for Spring courses at The Ancient Language Institute https://ancientlanguage.com/youngheretics/ Check out iBreviary: https://www.ibreviary.org/en/ Watch my conversation with Jordan Peterson: https://www.youtube.com/watch?v=aMRT2ZbXa2s Order Light of the Mind, Light of the World (and rate it five stars): https://a.co/d/2QccOfM Catch up on my livestream with Andrew Klavan (no relation): https://thenewjerusalem.substack.com/p/new-livestream-october-7-6pm-et Simon Netchev's Odyssey Map: https://www.worldhistory.org/image/15906/odysseus-ten-year-journey-home

Welcome to our very first episode of… Comicsplaining?! That's right, this week we're covering a “mainstream, superhero” book, Daredevil: Born Again by Frank Miller and David Mazzuchelli. Chip calls it his “Nausicaa,” and everything THAT means. But wait, why are covering a non-manga title? What does this have to do with Mangasplaining? Does Chip nerd out on Daredevil: Born Again SUPER HARD for this entire Episode? Listen on, fans, and find out!Read our show notes and listen to the episode at Mangasplaining.com, and check out our digital publisher and newsletter at MangasplainingExtra.com.Back to manga next week, sort of, with the French-published manga graphic album bande desinee hybrid Guardians of the Louvre by Jiro Taniguchi.Advertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Dcn. Harrison Garlick and Adam Minihan discuss Book Twelve of the Odyssey: The Cattle of the Sun.Check out more at thegreatbookspodcast.com.From our guide:68. What happens in book twelve?Odysseus and his men return the island of Circe and bury their comrade, Elpenor, who had spoken to Odysseus from the underworld (12.10). Circe tells Odyssey—and Odysseus alone—what trials await him on his journey (12.36). First, he and his men will sail by the Sirens and their irresistible song of temptation (12.44). Next, Odysseus will have to choose between sailing through the path of unavoidable “Clashing Rocks” (12.66) or sail through a strait with two monsters. On one side, there is the six-headed horror named Scylla that will pluck men off the ship (12.94) and on the other side the whirlpool monster named Charybdis that will swallow the entire ship (12.115). Lastly, they will come to the island of the where the sun god's cattle graze (12.137) and must not under any circumstances harm the cattle (12.148). If they can do this, they will return home, but if not, then the best that could happen is Odysseus returns home alone “all shipmates lost… a broken man” (12.153).Odysseus tells his men about the Sirens (12.172) and Charybdis (12.239) but not Scylla (12.242). After escaping the Sirens, his men are navigating past Charybdis when Scylla snatches six of Odysseus men off his ship (12.269). Odysseus and his men land on the island of the sun god's cattle, and Odysseus has his men swear an oath they will not harm the animals (12.328). The men, however, become stranded on the island due to unfavorable wind and begin to starve (12.350). Odysseus' men elect to eat the sacred cattle (12.386), and, as they finally leave the island, Zeus strikes the ship with a lightning bolt (12.447). All perish save Odysseus who, clinging to debris, is swept back to Charybdis and must hang onto a fig tree to avoid being swallowed (12.466). The book ends with Odysseus drifting until he lands on the island of Calypso (12.485). 69. Who are the Sirens?The sirens are “female creatures who had the power of drawing men to destruction by their song.”[1] Though Homer does not describe them, they were generally “represented as half-woman and half-bird”—but “in time they came increasingly to be shown as beautiful women.”[2] Odysseus follows Circe's advice (12.53) by stuffing beeswax in the ears of his men (12.189). It is notable that Circe intuits that Odysseus will want to experience the song of the Sirens (12.55). He follows her advice and has his men tie him to the mast in order that he may hear the Sirens but not jump overboard (12.194). The episode speaks to what Odysseus' spirit (thumos) is willing to endure for the sake of knowledge. Note the Siren's song itself sings of being able to grant Odysseus wisdom and make him a “wiser man” (12.200).One may also question whether Odysseus enduring the song of the Sirens prepared him at all to decline Calypso's offer of immortality or the marriage to Nausicaa. Moreover, the episode shows a level of trust between Odysseus and his men—a trust that is arguably fracturing after the Cyclops incident and one that will be largely broken following Scylla and Charybdis. Later myths have the Sirens drowning themselves due to Odysseus' escape.[3] The Sirens will later come to represent music, including the...

Sci-Fi September comes to a close with the 13th installment of our Sci-Fi Shuffle, as we are pleasantly subjected to Doug's pick - 1984's "Nausicaa of the Valley of the Wind". It's animated, and it's sci-fi, so it's gonna be weird. But is it TOO weird for Kevin? Will the movie allow Doug to witness the destruction he craves? And will Adam ever let Paul unleash his flawless Japanese pronunciation?

We've got episodes, and due to a clerical error, there are more coming soon! AI is being annoying about writing, anime is getting interesting, and old classics never fail. Check it out!Explicit language on this one."Love Everlasting" (DDRKirby(ISQ) - https://http://ocremix.org/)Find the show on iTunes, Google Play Podcasts, Spotify, and Simplecast.fmFind the show on YouTube: https://www.youtube.com/channel/UC6QoHk8iEsVGTpd2qdTlH-gFollow us @CharacterRev on Twitter and find us on Facebook!We're on Instagram @characterrevealDom is @brothadom on bluesky, tweets, tumbles and generally on the netSteph is @captainsteph on Twitter, @hella_steph on Instagram, and @thesnowqueer on TumblrEric is @TindiLosi on some places on the internet as a wholeFind everything at: https://linktr.ee/characterreveal

Scott and Julian discuss their first Ghibli film. If you like what we do please leave a review and checkout our patreon - www.patreon.com/20cgmedia for more content

This week Dcn. Harrison Garlick and Mr. Eli Stone, formerly of the TU Great Books Honors College and now teaching at a classical school, discuss Book VIII of the Odyssey: A Day for Songs and Contests. We have a 50+ page guide to the Odyssey.Visit thegreatbookspodcast.com for more resources. From the guide:42. What happens in book eight?King Alcinous and Odysseus go to the meeting grounds, as Athena whips up the curiosity of the islanders to come and see the stranger who “looks like a deathless god” (8.16). King Alcinous, still not knowing the identity of his guest, calls for the Phaeacians to prepare a ship to take the stranger home (8.39), and he calls for a feast, a “hero's welcome” (8.49). As they feast, the bard sings the ballad of “The Strife between Odysseus and Achilles,” a tale from Troy, and Odysseus quietly weeps—unnoticed by all save King Alcinous (8.111). King Alcinous then calls for games, and the young men gather to race, wrestle, box, and throw a discus (8.140). A man named “Broadsea” goads Odysseus into competing, and Odysseus, in his anger, throws a heavy discus farther than any of them (8.116). As a good host, King Alcinous deescalates the situation (8.267), and calls for the Phaeacians to dance (8.284).The bard returns and sings of the story of Aphrodite's adultery against Hephaestus (8.301). King Alcinous calls for parting gifts for Odysseus, and Broadsea gives the King of Ithaca a bronze sword in amends for his disrespect (8.441). Another feast is held, and Odysseus asks the bard to sing of the wooden horse at Troy (8.552). Odysseus again weeps quietly (8.586), and King Alcinous again notices (8.599). The book ends with the King finally asking Odysseus to reveal his name and his homeland (8.618).[1] 43. Why does Homer include the myth of Aphrodite's adultery?Homer dedicates over one hundred lines of poetry to tell the story of “The Love of Ares and Aphrodite Crowned with Flowers” (8.301). First, one may note a shift in the mythology, as Hephaestus was married to a Grace in the Iliad and is now married to Aphrodite in the Odyssey. A myth about adultery in the Odyssey recalls several narratives: the story of Clytemnestra, (Agamemnon's wife), the narrative of Odysseus with Calypso, and the suitors pursuing Penelope.In a subtle manner, Homer is likely presenting Hephaestus as Odysseus. Notice that that Odysseus mentions his legs are in poor shape, and he cannot race against the Phaeacians (8.260). Odysseus' poor legs are analogous to the crippled legs of Hephaestus; moreover, Hephaestus is compared to Ares who has “racer's legs,” like the Phaeacians (8.352). Homer describes Hephaestus overcoming Ares as the “slow outstrips the swift” (8.372) and “the cripple wins by craft” (8.375). If one takes Aphrodite to be Penelope, the myth is a warning to Odysseus that he will overcome the suitors not by swiftness but by craft. Similarly, one could read Aphrodite as Nausicaa and Ares as the Phaeacians; thus, we return to a narrative of Nausicaa being a temptation for Odysseus—but a temptation he could indulge if done by wit and craft. The myth presents certain analogues to Odysseus' present situation but seems to fall short of presenting a full allegory.[1] Thank you to Mr. Eli Stone who joined us on the podcast to discuss Book 8.

This week Dcn. Garlick and Mr. Eli Stone discuss Book Seven of the Odyssey: Phaeacia's Halls and Gardens.Check out thegreatbookspodcast.com for more resources. FROM THE GUIDE:36. What happens in book seven?Athena hides Odysseus in a mist and leads him, in the guise of a child, toward the palace (7.17). She reiterates the advice of Nausicaa by telling Odysseus to go to Queen Arete (7.61). Odysseus enters the magnificent palace and throws his arms around the queen's knees, as Athena withdraws her mist (7.168). Odysseus pleads for mercy and then falls into the ashes underneath the hearth (7.182). All are silent until the old man Echeneus cries out for his king to welcome the stranger (7.185), and King Alcinous, spurred by his subject, welcomes Odysseus with food and drink (7.199). Without asking Odysseus' name or where he is from, the king convenes the evening and calls for an assembly in the morning to help the stranger return home (7.221).Queen Arete takes Odysseus to his lodgings and is the first to question him about his name and homeland—and where he received his clothes (7.272). Odysseus gives a long answer that finally lands at stating that his clothes are from Nausicaa (7.340). King Alcinous reassures Odysseus that he'll provide a passage home—but also states he could stay and marry Nausicaa (7.353). Odysseus reiterates his desire to return home (7.379), and the book ends with Odysseus finally finding rest in the house of King Alcinous (7.394). 37. What is to be made of King Alcinous' offer to Odysseus to marry Nausicaa?Most notable in book seven is King Alcinous offering Nausicaa in marriage to Odysseus (7.358). The temptation of Nausicaa becomes explicit (Question 33). Note that both King Alcinous and Queen Arete are descendants of Poseidon (7.65), and that the gods come to the island openly due to the people being their “close kin” (7.241).[1] In addition to its divine favor, the island enjoys advanced technology, as the dogs outside King Alcinous' palace are automatons made by Hephaestus (7.106). The island is, in many ways, a utopia. Odysseus is being asked to restart his life amongst almost perfect mortal happiness. He would be grafted into a family of Poseidon's mortal descendants (which bears a certain irony given Poseidon's current wrath) and be married to a beautiful, clever princess, a young Penelope. The offer of King Alcinous is the more natural temptation than that of Calypso, because it is an offer that aligns with the nature of man and his desire for happiness.Notably, Odysseus never seems to acknowledge the offer, but simply expresses his gratitude again for the king's willingness to take him home (7.379). To what degree the king's offer has affected Odysseus is a question to keep in mind throughout the rest of the Odyssey.[1] Odyssey, 498, 508.

Dcn. Harrison Garlick and Adam Minihan are joined by Eli Stone, formerly of the TU Great Books Honors College and now with Holy Family Classical School in Tulsa, Oklahoma, to discuss BOOK SIX of the Odyssey: The Princess and the Stranger. Check us out at thegreatbookspodcast.com.From the guide: 32. What happens in book six?Athena inspires Nausicaa, the daughter of King Alcinous, to go with her handmaids to the river and wash clothes (6.20). Her father grants her permission, and she takes a wagon of clothes to be washed (6.75). As she waits for the clothes to dry, she and her handmaids have a picnic out by the river (6.107). With a little influence from Athena, Odysseus awakes to the sound of the girls playing with a ball (6.130). Odysseus emerges naked, covering himself with a “leafy branch” (6.140)—“a terrible sight, all crusted, caked with brine” (6.151). All the women scatter save Nausicaa in whom Athena has planted courage (6.153). Odysseus tells the princess of his plight (6.163), and she welcomes him as a stranger sent from Zeus (6.227). To avoid scandal, Nausicaa instructs Odysseus on how to enter the city alone, find the queen, and grasp her knees (6.313). The books ends with Nausicaa leaving Odysseus in a sacred grove, and Odysseus praying to Athena (6.352).[1] 33. Is Nausicaa another temptation for Odysseus, like Calypso?The desire of Nausicaa to be married is a predominate theme in book six and seven. We see Athena state her marriage is “not far off” (6.30); we see Nausicaa be too shy to express her desire for marriage to her father (6.74), but her father sees through his daughter's coyness and confirms his supports her, i.e., “I won't deny you anything” (6.77); and we see Nausicaa, after seeing Odysseus glorified by Athena, say: “if only a man like that were called my husband” (6.270). Moreover, the princess is “still a virgin, unwed” (6.121) and compared to the virgin-goddess Artemis (6.113, 165). Her intuition and political savvy are displayed in the narrative of avoiding scandal and how to seek mercy from the queen (6.313). She is arguably presented as a young Penelope: beautiful and clever. The concern is that whereas Calypso represented an unnatural temptation (Question 29), Nausicaa will represent a very natural one for Odysseus.One may note that naked Odysseus emerging to speak to the young girls is presented in predatory language, e.g., “as a mountain lion exultant in his power…” hungry and stalking sheep (6.143). The opening predatory metaphor seemingly stands in contrast with Odysseus' restraint to not run and hug the knees of Nausicaa (6.161). The main principle of his opening speech to Nausicaa is presented in his earlier internal dialogue of whether the island inhabitants are savages or civilized persons (6.132). Guest-friendship is the sign and standard for civilization (6.133). Odysseus arguably mentions Artemis (6.165), Apollo's altar in Delos (6.178), the custom of grasping by the knees (6.185), and the need for he, as a stranger, to be welcomed (6.193) to see if she is civilized. Moreover, it also reveals that Odysseus—the strange man emerging from the bushes—is civilized himself.[2] If guest-friendship is the standard for civilization (6.133), then it is one Nausicaa responds to well in both speech and practice (6.227).Those who see Nausicaa as a temptation, point to Odysseus' flattery of her: “I have never laid eyes on anyone like...

Here for a special episode, Christian Ashley brings on guest, Herbie Ramsey, to discuss the film, "Nausicaä of the Valley of the Wind"! While it isn't technically a Studio Ghibli film, it is often listed among them and one of the best!.Is Nausicaä the first Ghibli movie? Was Nausicaä inspired by Dune? What is Nausicaa of the Valley of the Wind about? Is Nausicaä a love story? What is the message of Nausicaä? Why does Nausicaä dress turn blue? Why is Nausicaä not wearing pants? Why do people like Nausicaä? Who does Nausicaä end up with? Why is Nausicaä not Ghibli? What is the monster in Nausicaä? Is Nausicaä about nuclear war? We discuss all this and more in this one! Join in the conversation with us on Discord now!.Support our show on Captivate or Patreon, or by purchasing a comfy T-Shirt in our store!.Listen to all of our episodes about anime:https://player.captivate.fm/collection/ff4343b3-82e0-4173-a884-1608a49eec5b.Check out all of our film review episodes:https://player.captivate.fm/collection/6a01e00d-cfd7-4041-a7a4-1fd32c545050.Don't miss any episodes with Christian:https://player.captivate.fm/collection/ebf4b064-0672-47dd-b5a3-0fff5f11b54c.Listen to other episodes with guests like Herbie:https://player.captivate.fm/collection/0d46051e-3772-49ec-9e2c-8739c9b74cdeMentioned in this episode:Systematic GeekologyOur show focuses around our favorite fandoms that we discuss from a Christian perspective. We do not try to put Jesus into all our favorite stories, but rather we try to ask the questions the IPs are asking, then addressing those questions from our perspective. We are not all ordained, but we are the Priests to the Geeks, in the sense that we try to serve as mediators between the cultures around our favorite fandoms and our faith communities.Anazao Ministries Podcasts - AMP NetworkCheck out other shows like this on our podcast network! https://anazao-ministries.captivate.fm/Check out the Anazao Ministries Podcast (AMP) Network on Spotify or Apple Podcast!Instagram Check out our Instagram!Support us on CaptivateYou can sponsor our show and get access to bonus content through Captivate

durée : 00:04:15 - Chroniques littorales - par : Jose Manuel Lamarque - Centre de culture scientifique qui sensibilise au lien qui unit l'homme à l'océan. Tous les amoureux de la mer et de l'océan, les mammifères marins, les poissons, aiment Nausicaa...

“Flying used to be fun until I started doing it for a living.” - Kiki Our fourth Studio Ghibli movie directed by Hayao Miyazaki: 1989's"Kiki's Delivery Service"! Podcasters Featured: Erik and Meghan Slader from ⁠⁠Nerdeagram⁠⁠⁠⁠ Elyse from ⁠⁠⁠⁠⁠⁠⁠⁠⁠The Super Switch Club⁠⁠⁠⁠⁠⁠⁠⁠ Douglas Gale from ⁠⁠⁠⁠⁠⁠⁠⁠Game Game Pass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bill from ⁠The RPG Years ⁠⁠Kaslo 25⁠⁠⁠ on Twitch Kory Torjussen from⁠⁠ The World is My Burrito Zack Derby from ⁠⁠⁠The NeatCast⁠⁠⁠ and ⁠⁠⁠Effin Cultured⁠⁠⁠ (Edited by Erik Slader / ⁠⁠⁠Music by Vigo ⁠⁠⁠⁠@DeftStrokeSound!⁠⁠⁠)  *Note: Bill is still editing our "Nausicaa" episode. Next Time: "Porco Rosso"? 2024 is the Year of Ghibli... If you would like to be featured on an upcoming episode head over to: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://probablywork.com/podcasters-assemble/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ You can also join the discussion in our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord server⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Our Merch!⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @probablywork⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.probablywork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠⁠ProbablyWorkPod@gmail.com

You can read this episode's transcript at https://iwp.uiowa.edu/page/say-the-world-podcast-transcript-episode-7-marina-porcelli. Today's guest is the Argentinian writer Marina Porcelli. We're joined by podcast research assistant Derick Edgren Otero for a conversation on the ways they've collaborated in translating a piece originally authored by Porcelli. The piece has since been published; you can read it here. We also discussed a variety of other topics, including the importance of writing about work. Bio: Marina Porcelli (fiction writer, essayist; Argentina) is the author of the novella A WINTER NOTEBOOK (2021), a collection of essays on gender NAUSICAA. JOURNEY TO THE OTHER SIDE OF OTHERNESS (2021), the story collections THE HUNT (2016) and OF THE BROKEN NIGHT (2009/2021), and others. Her work has garnered her the 2014 Edmundo Valadés Ibero-American Award and the 2021 Eduardo Mallea National Essay Award; she has attended residences in Mexico, Canada, and China. A frequent contributor to Latin American newspapers, she writes the column “The Lyrical Knockout” about gender and boxing for Playboy Mexico. Her participation was made possible by the Bureau of Educational and Cultural Affairs at the U.S. Department of State. Read Marina Porcelli's English writing sample: https://iwp.uiowa.edu/sites/iwp/files/PORCELLI_sample_formatted.pdf. Read Marina Porcelli's writing sample in the original language: https://iwp.uiowa.edu/sites/iwp/files/PORCELLI_sample_original.pdf. Say the World: An International Writing Podcast is made by the International Writing Program. The hosts are IWP Director Christopher Merrill, most recently the author of ON THE ROAD TO LVIV (Arrowsmith Press, 2023) and IWP Communications Coordinator Mike Meginnis, most recently the author of DROWNING PRACTICE (Ecco, 2022). Additional research, transcription, and other support provided by Research Assistant Derick Edgren Otero. IWP programming is primarily funded by the University of Iowa and the Bureau of Educational and Cultural Affairs (ECA) at the U.S. Department of State, with additional funding provided by organizations like the Doris Duke Foundation, as well as donors like you. If you'd like to donate to IWP, go to bit.ly/iwp-support. Learn more about IWP at iwp.uiowa.edu.

"I've always wanted to have a haunted house!" - The Dad Our third Studio Ghibli movie directed by Hayao Miyazaki: "My Neighbor Totoro" from 1988 - a cute family movie about childlike wonder, forest spirits, Soot Sprites, the Cat Bus, and Totoro himself! Podcasters Featured: Erik and Meghan Slader from ⁠Nerdeagram⁠⁠⁠ Elyse from ⁠⁠⁠⁠⁠⁠⁠⁠The Super Switch Club⁠⁠⁠⁠⁠⁠⁠ Douglas Gale from ⁠⁠⁠⁠⁠⁠⁠Game Game Pass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠Kaslo 25⁠⁠ on Twitch Zack Derby from ⁠⁠The NeatCast⁠⁠ and ⁠⁠Effin Cultured⁠⁠ (Edited by Erik Slader / ⁠⁠Music by Vigo ⁠⁠@DeftStrokeSound!⁠⁠)  *Note: Bill is still editing our "Nausicaa" episode. Next Time: "Kiki's Delivery Service" 2024 is the Year of Ghibli... If you would like to be featured on an upcoming episode head over to: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://probablywork.com/podcasters-assemble/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ You can also join the discussion in our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord server⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Our Merch!⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @probablywork⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.probablywork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠⁠ProbablyWorkPod@gmail.com

Subscribers! Be sure to go to the blog to read the description easier & check out links for this episode!This episode is sponsored in part by Tokyo Treat! To get $5 your first box of delicious snacks & treats delivered from Japan straight to your door, AND to help support my little podcast, use code "NOSTALGIA" at my link here!This month (March 11th, 2024 to be exact) marked the 40th anniversary of the release of the film Nausicaa of the Valley of the Wind. So to celebrate this momentous occasion, friend of the show & HUGE Nausicaa fan Rachel is back to discuss the history of not just the film, but the manga it's based off of! Since the Nausicaa is pretty widely available at this point, we DO talk openly with spoilers. So if you've never seen the film before, go have a watch and then come back to listen to us do a deep dive & gush about what makes this movie so special in this extra-long episode! Stream the episode above or [Direct Download]Subscribe on apple podcasts | Google Podcasts | Spotify Relevant Links: Buy Nausicaa of the Valley of the Wind on Blu-ray from The Crunchyroll Store or AmazonBuy the Nausicaa manga box set from The Crunchyroll Store or AmazonBuy The Art of Nausicaa of the Valley of the Wind from The Crunchyroll Store or AmazonBuy Shuna's Journey from The Crunchyroll Store or AmazonVisit Nausicaa Net (aka the Ghibli Wiki), the longest-running Ghibli fansite still up and running!Visit Gkids' official Nausicaa pageRead "When Nausicaa became Warriors of the Wind"Follow Rachel on Twitter, Bluesky, and Twitch! My theme song music was done by Kerobit! You can find more about them on their website! Support the work I do on this podcast by leaving me a tip on Ko-fi! Want to have your name read in the special thanks segment on the next episode? All you need to do is buy me 2 or more “coffees” on Ko-fi! As always, feel free to leave me your thoughts on this episode or ideas for future episodes here—or email me directly at AnimeNostalgiaPodcast@gmail.com. Thanks for listening!

This week we talk about X-Men '97, The End of Evangelion, The Three-Body Problem, Fujou wo Nuguu Hito, and more! Then we discuss how war is bad with a One Shot on Shigeru Mizuki's Onward Towards Our Noble Deaths!!! Send us emails! mangamachinations@gmail.com  Follow us on Twitter! @mangamacpodcast Check out our website! https://mangamachinations.com Check out our YouTube channel! https://www.youtube.com/mangamactv Support us by buying us a Kofi! https://ko-fi.com/mangamac Timestamps: Intro - 00:00:00 X-Men '97 - 00:02:32 Nausicaä Of The Valley Of The Wind - 00:07:00 The End of Evangelion - 00:13:33 The Three-Body Problem - 00:22:09 *Content Warning: Corpses* Fujou wo Nuguu Hito - 00:49:37 Next Episode Preview - 00:59:30 Onward Towards Our Noble Deaths - 01:01:31 Outro - 01:52:47 Songs Credits: “Galaxy Groove” by Yarin Primak “Slappy” by Ido Maimon “Whipped Cream” by Steven Beddall “Psychedelic Funkadelic” by Evert Z

Watt is the designer behind the Nausicaa inspired ecological space fantasy game Cloud Empress. After a successful launch in 2023 Cloud Empress returns to Kickstarter in 2024 with two new books/settings. In this episode we talk everything shop, from writing and layout strategies to game mechanics and their impact on the players and the gaming experience. Back Cloud Empress, Life and Death https://www.kickstarter.com/projects/watt/cloud-empress-life-and-death https://cloudempress.com/about/ The Lost Bay - suburban gothic RPG on Kickstarter https://www.kickstarter.com/projects/thelostbay/the-lost-bay-suburban-dark-fantasy-rpg Follow the The Lost Bay Podcast https://twitter.com/thelostbay https://bsky.app/profile/thelostbaystudio.com https://www.instagram.com/thelostbaystudio/ https://www.thelostbaystudio.com/ Produced by Iko Editing Laura Elle Music Avery Isles Intro ad music David Blandy

Emprendida con un nivel de concentración y energía que hacía presagiar la ambición artística puesta sobre ella, La princesa Mononoke es, en cierta forma, la pieza central en la inmensa obra de Hayao Miyazaki. Sus raíces pueden rastrearse desde Nausicaa (1984) y sus ecos se extienden hasta El niño y la garza (2023), pero este relato acerca de un príncipe maldito que busca la fuente del mal que lo infectó a él y trató de destruir su pueblo es mucho más que una simple aventura vengadora: ese "mal" es producto del inevitable choque entre el mundo mítico y el mundo de los hombres; el combate que trenza a un orden milenario y uno tecnológico, y que se resuelve en términos de "apocalipsis", la alteración definitiva de esa naturaleza que Miyazaki evoca en sus ficciones como un torrente que se desborda, arrastrando todo a su paso, sólo para refundarse de un modo que los habitantes de esas realidades apenas alcanzan a entender. Puesta en ese marco, Sen —la princesa de espíritu vengador, a la que alude el título— es una más entre las muchas criaturas sujetas a esos violentos cambios. De eso y más se habla en este podcast.

“No matter how many weapons you have, no matter how great your technology might be, the world cannot live without love.” -Sheeta This month we're watching the second Studio Ghibli movie directed by Hayao Miyazaki: "Laputa" or "Castle in the Sky" from 1986 - a steam-punk adventure to find an ancient lost city in the clouds! Podcasters Featured: Erik and Meghan Slader from Nerdeagram⁠⁠ Elyse from ⁠⁠⁠⁠⁠⁠⁠The Super Switch Club⁠⁠⁠⁠⁠⁠ Douglas Gale from ⁠⁠⁠⁠⁠⁠Game Game Pass⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Bill from ⁠The RPG Years⁠ Kaslo 25⁠ on Twitch Zack Derby from ⁠The NeatCast⁠ and ⁠Effin Cultured⁠ (Edited by Erik Slader / ⁠Music by Vigo @DeftStrokeSound!⁠)  *Note: Bill is still editing our "Nausicaa" episode, but we figured we should at least get this one out before our extended "Totoro" due date. Next Time: "My Neighbor Totoro" 2024 is the Year of Ghibli... If you would like to be featured on an upcoming episode head over to: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://probablywork.com/podcasters-assemble/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ You can also join the discussion in our ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Discord server⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Support us on ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ or ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Buy Our Merch!⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Network Info This podcast is a production of the We Can Make This Work (Probably) Network. Follow us below to keep up with this show and discover our many other podcasts! The place for those with questionable taste! ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Twitter ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠| ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Instagram⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠: @probablywork⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠www.probablywork.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email: ⁠⁠⁠⁠⁠⁠⁠ProbablyWorkPod@gmail.com

Episode 368: Nausicaa of the Valley of the Wind (1984) #Movie Theater Time Machine #podcast starts #Miyazaki March with a #review of Nausicaa. For more, visit www.movietheatertimemachine.com  

  The rumors were true! We're capable of picking movies that aren't based on Journey to the Center of the Earth. But only because we respect the Japanese so much! It's time for us to chat Miyazaki again with his 1984 feature Nausicaa of the Valley of the Wind! But first! We chat about our favorite movies from the year 1983! Not, not 1984, the year of Nausicaa's release. Parker has his reasons, I suppose. So #DonloydNow and enjoy this bite-sized Junk Food Supper. We got all this plus a list of what's legally outlawed in Cinci, easy-snazzy tunes, the wrath of the math, the Ted Raimi beef revisited, the CM Punk beef rehashed, a bland-ass Rumble, odds that are not surmountable, your up-to-date Sumo News update, the most honorable deaths in Japan, things you can see on YouTube (if you're a perv), pre-internet flea marketing for ALFs, a pleasant conversation about Brian DePalma, a heated conversation in regards to David Cronenberg, belches, sneezes, gleeks and so much more!! Direct Donloyd Here Got a movie suggestion for the show, or better yet an opinion on next week's movies? Drop us a line at JFDPodcast@gmail.com. Or leave us a voicemail: 347-746-JUNK (5865). Add it to your telephone now! JOIN THE CONVERSATION! Also, if you like the show, please take a minute and subscribe and/or comment on us on iTunes, Stitcher, Blubrry or Podfeed.net. Check us out on Facebook and Twitter! We'd love to see some of your love on Patreon - it's super easy and fun to sign up for the extra bonus content. We'll hang-glide with pokemons for your love and support. With picks like these, you GOTTA #DonloydNow and listen in!

What does a nuclear disaster do to trees? Find out on this episode of Treeyazaki, where we discuss the Miyazaki film Nausicaa of the Valley of the Wind and the Japanese fir. Toxic jungles, giant bugs, and feudal politics. This movie was made for us.Completely Arbortrary is produced and hosted by Casey Clapp and Alex CrowsonSupport the pod and become a Treemium MemberFollow along on InstagramFind Arbortrary merch on our storeFind additional reading on our websiteCover art by Jillian BartholdMusic by Aves and The Mini-VandalsSee Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Welcome to Episode 149 of the Different Animals Podcast and this week we talk about Napoleon, Loki: S2, the Renaissance film, Die Hard, Godzilla: Minus One, Nausicaa, Howl's Moving Castle, and The Boy and The Heron. This podcast is available on Spotify, Stitcher, Apple Podcasts and wherever else you catch your podcasts. You can catch us on IG and Twitter @DifAnimalsPod or email us directly at DifferentAnimalsPodcast@gmail.com with any feedback or suggestions. S/O to @Creative.Collin on IG for the dope Artwork. S/O to @EdERuger and @PhilliePhr3sh for the dope theme. Enjoy, and we'll see you in a week. PEACE! This podcast is powered by Pinecast.

Episode Summary This week on Live Like the World is Dying, Eleanor Goldfield comes on to talk about her film, "To the Trees," a documentary that highlights forest defense tactics in Northern California. The film is meant to call into question our current relationships to nature, how we might reframe them, and why that reframing is vital to our survival and having a livable future. Guest Info Eleanor Goldfield (she/her) is a filmmaker and journalist who works to highlight different movement and struggles. You can find her work and her film "To the Trees" at tothetreesfilm.com and artkillingapathy.com. Eleanor can also be found on Twitter @RadicalEleanor and Instagram @RadicalEleanor Host Info Inmn can be found on Instagram @shadowtail.artificery Publisher Info This show is published by Strangers in A Tangled Wilderness. We can be found at www.tangledwilderness.org, or on Twitter @TangledWild and Instagram @Tangled_Wilderness. You can support the show on Patreon at www.patreon.com/strangersinatangledwilderness. Transcript Live Like the World is Dying: Eleanor on "To the Trees" & Forest Defense **Inmn ** 00:15 Hello, and welcome to Live Like the World is Dying, your podcast for what feels like the end times. I'm your host today, Inmn Neruin, and I use they/them pronouns. Today we are talking to a filmmaker about a really beautiful film called To the Trees. And I'm really excited for you all to hear this conversation. We're going to talk a lot about logging and forest defense and just kind of like the extraction industry in general, and then just about some, you know, cultural or psychological paradigms that we have around resource extraction. But first, we are a proud member of the Channel Zero Network of anarchists podcasts. And here is a jingle from another show on that network.  **Inmn ** 01:40 And we're back. Hi, thank you so much for coming on the show today. Could you introduce yourself with your name, pronouns, and a little bit about your background, and what you're here to talk about today?  **Eleanor ** 01:55 Sure, thanks so much for having me. My name is Eleanor Goldfield. She/her. I'm a queer creative, radical filmmaker, and journalist. And I've been doing frontline--I hesitate to say activism--I've been doing frontline actions and journalism since 2010 together. And before that I'd been doing organizing and community organizing since about 2003, before the second Iraq War. And I'm here today to talk about my latest offering in the film domain, which is called, "To the Trees," and it's about forest defense tactics in so-called Northern California and also about our relationship to nature and the necessary shift that that must take for us to have a livable future. **Inmn ** 02:50 Cool, um--I mean, not cool that a film like this needs to get made but cool that a film like this now exists and can teach people a lot of really awesome things. I highly encourage everyone to go out and watch the movie. It's really wonderful. It's really beautiful. But could you kind of give us just like a recap of the movie. **Eleanor ** 03:17 Sure. Yeah, and the films available at ToTheTreesfilm.com. And all of my work is also available at ArtKillingApathy.com. So kind of a general overview of the film is that I went out there to do.... This is kind of how I work. I ask folks if they need any support--and I'm ground support, by the way, because I don't do heights. Although, I did climb a redwood when I was out there, which was a terrifying experience. And I'm never doing it again. **Inmn ** 03:49 They're so big,  **Eleanor ** 03:51 They're ginormous. And that was my first...that was the first tree I decided to climb because...yeah, whatever. And it took me 45 minutes. And it's 200 feet up in the air, and I was terrified. And it took me like 15 minutes to get up the courage just to step off the platform. And the tree sitter, they were like, "You just step up," and I'm like, "What do you just step up? I'm gonna die," and they're like, "No, you're not. You're gonna be fine. I swear" and I'm like, "Oh God, this is so terrifying." And they're like, "Yeah, maybe you are ground support." **Inmn ** 04:20 Ground support is crucial. **Eleanor ** 04:23 It is crucial. Yes. And it's very much.... That's very much me. I was built to like just be grounded, I think. So I went out there basically saying, "I would love to help you all and do support and also, if it's cool with you, I'll bring a camera and I'd love to just hear some of your stories." And so folks were cool with that. And so there I go, traipsing into the woods. And it's a beautiful tree village. And the redwood forests, if folks have never seen them, I mean it's like Narnia. You know the forest floor is Like this plush, you know, soft and welcoming space. And then you look up and it's like the trees are so tall that you can barely see the crowns. It's just kind of like this green haze above you. And so I just started talking to folks and talked to a couple of tree sitters. I also spoke with somebody who does more of the judicial side of things, like trying to get forest...or like logging companies in court and how that kind of works with tree sitters. And then I also spoke to an indigenous woman, Marnie Atkins, who is a member of the Wiyot tribe, spoke to her a lot about perspectives on what's going on in these forests and the paradigms that are different between her people and the colonizers who came. And so it's kind of a.... [trails off] I call it at the end, I have this, I have this slide that says, "To the trees: It's a dedication, a call to action, a promise, and a militant apology." And I wanted folks to feel that, that it's an offering and it's also an invitation, not just to act in whatever ways we can but also to question the way that we think about these beautiful places, whether they be the redwood forests or whether they be the the ecosystems that are outside your front door. **Inmn ** 06:42 Yeah, yeah. And it's.... I feel funny that this is one of my first questions, but it was one of the pieces of the film that kind of really got me--it's like always knowing that Capitalism uses things for really silly things--but learning that the main use of redwood trees is to just turn them into kind of crappy decks. Is that right? **Eleanor ** 07:12 Yeah, yeah, it's based on market forces. The best use of a redwood tree is decking. And not only that, but redwoods can be 2000 years old. And of course, if you were to chop down a 2000 year old tree--which by the way, there's no law against it in California or anywhere else in the in the United States--if you were to do that, yes, that deck would last a while--it wouldn't last 2000 years--it would last a while. But the way that they cut down trees at the rate--because of course, no one's gonna wait 2000 years--they cut down these trees in their infancy. So the strong heartwood of the tree has not had a chance to develop. And so you're cutting down these trees, you know, destroying any future that they might have to rebuild an ecosystem, and you're turning them into a deck that is not even going to last like a decade because it's just not made of wood that has had a chance to mature. And so you're literally destroying burgeoning ecosystems for the sake of a deck that is going to last less than, you know, the length of a Britney Spears' single. It's just...it's ridiculous. **Inmn ** 08:35 Yeah, yeah, I feel like that's one of the harder things that I struggle with when really thinking about industrial Capitalism is just the...it's like the cost of what it...like what it costs to do to the planet versus what is gotten from that. And it's not even like, oh, you're gonna get something that's like, "We cut down this tree and it's gonna last this family multi-generations," you know, it's like a piece of shit that's gonna rot and fall apart in a decade.  **Eleanor ** 09:12 And that's the whole, you know, that's one of the primary issues with Capitalism is that it treats things that are finite, like trees and clean air and clean water, as if they're infinite. And it treats things that are infinite, like ones and zeros on a computer, as if they're finite. Like, "Oh, we don't have the money." And, I mean, it's like--I can't remember who it was-- maybe it was Alan Watts, who said, "That's kind of like saying, 'You don't have enough inches to build a house.'" Like that doesn't make any sense. Like of course you have more money because you just make it up. It's all a fairy tale. Whereas the things that we can't just make up like a 2000 year old tree or a clean river, you treat as entirely disposable, and that is one of the primary issues with the paradigm of Capitalism and thereby colonialism, which was the battering ram of Capitalism. **Inmn ** 10:08 Yeah. Yeah. I'm wondering if you could tell us a little bit about what are the life cycles or growth cycles or logging cycles like in places that are being [testing words] harvested? Destroyed? Whichever word.  **Eleanor ** 10:34 Yeah, that's that euphemism, right? "Oh, we're just harvesting." No! So, basically, there are several different cycles that can be used. I think one of the shortest ones for redwoods is 45 or 50 years. So if you clear-cut and then you--and redwoods are actually one of the few trees that can sprout, like from a stump. Like it's self...I can't remember what it's called. Self-sprouting or something? And so you have to wait 45 or 50 years. Now, whether they always do that or not, is up for debate, especially depending on what they're hoping to get from the products. But it's 45 or 50 years. Some will say, "Oh, we're gonna leave this plot for 100 years," or whatever. And again, whether that's done or not, is up for debate. And it's also difficult because industrial logging has only been around since like, you know, 120 years or so. So when we talk about the amount of time you really need to grow these forests, it's like we're going back to a time before this was even a conversation because you couldn't possibly tear down the forests that quickly. And so we're in this kind of odd liminal space where people are talking about, "Oh, we're gonna have to let this grow again for 100 years," but 100 years ago this wasn't even a contemplation. And so the cycles are based on, again, like the market forces. LIke, okay, well, at 45 or 50 years these trees will be ready to be harvested and then can be used to do whatever we want with them, you know? Truck them off to the sawmill. And that, again, is it.... Well, I could go off into so many different tangents, but I'll pause. **Inmn ** 12:36 I do.... We love tangents. We love rants. So this wasn't surprising to me, but I've spent like a little bit of time in the coal fields of West Virginia, and it seems like there's this kind of similar thing in logging where there's a strong guidance to preserve the cardboard frame of what things look like from a road or something, you know, so it's like the devastation appears a lot less impactful. I am curious what kind of lengths or strategies logging companies go to--or the State goes to--to make it seem like nothing all that bad is happening? **Eleanor ** 13:25 Yeah, absolutely. And it's funny you brought up West Virginia because my first documentary was actually about West Virginia. And I talked a lot about the coal fields. And I actually did a flight above them because you can't--I mean, to your point--you can't see it from the roads. And you can really only see the vast devastation if you're up in a plane. Or if you have a drone or something like that. So in California, they call it the 'visual impact' or commonly called 'the beauty screen.' And it's this idea that, particularly Inmnorthern California--because Northern California, unlike West Virginia, which is very proud of its coal, Northern California doesn't want you to think it's proud of logging--it wants you to think that it's super proud of the trees, which is really twisted. **Inmn ** 14:21 Yeah. Yeah. **Eleanor ** 14:22 It's like being a serial killer and then being like, "I have a human rights organization." So they will.... Right before you get to a lot of these THPs, that's timber harvest plans, you're driving through, for instance, the Avenue of the Giants, which is part of a redwood forest, Redwood National Forest, and it's gorgeous, right? And you would never think that just a few miles up in the hills there are these vast bald spots. And so they want to ensure that that stays the case, right? So you just keep driving and you keep driving up the one on one and you just see trees and then the Pacific Ocean is over here and you're like, "Oh my god, California is amazing!"  **Inmn ** 15:06 "We love trees!" **Eleanor ** 15:07 Right. But it's being destroyed. And you can't see that. And it's very important that you can't see that because the companies that own this land--because most of it is privately owned logging land--and the companies have this like...one of the guys in the film says, "This eco groovy PR campaign and this facade." And they want you to think that everything is done respectfully and sustainably when, of course, you can't clear-cut sustainably. So they want to make sure that you can't see it because that would fly in the face of their 'eco groovy facade.' And part of that is also that they have a certification, which is called FSC, Forest Stewardship Council certification. Which if you've ever been to a Home Depot or Lowe's, oftentimes FSC wood will be more expensive because the idea is that it's sustainable. And so you get to feel good about yourself, you know, like, "Oh, sweet, this isn't from a clear-cut," but it is. And the Forest Stewardship Council, even if it started with honorable aims, is a complete...it's just a rubber stamp for the logging industry. And there's been a long list of horribleness, including stealing indigenous land, clear-cutting old growth forests, and you know, and yet they have that little FSC stamp. So people think, consumers think, that this is done sustainably. But of course, it's not. And so this is all part of that greenwashing campaign, whether it be the 'beauty screen' or the FSC stamp, it's all part of that push to ensure that the consumer remains in the dark and thinks that, particularly, Northern California is sustainably harvesting their, in quotes, 'harvesting' these trees and ensuring that they will be around forever. **Inmn ** 17:09 Golly, yeah. And I imagine people also...like the consumer on the end of like...they, you know, they go into Home Depot, or they're hiring a contractor to build their crappy deck, I'm sure they're really ecstatic that they have this...are getting this redwood deck. Like, I feel like it's just the name, you know, "Redwood," it sounds so majestic. It sounds so like, "Wow, this is gonna last me a really long time."  Is that kind of like part of it too, do you think?  **Eleanor ** 17:44 Yeah, I think it sounds.... You know, I was in bands for years, and people used to talk about the wood that went into their instruments like, "Oh, it's mahogany neck." and someone's like, "Oh! It's a mahogany neck." **Inmn ** 17:57 It's an electric guitar...like it doesn't matter. **Eleanor ** 18:01 And sure, I mean,as a former audio tech, I can be like, okay, I've heard the difference in acoustic guitars where you're like, "Okay. That. Yes." But it is also pretty.... I mean, mahogany is not endangered in that sense. But still, it's pretty twisted to be like, "Yeah, the best way to use this tree is to turn it into an instrument or a deck or whatever. It's that like, again, in Capitalism, nothing has inherent value in and of itself. Nobody's like, "Oh, wow, an oak tree! That's super cool!" Everyone's like, "Hmm, what can I do with that?" It's like, maybe you could just leave it the fuck alone. I don't know, Maybe that could be a thing? But nothing in Capitalism has inherent value in and of itself. So it always has to be twisted and contorted into something. And that carries with it a certain status, right? Like, oh, if you have this deck made out of redwood or if you have that guitar made out of mahogany, it becomes a status symbol. And so that is also part of like the poisoning that is Capitalism, psychologically, I feel.  **Inmn ** 19:06 Golly, I wish--I know, this is a recurring theme on the show--but if only our lives were more like those of hobbits. I mean, they just have a Party Tree, and that's a community resource. And they're like, "We need a party tree. It needs to be like 3000 years old and that's a party tree." If it's not 3000 years old. It's not a Party Tree. Or, yeah, the forest on the edge of town that everyone's like too afraid to go into. **Eleanor ** 19:40 Yeah, well, and this is actually something that I think is funny, too, that we have so many stories, whether that be through, you know, Lord of the Rings, or like when I was growing up, I partially grew up in Sweden, and there's so many stories still today about the Forest and its power. And I feel like that's also an interesting relationship that we have with the forest is that we are a little bit afraid of it. And that also...that also pushes us into this relationship where, okay, well, I'm gonna conquer my fears, right? As opposed to the stories--and there are these stories even in European cultures--that talk about the beauty of the forest and what the forest gives us. But that's also an interesting dynamic between a lot of Indigenous stories that I've heard where, yes, there might be like some being that lives in the forest that you don't want to interact with. But a lot of it is also about how, "Oh my gosh, look at all of the beauty and the life that we get from the forest," as opposed to, "Woods are terrifying. Don't mess with them at all. Just don't go there." It's like, but that's also going to dictate how you feel about cutting down a bunch of trees. **Inmn ** 21:04 Yeah, it's wild that fear of the forest means we have to destroy the forest. It's a bad mentality. As much as I love a story about the Dark Forest, you know, and wish that that was like a more sustainable option, growing a more deep connection to the forest is probably a more sustainable way to go about things. Did you ever see Nausicaa of the Valley of the Wind?  **Eleanor ** 21:33 Yes, I did.   **Inmn ** 21:34 Yeah. Incredible movie about a toxic forest that will fucking kill everyone who comes into it. Because it eventually was like, "No humans. You can't. No, I can't take anymore. Here's poison." **Eleanor ** 21:50 Don't blame it really.  **Inmn ** 21:52 Yeah, and it's like, "No, I need several thousand years to recuperate from the harm that you've done and eventually I'll be a forest you can come in again." **Eleanor ** 22:04 Right. Right. Well, and I think... We talk about that in mutual aid spaces, or in organizing spaces, like, okay, if harm has been caused and there needs to be time to recover then possibly we can get to the point where we can be in community together with that person who did the harm.... It's like, we do that as humans. And it's necessary, right? And that is exactly what ecosystems need too. Like, the idea of--this is also how we fuck it up in terms of the Capitalist mentality--the idea of like, "Oh, we're going to leave that to grow for another 45 years before we cut it down again," that's not allowing a relationship to recuperate, right? That is, once again, treating something in that violent way, like the violence of ownership versus stewardship, right? Like, ownership is a violent relationship--I mean, just look at slavery--but stewardship suggests a respect. And I think there's also space for fear there, too, right? I think that, you know, when I was a kid walking through woods, I would feel a little...maybe a little scared, but I would also feel safe, like, "Oh, I'm safe within the woods." So I think we can carry both of those at once. And I think that sometimes when you have a deep respect for something, there might be a moment where you're like, "Oh, that's, that's creepy." But there's also this feeling of like, "I'm safe here." And I think that, you know, I think that carrying multiple truths at the same time and multiple thoughts is just beneficial. But yeah, I think that the idea of allowing places to recover is super important, while also recognizing that we have a role in that. And that's something that Marnie talks about in--and actually one of the tree sitters as well--talks about in the film is this idea that the relationship we need to have with nature is not removing ourselves from nature. And I always think of...I spoke with somebody who does work in Africa with the Maasai, and she was saying that the Maasai were removed from their ancestral lands in order to create a conservation park. But what happened with the ecosystem when they were removed is the ecosystem started to fall apart, because the Maasai were an integral--and had been for 1000s of years--an integral part of that ecosystem. And so it belies that notion that we are somehow outside of ecosystems. No, we are super reliant on them. And I think that kind of that kind of thinking is also super important to remember that like, you know, Indigenous peoples have used, for instance, wildfires, as a way to steward the land, because they're not the wildfires that we see today. They were wildfires that were able to replenish the soil and the land, get rid of invasives, and things like that. So the idea that humans are a part of these ecosystems, and that we have to learn those ways of being and rid ourselves of the notion that we can somehow be outside of, and other than, the ecosystems. **Inmn ** 25:29 I mean, it's like, it's.... I feel like, it's the same thing with most struggles out in the world is we have the tendency to want to remove ourselves from those things. And it is usually detrimental to those causes for us to think of ourselves as outside of everything--which, you know, obviously, there's struggles that we should send our specific voices around and that we should...like certain people should like not make about themselves--but like, for the most part, we are entrenched in all of in all of the thing. And we have to be an active part of them to fix them. **Eleanor ** 26:13 Totally. And I think that, you know, the idea of like, we should always be a part of these struggles, and not make them about ourselves, right, like the struggle to defend redwoods is not about us. It's just that in our own space, we can have these conversations about what it means for us humans to be in the struggle, just like I think, you know, right now, I've been in conversation with several fellow Jews about what's going on right now and what what we're dealing with as Jews. That is not something that I want to put out into the world like up on, you know, I don't want to spend a lot of time on it because it takes the focus away from Palestine. But within our Jewish community, I think it's an important conversation to have. So it's like...It's that...It's that way of being in the struggle. And then if you--just like I think white people need to have conversations with each other about what it means to...like what does Black Lives Matter really mean? And what does dismantling racism really mean? Don't do that at a Black Lives Matter protest, okay. That is not the time, but in our own space and time. So I think, again, you can hold both of those, and I think it's important to.  **Inmn ** 27:29 Yeah, golly, to go tangent for a second on that, like, I don't know, I read this article yesterday, I think, about this.... It was an interview with this Palestinian man who was talking about being asked about antisemitism and like his response to it was like, Israel is.... Israel as a State. Israel displaced Jews living as Arabs in Palestine. Like, Israel is bad for Jewishness and Jewish people.  **Eleanor ** 28:15 Yes, thank you.  **Inmn ** 28:16 And this is like all part of this, like colonizing myth, and any colonizing myth, is to create these others to create a "side," or whatever. I don't know. **Eleanor ** 28:29 Yeah, that's so true. Israel is the greatest threat to Jews in the world right now, I think. **Inmn ** 28:37 Um, too.... Not that I don't want to talk about this stuff more but to veer back towards the movie, I am curious about the collaboration between different...like attacking the problem from different angles. And in the movie, there's kind of this triple-pronged approach that is presented as there's people on the ground doing stuff in the trees, there's people doing legal work, there's indigenous people doing stewardship, and then there's people coming in to make movies about it. And I'm wondering if you could talk a little bit about how, like, all of these things interact and like help each other. **Eleanor ** 29:32 Sure. So, it was actually Tom Wheeler, who works at Epic in California, who said that we exist in an ecosystem with each other, which I liked. And he was talking about how--and he works on the legal side--and he was talking about why the tree sitters are important. And I really appreciated that because I think a lot of times we get, you know, the classic saying that like, "When anarchists meet, we meet in a circle. And that's also how I do firing ranges." And unfortunately, like it's true--not just with anarchists, it's just that my anarchist friend happened to say that. I think it's everybody on the left, regardless of what...if you have a title for your preferred angle. But I think it so often is the case that it's like, "No, my tactic is the most important. If you don't want to do my tactic then you're wrong and you're an asshole and you're standing in the way," and it's like, but not everybody can do the thing that you're doing. Like, I can't climb--I mean, I can climb a tree, but I won't, there's like, you know, the floor is lava or some shit--and not a lot of people have the ability to get up into the woods, to take that space and time. And a lot of people don't have the expertise to do legal battles. You know, we need a lot of good lawyers out there. I think the Lakota Law Project taught us that. Look what's happening in Atlanta. Like. you need good lawyers. So I think instead of getting on people's cases, about tactics, I think it's really important that we recognize that whatever your passion is, whatever your expertise or your drive is, there is a place and a need for that in our movements and in whatever struggle. And so I really appreciated that about the folks that I spoke with, is that they all were complementary and understanding of the other people in the struggle and understood that the goal was the same, was to protect these spaces and protect them out of this feeling of love for these spaces. And I think that's the other thing that's really important is that nobody was doing this for the, you know, the Instagram likes or because they thought it...because it paid the most money or because anything like...they were literally like, "Because I love these spaces," either because I have a strong ancestral connection to them or because I've just fallen in love with them from being around them. And so I think that that's the other thing and that this diversity of tactics is necessary when confronting something so vast and so disgusting as colonialism and Capitalism. We have to do whatever we can. And these folks are doing whatever they can. And Pat, one of the tree sitters, actually talks about this too in the film, like, sit wherever you can, do whatever you can in the ecosystem that you know, in the ecosystem that you love. Like, it doesn't have to be in a redwood. Cool if it is, but we don't have to choose the most superlative ecosystem or the most superlative place to do this. All ecosystems are worthy and Inmneed of our collaboration and protection. And again, in whatever ways we can. **Inmn ** 32:57 Yeah, yeah. It's really disheartening to watch spaces kind of rip themselves apart in being upset that everyone is not doing the tactic that they want. And that is something that I've always really appreciated about, especially, forest defense campaigns or like other kinds of extraction industry defenses--I can't think of words right now--is just the recognition that we need a lot of different kinds of people to do this work. And, you know, I feel like maybe part of that is people maybe having gone and done things and then gotten in a lot of legal trouble and being like, "Oh, fuck, we need lawyers," and then like, realizing like, "Oh, lawyers are really cool!" But, yeah, that's something I just really appreciate about those campaigns. Um, yeah, I don't know, maybe this is a funny question. Say I'm some random person--or not random--just I'm a person listening to this podcast who's been like curious about forest defense and doesn't really know where to start or how to get into that. Like, I want to.... I've never done forest defense and I want to go get involved in a forest defense campaign, either one that's near me or one that's, maybe, far away. Do you have any advice for someone like that? **Eleanor ** 34:48 Sure. I mean, I think just start digging into folks who have the knowledge that you're interested in. So like Inmnorthern California, there's the tree sitters union, I think they're on Instagram @thetreesittersunion. There's also, like down around where I am, close to Appalachia, there's Appalachians Against Pipelines. Greenpeace does a lot of like trainings, like climbing trainings and things like that. And those are also spaces where you might be able to meet folks that are like minded. But honestly, like in terms of getting started on a campaign, like.... You know, in the film, again, they just say, just, you know, I" walked up...we walked up and we saw that there was a chainsaw at the bottom of this tree And were like, 'Oh, I guess we'll sit in this tree.'" I think people feel like there has to be this, you know, there has to be the war room where you got all the plans and you got the poster board and you got paper clips and all that. But you don't! Like yes, plan is good so you have water and shit, but it doesn't have to be this really elaborate. campaign to start with. And earlier this year, I was in Germany because I was doing a tour of my film about West Virginia coal in the coal regions of Germany. And I went to this tree village that is absolutely gorgeous. And folks were still living there, even though the campaign had kind of moved on, and I was asking them, like, "Okay, so what's the story here?" And it was the same thing. It was like, "Well, we just didn't want them to cut down this forest." I mean, it really is that simple. Like, I think, again, there is this...there's kind of this mystique to the idea of frontline defense. And, yes, it can build to something where you've got several tree villages or you have, you know, a resistance camp blocking a pipeline that's also like a food forest. Like, sure it can become that. But you don't need to start with that. You just need to start with yourself and some comrades, and this, again, this feeling of love for this place that is threatened. And again, like looking for organizations or like minded folks--and the ones that I mentioned are good places to start--but there are definitely others that I don't know of personally. **Inmn ** 37:14 Yeah. I'm having...I guess having witnessed campaigns in a lot of different places, I'm curious about this. Are there any kind of differences that you noticed between forest defense campaigns here in the United States, or like Turtle Island, versus in Europe, or any kind of like other places that you've been? Either in terms of repression, tactics, or just like how people organize? **Eleanor ** 37:52 So, I'd say in terms of the repression tactics, I mean, people in Europe--I can only speak to, currently, Germany and Sweden--but people were very shocked and disgusted at what happened to Tortuguita and what happened down in Atlanta in terms of facing terrorism charges and Rico charges. But there is also, I mean, in Germany, earlier this year, the cops brutally beat people who were trying to save a small town, Lützerath, from being destroyed for an open coal pit mine. So in terms of the direct pushback, the violence, they're not getting shot, but they are getting the shit beat out of them. And so there's absolutely that understanding that, you know, fascism is on the rise across the globe. And neither Europe nor the United States have to look very far in their history, or their present really,to find ways of emulating the fascist state that they are moving towards. And so, in terms of repression, I think it's mostly like the legal battles that are the main difference between the US and Europe. And I think in terms of organizing, I do see a lot of similarities, basically, because it's the same story. It's people who were like, "Actually, you know what, no, you can't fucking do that. I'm not gonna let you ruin this." And I do find a little bit of the same problems in terms of organizing. Like, for instance, Inmnorthern Sweden--which a lot of people don't know that Sweden, Finland, and Norway have indigenous peoples that were then colonized--so the Sami are the indigenous people of the far-north and their ancestral lands blanket across what is now Norway, Finland, Sweden, and parts of Russia. And that's also where a lot of forests are. And it's up in the Arctic Circle. And there's a lot of still culturally important practices, like reindeer herding, that happen there that are being disrupted by deforestation and mining. You know, like Sweden announced recently that, "Oh, we found lithium in the north." Oh, great!  **Inmn ** 40:24 Oh no. Leave it there! **Eleanor ** 40:26 Yeah, exactly. Don't tell Elon Musk. So, yeah, there's a push to protect these spaces but also this difficulty of like, okay, how do we, as non-indigenous people in Sweden make these inroads. And the Sami are historically very reticent of working with Swedes--I don't blame them--or Norwegians or what have you, because of what's happened in the past. And I noticed that here, too, right. It's difficult sometimes for people who are not indigenous to make those connections in indigenous communities. And so I see a lot of that struggle as well. But at the same time, again, when you are coming at it from this place of, "Well, I too want to protect this out of love. And not because I'm looking for some kind of accolade or whatever," that I think that you can make those connections and you can make that struggle collaborative, as long as you're coming at it from that space. And, so I do see that happening in places outside of the US and I think it's rad. **Inmn ** 41:43 Hell yeah. That's really great. Golly, this is a really weird question, but, you know, my brain's always on a tangent. Are there any forest defense influencers? Is this a thing in the internet and the internet world? I'm imagining the person who's just there for, you know, Instagram likes, or something, and I'm like, is that real? **Eleanor ** 42:10 So like, not like the straight up forest defenders, but there's definitely like the Sierra Club type that are like.... You know, so, again, it's like this kind of gray area--I'm a big fan of recognizing nuance--it's like this nuanced space where the person cares and doesn't want to see it destroyed but also wants to virtue signal to people that they care. And that gets all gummed up in the whole Capitalist shit show. So yeah, it's a gummy area. **Inmn ** 42:48 Yeah, and this is--golly, whatever, I love funny questions--so I'm curious about this from, you know, I've had my own experiences with different with different organizations, but is there any kind of  tension or like problems that you do see between on the ground direct action campaigns versus these larger NGO or like nonprofit structures like the Sierra Club or Greenpeace? Yeah, I don't know. I'm not asking for a shit post about these groups or anything, just some of the nuances or complications that can come up?  **Eleanor ** 43:38 Yeah, I mean, again, Capitalism fucks everything up. There were a couple of organizations that I reached out to when I was in California, and they were first happy to talk to me, but then when they realized that I was there supporting and speaking to tree sitters, who are, by definition, breaking the law, because it's private timber land, did not want to speak to me anymore. And I think that's very clearly--like whether they personally wanted to or not is not the point--but as an organization, I think they realized, "Oh, well, our donors are, I don't know, some rich asshole over here. And if we do that, if we engage with people who are very overtly breaking the law, then that's not good for our bottom line. And we need our bottom line in order to keep protecting the forest.: So in their mind, they were doing that so that they could continue to protect the forest. But of course, this creates that splintering that is so useful for the system. In reality, they should be working with the tree sitters. Like, you have the ability to work together to protect these spaces but because you have to make sure that you get the foundation money or these rich donors or whatever, you can't. And so I absolutely see that and I think that's also a global problem because a lot of this does cost money, you know? Like, rope is not cheap. Just making sure that people have supplies and food and things. Like shit costs money. And it's not like tree sitters get paid. So it is difficult, but I tend to--I shouldn't say...I don't want to be prejudiced ahead of time, but I've I find that I often am--be prejudiced against a big organization that says, "We are protecting the forest." It's like, are you? Or are you doing like forest walks and shit--which is cool--and like picking up trash. But that is not the same thing as standing between a chainsaw and a tree. And that's not to say that like, "I'm more radical than you." It's just a necessary context, I think, for understanding, again, this ecosystem that we're a part of. Like, we need more people to be the ones standing in between the trains on the tree. And I think we need fewer people being the ones, you know, typing up newsletters about this forest walk where you can plant a sapling or some shit, just in terms of what we need. That's what I would say. **Inmn ** 46:25 Yeah. Yeah, It's weird how similar the idea of an NGO or something being getting donors to lead a forest walk.... It's the trap of building an organization that gets too big and has too many dependencies on Capital to sustain itself. It's, yeah, it's.... I don't know. I think about this a lot with different projects that I've been a part of. Like I'm part of this community theater group and I'm like, we can't get too big or it's gonna cause huge problems. We can't be too successful or else it all falls apart. Yeah, I think that would be my biggest thing with some larger NGOs is it's cool if y'all's thing is like bringing in money, that's cool. But it seems like the real problem is an organization like that's inability to accept a diversity of tactics or donors to really look past--and maybe this is a shitpost--but the idea wealthy donors who want the experience of like donating to an environmental nonprofit and want that experience of like bringing their kids on the forest walk, this is the same thing as getting a like, quote, "heirloom redwood forest timber deck that is sustainably 'harvested'" Like it's the same thing. **Eleanor ** 48:15 Yeah, it is very twisted. And of course I think that's the problem is that there's no such thing as money without strings. And so when you have these big donors--and I know this from just other spaces that I've organized, even outside of the environment--okay, well, so-and-so is gonna give this much money, but then they also want us to build the website this way or they want us to make sure that the action looks like this. And it's like, but also these people don't know anything about organizing. So then their ideas are shit and you're like, "Look, the whole entire campaign is falling apart because you want this sign to say something completely stupid," and it happens all the time. And that's why, unfortunately, we as organizers have to have this balance of like, "Okay, we need this much money, but if we just get it from one or two donors, what do they want in return for all of this cash?" And there's always going to be something. They're not just going to be like, "Hey, really happy that we can support you in whatever you're doing," like, that's never the case. So yeah, it sucks. But yeah, until we can just, you know, pay rent in good deeds or something, that's gonna be the problem. **Inmn ** 49:35 Or like shift our cultural mindset beyond like...you know, if I'm a wealthy donor or something, then the important thing is that the people have the money and resources to do the work, not that I get anything in return from it.  I don't know, I feel like--and maybe this is my bias, having not traveled much outside of the States--is that we have this very individualistic mentality around everything, and that that extends to forest and extraction resource defense and like.... I don't know. **Eleanor ** 50:15 It is a.... And one of the people in the film Marni, a member of the Wiyot tribe, talks about this individualistic paradigm that has perpetuated, that we as children of Empire have, because it's been passed down to us. And even those of us who have been radicalized, I like to say that there's no way that you can ever be like 100% AntiCapitalist. Like it's a daily struggle, just like you have to be antiracist everyday and antifacist. Like, there is no like, "Got it! No, I'm done." So she talks about this like this--and you know, to go back to Lord of the Rings-- **Inmn ** 50:18 The real goal podcast, right? It's not. But... **Eleanor ** 50:27 It all has to do with Lord of the Rings. She likens it to Gollum. And if anybody listening has not read Lord of the Rings, first of all, please do so. But secondly, Gollum is not a character that you want to emulate. Like, that is not how you're supposed to read that. Like, oh, Gollum is cool? Like, he is literally driven to mental anguish and dismay and physical like breakdown because he's so obsessed with this one ring. And that is not a good thing, right? It's not something where you're like, "Yeah, Gollum!" and he loses like all his community. Like, he's just by himself. And yet, we have built an entire system on the paradigm of Gollum. Like be by yourself. Fuck community. Care only about the thing that you can own and that can thereby, of course, own you in return. It's so fucked up. And yet, that is like the foundation of Capitalism. And so of course, when we step into a forest...and is one of the lines that I have in my first film about West Virginia is "How can you look at a mountain and think 'mine.'" Which is, of course, a double entendre. Which, I'm a sucker for those. But it's like, that's what we do. We've been programmed into stepping into these beautiful spaces and thinking, "Oh, I wonder how much this would be worth if I destroyed it?" Like, what kind of fucked way is that to look.... And it happens, you know, I have a toddler and people will kind of laugh when I'm like, "We go outside and we hug trees together," and they'll laugh. And I'm like, "So that's kind of weird that you think it's funny in like a derogatory way, because wouldn't it be more fucked up if I had like a toddler axe, or some shit, and I was teaching him how to destroy these things? Like, why do we have this paradigm where it's weird to teach your kids to love nature but totally cool to give a five year old a hunting rifle or something. Like what in the hell? And I'm not saying that you shouldn't hunt. But we hunt for fun. Like we don't hunt because we need food. We hunt because it's fun. **Inmn ** 53:17 Or for the trophy. **Eleanor ** 53:20 Right, for the trophy, which you can say is the same with the redwood deck. It's a trophy. It's something to show off to people. You don't need it. Like you could, you could stack stones and have a deck. Like, you don't need the fucking redwoods. And she also made...Marni makes this point in the film too, like, of course, people have used wood for generations, to use  for firewood, to widdle sculptures, to build things. And she's like, "I totally get that, but you can't do it at this scale. You have to have this relationship with nature so that you only take what you need and make sure that there's enough for the next time," and you see this throughout indigenous cultures. You know, Robin Wall Kimmerer talks about it in "Braiding Sweetgrass," the idea that--and I don't remember if it was her tribe or another one that she's talking about--would go out and get fish, but then they wouldn't get all of the fish. They'd just get the ones that they needed, right? And they would know that there's all these fish 'getting away'--in the white perspective--but they're not 'getting away,' they are surviving so that you can go fishing next time. And so again, it's like this...it's a very short sighted paradigm that is totally individualistic and totally destructive, that doesn't.... And again, like Gollum is totally destroyed but he doesn't see it himself. It's only people on the outside that are like, "Oh, God, that guy's not doing well." And yet again, we don't, we don't see it from the inside. And so I think that's why it's so important to step outside of that programming and just see the logic or the illogic of these situations and allow ourselves to fall in love with nature and question why that sounds corny when we say it out loud. Like, why is it corny to fall in love with a tree or a river or what have you. I mean, like, that is actually really beautiful. And it is necessary if we are to get to the space where we can say, "Defend what you love." Because if you don't love something, you're less likely to defend it, right? Like, you know, of course, that's why parents always defend their children because you have this natural need, like you love your child so much, or your partner, or your friend, or what have you. You're less likely to defend a total stranger. It's just like a human thing, or an animal thing. And so if we don't love these places, these spaces, then we're less likely to be moved to defend them. **Inmn ** 56:01 Yeah. Golly, so don't be like Gollum. Don't hoard ultimate power and destruction. Be like a hobbit and enjoy the 3000 year old party tree because it's a beautiful tree.  **Eleanor ** 56:19 Amen.  **Inmn ** 56:23 Well, this seems like a great place to kind of tie it off, and because we're also almost at time, but do you have any final thoughts or questions that I didn't ask you that you wish I'd asked you? And then after that, anything that you want to plug? **Eleanor ** 56:43 Just, I mean, it was something that I included at the end of the film, my good friend Carla Bergman co-wrote a book "Joyful Militancy," which I also recommend to everyone. **Inmn ** 56:53 Oh, yeah. We had Carla on not too long ago. **Eleanor ** 56:57 I love Carla so much. So one of the things that they talk about in that book, Carla and Nick, is this idea of rigid radicalism and the need to be fluid but not flimsy. And I think that that's something that...that's another practice that I'm trying to get more into, because I think a lot of times when we have a stance or when we have a perspective, we can get stuck in it. And then, we can let it weigh us down. And I think it's really important, no matter what fight we're fighting, to be able to be fluid because it will allow us to confront the next struggle, the next shitstorm, the next fire, or whatever. But if we are too rigid, we will get caught up in the flood or the flames and be carried away. And so I think it's important to stay fluid but not flimsy. And yeah. **Inmn ** 57:59 Sick.  Are there any places that you can be found on the internet where you would like to be found or where your work can be found? I know you plugged stuff at the beginning but we'll throw stuff in the show notes. **Eleanor ** 58:14 All of my work is at artkillingapathy.com That's where my films are, my music, my poetry, and journalism. This specific film To the Trees is at tothetreesfilm.com and I am on Instagram and Twitter @RadicalEleanor. **Inmn ** 58:32 Wonderful. And are you working on anything? Got anything coming up soon that you're working on? **Eleanor ** 58:38 I think I'm going to work on some of the footage that I got in Germany as kind of like an addendum, or a compliment, to my first film about coal regions in West Virginia. I have footage from coal regions in Germany that I think I'm gonna put into something. **Inmn ** 58:58 Great. Well, thanks so much for coming on the show today. **Eleanor ** 59:01 Thanks so much for having me. **Inmn ** 59:08 If you enjoyed this episode, Defend the Party Tree. You can also tell people about the show. You can support the show financially by supporting our publisher, Strangers in a Tangled Wilderness. And you can find us on Patreon at patreon.com/strangersinatangledwilderness. You can also go to tangledwilderness.org and check out some cool books that we have for sale, because we are a publisher. We put out books, we put out zines, we put out podcasts, obviously. And we're working on all kinds of really fun stuff. So, go check it out and get a cool book. We also do this zine of the month club where for like 10 bucks a month, you can get a zine version of our monthly feature mailed to you anywhere in the world. You can also listen to the feature for free on our other podcast Strangers in a Tangled Wilderness, where we do interviews with the author And that's really it. We would like to have a special shout out to a few of our Patreon supporters. Thank you, Patoli, Eric, Perceval, Buck, Julia, Catgut, Marm, Carson, Lord Harken, Trixster, Princess Miranda, BenBen, Anonymous, Funder, Janice & Odell, Aly, paparouna, Milica, Boise Mutual Aid, Theo, Hunter, SJ, Paige, Nicole, David, Dana, Chelsea, Staro, Jenipher, Kirk, Chris, Macaiah, and Hoss the Dog. Thank you so much. And we will see everyone next time. Find out more at https://live-like-the-world-is-dying.pinecast.co

This week, since Miyazaki has returned to the Big Ghib to give Michael Jordan a run for his money when it comes to returning from retirement, Shaun decided now would be a good time to show Remington the first official (since Nausicaa of the Valley of the Wind was released before Studio Ghibli was officially established) film released by Studio Ghibli with Laputa: Castle in the Sky. Meanwhile, Remington thinks back to a recent RPG session. If you'd like to give us feedback, ask a question, or correct a mistake, send an email to AnimeOutOfContext@gmail.com or tweet at us @AnimeConPod. Visit our Patreon at patreon.com/AnimeoutofContext if you would like to contribute to the show and get bonus content ranging from clips from our pre-episode banter, bonus episodes (including the 12 days of April Fools), our prototype Episode 0, to even getting shoutouts in the show! Intro and Outro are trimmed from "Remiga Impulse" by Jens Kiilstofte, licensed by MachinimaSound to Anime Out of Context under CC BY-NC-ND 4.0 which the licensor has modified for the licensee to allow reproduction and sharing of the Adapted Material for Commercial purposes

In this episode of Weirdhouse Cinema, Rob and Joe discuss Hayao Miyazaki's 1984 masterpiece “Nausicaä of the Valley of the Wind,” an environmental post-apocalyptic anime fantasy full of weird bugs, warring factions and terrifying, technological remnants of humanity's greatest mistakes. See omnystudio.com/listener for privacy information.