And then the «Fat Underground» emerged, a militant feminist - allied arm of the movement that called for
violence against the oppressors of the fat people.
Not exact matches
But in time the outlook changed completely, and the problem became that of the
violence of the poor and oppressed
against their
oppressors.
Thus there is no need to distinguish between good and bad,
oppressor or aggressor;
violence must not be used
against them, because
violence is necessarily contrary to love.
Not unlike «Get Out,» «The Shape of Water» offered up its own eerie supernatural tale of minorities rising up
against a brutal white
oppressor — a 2018 movie in»60s Cold War drag, its themes driven home via passages of exquisite if strenuous lyricism and a few sadistic jolts of
violence.
Adapted very faithfully from the novel by Thomas Keneally (later author of Schindler's Ark), the film concerns a young «half - caste» in turn - of - the - century Australia who feels torn between the values and aspirations of white society on the one hand, and his Aboriginal roots on the other, and who thus takes to
violence against his perceived white
oppressors.
The same could be said for freedom fighters in World War II committing acts of
violence against their German
oppressors.
It is the motivation behind the disorienting flip at the beginning of Real
Violence, but also its Hanukkah prayer, which sparked postulations such as the following from Alexandra Schwartz's review in The New Yorker: «Hanukkah is a holiday that celebrates the success of an uprising
against an
oppressor; maybe this was an Inglorious Basterds scenario, an act of vengeance for atrocities committed by the man laid low.