My recommendation to you all for this week is this episode from the podcast Citations Needed about how the "human shields" argument is used by western media to create a double standard by which Israeli soldiers can kill Palestinian civilians and absolve themselves of responsibility for those civilian deaths. The episode explains how this line of propaganda has also been used during the Vietnam war and in other colonial contexts, and builds what I think is some really incisive commentary on how International Law can be used uphold colonial frameworks.
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Feb 7, 2024
"Viet Cong Use Children as Human Shields," the Associated Press alleged in 1967. "'Civilian casualty?" That's a gray area," Alan Dershowitz argued in The Los Angeles Times in 2006. "We can’t ignore the truth that Hamas uses human shields,”"Jason Willick wrote in The Washington Post in 2023.
For more than five decades, military forces with overwhelming firepower, including the U.S., Israel, and others have accused enemy combatants of using “human shields.” According to these allegations, militant resistance throughout the world, from the Vietnamese National Liberation Front to Palestinian militants, herd civilians in front of them, or hide in hospitals, religious institutions, and other public places, in order to evade attacks. In turn, they force the enemy to “risk” killing civilians, and they themselves bear responsibility for those who are killed.
But rarely, if ever, have these accusations been true. Indeed, the term “human shields,” despite having a clear legal definition, has become a catch-all for militias or insurgency groups that merely operate among a civilian population, functioning as a convenient pretext for invading, occupying and colonial forces to kill civilians, and reinforcing racist conceptions about besieged populations. So why, and how, do media provide cover for governments that lie about and instrumentalize supposed “human shielding”?
On this episode, we dissect the decades-old “human shields” accusation, examining how it dehumanizes and militarizes people living under occupation and invasions, demonizes resistance movements, and sanitizes civilian-killing aggressors as reluctant actors who "simply had no choice."
Our guests are Neve Gordon and Nicola Perugini.
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seeing kenji muto, the director of trigun stampede, reading an article about the portrayal of women in media made me want to take a little bit of a closer look at the women in trigun and as i was rambling about this earlier to my partner, they told me to write it down LMAO
as most of us know, in a lot of fiction, women are mostly characterised through common tropes, leading to a lack of complexity and a one-dimensional portrayal: as the doting wife, the femme fatale, the mistress, or the virgin. Their role only amounts to an Other, an extension of the male hero. they’re either the whore or the madonna.
for female characters in anime that usually means they’re either the sexy femme fatale, big badonkers and all to be gazed at, the mother, the helpless damsel in distress, or the child (yet, still sexualised despite the fact that it is a literal child); they’re portrayed through the way they are being perceived by men and mostly sexualised beyond belief.
tristamp doesn’t do any of that.
in fact, the female characters in stampede achieve something that you don’t often see in anime: they are people. and stampede makes that clear in its very first episode by decidedly not going the route that you would usually take with the female characters they introduce:
of course, the biggest example here would be meryl, who i’d argue is the biggest driver of the plot, despite the fact that the plot of stampede is technically determined by vash - vash is an entirely passive character, he doesn’t make things happen, things happen to him and they mostly happen to him because of meryl. she’s the one who unties him, she drags them to the city, she makes them stay with him after ep3, she drives over wolfwood (rip my man), she stops for them to find rollo, she makes them follow the steamer.. you get it. she does all of this, despite being introduced as the newbie, the innocent person who would usually be the damsel in distress, who is helpless and shy and easily manipulated and who will probs be sexualised in her role as the “virgin” (sexually naive young girl who just doesn’t get all this adult sexuality yet hehe)
but she’s not – she wears a non-sexualised outfit, she only gets called out for being a newbie, or for being small height-wise by wolfwood, but not for being a “girl”, she determines the action despite the fact that she does have a mentor figure and is therefore still in a position of a student – she still isnt an extension of roberto, vash, or anyone
in fact, the other characters – Rosa, Elendira, Luida, Rem – all take up roles that would in other media be portrayed in very specific ways: Rosa could just be a pregnant mother, who is also a divorcee, Elendira could be an innocent child beholden to her caretaker, Luida could be the loving motherlike figure and rem the Madonna figure, symbolising all the virtues a woman should aspire to have. – Rosa is a leader, her pregnancy is mentioned one single time and never made a bigger part of her character, Elendira is young but powerful, making choices by herself that are not inherently based on any kind of innocence, Luida doesn’t coddle Vash or prioritise him over her own work and mission (which also serves to inspire another woman, meryl!!), and rem is also just a non-perfect person, with secrets and questionable morality
none of these women are judged on the basis of their gender, none of them experience gender-based violence, none of them are made into a joke, none of them are sexualised (or desexualised – if you compare them to the male characters, who also do not ever make jokes about sexual promiscuity or similar stuff), they have different body types (rem has a very pronounced chest, and yet stampede doesn’t ever focus on it or give her cleavage) – note also that when presented with the perfect opportunity to call a female character a “bitch”, they chose to go with a “witch” instead, in both original japanese and english dub
their femininity is not used as a weapon against them, nor are stereotypical hypermasculine elements used to define characters’ positive traits (vash not being our traditionally hypermasculine hero for example) - the only time we see a semblance of gender-based violence is, you guessed it, at the very end, when knives forcefully takes control and bodily autonomy away from vash and inseminates the plants against their will (also interesting to note that knives, as the character that does exhibit that kind of violence, is the only character to be shown incredibly buff and all muscle)
the women in tristamp are written for women, with the goal to be women that we can recognise, that represent the women that we are and know
anyways, i love all women in tristamp and have not once felt uncomfortable or said “oh look, a panty shot” and honestly i just find that pretty neat
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