Some time ago we wrote on how Vibeke Løkkeerg tried to adorn herself with the dead youth of Utøya by dedicating her trash movie Tears for Gaza to them, as a publicity stunt to get more votes for the Peoples Amanda award she had been shortlisted for.
I am delighted to let you know that ordinary Norwegians do not buy such obvious nonsense, and voted for another film instead, The Troll Hunter.
Løkkeberg had been shortlisted for best movie, but here too she failed to convince the jury, who instead awarded the price to King of the Devils Island.
Mockery aside, we note that while cinema lovers in Norway boycott Israeli films, the Jerusalem Film Festival is happy to screen Norwegian films that present lies about Israel. Maybe there is a material difference between Israeli and Norwegian film lovers?
At the time of screening the film, the artistic director of JFF, Avinoam Harpac, was interviewed by the Norwegian Christian daily Dagen:
Unauthorized excerpt from the article:
During the Gaza war, which is the topic for Løkkebergs film, the Trondheim Cinematheque took down the Israeli film, Waltz with Bashir. This was a protest. Harpac has very little time for boycotts and such things.
– Is it stupid to take down a film? Is it violently anti-intellectual? Is it fascist and childish? Yes! I hope the people in Trondheim felt better after this, that they really got to wash their hands.
Harpac is equally prepared for reactions from the audience and the media for deciding to screen “Tears of Gaza”
– It is a part of the game. People ought to react.
– What is your own opinion about the film?
– It is difficult to meet hatred, especially when it comes from children. it is a difficult film to watch, and that has no relation to which “side” on takes. The conflict here is not a simple conflict, it has been going on for many decades. Films, books, art can never show the whole truth. It will always be parts and excerpts.
– we are locked into this conflict. Both parties play the victim, both parties suffer. Maybe this is the way we want to keep it, he adds philosophically.
This contrasts starkly with Løkkeberg’s line of argument, when, back in 2004, her daughter (Marie, who has collaborated with her parents on the Tears for Gaza movie) produced some photos the rector of Oslo Photo ArtSchool deemed to be of a very poor standard. In the ensuing conflict with the rector, Emil Fedida, Løkkeberg and Kristiansen, “defending” their daughter, took to a typical anti-Semitic slur to put their points across (verbatim excerpt from article in Dagbladet, 28 May 2004)
Vibeke Løkkeberg and Terje Kristiansen now say they are convinced that there are political motives behind the censure:
– Fedida’s background is very relevant. He is of Jewish origin and has been a soldier in the Israeli army. We are convinced that Marie’s picture of a woman with a Palestinian scarf and Israel written on her back, with a swastika in stead of an ‘s’ was a decisive factor.
This picture, and the man with a Jewish scullcap who plays piano for the USA, is according to the couple, the real reason behidn Fedida’s fury Dette bildet, og bildet av mannen med jødekalott som spiller piano for USA, mener ekteparet er den egentlige grunnen til Fedidas raseri.
On separate note, this – and other similar articles in Dagbladet at the time, rightfully stirred the fury of some Norwegian journalists; namely Bjørn Gabrielsen in Dagens Næringsliv on June 2, 2004, and Hans Rustad at Document.no (June 3, 2004). It is beyond the pale that Dagbladet in its drive to be THE driving force for political correctness, in post-22/7 Norway, has had the audacity to link Document.no to the sick murders committed by ABB.
Typical examples of Norwegian cultural elites’ rancid double standards.