Hugh Ratcliffe
Number of articles: 6First article: September 14, 2012
Latest article: February 14, 2014
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New threat to Bowdoin’s environmental mission
The front lines in the battle against climate change are rarely as glamorous as the issue itself. Yearly intergovernmental climate meetings, failed bills in Congress, idiotic shouting matches on Fox News—these are all the headline-grabbing facets of the movement, which too often obscure the importance of the more day-to-day struggles happening outside of the sensationalist limelight. Although it’s clear that the U.S. government has acted negligently and dropped the ball on climate change, this doesn’t mean that the movement has followed suit.
Important campaigns are being run everywhere and at all levels: concerned individuals are installing solar panels on their homes; colleges and companies are striving for better environmental standards; advocacy groups are pushing local governments for better legislation. And while it’s true that these struggles may not carry the full weight needed to tackle the problem, they are (at the moment) our front line of defense against climate catastrophe and thus are worth protecting.
Recently, Bowdoin College has found itself deep in the trenches of this struggle, and I’m not just referring to the important divestment and neutrality movements. In conjunction with many other Public Utility Commissions (PUCs), our utility provider Central Maine Power (CMP) is seeking state approval for a devastating rate change on its customer base that maliciously penalizes renewable energy production.
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What’s at stake with climate change
There is no longer a scientific debate concerning the existence of climate change. Despite what the National Association of Scholars may claim, anthropogenic warming is not a premise to believe in but rather a scientific fact. In the past few weeks the College has seen a frenzy of debates, panels and meetings dedicated to issues of climate change and sustainability. But what seems to be missing from the discussion is an acknowledgement of the gravity of the situation—just what it is that’s at stake.
Stopping climate change is not just about saving the polar bear. It’s not about hotter summer afternoons and it’s certainly not about the rise of the Prius. In a 2009 address, UN Secretary General Ban Ki-moon said that climate change “is the greatest collective challenge we face as a human family.” Unfortunately climate change is insidious, and by the time we realized it was occurring, it had already been going on for nearly a century. Yet we have already begun to feel the disastrous consequences of a warming climate all across the globe, and it is only going to get worse.
As a continuance of an almost poetic injustice—which seems so pervasive in our modern world—the most harmful effects of a warmer climate will affect those least capable of adapting. In Africa, where the population is expected to nearly double by 2050—according to the UN and Population Reference Bureau—yields from rain-fed agriculture could be reduced by up to 50 percent, according to NASA. This is a continent that already struggles to feed itself, and it is about to get a whole lot harder to grow food. We are entering the period of the “super;” be it the super-drought, the super-storm or the super-famine. Soon storms like Hurricane Sandy will not be a freak anomaly, and the U.S. will suffer horrible droughts like those now crippling our agricultural sector. The Global Humanitarian Forum estimates that climate change leaves over 300,000 people dead and severely disadvantages 325 million people every year. On the economic side, the world now loses $1.2 trillion yearly due to climate change, a number that may triple by 2030, according to DARA, an independent UN funded NGO.
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Granito carries heavy message, but sinks as film
Pamela Yates’ “Granito: How to Nail a Dictator” asks the unanswerable question of how to bear witness to genocide. Yates questions whether bringing those responsible for the crimes to justice can, at least for living survivors, lessen the pain associated with senseless violence. The film explores the role that Yates’ 1983 documentary, “When the Mountains Tremble,” played in bringing to justice the Guatemalan military dictatorship responsible for a decade-long genocide that devastated the country in the 1980s.
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‘Chicken with Plums’ a magical ride
It had been a long time since I last strolled into a theater to be immediately swept up by a barrage of enchanting sights and sounds. But “Chicken With Plums,” a French/Iranian fable of love and death, managed to do just that. Vincent Paronnaud and Marjane Satrapi’s first feature film since their Oscar-nominated “Persepolis” is nothing short of delightful. The film moves melodically through the life and final days of Nasser-Ali Khan, a world-renowned violinist who is searching frantically to fill the void caused by a lost violin. But we soon learn that Khan has lost far more than just his instrument; he has lost his sole mode of expression.
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'Master' triumphs in art and depth
Director Paul Thomas Anderson released “There Will Be Blood” in 2007, proving himself capable of exploring the seemingly-opaque corners of the human mind to produce provacative and intriguing films. His most recent film, “The Master,” exceeds even that effort; the film is a wonderfully crafted and highly intelligent window into the tormented mind of an estranged veteran--the essence of cult. Joaquin Phoenix delivers a shattering performance as Freddi Quell, a haunted victim of war who wanders through life in an alcohol-and-sex-crazed haze. When he stumbles into Lancaster Dodd (Phillip Seymour Hoffman) leader of a cultish philosophical movement called “the cause,” Quell becomes a fervent believer. While Dodd’s philosophical underpinnings and methodology are evocative of Scientology, the film functions more as a general critique of misguided worship than an explicit condemnation of Scientology.
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Benh Zeitlin’s ‘Beasts’ is magical, but lacks coherence
“Beasts of the Southern Wild,” directed by Benh Zeitlin, is one of those films that demands a second viewing—if only so viewers can wrap their minds around it. In his first feature film, Zeitlin tells the story of six-year-old Hushpuppy (Quvenzhané Wallis) and her father Wink (Dwight Henry) as they struggle to confront what appears to be the unraveling of the universe.