Elliot Rodgers,UCSB Isla Vista Asian Stabbings,Shootings:Jewish Peter Rodger Gropes Jewish Martinez - George Rodger Photo Archive Should Be Compensate Santa Barabara Victims ? -Or Perhaps Hunger Games director and wife can compensate them from the profits from Their Porn Photos Business ?
http://www.showbiz411.com/2014/05/25/exclusive-hunger-games-killers-dad-sells-art-photos-of-womens-behinds
EXCLUSIVE While Santa Barbara killer Elliot Rodger “rotted in loneliness,” his father, Peter Rodger, was anything but unable to enjoy women.
Peter Rodger isn’t just the second assistant director on “The Hunger Games.” He is also a photographer. His specialty? Women’s backsides. Arses, as it were. (He’s British.)
Sexy? Oh yes.And strange considering Elliot’s frightening declaration to “slaughter” everyone like animals.
Peter Rodger is the son of George Rodger, the famed British war photographer who helped start the Magnum photo agency. George Rodger was legendary for photos he took in World War II including some at the final days of concentration camps like Bergen Belsen. He was a serious photo journalist and died in 1995.
I can only presume that Sephardic Jewish daddy of allegedly murdered son of the son of Peter
LOVE AT 1st SIGHT.... Crisis Actor Martinez and Elliot Rodgers Father LubeUp For Gun Control[link to abcnews.go.com]
Photos released today show the dramatic meeting between the father of the UC Santa Barbara campus shooter and the father of one of the people who were killed during the shooting spree.
More with faggy pics in link.......
Santa Barbara Shooting Hoax Actor Richard Martinez ...
www.youtube.com/watch?v...
YouTubeJun 3, 2014 - Uploaded by Red Pill Revolutionhttps://www.youtube.com/watch?v=K3gPi. ... Show more .... It's like they purposely get bad crisis actors to ...
- www.showbiz411.com/.../exclusive-hunger-games-...May 25, 2014 - Peter Rodger isn't just the second assistant director on “The Hunger Games. ... over – his current wife and stepmother of Elliot – who hated Elliot's guts. .... When your parent has a business that promotes pornographyand ...
Showbiz411
Exclusive: “Hunger Games” Killer's Dad Sells Art Photos of ...
http://qz.com/213553/what-isla-vista-shooter-horrific-manifesto-my-twisted-world-says-about-values/
A little research exposed what should be obvious: Rodger is biracial—the son of British-born filmmaker, Peter Rodger, best known for assistant directing The Hunger Games, and Lichin “Chin” Rodger, a Malaysian Chinese nurse for film productions who met and befriended Hollywood royalty like Stephen Spielberg, George Lucas (whom she briefly dated), and, of course, Rodger’s father. And reading the 141-page screed shows that this identity played a deeper and darker role in Rodger’s pathology than anyone has been discussing...........
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Rodger grew up as a child of prosperity, if not extreme affluence. He’d traveled to four countries before his fourth birthday. He attended good private schools (though not the finishing academies of the elite; his school Pinecrest had as its motto “Where excellence is fundamental…and affordable.”) He was always just a receiving line and handshake away from wealth and celebrity. But as he grew older, he found himself staring with ever-growing resentment and rage at the things he could see, but not have.
+Rodger grew up as a child of prosperity, if not extreme affluence. He’d traveled to four countries before his fourth birthday. He attended good private schools (though not the finishing academies of the elite; his school Pinecrest had as its motto “Where excellence is fundamental…and affordable.”) He was always just a receiving line and handshake away from wealth and celebrity. But as he grew older, he found himself staring with ever-growing resentment and rage at the things he could see, but not have.
https://kategreen28.wordpress.com/tag/photography/
George Rodger was one of the founding members of the highly acclaimed Magnum Photos which was established in 1947. Robert Capa and himself, once photographers for Time & Life Magazine, imagined a photographic career not dictated and copyrighted by magazines, but under their own names. Magnum Photos has now been running for 67 years, Jinx Rodger, George’s wife recalls the early Magnum days with blissful nostalgia and she says “it was sort of like a club,” in conversation with me. Taken from Jon Rodger’s website, George Rodger Photographs, and with inclusions of my other research, here is a short biography of George Rodger, to introduce my photographic project with Jinx, the archivist of the George Rodger Archive.
- ©George Rodger Sourced: GeorgeRodgerPhotographs.com
George Rodger was born in Hale, Cheshire in 1908 and spent his childhood in Cheshire and in Scotland. He attended St. Bee’s College, Cumbria but left early to join the British Merchant Navy, spending two years travelling the world. At twenty, he went to America where he worked at various jobs during the depression. Returning to England in 1936, he joined the BBC as a photographer.
From reading the George Rodger Biography by Carole Naggar, she explains that during Rodger’s time at the BBC’s magazine “The Listener” he was taught all about lighting by his assistant, Esmerelda. Nagger says that “Rodger always felt that without her, he would never have made a life as a photographer.” (Naggar, 2003) In my mind, this was an integral part of Rodger’s career as a photographer: he admitted before “There was no-one around me to tell me what to do, so I had to teach myself by making mistakes and learning from them.” (George Rodger citation, Pg 38)
At the outbreak of war he became a war correspondent for the American magazine LIFE, and for the next seven years his assignments took him to sixty-two countries where he covered over eighteen war campaigns. Some of his most notable photographs during the war included the London Blitz, West Africa with the Free French, the fall of Burma, the Sicilian and Salerno landings, the Battle of Monte Cassino, the D-Day Normandy landings, the Liberation of Paris, Brussels Holland and Denmark, the Surrender at Luneberg and the liberation of Belsen Concentration Camp. Known as “The quiet Englishman” because of his self-effacing demeanour, George Rodger described himself as a dreamer who took up photography to see what the world had to offer beyond his horizons. This exploration would take him into desert, jungle, war and many parts of the world. And in 1947 he would join Robert Capa, Henri Cartier-Bresson and David (Chim) Seymour in establishing the renowned photographic agency Magnum Photos.
“take a deep breath here is a great new scheme. There are seven of us in the original setup: five photographers Cartier-Bresson who has had a great success over here this year; Capa, Chim, you, and Bill Vandivird. In addition there are two females: myself to run the New York Office and Maria Eisner to run the Paris office and cover all of Europe. The tentative title of the company is Magnum Photos inc. it will be incorporated here in New York with all 7 original members as directors, myself as president, the rest of you all vice presidents…” (Letter from Rita Vandivert to George, George Rodger Archives, 1947)
His main work concerned the vanishing tribes and wildlife of Africa and the documentation of ethnic people in remote areas. He also travelled extensively throughout the Far East, India and the Middle East, writing and illustrating articles for magazines in Europe and America.
Jinx Rodger, when talking to me about the archive, says that it is a collection of George’s Africa. The archive is a living space where this Africa still is very much alive and Jinx still lives in this world. Her house in Kent is full of African inspired ornaments, not to mention the “velvetty black and white photography [and] luminous images of african tribesmen on the wall” (Pitman, 2009).
“When I could look at the horror of Belsen – and think only of a nice photographic composition I knew something had happened to me, and it had to stop” In 1959, George Rodger and his wife settled in the small village of Smarden, in Kent, where he wrote and illustrated for magazines but still continued his travels, mainly to Africa which, with his camera, was his favourite hunting ground.
Jinx told me the story of how they came about settling down in Kent and how the George Rodger Archive then started to be collected together from various offices and friends’ homes. Jinx told me about how they decided to start filing the photography and the stories.
“I may juggle the composition, as the strength of a picture is in the composition. Or I may play with the light. But I never interfere with the subject. The subject has to fall into place on its own and, if I don’t like it, I don’t have to print it”
Rare footage of Nuba bracelet fighting and Latuka Rainmakers filmed in 16mm by George Rodger while on assignment in Kordofan, Southern Sudan in 1949. Includes original soundtrack. Edited by Peter Rodger. He died at his home in Kent in 1995. His archives remain under the care of his wife Jinx and his son Jon. Magnum Photos continue to distribute his work from their four offices in Paris, New York, London and Tokyo. “You must feel an affinity for what you are photographing. You must be part of it, and yet remain sufficiently detached to see it objectively. Like watching from the audience a play you already know by heart”
I believe the last quote is from the famous letter that George sent his son, Jon when he was young. Jinx says that George’s photographic career never really ended; since his death in 1995, Jinx has only continued to keep George’s legacy alive by looking after the archive. Only recently, George’s son, Jon, has made the website to honour his work. For me, the archive serves not only photographic histories of Magnum, George, Capa, Henri etc but cultural histories of Africa, the Middle East and Europe.
References:
Hopkinson, T. 1986. George Rodher and How He Operates. Phototechnique. Naggar, C. 2003. George Rodger: An Adventure in Photography 1908-1995. Syracuse, New York. Pitman, J. 2009. The Man Who Showed Her The World. The Guardian, UK (Read by Jinx Rodger, recording by Kate Green, unpublished) Rodger, J. 2013. George Rodger Photographs Biography. Available online:http://www.georgerodgerphotographs.com/biography/. Last Accessed 3rd March 2014 Vandivert, R. 1947. Letter to George Rodger. George Rodger Archives. Last Accessed 27th November 2013
- Cover : Village of the Nuba by George Rodger Phaidon Publishing
This book is a celebration of George Rodger’s work from the Nuba tribes in 1940s Africa. It is the newer addition of the original book by George from 1955. It contains George’s own written pieces and of course, his photography from tribal Africa.
The introduction explores George’s desire to be a pro-humanist photographer, like many other photographers from the post-war period. It highlights points in George’s Life Magazine career, including the devastating effect of photographing Bergen Belson. It goes on to describing George’s ability to take a whole story from 30 rolls of film, without wasting a single frame.
All of his pictures have a spare and elegant composition, as if the shutter was only clicked when all of their elements had fallen into place in the viewfinder.Peter Hamilton, 1999 (pg 6)
George Rodger was a firm believer that “the photographer never comes between subject and viewer: it is, in a sense, his absence which allows the scene to happen” (pg 8). And, this is a small book which showcases George’s ability to engage with his subjects, gain their trust and photograph them. With the film technology, it meant that the Nubas probably never saw how George photographed their culture, highlighting their trust in him to represent them to the rest of the world.
It is only possible to reach Kordofan by road during a very few weeks in the year between the floods and the rains as the region is protected from intrusions by vast impenetrable swamp landsGeorge Rodger (pg 23)
As George recounts his experience with the African tribes, he tells the story as ‘we’, meaning Cicely, his late wife, and himself. Cicely was pregnant during the Nuba adventure and unfortunately shortly after childbirth Cicely passed, as well as their daughter.
On page 31, George recalls first seeing the village in the distance: “they hung so high and were so much a part of the terrain that it seemed the little pot-bellied huts, with their thatched roods, had been taken by the handful and hurled against the mountainside to settle in the crevices.” It’s true when Jinx says that George was an excellent writer from his ‘English education’: his arrangement of words to describe a scene almost mirror the care that went into choosing the right time to press the shutter to take his photographs.
- © George Rodger, 1949
The images following this piece of text show the mid greys of the landscape blurring with the village’s architecture. The next chapter informs us of the politeness of the Mek of Masakin Qsar: George and the Mek talked about what is interesting to their tribe which they would like George to photograph, leading to the Mek inviting the Rodgers to a Sibr (Arabic word meaning “commemoration of a tribal event [...] which includes athletic prowess” pg 45).
A significant part of the book from this point is about the Nuba wrestlers: about the bracelet fighting and the victors. With the remainder discussing the architecture of the villages.
Eventually the winner was hoisted onto the shoulders of a husky giant to be carried through the throng while the women thrilled in a high key before him (pg 63)
- © George Rodger 1949
George’s love for Africa and tribal life is indicative in the existence of this book as another edition of the original book from 1955. I feel that the fact that this is George’s photography that he himself felt humble with and that it is a successful piece of work indicates that this is important. George’s Africa lives in these small books to the public, but the full, rich story lies within his archive.
Rodger, G. (1999) Village of the Nubas. London. Phaidon Press. Last accessed 12th March 2014
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