Cinema Politica Selections 2010-2011

Table of ContentsPages 1-2 Table of Contents & Curatorial Statement 2010-11Pages 3-4 Cinema Politica - Connecting the DotsPages 5-11 Artist Interview - Rémy HuberdeauPages 12-21 Featured Cinema Politica Film & VideoPages 22-23 Featured Artists - Sylvia Hamilton & Amy MillerPages 24-25 About Us & Start a Local

Cinema Politica Carlteon: Established November 2008

The 2010-2011 artworks are grouped around the theme Creative Conscience because so many of these films use unorthodox artistic methods to tell their stories, and/or are about people using art to effect social change. Whether they explore painful memories, processes of transformation, public art inter-ventions, sexwork or the connection of land with history, the films and videos provoke by highlighting sociopolitical issues through inspired and innovative artistic techniques and approaches.

The collection of titles, some of which are highlighted in the following pages, range from experimental shorts to feature-length documentary. The artists themselves form a diverse backdrop from which to approach a raft of topics, and do so with creative vigour and a delicate and sensitive conscience. Lifting topics that might usually be found in the news, and bringing them to life through the aesthetically com-plex and emotionally powerful medium of cinema, our 2010-2011 program adresses the social, political and cultural with art.

So enjoy these works produced by creative consciences - artists committed to changing the world through the unpredictable, controversial, beautiful, mysterious world of art.

Ezra Winton, Director of Programming

Curatorial Statement 2010-2011

CREATIVE CONSCIENCE

Cinema Politica - Connecting the...Dots

ART IN ACTION [dirs.Magnus Isacsson & Simon Bujold]

Filmmaker Sylvia D. Hamilton

Of course art would be nothing if it weren’t for the diverse and dedicated individuals who spend their hours research-ing, dreaming, creating, and sharing. Which is why we are so excited to announce that a new section on the Cinema Politica site will be launched in the spring of 2012 dedicated entirely to artists whose work is featured in the Cinema Politica Net-work. Check out our new Artist Pages around Feb/Mar, 2012.

Discover more: cinemapolitica.org/artists

ARTISTS

It moves us, it stirs our souls and captivates our imagina-tions. At Cinema Politica art drives our whole project - the works we project on the screen for our audiences show differ-ent worlds, introduce new perspectives, and challenge us at every level. Aesthetically, technically, socially, politically - no matter which way you approach the hundreds of titles in our catlogue, we promise you will be changed by the experience.

Discover more: cinemapolitica.org/films

ART

Cinema Politica - Connecting the...Dots

FROM HOMELESS TO HOME (dir. Jason Gondziola)

Cinema Politica Concordia Audience

Cinema Politica has screening locals all over Canada, based on highschool, college and university campuses as well as in non-commercial community venues. As such, we have the potential to reach hundreds of thousands of youth and other individuals who have an interest in art but may not attend festivals. We further engage our audiences at our events by inviting artists and others to lead post-screening discussions.

Discover more: cinemapolitica.org/locals

AUDIENCES

The films and videos that circulate in the Cinema Politica Net-work seek to not only provoke and engage audiences on an artistic and storytelling level but, it is our hope, they also pro-voke and engage at civic participation and cultural awareness level. By showing provocative works that reveal under-repre-sented narratives and topics, and by holding post-screening discussions, we hope to stir our audiences to get involved.

Discover more: cinemapolitica.org

AWARENESS & ACTION

We first saw AU PAYS DES ESPRITS / HOME OF THE BUFFALO in the cramped top floor office space of The Dominion in Montreal. It was the first time we encountered Rémy Huberdeau’s art - work that confronted and pro-voked us in ways that we hadn’t expected, an experiece filled with joy, awe, longing and wonder.

Huberdeau’s HOME OF THE BUFFALO is a haunting dreamscape of trains, plains, horizons and histories; and also of relationships, wreckage, survival, identity and family. The film is unrelentingly personal and has a generosity that lets you inside someone else’s memories, history and emotions.

Sitting there on the wood plank floor among 30 or so artists, mediamakers and activists, one almost felt like reaching through the dark to the screen to touch the images - they represented an experience so real, so close, and so intimate. Cinema Politica quickly acquired HOME OF THE BUFFALO, and caught up with Huberdeau to ask him about his art.

Cinema Politica: What was the impetus or inspiration for you to tell this story in the audio-visual form?

Rémy Huberdeau: AU PAYS DES ESPRITS / HOME OF THE BUFFALO came out of an exercise called Image et voix (Image and Voice) at Quebec’s Institut national de l’image et du son (National Institute for Image and Sound). The goal was for students to engage in writing a personal narration – as opposed to a journalistic one — and then seek out archival images that weave an extra dimension into the text — as op-posed to illustrating it. theme was L’identité / l’appartenance (Identity & Belonging).

Artist Interview - Rémy HuberdeauDEEP TISSUE WORK

This context, all of it, was ideal to tease out a story about transexuality in relation to where I come from — not as an esoteric human experience, but one that is rooted in place and space. Cinema has been the most torturous yet most rewarding place for this particular exploration cause you can peel back the membranes of experience and memory and stumble into new places along the way.

The ways in which the film peels back those layers is like a poem, but it is also a letter to your father, I believe. Is it a letter that was actually sent? Will he see the film? Why a letter?

Sitting down to write a “letter” can catapult you into a state of personal journaling, complete with an in-tended audience. Letter-writing is as much about updating someone about your life as it is about up-dating yourself about your life — its a place to pro-cess with a sharing mechanism built-in.

I invited my parents to visit me in Montreal last spring without telling my Dad that I had been work-ing on a video piece that involved him for the past 2 months. On the last day of their trip, I explained what I had been up to and brought them to school to screen the piece. They were the first to see it. Being patient paid off (in terms of not building it up before their arrival) because we had an honest moment together with it. My Dad acknowledged that it was challenging but respectful, and I agree. I trusted we could handle it.

There is a nice play and tension between your narration and archival footage of landscape, trains, mem-ories and moments in time. What was the process in matching or mismatching these images with the words you speak (and write)?

I had the honour of working with a very skilled, experienced and instinctual editor named René Roberge. We had 3 days to cut down 60 minutes of archival footage (that I had pre-selected from 18 hrs of viewing rushes from the National Film Board of Canada archives) into 4 minutes.

After the first 2 days, we hadn’t gotten very far — nothing seemed to really fit. This had a lot to do with my lack of experience with communicating in the editing room — until then, I had been used to editing by myself — relinquishing the mouse and finding words instead was a big deal.

On the 3rd day, we both started to sink into the atmosphere a little bit more, and bits and pieces of the ar-chives we hadn’t noticed before started to stand out. I know I couldn’t have made that film by myself, and working with René is a perfect example. We alternated moments of seeing a connection between a particu-lar phrase and a particular image, and eventually we found the tracks. Working with an editor expanded the range of possibilities for this story and this film.

The story (and the film), for me, is about identity, but it is also about expectations and relationships with those close to us. It comes across as deeply thoughtful and never feels angry. Is there anger, or sadness? Or both?

Working through Identity, expectations and relationships is deep-tissue work. Anger is an emotion that lives close to the surface like some kind of buoy pointing at the stuff going on underneath. This is where we need to get to — anger is often one way of getting there. All that said, I don’t think of anger when i think of this film or the life that brought me to make it.

There is definitely some sadness woven into this film however, a thoughtful sadness, partly on which these memories can float — my own and the ones imprinted onto film. And it’s valid – its one colour among many for these memories — and for memory, I remember this:

When it’s truly alive, memory doesn’t contemplate history, it invites us to make it. More than in museums, where its poor old soul gets bored, memory is in the air we breathe, and from the air, it breathes us. (Eduardo Galeano, Upside Down)

In the film you say you find solace in aboriginal spaces, which is the space where the film seems to be situated. How are those spaces more nurturing to you than others? Do those spaces include film? Is this inspiration for the title?

Good question. The reference to Aboriginal spaces is meant to echo in different directions. The first is that it grounds all the images we are seeing — of colonial communities under construction in the Canadian prairies — as taking place on an Aboriginal continent, on Aboriginal land. This has spiritual (and social and economic) implications for all of us — colonial communities under construction included.

Weaved into this colonial-aboriginal space dynamic is a Métis elder named André Nault, who is as light-

skinned as everyone else in this film, and who raised arms against the Canadian state three years after its inception. (I mention skin colour because I think one of the weaknesses of pan-Canadian culture — not in-cluding the Québécois here — is being invested in a notion where skin colour = a certain culture or ethnic-ity. Time spent in Latin America gave me room to realize how complicated the relationship between colour and culture can be, more than is often understood and represented up here.) All this to say that the notion of finding refuge in Aboriginal spaces, whether physically or philosophically, is also a poetic reference to the European ancestors of (Red River) Métis culture and community — not to romanticize several genera-tions of individuals, but to reference conscious choices that were made in terms of building community and territorial dynamics in a particular region of Turtle Island.

Lastly, on a personal level, as a Franco-Manitoban, I’ve come to realize that the francophone culture I in-herited has a significant influence of Aboriginal-worldview. Franco-Manitoban families are often intermar-ried with Métis families, thus making the lines drawn within our communities blurry. At times, they are heavily-patrolled and contested borders and at other times they are constructive spaces for connection and creation.

Regarding the title, I chose different phrases in French and in English. The French title AU PAYS DES ESPRITS is a translation of the Anishinaabe word “Manitoba” — which in English means “In the Land of the Spirits”. This says it all for me — in terms of grounding this work about a settler family and community in an Aboriginal territory, and naming that territory as sacred — which I feel, I am very much rooted in the prairies. This title also grounds the narrative on transexuality in a spiritual dimension.

I chose HOME OF THE BUFFALO for the English name instead of a direct translation of the French title to complicate the reading of the film a little bit. At an English screening, both phrases appear on the screen at the same time during the title credit, creating a relationship between esprit (french for “Spirit”) and Buffalo, which are in fact related in the context of the Great Plains. Winona Laduke, author of All Our Relations, does an amazing job of explaining this in the chapter Buffalo Nations, Buffalo Peoples. Home of the Buffalo in Anglophobe storytelling has historically been more of a cliché phrase in relation to settlers in the Plains. This is an attempt to reframe it; at least a little bit.

Where will the film be shown? What’s next for you as an artist?

The film has screened at Visions du réel in Nyon, Switzerland and will be screened at Pink Screens in Brus-sels, Belgium. It’s also played at RIDM in Montréal, Cinémental in Winnipeg and at the Queer Film Festival in Vancouver. It falls into francophone, documentary, post-colonial, queer and trans themed programming at the same time, something I really like.

As an artist my life is busy and I am thankful. I had the honour of co-editing two documentaries and one fiction from Labrador last year, which was really interesting and rewarding work. This year I am finish-ing up two Making Of behind-the-scenes pieces — one about a documentary and one about a fiction. I am starting a web-documentary project with a crew of Trans people in Montréal and am also going to Italy in December to edit a good friend’s film. Lastly, I am doing research for a French doc about Michif, a Métis “créole” language living in the Canadian and American prairies.

Learn more about Rémy Huberdeau and discover more artists at:cinemapolitica.org/artists

Featured Cinema Politica Film & Video

STILL LIVES [Sarkissian, Anna / CA / 2007 / 12’]A dream-like experimental documentary that focuses on the rebuilding of post-Katrina New Orleans, this work features visuals of volunteers repairing broken homes while a sound-scape of voices of victims of the hurricane plays over, pro-viding for a hypnotic and surreal, yet altogether powerful and relevant rendering of the after-effects and efforts of a natuarl disaster.cinemapolitica.org/film/still-lives

DREAM LISTENER [Karen Spencer, CA, 2008, 18’]“I wrote my dream on cardboard, went out into the street and held the cardboard dream in front of me. At the end of the day I abandoned the cardboard dream. Over the year one hundred and ninety-four dreams were written on cardboard and shared this way...”DREAM LISTENER was realized with the centre de recherche urbaine de montréal (crum,) homeless nation and the saint james drop-in centre.saint james.cinemapolitica.org/film/dream-listener

TITLES SCREENED IN THE 2010-2011 SEASON

A TENT ON MARS [Martin Bureau & Luc Renaud , CA, 2008, 58’]30 years after the closing of the Schefferville’s mining colony, and taking over the town abandoned by non na-tives, the Innus are facing a new challenge: the reopen-ing of the iron mines. Territory, identity and legitimacy are at the heart of a dialogue between two people, Que-becers and First Nations, living the same combat. Two civilizations that proclaim to be colonized. Although the first one often times acts as the colonizer. cinemapolitica.org/film/tent-mars

American Radical is the probing, definitive documentary about American academic Norman Finkelstein. A devoted son of holocaust survivors, ardent critic of Israel and US Mid-East policy, and author of five provocative books in-cluding, “The Holocaust Industry”, Finkelstein has been steadfast at the center of many intractable controversies, including his recent denial of tenure at DePaul University.

AMERICAN RADICAL: THE TRIALS OF NORMAN FINKELSTEIN [David Ridgen & Nicolas Rossier / CA-US / 2009 / 85’]

cinemapolitica.org/film/american-radical-trials-nor-man-finkelstein

Three Arab-Canadian men are detained and tortured for months and years in Syria and Egypt. Upon their release they return to Canada struggling to find some answers as to why they were detained and tortured. An internal inquiry into their cases, the Iacobucci Inquiry, reveals that the Canadian government was complicit in their detention and torture. The camera team follows the lives and cases of the men for a year and a half as the men fight to leave the horror of torture behind them.

GHOSTS [Morvary Samare / CA / 2009 / 53 min]

cinemapolitica.org/film/ghosts

Des jeunes femmes asiatiques confinées 24 heures sur 24 dans des salons de massage dans la banlieue de Vancouver, des aides familiales dont les conditions de travail rappellent l’esclavage, de jeunes honduriens il-légaux embrigadés pour la vente de drogue, des ado-lescentes recrutées à des fins de prostitution dans des stations de métro de Montréal.

AVENUE ZERO [Hélène Choquette / CA / 2009 / 52 min]

cinemapolitica.org/screening/fredericton/avenue-zéro

In BAS! Beyond the Red Light 13 young girls sold into Mumbai’s infamous network of gated brothels confront the inner and outer perils of life after rescue and reveal the very human story inside the big business of child trafficking.

BAS: BEYOND THE RED LIGHT [Wendy Champagne / CA / 2010 / 77 min]

cinemapolitica.org/film/bas-beyond-red-light

Society tends to see sex workers as destitute, drug addict-ed, amoral, disease infected, and lower class. Their real voices are seldom heard. They are most likely to come to our attention when they enter the court system, or if well meaning community or church groups attempt to save them from the perceived perils of sex work. 100 Stories About My Grandmother allows the talked-about to talk

100 STORIES ABOUT MY GRANDMOTHER[Peter Kingstone / CA / 2007 / 135 min]

cinemapolitica.org/film/100-stories-about-my-grandmother

In determiNATION songs three native artists use voice, rhythms, samples and guitar riffs to cut through big ‘P’ politics to reveal a vibrant native music scene while exposing the realities and struggles in their communi-ties. As resistance grows across Indian country, this film about music, art and politics pulls aboriginal stories from the back pages and puts them squarely at the front of the stage.

DETERMINATION SONGS [Paul M. Rickard & Michelle Smith / CA / 2009 / 78 min]

cinemapolitica.org/film/determination-songs

In the form of a letter written to his father, Rémy Huberdeau tells his own sto- ries with the help of archive footage from the Twenties. Indeed, how to express the hidden secret that has been gnawing at him since he was nineteen, his voy-age through no-man’s- land—between two territories, two sexes— while echoing the interwar period? Endowed with a function that is alternately evocative and repetitive, these ar-chives fo- cus more on expression than on determina- tion: a speeding train that hits the screen, women and men at work,

HOME OF THE BUFFALO [Rémy Huberdeau / CA / 2009 / 4 min]

cinemapolitica.org/film/home-buffalo

In 1962 and 1963, three 12-year-old Inuit boys left their families in the Canadian Arctic and travelled south to live with foster families and attend public school in Ottawa. Federal government officials called the boys “an experiment.” The boys and their families were not aware that they were participants in an attempt to see how easily Inuit children could be assimilated.

THE EXPERIMENTAL ESKIMOS [Barry Greenwald / CA / 2009 / 70 min]

cinemapolitica.org/screening/ubc/experimental-es-kimos

Following 26-year-old Madison during a crucial three years of her transition from male to female, GIRL IN-SIDE is a beautiful film that tracks her emotional, intel-lectual and spiritual journey of self-discovery that is as important as – if not more than – the physical journey of hormones and surgery. Sharing the spotlight is Vivien, Madison’s glamorous 80-year-old grandmother, who has taken on the job of advising her on all things femi-nine.

GIRL INSIDE [Maya Gallus / CA / 2007 / 70 min]

cinemapolitica.org/film/girl-inside

Charts the development of critical mass rides in Van-couver from the protest rides across the historic Lions Gate Bridge in the early to mid-Nineties, through the “No Fun City” years of the late 1990s and early 2000s, where cyclists were routinely arrested for riding togeth-er, up to giant Critical Mass rides of more recent years. Vancouver has become renowned for its big Critical Mass bike rides, and particularly the party spirit that

YOU NEVER BIKE ALONE [Robert Alstead / CA / 2011 / 80 min ]

cinemapolitica.org/film/you-never-bike-alone

Through diverse interviews and case studies this documen-tary unveils the specific interests and profits that are made by certain corporation, individuals and agency within Canada. By examining these myths we seek to find out what are the possible motives that hide behind these stories, and if there are certain people who these systems of power operate, and help empower people across Canada to change them.

MYTHS FOR PROFIT: CANADA’S ROLE IN INDUS-TRIES OF WAR AND PEACE [Amy Miller / CAN /2009 / 70’ / DVD]

cinemapolitica.org/film/ myths-profit-canadas-role-industries-war-and-peace

A look at how one northern community, Fort Chipewyan is affected by the exploitation of Canada’s rich Tar Sands de-velopment, and how Canada is dealing with their concerns. The health of the land and the people living near the world’s largest construction project is discussed by leading scientists and the Aboriginal Peoples. Although this town is located near the earth’s second largest fresh water delta, they can no longer drink the water, or eat the fish and other game food which sustained them for thousands of years.

CRUDE SACRIFICE [Lawrence Carota / CA / 2011 / 52 min]

cinemapolitica.org/film/crude-sacrifice

We Are Family, the quintessential gay anthem, has tak-en on new meaning in gay districts and liberal suburbs across North America as more and more gay and les-bian couples choose prams over parties. Yes, the most liberated homosexuals in history are becoming parents! But even in places like Quebec, one of the few places in the world to have legalized both gay marriage and adoptions, things aren’t as easy as they may seem.

MOMMY MOMMY [Sylvie Rosenthal / CA / 2007 / 48 min]

cinemapolitica.org/film/mommy-mommy

Two neighboring fishing communities – one Mi’kmaq, the other non-native - both struggling to defend their ways of life. Shot on Nova Scotia’s legendary Bay of Fundy, In the Same Boat? explores the common ground between indigenous and non-native communities, while showing the very different role fishing plays in both cultures.

IN THE SAME BOAT? [Martha Stiegman & Sherry Pictou / CA / 2007 / 40 min]

cinemapolitica.org/film/same-boat

Derrière ses statistiques noires, la Colombie possède une des plus grande biodiversité de fleurs au monde et une population aussi diverse. 50 000 espèces de fleurs méconnues, tout comme les quartiers de ce pays, le tra-vail des gens, leur résistance, leurs luttes, leurs rêves et leurs envies.

À FLEUR DE PEAU - UN BOUQUET DE LA COLOM-BIE OCCUSCIAES [Simon Charland-Faucher and Sarah Charland-Faucher / CA / 2009 / 54 min]

cinemapolitica.org/screening/uqam/à-fleur-de-peau-un-bou-quet-de-la-colombie

Discover hundreds of more independent political works at:cinemapolitica.org/films

The film tells the story of undocumented workers in Canada who take the low-paying jobs that Canadians refuse to. They sew clothes in Montreal, clean high rises in Vancouver and build houses in Toronto. Their low wages subsidize our first world economy.Using silhouetted interviews and stylized imagery shot on Super 8 and mini-dv, Borderless tells the sto-ry of Angela and Geraldo.

BORDERLESS [Min Sook Lee / CA / 2006 / 25 min]

cinemapolitica.org/film/borderless

Dream Listener was realized in association with the centre de recherche urbaine de montréal, homeless nation and the saint james drop-in centre. it was presented through dare-dare in montréal, québec whitewater gallery in north bay, ontario and le lobe in chicoutimi, québec. presentations were facili-tated by galerie souffles, the saint james drop-in centre and l’état d’urgence.

DREAM LISTENER [Karen Elaine Spencer / CA / 2008 / 18 min]

cinemapolitica.org/film/dream-listener

Featured Artist - Sylvia D. Hamilton (Nova Scotia)

THE LITTLE BLACK SCHOOL HOUSE [CA /2007 / 60’]

Sylvia D. Hamilton is a multi awarding Nova Scotian filmmaker and writer who is known for her documentary films as well as her publica-tions, public presentations and extensive vol-unteer work with artistic, social and cultural organizations on the local and national levels.

She was born in Beechville, Nova Scotia, a com-munity founded by the Black Refugees from

the War of 1812. She has a BA from Acadia University, an MA from Dalhousie University and has been awarded three honourary degrees in recognition of her work. From 2001- 2004 she held Nancy’s Chair in Women’s Studies at Mount Saint Vincent University in Halifax. She has taught at Acadia University and given lectures at the University of New Brunswick, Memorial, Queens, York and Simon Fraser universities, and at Middlebury College in Vermont, and the University of the West Indies in Kingston, Jamaica.

cinemapolitica.org/film/ myths-profit-canadas-role-industries-war-and-peace

Featured Artist - Amy Miller (Québec)

MYTHS FOR PROFIT: CANADA’S ROLE IN IN-DUSTRIES OF WAR AND PEACE [CA / 2009 /70’]

Amy Miller is a media maker and social jus-tice organizer based in Montréal. She directed the featurette documentary ‘Myths for Profit: Canada’s Role In Industries of War and Peace’ which was screened thoroughly across Cana-da and at festivals including the Milano Film Festival, RIDM and won the Peoples Choice award at the Bay Street Film Festival. Her first

short ‘Outside of EUrope’ won second place for the CBC-RCI’s Migr@tion Award.

She has worked extensively with The Dominion and The Media Co-op as both a writer and edi-tor. She continues to focus on developing critical documentaries for transformative social change. Amy’s feature directoral debut, MYTHS FOR PROFIT, has screened extensively throughout the CP Network.

cinemapolitica.org/film/ myths-profit-canadas-role-industries-war-and-peace

About UsA GRASSROOTS PROJECT WITH SUPPORT

Cinema Politica’s main objective is to promote, disseminate, exhibit and promote the discussion of politi-cal cinema by independent artists, with an emphasis on Canadian works. All pieces that are screened are political works - they represent cinema texts that engage an audience on important socio-political, cultural, environmental and economic issues that are provocative in challenging dominant ideologies and accepted norms. Exhibited works are innovative and seek to educate, entertain and especially inspire audiences to participate in open and inclusive spaces. Emphasis is placed on works that tell stories underrepresented by mainstream media, including narratives around political struggles within Canada, and stories that deal with oppression and/or identity politics.

Cinema Politica is committed to supporting alternative, independent, and radical political film and video, and the artists who dare to devote time, passion and resources to telling stories from the margins. We program works that feature under-represented characters and tell stories which confront and challenge conventional fiction and documentary narratives.

With continued support from the Canada Council for the Arts, Cinema Politica is able to focus on inde-pendent Canadian filmmakers whose work explore political issues and stories of oppression and resistance that are excluded from the mainstream media.

cinemapolitica.org/about

Start a LocalGET INVOLVED AND BRING PROVOCATIVE ART TO YOUR COMMUNITY

Cinema Politica has screening locals all over Cana-da and the world and it’s easy to join. If your com-munity or campus is in need of provocative and challenging film and video presenting under-repre-sented narratives, start up a local!

There are some simple steps to starting up, all of which are outlined if you follow the URL below, but the main thing is that you find a venue, a crew of volunteers, and an audience. You’ll have to pay a small membership fees, but we basically do the rest! By joining the CP Network, you’ll get programming

and organization advice from us, you’ll have access to our library of hundreds of amazing film and videos, and you’ll be able to access other perks like our wonderful website, media-rich newsletters and more.

If you think your community or campus could use a recurring screening event that showcases independent political film and video exploring important socio-cultural topics with artistic skill, then contact us!

cinemapolitica.org/start-your-own-local

About Cinema PoliticaCP is the largest non-commercial campus and community based

documentary screening network in the world. With screening sites worldwide, we work to connect audiences to artists who

provoke, challenge, and change the world with their art. cinemapolitica.org/about

Cover image: 100 STORIES ABOUT MY GRANDMOTHER

Image: CRUDE SACRIFICE