I
Wednesday, november 19, 1980
daily nebraskan
page 5
1 1- ' i ; i ' Ml
to the editor
In response to the Iranian students'
letter dated Nov. 11, we would like to
make the following points.
First of all, we find it very difficult to
understand that Khomeini's followers con
sider themselves responsible for the world's
problems and security by saying which
regime is reactionary and which is a pro
gressive one. Apparently, they are using
their racist ideology as a guideline for their
classification theory. They described the
national progressive regime of Iraq as a
reactionary one in the Middle East area.
That is not true, because Iraq is continuing
to support the national and progressive
movements of the oppressed people all
over the world, even the Iranian people
during the revolution against the shah.
That is what disturbs the Dictator
Khomeini, because the current regime of
shall is unable to solve the problems of Iran
and its minorities. Minorities and national
ities in Iran such as 'Arabs', 'Kurds',
'Turks' . . . etc. are suffering from severe
discrimination imposed by Khomeini, even
though they fought together with the rest
of the Iranians to overthrow the shah's
regime.
While in Iraq, all the minorities are fully
practicing and enjoying their privileges and
beliefs as citizens.
The Iraqi-Iranian border problems have
started since 1936, when the Shah of Iran
took the part now called "Arabistan". In
1974 the armed forces of the Shah attack
ed and occupied several Iraqi territories, as
well as three Arab islands in the Arabian
Gulf. Iraq gave more than 60,000 victims.
Khomeini, only a few weeks after the
revolution, demonstrated that his aims and
intentions are to destabilize the political
situation in Iraq by inciting sectarian con
flicts and other acts of political sabotage.
The Iraqi government along with the
Iraqi people do not want war, but they
were forced to fight for (1) The return of
the Arab Iraqi land and Iranian recognition
of our sovereignity on it, (2) Return of the
three Arab island, (3) Iran does not inter
fere in the internal affairs of Iraq.
Iraqi Students
Rape films . . .
Continued from Page 4
Films reflect current
economic and political
moods. The horror films of
the Cold War era reflected
some nebulous being cvit
there in the dark, ready to
strike. Today, at a time
when economics are threat
ening, finding blame is a
complex process. People
feel out of control of their
lives and powerless. In times
like these many people turn
to scapegoats.
Portraying women as
weak objects and having
them pursued, captured and
beaten is one way men can
feel powerful and more in
control. It's transference
and it's recognized as one of
the main reasons rape
occurs in reality, as well as
on the screen. Rape is up 14
percent this year nationally
and statistics show when
ever the economy is bad,
and men are feeling helpless
or powerless because of it,
rape crimes increase.
When questioned , most
rapists say that they believe
women want to be raped;
this is the justification for
their actions. Donnerstein
said this myth is perpetuat
ed in the slicker films like
Dressed to Kill. Donnerstein
said it's the well-made,
subtle films mixing erotica
and violence, shown at the
best theaters and in the best
magazines, that demonstrate
to people that society con
dones this type of behavior.
It's not hidden, therefore it
must be OK.
He said this desensitizes
people toward the violence
and reinforces the myth
that violence is pleasurable.
Beautiful women being
brutalized under a soft
focus lens is a far cry from
day-to-day realities. Accord
ing to FBI statistics, there
are 180 rape victims per
hour nationally, or one
woman is raped every three
minutes. A 10-year study by
Murray Straus found that
one woman is battered
every 18 seconds nationally.
In Lincoln according o
the Rape-Spouse Abuse
crisis Center, there are 175
to 200 reported rape victims
a year. There are an average
of 500 battered women per
year. These women didn't
enjoy it and it's not done
under low-key lighting with
any special effects.
Romanticizing violence
is a dangerous attitude for
both men and women. Con
tent is glossed over by form
and women are dehuman
ized in the process.
When Pauline Kael
spends four pages writing
about the artistic merits of
Dressed to Kill and Andrew
Sams' most profound criti
cism of Windows is in won
dering what a "dish" like
Elizabeth Ashley would ever
want with the likes of Talia
Shire, you wonder if the
point is being missed.
JiH HH'l'H ' MHK
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