Antifa: The Anti-Fascist Handbook in the context of protest culture and digital resistance in Australasia: by JoFF Rae

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Antifa and Aotearoa: Lessons for Protest, Power, and Digital Resistance

Mark Bray’s Antifa: The Anti-Fascist Handbook is more than a deep dive into militant street politics it’s a reminder that resistance is often local, decentralised, and culturally specific. So how do its ideas echo across the Southern Hemisphere, particularly in Aotearoa New Zealand and Australia?

Protest in a Local Context

Aotearoa has its own anti-fascist and anti-colonial traditions from the 1981 Springbok Tour protests to Ihumātao and ongoing resistance led by mana whenua. In Australia, the Blak sovereignty movement continues to challenge systems of racial injustice with decades of sustained activism. These movements are not imported they’re grounded in First Nations experience, colonial histories, and state power dynamics.

What Bray’s book offers is a broader historical framing: how direct action, deplatforming, and community defence have long been part of confronting far-right ideologies before they become institutionalised.

The Digital Layer

Today’s resistance often plays out online where trolls, algorithms, and propaganda can spread faster than any rally. Bray briefly touches on the digital front, but Australasia has seen this unfold uniquely:

  • From Telegram channels to encrypted networks, far-right groups have been organising in real time.

  • In response, digital activists here have employed everything from doxxing and takedowns to TikTok campaigns and counter-mapping.

  • Indigenous-led platforms are reframing the narrative, reclaiming space from colonial digital infrastructure.

This is antifa in the cloud - decentralised, proactive, and culturally adapted.

Community Over Control

Antifa doesn’t claim to be a universal model. But it raises important questions for our region: Who decides what constitutes a threat? When is confrontation justified? And how do we protect communities when formal systems fail to?

For activists, artists, and technologists working in Aotearoa and Australia, the lesson may be this: antifascism isn’t a fixed playbook. It’s a mindset — one that prioritises vigilance, solidarity, and creative disruption over passive neutrality.

DESIGNATING ANTIFA AS A DOMESTIC TERRORIST ORGANIZATION

🇺🇸 Designating Antifa as a Domestic Terrorist Organisation — What It Means & Why It Matters

On 22 September 2025, the White House published an executive order designating “Antifa” as a “domestic terrorist organisation.”  The order claims Antifa is a “militarist, anarchist enterprise” that orchestrates violence, organised riots, armed standoffs, doxing of political figures, and acts to “obstruct enforcement of Federal laws.”  It further orders all relevant departments and agencies to “investigate, disrupt, and dismantle” any operations tied to Antifa, including prosecutorial actions and targeting of financial support. 

This is a dramatic step — one with constitutional, political, and symbolic weight. Below are some of the tensions and implications it raises.

⚖️ Constitutional & Legal Questions

  • First Amendment / free speech concerns

      Labeling a political movement or loose coalition as a terrorist organisation raises serious questions about whether dissent, protest or civil disobedience might be chilled under threat of disproportionate enforcement.

  • Due process and “material support” ambiguity

      What counts as “material support”? Will people lending aid — legally or tangentially — be swept up? The executive order says it must align with “applicable law” but doesn’t fully resolve enforcement boundaries. 

  • Enforcement feasibility

      Antifa is not a centrally organised group with a clear hierarchy. It’s a name adopted by disparate activists and groups. That decentralisation makes legal targeting more complex — who qualifies as “acting on behalf of Antifa”?

🏛️ Political & Symbolic Stakes

  • Polarising rhetoric

      This move is likely to deepen divisions around the nature of protest, resistance, and what counts as “legitimate political action.” For critics, it may look like a tool to delegitimise left‑wing dissent rather than a precise enforcement action.

  • Precedent for designations

      If political movements can be singled out as “terrorist,” there’s a slippery slope — this tool might be used (or threatened) against other movements in future administrations, depending on the political winds.

  • Global optics

      The U.S. setting such a tone with anti‑fascist movements may resonate elsewhere, especially in democracies trying to balance security and protest. It could be used by governments to justify crackdowns.

🧭 In Conversation with Antifa: The Anti‑Fascist Handbook

Mark Bray’s work emphasises the historical continuity of anti‑fascist resistance, particularly through decentralised, fluid networks that preempt fascist consolidation. The White House’s framing leans heavily on the idea of centralised, violent, conspiratorial organisation — a narrative at odds with how many scholars, activists, and observers describe “antifa” in practice.

Bray offers a counterpoint: resistance doesn’t always adopt formal hierarchies, and tactics must adapt to political contexts, not fit into neat legal categorizations. In a climate where “terrorism” is a legal cudgel, Bray’s framing warns of the risks of overcriminalising dissent.

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Arthur Schopenhauer (1788-1860) is often regarded as one of the most pessimistic philosophers in history. by JoFF Rae

Arthur Schopenhauer (1788-1860) is often regarded as one of the most pessimistic philosophers in history. Known for his profound and bleak outlook on life, Schopenhauer’s philosophy revolves around the idea that the fundamental nature of existence is suffering. He believed that life is primarily driven by an irrational, insatiable force he called the will, which manifests as desire, hunger, and yearning in all living beings. According to Schopenhauer, this relentless striving leads to a cycle of unfulfilled desires and inevitable suffering.

His major work, The World as Will and Representation (1819), presents the notion that the world is merely a representation created by our minds, but the underlying reality of this representation is the “will”—a blind, aimless force that drives everything. He argued that human existence is a constant struggle and that true happiness is unattainable due to the endless demands of the will.

Schopenhauer’s pessimism extended to human nature and relationships. He saw love as a mere biological mechanism to perpetuate the species and expressed disdain for the superficiality of social interactions. He held a misanthropic view, often criticising human behaviour as driven by selfishness and delusion. However, he did find some solace in the contemplation of art, music, and the experience of compassion, which he saw as rare moments of transcendence beyond the will.

Despite his grim perspective, Schopenhauer’s ideas profoundly influenced later thinkers, such as Friedrich Nietzsche, Sigmund Freud, and even writers like Leo Tolstoy. His work prefigured existentialist thought and continues to resonate in discussions about the nature of suffering, the human condition, and the limitations of reason.

OPERATION 8: Deep in the Forest - Feature Documentary by JoFF Rae

OPERATION 8: Deep in the Forest - Feature Documentary

On October 15, 2007, activists around New Zealand woke to guns in their faces. Black-clad police smashed down doors, dragging families out onto roads. In the rural village of Rūātoki, helicopters hovered while locals were stopped at roadblocks. Operation 8 involved 18 months of invasive surveillance of Māori sovereignty and peace activists accused of attending armed training camps in the Urewera ranges – homeland of the Tūhoe people. Operation 8 asks how and why the raids took place. How did the War on Terror become a global witch-hunt of political dissenters reaching even to the South Pacific? Dur: 110mins Year: 2011

The Man Who Laughs / Killing Joke by JoFF Rae

Today I'm reading the Killing Joke featuring my favourite Supervillain!

pdf

The Joker owes his appearance to the character that Conrad Veidt brought to life back in 1928.

The 1928 silent film The Man Who Laughs was an adaptation of a 1869 novel by Victor Hugo. The film told the story of Gwynplaine, a man whose face was disfigured into a permanent grin, giving him the appearance of a clown.

Though not a major box office success at the time, the film later influenced comic book creators. Most notably, Gwynplaine's disturbing grin is cited as a key inspiration for the Joker character in the Batman comics. The Joker's origins as a criminal whose face becomes permanently disfigured into a rictus grin echoes Gwynplaine's story.

The article explores the parallels between Gwynplaine and the Joker, and how certain scenes and imagery from the 1928 film seem to prefigure the Joker. It also discusses the tragic nature of both characters, who were turned into "monsters" through disfigurement.

The Man Who Laughs represents an early example of comic books taking inspiration from other visual media, not just other comics. The clown-faced Gwynplaine introduced motifs that shaped the iconic DC villain Joker years later.

Though not a direct adaptation, the film had a clear influence on early comic book creators and introduced elements that were later effectively incorporated into the Joker's appearance and backstory.

https://youtu.be/NHY05QdAJ9U

RIP Maxi Jazz by JoFF Rae

Maxwell Fraser (14 June 1957 – 23 December 2022), better known by his stage name Maxi Jazz, was a British musician, rapper, singer, songwriter and DJ. He is best known for his role as the lead vocalist of British electronic band Faithless from 1995 to 2011 and 2015 to 2016.

THE CHEMICAL BROTHERS Wide Open (feat. Beck) by JoFF Rae

MUSIC BY
The Chemical Brothers

VOCALS BY
Beck

DANCER
Sonoya Mizuno

CHOREOGRAPHY BY
Wayne McGregor

VISUAL EFFECTS BY
The Mill

PRODUCED BY
John Madsen

DIRECTED BY
DOM&NIC

COMMISSIONER
Ailsa Robertson

DIRECTOR OF PHOTOGRAPHY
Steve Chivers

STEADICAM OPERATOR
Rick Woollard

EDITOR Ed
Cheeseman

SOUND DESIGN
Tony Rapaccioli

COSTUME DESIGNER
Tara Stift

HAIR AND MAKE-UP
Fiona Fellows

PRODUCTION MANAGER
Steve Elgar

FIRST ASSISTANT DIRECTOR
Ben Gill

FOR RANDOM DANCE
Rebecca Marshal & Ellie Douglas-Allan

FOCCUS PULLER
Ross Naylor

CLAPPER LOADER
Stephanie Kennedy

DIT
Paul Swann

VIDEO PLAYBACK
Tony Booth

GRIP TRAINEE
Warren Wiseman

RUNNERS
Daniel Osei, Ana Freire De Andrade, Billy Goffey

THE MILL

EXECUTIVE PRODUCER
Misha Stanford – Harris

EXECUTIVE CREATIVE DIRECTOR
Neil Davies

2D LEAD
Fergal Hendrick

3D LEAD
David Fleet & Suraj ‘Sid’ Harrington–Odedra

ANIMATION LEAD
Jorge Montiel & Ian Potsos

RIGGING
Andreas Graichen

2D ARTISTS
Joe Courtis, Brad Wood, Sole Martin, Lucas Carracedo, Jeanette Eiternes, George Cressey, Warren Gebhardt, Stefan Susemihl, Rebecca Clay,

ANIMATION
Ashley Reemul, Matthew Kavanagh, Sauce Vilas, Jasmine Ghoreishi, Alberto Lara, Sherin Mahboob, Philippe Moine

3D TRACKING & MATCH MOVE (PEANUT FX)
Peregrine McCafferty and Amélie Guyot

MODELLING AND TEXTURES
Marta Carbonell

LIGHTING & RENDERING ASSIST
Yoann Gouraud

SHOOT ASSIST
Margaux Huneau

COLOURIST
David Ludlam

COLOUR ASSIST
Oisin O’Driscoll, Brendan Buckingham

ASSISTANT PRODUCER
Tess Miles


https://waynemcgregor.com/productions/wide-open

WINNER
Best Dance Video
Best VFX

UK Music Video Awards, 2016

Directed by D O M & N I C, The Chemical Brothers 2016 music video for Wide Open features choreography by Wayne McGregor.

Starring actress and dancer Sonoya Mizuno, the video was rehearsed and shot in a former cab workshop in Bethnal Green, London. Using animation, lidar scanning, and bespoke in-house software, the video plays out in one continuous shot showing Mizuno slowing transforming limb by limb as she moves around the expansive space.

The visual effects of the video were created by award winning VFX and Creative Content studio The Mill. Watch the video below to discover more about the creation process behind Wide Open, from initial concept art to the final film.