DOCSLIB.ORG

Wilma Theater Missoula, Montana February 17-23, 2005

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Wilma Theater Missoula, Montana February 17-23, 2005 WWilmailma TheaterTheater Missoula, Montana February 17-23, 2005 | welcome | Welcome to the 2005 Big Sky Documentary Film Festival! Big Sky focuses on the highest quality documentary films without any restriction on theme. The festival provides the opportunity for members of our community and visitors to view and discuss the genre. We aspire to bring the theatrical experience of enjoyable, entertaining and compelling non- fiction films to Montana for audiences to contemplate. Nearly six hundred films were submitted for consideration, revealing a range of styles and topics. With a wealth of remarkable documentary films, this year’s festival runs an entire week at the grand historic Wilma Theater. The program encompasses distinctive non-fiction works from more than fifteen countries. A new retrospective series showcases over 40 years of work by Maysles Films of New York and Kartemquin Films of Chicago; two of America’s finest and longest running independent production houses. It’s a pleasure to have you join us in celebrating the art of non-fiction film. We hope you enjoy the show! Festival Directors Toni Matlock & Doug Hawes-Davis | the inside | Welcome..............................................................02 Screening Schedule.........................................17 Contact Information...........................................03 People..................................................................03 Documentary Feature Competition films.........10 Staff.....................................................................04 Documentary Short Competition films.............16 Judges.................................................................05 Big Sky Award films..........................................24 Tickets & Passes.................................................07 Out of Competition films...................................26 Awards................................................................07 Maysles Films Retrospective.............................29 Special Events Schedule....................................08 Kartemquin Films Retrospective.......................31 Missoula Map.....................................................08 2 | people | Festival Director/Programmer Doug Hawes-Davis Doug Hawes-Davis, co-founder of High Plains Films with Drury Gunn Carr, has produced and distributed his own non-fiction films for more than a decade. He earned his Masters of Science in Environmental Studies from the University of Montana in 1992 and his BA in Political Science from DePauw University in 1989. Winner of a 2001 Montana Arts Council Individual Artist Fellowship, Hawes-Davis has directed, produced, and edited more than a dozen films, including four features, since 1992. His documentaries, which have been screened around the world and won more than 30 awards, are intended to increase viewers' understanding of the relationship between human society and the natural world. He is a faculty affiliate with the University of Montana Environmental Studies Graduate Program and manages a joint documentary fellowship with the program for one aspiring filmmaker per year. Hawes-Davis founded the Big Sky Documentary Film Festival in 2003. Festival Director Toni Matlock Active in the Missoula arts community, Matlock exhibits her art nationally. She received her Bachelor of Fine Arts from the Art Institute of Chicago in 1992 and in 1996, earned an MFA in Fiber Arts from the University of Washington, Seattle. At present, she researches contemporary media art and the documentary genre in the Media Arts graduate program at The University of Montana. Her current work in progress explores memory and somatic experience through a commemorative multi-media exhibition that incorporates objects, audio, & video. Toni applies her educational experience and creativity to further develop BSDFF as a lively and stimulating annual cultural event. Education Coordinator Amy Colson Colson brings media production, program development, educational and communications experience to our staff. She has worked throughout the state as a writer, photographer and director of communication for several years after receiving her BA in Journalism from UM in 1995. While earning her Master of Fine Arts from the University of Montana Media Arts Program, she taught Media Production and assisted in the Introduction to Media Arts course. She works independently and collaboratively on video and motion graphics projects, such as Odyssey of the Stars: A Celebration of Artistic Journeys, a UM presentation, and Settling the Tab on Montana; Alcohol Culture which was a national finalist for the 2003 Society of Professional Journalists Mark of Excellence Award. She is currently producing a documentary on the historical and modern day culture of the Rocky Mountain Front and its communities. Colson facilitates community partnerships and the promotion of media literacy. | office information | | theater information | Big Sky Documentary Film Festival Wilma Theater 131 South Higgins Ave. Suite 201 131 South Higgins Ave. Missoula, Montana 59802 Missoula, Montana 59802 (406) 541-FILM (406) 728-2521 www.bigskyfilmfest.org www.thewilma.com Doug Hawes-Davis, Festival Director/Programmer Bill Emerson, Manager / Projectionist Toni Matlock, Festival Director www.bigskyfilmfest.org | staff | Festival Directors Pre-screening Committee Event Coordinators Doug Hawes-Davis Dru Carr Caroline Jones Toni Matlock Colin Chisolm Nici Holt Ken Furrow Toni Matlock Festival Programmer Gary Gooch Damon Ristau Doug Hawes-Davis Doug Hawes-Davis Sarah Woods Margot Higgins Education Coordinator Paul Lachapelle Web & Graphic Design Amy Colson Toni Matlock Greg Twigg Tina Mills Sponsorship Coordinators Tom Platt Programming Assistant Caroline Jones Gita Saedi Kelly Neal Gary Gooch Chris Wall Toni Matlock Marianne Zugel Intern Nicole Mrazek Jared White The festival would not be possible without the help of many dozens of volunteers who serve as ushers, ticket takers, projectionists, runners, reception hosts, organizers, etc, etc. etc. Please be appreciative and kind to these folks who have donated their valuable time to help make sure the Big Sky Documentary Film Festival is an enjoyable experience for all. | special thanks | We greatly appreciate the support of the Missoula community, local business sponsors, participating filmmakers and distributors, and specifically the following individuals and organizations. Thank you for supporting us! Les Benedict Tom Roy Bill Emerson Kay Grissom-Kiely Annick Smith Manager & Projectionist Cinda Hol Kettlehouse Brewery Historic Wilma Theater Sten Iverson Dan Funsch John Lilburn Montana Committee for the We couldn't do it without Bill! Laura Millin Humanities Karen Rice This project is funded in part by a grant from the Montana Committee for the Humanities, an affiliate of the National Endowment for the Humanities. 4 | judges | Jerry Blumenthal Jerry, one of the founding partners of Kartemquin Films, has been a director, producer, editor and sound recordist with Kartemquin since 1967. Blumenthal’s latest film, GOLUB: LATE WORKS ARE THE CATASTROPHES (2004), co-produced with Gordon Quinn, revisits the great American artist thirteen years after the award-winning GOLUB (1988). VIETNAM, LONG TIME COMING (done with Quinn and Peter Gilbert) aired on NBC and earned a national Emmy and the Directors Guild of America Award for Best Documentary of 1999. Among his many other films, Blumenthal lists THE LAST PULLMAN CAR, the two TAYLOR CHAIN films, THE CHICAGO MATERNITY CENTER STORY, NOW WE LIVE ON CLIFTON, and the Palestinian story in Kartemquin’s award-winning PBS series, THE NEW AMERICANS (2003). Judy Blunt Judy is an assistant professor of creative writing and the author of a bestselling memoir describing her life on an eastern Montana cattle ranch. BREAKING CLEAN was published by Knopf in 2002. Her nonfiction writing has gained national recognition with a PEN/Jerard Fund award, a Whiting Writers award, and most recently a 2004 NEA writer's fellowship. Blunt teaches creative nonfiction at the University of Montana. Drury Gunn Carr Carr is a founder of High Plains Films in Missoula, Montana. He and co-founder, Doug Hawes- Davis, have produced and distributed nearly 20 documentary films, including four features- –THIS IS NOWHERE, VARMINTS, KILLING COYOTE and LIBBY, MONTANA – during the past decade. High Plains Films also manages a stock footage archive, produces the Big Sky Documentary Film Festival, sponsors a University of Montana documentary fellowship, and handles contract production for a wide range of industry clients. Challenging in both form and content, Carr’s work is intended to provide insight into the relationship between modern human society and the natural world. Steve Slocomb STEVE began his career in the early 1970's with the comprehensive designer/filmmaker Charles Eames. At the Eames studio he worked as a cameraman on numerous educational science based 35 mm film projects. He went on to work as a camera operator and special effects consultant on Hollywood and theme park productions. These included such films as STAR TREK, TOTAL RECALL, GHOST, PREDATOR and the various 65mm Disney theme park 3D shows. In 1993 he filmed the 35mm feature film, SEASON OF CHANGE, which was done in his hometown of the Bitterroot Valley of Montana. Setting up his own video production company, Looking Glass Films, he shifted gears and started doing interview based documentary style educational and historical projects. These included training films for the Forest Service,
Load more

Recommended publications
  • VAUGHN SCHMITT Creole Country – New Orleans, LA
    VAUGHN SCHMITT Creole Country – New Orleans, LA * * * Date: August 9, 2006 Location: Creole Country – New Orleans, LA Interviewer: Amy Evans Length: 1 hour, 6 minutes Project: Gumbo Trail - Louisiana © 2006 Southern Foodways Alliance www.southernfoodways.com [Begin Vaughn Schmitt Interview] 00:00:00 Amy Evans: This is Amy Evans on Wednesday, August 9th, 2006 for the Southern Foodways Alliance. And I’m at Creole Country Sausages here on David Street in New Orleans, and I’m with Vaughn Schmitt. Vaughn, would you say your name and your birth date for the record, please? 00:00:19 Vaughn Schmitt: Vaughn Schmitt—11/18/56 [November 18, 1956]. 00:00:23 AE: All right. You and— 00:00:24 VS: Deanie [Bowen]. 00:00:25 AE: —are the co-owners of this establishment, is that right? 00:00:28 VS: Yes. © 2006 Southern Foodways Alliance www.southernfoodways.com 00:00:29 AE: But your parents started it? 00:00:30 VS: My mother and father started it in 1979. And it was an old house that we shelled out and made into a little sausage factory. And then they went to Oklahoma State University for a two- week crash course in sausage making. And from that on, they played around with different recipes, and we basically started off making smoked sausage, andouille [sausage], hogshead cheese, boudin—the basic sausages that people would want in New Orleans. And from then on out we introduced ourselves to the chefs in New Orleans, and they always came up with their ideas of what they would want, and we would work together and make different products.
    [Show full text]
  • Action Items
    South Salt Lake City Council AMENDED REGULAR MEETING AGENDA Public notice is hereby given that the South Salt Lake City Council will hold a Regular Meeting on Wednesday, February 13, 2019 in the City Council Chambers, 220 East Morris Avenue, Suite 200, commencing at 7:00 p.m., or as soon thereafter as possible. Conducting: Sharla Bynum, District Three Council Chair: Ben Pender Sergeant at Arms: Opening Ceremonies 1. Welcome/Introductions Sharla Bynum 2. Serious Moment of Reflection/Pledge of Allegiance Portia Mila Approval of Minutes January 23, 2019 Regular Meeting January 23, 2019 Work Meeting NO ACTION COMMENTS 1. Scheduling City Recorder 2. Citizen Comments/Questions a. Response to Comments/Questions (at the discretion of the conducting Council Member) 3. Mayor Comments 4. City Attorney Comments 5. City Council Comments 6. Council Attorney Comments ACTION ITEMS Appointments by the Mayor Mary Anna Southey and Leslie Hadley to the Planning Commission UNFINISHED BUSINESS 1. An Ordinance of the City of South Salt Lake Mark Kindred City Council Enacting Section 2.32.050, Elected Officials Compensation Commission 2. Update Gender Equity Pay Resolution Mark Kindred NEW BUSINESS 1. An Ordinance of the South Salt Lake City Council Mark Kindred Amending Section 15.12.070, Exempting Public Entities from City Review and Fees Associated with Development Applications, Except for City Utilities Connections See Page Two for Continuation of Agenda City of South Salt Lake City Council Regular Meeting February 13, 2019 Page 2 2. A Resolution of the South Salt Lake City Council Corey Thomas Expressing Appreciation to Ron Morris, Fire Chief Motion for Closed Meeting Adjourn Posted February 12, 2019 Those needing auxiliary communicative aids or other services for this meeting should contact Craig Burton at 801-483-6027, giving at least 24 hours’ notice.
    [Show full text]
  • Exploring the Lived Experiences of Pregnant Graduate Students Within
    ‘Here We Are’: Exploring the Lived Experiences of Pregnant Graduate Students within Neoliberal Universities A thesis presented to the faculty of the College of Arts and Sciences of Ohio University In partial fulfillment of the requirements for the degree Master of Arts Katlyn M. Merkle August 2016 © 2016 Katlyn M. Merkle. All Rights Reserved. 2 This thesis titled ‘Here We Are’: Exploring the Lived Experiences of Pregnant Graduate Students within Neoliberal Universities by KATLYN M. MERKLE has been approved for the Department of Geography and the College of Arts and Sciences by Risa Whitson Associate Professor of Geography Robert Frank Dean, College of Arts and Sciences 3 ABSTRACT MERKLE, KATLYN M., M.A., August 2016, Geography ‘Here We Are’: Exploring the Lived Experiences of Pregnant Graduate Students within Neoliberal Universities Director of Thesis: Risa Whitson This research aims to improve how feminist geographers theorize people’s embodied connections to spaces and places through analyzing what pregnancy is like while attending graduate school. This study explores the interconnectedness between how pregnancy is experienced and embodied by graduate students at neoliberal universities within the United States along with how pregnancy disrupts established bodily boundaries for graduate students at universities. This research on maternities unpacks how pregnancy, is embedded in a set of social conditions that can be manipulated based on the gender politics that are culturally produced and maintained within everyday geographies. By learning more about the lived experiences of pregnant graduate students, this research hopes to create or spur conversations that could lead to more supportive environments for pregnant students within neoliberal universities.
    [Show full text]
  • Costs ANALYSIS at a Sausage MANUFACTURER X
    COSTS ANALYSIS AT A Tom de Koning SAUSAGE S1583751 University of Twente Supervisor UT 1: I. Seyran - Topan MANUFACTURER X Supervisor UT 2: T. de Bakker Supervisor X: August - 2017 Bachelor assignment for ‘Industral Engineering and Management BSc’ i Management Summary X is a meat wholesaler in Paramaribo, Suriname. The company has circa 55 employees and has three departments. A Slaughterhouse, the raw meat factory and the sausage factory. This research is about the costs of the products in the sausage factory. X wants to expand their sales to the Caribbean, because Suriname is in a recession and X needs to export their products to survive. The costs calculations at X are outdated because of the drop of the Surinam Dollar in mid-2016. Because of this drop, some ingredients of the sausages have increased a lot in purchase price, which X neglected in earlier cost calculations. In this research, the direct costs are the most important parts. Circa 70%, of the total costs are the raw materials, derived from the receipts. The considered costs include the losses of raw materials, the employee costs, the machine costs and the losses in production and inventory as well. Finally, the costs that are not assigned to products become the indirect overhead costs. The raw materials are derived from the receipts. The costs of these raw materials are derived from a list of raw materials with the most recent purchase prices. The most recent prices are derived from the purchase orders from the book keeping system of X. The lost materials are derived from the difference in the total used raw materials and the total used raw materials that were expected to be used.
    [Show full text]
  • A 2016 Documentary Film by Dinesh Das Sabu And
    Unbroken Glass unbrokenglassfilm.com | facebook.com/unbrokenglass | @unbrokenglass A 2016 documentary film by Dinesh Das Sabu and Kartemquin Films Unbroken Glass is a documentary about filmmaker Dinesh Das Sabu's journey to understand his parents, who died 20 years ago when he was just six years old. Traveling to India and across the United States, Dinesh pieces together the story of his mother's schizophrenia and suicide, and how his family dealt with it in an age and culture where mental illness was often misunderstood, scorned and taboo. Unbroken Glass weaves together Dinesh’s journey of discovery with cinema-verite scenes of his family dealing with still raw emotions and consequences of his immigrant parents’ lives and deaths. Dinesh hopes that telling this story will raise awareness and reduce the stigma of mental illness, while at the same time empower suicide survivors and families of the mentally ill to share their stories. Unbroken Glass is Dinesh’s first feature film for Kartemquin Films. A graduate of University of Chicago, Dinesh is an independent documentary filmmaker. His work includes shooting part of Kartemquin’s American Arab and The Homestretch, as well as cinematography for Waking in Oak Creek, How to Build a School in Haiti and the forthcoming End of Love. In fall 2016, the team behind UNBROKEN GLASS is launching a robust community outreach campaign to screen the film and host discussions nation-wide. If you would like to schedule a screening, please contact [email protected]. The film is funded in part by the Sage Foundation, Firelight Media and the Asian Giving Circle..
    [Show full text]
  • The New Americans
    TELEVISUALISING TRANSNATIONAL MIGRATION: THE NEW AMERICANS Alan Grossman and Áine O’Brien TELEVISUALISING TRANSNATIONAL MIGRATION: THE NEW AMERICANS Alan Grossman and Áine O’Brien Originally published in 2007: Grossman and O'Brien (eds) Projecting Migration: Transcultural Documentary Practice, Columbia University Press, NY (Book/DVD). [Combined DVD/Book engaged with questions of migration, mobility and displacement through the prism of creative practice. Columbia University Press, NY] I The title of this book [The New Americans] and the documentary series upon which it reflects proclaims that something is fundamentally different about our most recent wave of immigration The racial and ethnic identity of the United States is ‐ once again ‐ being remade. The 2000 Census counts some 28 million first‐generation immigrants among us. This is the highest number in history – often pointed out by anti‐immigrant lobbyists ‐ but it is not the highest percentage of the foreign‐born in relation to the overall population. In 1907, that ratio was 14 percent; today, it is 10 percent. Yet there is the pervasive notion that something is occurring that has never occurred before, or that more is at stake than ever before. And there is a crucial distinction to be made between the current wave and the ones that preceded it. As late as the 1950s, two‐thirds of immigration to the US originated in Europe. By the 1980s, more than 80 percent came from Latin America and Asia. As at every other historical juncture, when we receive a new batch of strangers, there is a reaction, a kind of political gasp that says: We no longer recognize ourselves.
    [Show full text]
  • Theinterruptersv10.Pdf
    Presented by Kartemquin Films THE INTERRUPTERS • COMMUNITY RESOURCE GUIDE TABLE OF CONTENTS About the Film | 1 How To Use The Film and Resource Guide | 2 Character Profiles | 3 Laying the Groundwork for Dialogue | 4 Discussion Questions | 5 5 Things You Can Do Today | 7 Online Resource List | 8 About Kartemquin Films | 10 Credits and Funders | 10 THE INTERRUPTERS • COMMUNITY RESOURCE GUIDE ABOUT THE FILM During one weekend in 2008, 37 people were shot in Chicago, seven of them fatally. It was the year Chicago became the emblem of America’s inner-city violence and gang problem. The Interrupters is the moving story of three dedicated “violence interrupters”—Ameena Matthews, Cobe Williams and Eddie Bocanegra—who, with bravado, humility and even humor, work to protect their Chicago communities from the violence they themselves once employed. Their work and their insights are informed by their own journeys, which, as each of them points out, defy easy characterization. From acclaimed producer-director Steve James (Hoop Dreams) and best-selling author-turned-producer Alex Kotlowitz (There Are No Children Here), The Interrupters is an unusually intimate journey into the stubborn persistence of violence in our cities. The New York Times says the film “has put a face to a raging epidemic and an unforgivable American tragedy.” Tio Hardiman created the “Violence Interrupters Program” for an innovative organization. CeaseFire, which is the brainchild of epidemiologist Gary Slutkin, who for 10 years battled the spread of cholera and AIDS in Africa. Slutkin believes that the spread of violence mimics that of infectious diseases, and so the treatment should be similar: Go after the most infected, and stop the infection at its source.
    [Show full text]
  • Download Theatrical Press
    LOGLINE Three homeless teenagers brave Chicago winters, the pressures of high school, and life alone on the streets to build a brighter future. Against all odds, these kids defy stereotypes as they create new, surprising definitions of home. Can they recover from the traumas of abandonment and homelessness and build the future they dream of? SYNOPSIS The Homestretch follows three homeless teens as they fight to stay in school, graduate, and build a future. Each of these smart, ambitious teenagers - Roque, Kasey and Anthony - will surprise, inspire, and challenge audiences to rethink stereotypes of homelessness as they work to complete their education while facing the trauma of being alone and abandoned at an early age. Through haunting images, intimate scenes, and first-person narratives, these teens take us on their journeys of struggle and triumph. As their stories unfold, the film connects us deeply with larger issues of poverty, race, juvenile justice, immigration, foster care, and LGBTQ rights. With unprecedented access into the Chicago Public Schools, The Night Ministry’s Crib emergency youth shelter and Teen Living Programs’ Belfort House, The Homestretch follows these kids as they move through the milestones of high school while navigating a landscape of couch hopping, emergency shelters, transitional homes, street families and a school system on the front lines of this crisis. The film, a co production__between__Spargel_Productions__and__Kartemquin_Films, examines the struggles these youth face in obtaining a high school level education, and then follows them beyond graduation to focus on the crucial transition when the structure of school vanishes and homeless youth struggle to find the support and community they need to survive and be independent.
    [Show full text]
  • Grasshopper Film Acquires Kartemquin's in the GAME
    Media Contact: Tim Horsburgh Kartemquin Films [email protected] 847­436­2329 Grasshopper Film Acquires Kartemquin’s In the Game ​ Documentary by Peabody award­winning director Maria Finitzo follows Chicago Latina girls’ high school soccer team over multiple years as they struggle to overcome family poverty and reach higher education In the Game set to screen at SXSWedu in March, Chicago Latino Film Festival in ​ April Chicago, IL and New York, NY (February 29, 2015) ­­ Grasshopper Film has acquired the VOD and non­theatrical rights to In the Game, a documentary following four years in the life of a girls’ soccer team at ​ ​ a Chicago inner city high school, from Hoop Dreams producers Kartemquin Films and ​ ​ Peabody­award­winning director Maria Finitzo (Mapping Stem Cell Research: Terra Incognita). ​ ​ The deal comes ahead of In the Game screening at SXSWedu 2016 on March 7, and in a special ​ ​ presentation at the 2016 Chicago Latino Film Festival on April 19. Grasshopper Film is founded by Ryan Krivoshey, former director of distribution of New York­based distributor the Cinema Guild. His new company, just launched at Berlin’s EFM mart, plans to release eight to 12 titles theatrically per year and more than 50 pics on VOD, digital and nontraditional outlets. In 2016, Kartemquin Films celebrates its 50th year of producing documentaries that examine and critique society through the stories of ordinary people, such as The Interrupters, Life Itself, and the 2015 duPont ​ ​ ​ ​ Award­winning series Hard Earned, on which Finitzo was a director. ​ ​ “What Maria achieves in In The Game is remarkable; a window through which to see, understand and ​ ​ appreciate some of the most pressing social issues of our time,” commented Ryan Krivoshey, “I couldn’t be happier to be working again with Maria and the amazing, dedicated people at Kartemquin, truly a national treasure.” In the Game received glowing reviews in a US theatrical premiere engagement at Chicago’s Gene Siskel ​ Film Center in September 2015, and also screened festivals including St.
    [Show full text]
  • Home for Life Kartemquin Films, 1966
    HOME FOR LIFE KARTEMQUIN FILMS, 1966 “Home For Life is the most moving and gently penetrating film I have seen, dealing with the theme of old age in our society. It is, in a sense, a hymn to life; yet, it presents a challenge to us to face up to one of the most pressing problems of our day -- our attitude toward the aged. In its own way, it is a work of art rather than an artful work.” -Studs Terkel "Extraordinarily moving...recording moments of deep human emotion." - Roger Ebert For 40 years, KARTEMQUIN FILMS has been making documentaries that examine and critique society through the stories of real people. Kartemquin's debut film, Home For Life established the direction the organization would take over the next four decades. We aim to make this film available to these audiences to consider again—both as an in-depth look at the world of advanced aging, but also now as a historical example of vérité filmmaking and a document of geriatric care in 1960’s Chicago. The film depicts the experiences of two elderly people in their first month at a home for the aged- a man, isolated from the world he knew, and a woman, uprooted from a family setting. The documentary focuses on the feelings and reactions of the two new residents as they interact with other residents, medical staff, social workers, psychiatrists and family. A touching, sometimes painfully honest dramatic experience, Home for Life is an invaluable professional development tool for in-service staff training, and a thought-provoking missive for all other audiences interested in the problems of the aged.
    [Show full text]
  • A Reticulação Da Banda Larga Móvel: Definindo Padrões, Informando a Rede
    23 UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS Diego Jair Vicentin A RETICULAÇÃO DA BANDA LARGA MÓVEL: DEFININDO PADRÕES, INFORMANDO A REDE. CAMPINAS 2016 Agência(s) de fomento e no(s) de processo(s): FAPESP, 2010/18434-9 e 2013/05940-1 Ficha catalográfica Universidade Estadual de Campinas Biblioteca do Instituto de Filosofia e Ciências Humanas Cecília Maria Jorge Nicolau - CRB 8/3387 Vicentin, Diego Jair, 1981- V662r ViA reticulação da banda larga móvel: definindo padrões, informando a rede / Diego Jair Vicentin. – Campinas, SP : [s.n.], 2016. ViOrientador: Laymert Garcia dos Santos. ViTese (doutorado) – Universidade Estadual de Campinas, Instituto de Filosofia e Ciências Humanas. Vi1. Capital (Economia). 2. Sistemas de comunicação móvel. 3. Patentes. 4. Inovações tecnológicas. 5. Internet. I. Santos, Laymert Garcia dos,1948-. II. Universidade Estadual de Campinas. Instituto de Filosofia e Ciências Humanas. III. Título. Informações para Biblioteca Digital Título em outro idioma: The mobile broadband reticulation: developing standards, shaping the network Palavras-chave em inglês: Capital (Economy) Mobile communication systems Patents Technological innovations Internet Área de concentração: Sociologia Titulação: Doutor em Sociologia Banca examinadora: Laymert Garcia dos Santos [Orientador] Henrique Zoqui Martins Parra Marta Mourão Kanashiro Rafael de Almeida Evangelista Olga Cavalli Data de defesa: 06-05-2016 Programa de Pós-Graduação: Sociologia UNIVERSIDADE ESTADUAL DE CAMPINAS INSTITUTO DE FILOSOFIA E CIÊNCIAS HUMANAS A comissão Julgadora dos trabalhos de Defesa de Tese de Doutorado, composta pelos Professores Doutores a seguir descritos, em sessão pública realizada em 06 de maio de 2016, considerou o candidato Diego Jair Vicentin aprovado. Prof. Dr. Laymert Garcia dos Santos (orientador) Profa.
    [Show full text]
  • FOR IMMEDIATE RELEASE Contacts
    32 Broadway tel 212 989.8121 leveraging independent media 14th Floor fax 212 989.8230 in the public interest New York NY 10004 FOR IMMEDIATE RELEASE Contacts: Cynthia López, 212-989-7425, [email protected] Cathy Lehrfeld, 212-989-7425, [email protected] GOLUB Because Leon Golub’s massive canvasses depict scenes most of us would prefer not to see—mercenary killings, torture, death squads—they often raise the eyebrows and blood pressures of surprised viewers. In GOLUB, filmmakers Jerry Blumenthal and Gordon Quinn offer not simply a profile of a painter with a political conscience, but an investigation into the power of the artist to reflect our times—and to change the way we think about our world. The film will air on public television stations as part of the second season of True Lives, a series by the producers of P.O.V. “Art has always offended,” says Quinn. “Stravinsky offended; people rioted. GOLUB is part of that tradition. It’s not that all art has to be offensive, but a society in which art cannot offend is a totalitarian society.” The one-hour film juxtaposes scenes of physical violence and political repression around the world, statements by American politicians and others, the responses of viewers to Golub’s exhibitions, and an extended sequence capturing the artist at work. In his New York studio, he creates a huge canvas that depicts a brutal act of violence—a reminder, he says, of U.S. subsidized activity in El Salvador. TRUE LIVES/GOLUB 2 In developing this work and others, Golub turns to a file drawer full of newspaper and magazine clippings and photographs of various body types, violent acts, weapons, etc.
    [Show full text]