Toxic Trespass

Total Page:16

File Type:pdf, Size:1020Kb

Toxic Trespass w omeN 2010 make New Releases movies WMM www.wmm.com Women Make Movies Staff Jen Ahlstrom Finance Coordinator Liza Brice Online Marketing ABOUT & Outreach Coordinator Jessica Drammeh IT/Facilities Coordinator WOMEN MAKE MOVIES Kristen Fitzpatrick A NON-PROFIT INDEPENDENT MEDIA DISTRIBUTOR Distribution Manager Tracie Holder Production Assistance From cutting-edge documentaries that give depth to today’s headlines to smart, Program Consultant stunning fi lms that push artistic and intellectual boundaries in all genres, Stephanie Houghton Educational Sales Women Make Movies (WMM), a non-profi t media organization, is the world’s & Marketing Coordinator leading distributor of independent fi lms by and about women. WMM’s Maya Jakubowicz Finance & Administrative Manager commitment to groundbreaking fi lms continues in 2010 with 24 new, astonishing Cristela Melendez and inspiring works that tackle, with passion and intelligence, everything Administrative Aide from portraits of courageous and inspiring women affecting social change in Amy O’Hara PATSY MINK: AHEAD OF THE MAJORITY, A CRUSHING LOVE, and AFRICA RISING, Offi ce Manager to three new fi lms on issues facing young women today: COVER GIRL CULTURE, Merrill Sterritt Production Assistance ARRESTING ANA, and WIRED FOR SEX, LIES AND POWER TRIPS. Other highlights Program Coordinator include THE HERETICS, a look at the Second Wave of feminism, and two new Julie Whang fi lms in our growing green collection, MY TOXIC BABY and TOXIC TRESPASS. Sales & Marketing Manager Debra Zimmerman Executive Director The WMM collection is used by thousands of educational, cultural, and community organizations across North America. In the last fi ve years dozens Board of Directors of WMM fi lms have been broadcast on PBS, HBO, and the Sundance Channel Claire Aguilar among others, and have garnered top awards from Sundance to Cannes, as Vanessa Arteaga well as Academy Awards®, Emmy Awards®, and Peabody Awards. Additionally, Taina Bien-Aime hundreds of fi lms by women have been produced with the support of the Tina DeFeliciantonio distinguished WMM Production Assistance Program, which offers fi lmmakers Phoebe Eng support and nonprofi t tax exempt status. Leslie Fields-Cruz Kathryn F. Galan Visit www.wmm.com! Michelle Halsell Browse our catalog of more than 500 titles by and about women and order online Caroline Libresco 24 hours a day, 7 days a week. Read full descriptions, watch trailers and clips, Marian Masone learn more about our fi lmmakers, and download study guides on selected titles. Barrie Pribyl (Emeritus) Most importantly, visitors can sign up for WMM E-News and Special Offers Helen D. Reavis email newsletters to fi nd information on our currentspecial offers, discounted Esther Robinson special collections, latest New Releases, and other timely news about Women Patricia White Make Movies. We encourage you to visit often! Debra Zimmerman (Ex Offi cio) Funders New York State Council on the Arts National Endowment for the Arts New York City Dept. of Cultural Affairs Google W.K. Kellogg Foundation Women Make Movies, Inc. The Little Family Foundation 462 Broadway, Suite 500L and many individuals New York, NY 10013 Tel 212.925.0606 Fax 212.925.2052 [email protected] n www.wmm.com WMM 20 New Releases 10 Africa Rising Mrs. Goundo’s The Grassroots Movement To End Female Daughter Genital Mutilation A film by Paula Heredia A film by Barbara Attie 2009, 62 minutes, Color & Janet Goldwater Burkina Faso/Kenya/Mali/ 2009, 60 minutes, Color Somalia/Tanzania US/Mali Subtitled (French, Somali, Swahili) Subtitled (French, Bambara) DVD DVD Sale $295 Sale $295 Rental $90 Rental $90 Order No. L10980 Order No. L10974 PHoTo: kaTe HolT PHoTo: baRbaRa aTTie “A powerful look at how Every day, 6,000 girls from the Horn of Africa “Recommended… Mrs. Goundo is fighting to remain in the to eliminate, from within to sub-Saharan nations are subjected to female Particularly useful in United States. But it’s not just because of the cultures themselves, a tragic classes studying traditional genital mutilation (FGM). With fierce determina- ethnic conflict and drought that has plagued practice. This procedure African cultures and is perpetrated on young tion and deep love for their communities, brave the treatment of women her native Mali. Threatened with deportation, girls, the most vulnerable African activists are leading a formidable, fear- in those cultures.” her two-year-old daughter could be forced members of society.” less grassroots movement to end 5,000 years Sandy River to undergo female genital mutilation (FGM), Meryl Streep Educational Media of FGM. An insightful look at the frontlines of a like 85 percent of women and girls in Mali. Actress Reviews Online quiet revolution taking the continent by storm, Using rarely cited grounds for political asylum, “Stunningly honest, this extraordinarily powerful film is one of the “An invaluable teaching Goundo must convince an immigration judge soberingly frank…An first to focus on African solutions to FGM. tool…A ‘must-see’ for that her daughter is in danger. unparalleled window into women’s rights, human the ‘business of FGM’— Beautifully directed by Emmy Award® winner rights, and immigration Sensitive and moving, this important film of the cultural and economic Paula Heredia and produced by Equality Now, law teachers, lawyers, reveals how women are profoundly affected by pressures brought to bear students, and organizers.” Africa Rising travels through remote villages in the legal struggles surrounding immigration. on the girls who are cut, and Hope Lewis the cutters themselves. Burkina Faso, Kenya, Mali, Somalia and Tanzania. Professor of Law, As issues of asylum, international law and And yet, woven throughout Weaving together dynamic footage and the Northeastern University human rights collide with FGM and its devastat- is the hope and a vision poignant stories of girls personally affected by ing health consequences, filmmakers Barbara of a world free from FGM.” “Eye-opening…Examines FGM, it shows how African women and men are Attie and Janet Goldwater travel between an Tamera Gugelmeyer both sides of the issue Executive Dir., putting an end to this human rights violation. without judgment or FGM ceremony in a Malian village, where The Sisterhood Convincing circumcisers to lay down their knives, condescension by letting dozens of girls are involved, to the West African is Global Institute engaging the police to implement the law, and those closest to the subject expatriate community of Philadelphia, where honing leadership skills in girls, these determined matter do the talking.” Mrs. Goundo challenges beliefs and battles the “Reveals a sense of hope, New York Magazine demonstrating that activists have been working tirelessly for years American legal system for her child’s future. to conceptualize their campaign. Africa Rising FGM is not an acceptable “Very moving…Sure to n SilverDocs Film Festival cultural practice, and paints an intimate portrait of the broadly-based generate dialogue and n New York Human Rights Watch Int’l Film Festival that a people, culture, debate both on FGM and but little-known anti-FGM movement and shows n Urbanworld Film Festival religion or nation cannot current immigration policy. that courageous, creative and resourceful indi- n London Human Rights Watch Int’l Film Festival and will not allow A must-have documentary themselves to be defined viduals can change the course of history. relevant for a range of by pain, cruelty, and disciplines and classes.” n Panafrican Film and Television Festival of Ouagadougou destruction.” Beverly A. Mcphail, Ph.D. (FESPACO) Kate Schaab Dir., n Zanzibar Int’l Film Festival Asst. Dir., Women’s Resource Center, n Women’s Resource Center, Reel Sisters of the Diaspora Film Festival University of Houston Northern Illinois University n Kenya Int’l Film Festival n Brilliant Light Int’l Film Festival n visit www.wmm.com to see our complete catalog 2010 New Releases n Women Make Movies 1 20 10 New Releases The Heretics Say My Name A film by Joan Braderman A film by Nirit Peled 2009, 95 minutes, Color 2009, 75 minutes, Color DVD US/UK Sale $295 DVD Rental $90 Sale $295 Order No. L101005 Rental $90 Order No. L10970 PHoTo: mamamess “Ms. Braderman intercuts the Tracing the influence of the Women’s Movement’s “The female MCs in this In a hip hop and R’n’B world dominated by story of the magazine and Second Wave on art and life, The Heretics is film tell us that they have men and noted for misogyny, the unstoppable of second-wave feminism always been there and are the exhilarating inside story of the New York female lyricists of Say My Name speak candidly with recent interviews with an integral part of hip hop. the women. Thirty-odd years feminist art collective that produced “Heresies: [They] continue to tell about class, race, and gender in pursuing their later, they’re just as pas- A Feminist Publication on Art and Politics” their occluded stories from passions as female MCs. This worldwide sionate and engaged. (1977-92). In this feature-length documentary, mainstream hip hop documentary takes viewers on a vibrant tour It’s a pleasure to spend time histories and their triumphs cutting-edge video artist/writer/director of urban culture and musical movement, from in their company.” over very real obstacles of Rachel Saltz Joan Braderman, who joined the group in 1971 race, gender and class.” hip hop’s birthplace in the Bronx, to grime on The New York Times as an aspiring filmmaker, charts the collective’s Nicole Hodges Persley, Ph.D. London’s Eastside, to Philly, Detroit, Chicago, challenges to terms of gender and power and Asst. Professor of Theatre, Atlanta, and L.A., and points in between. “Skillfully crafted… its history as a microcosm of the period’s University of Kansas invigorates feminism, art, Featuring interviews and musical performances broader transformations.
Recommended publications
  • UC Davis Streetnotes
    UC Davis Streetnotes Title Street Life of Children in 20th Century New York Permalink https://escholarship.org/uc/item/3sq2n3vk Journal Streetnotes, 23(0) Author Wunsch, James Publication Date 2015 DOI 10.5070/S5231003535 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Streetnotes (2015) 23: 51-XX 51 ISSN: 2159-2926 The Street Life of Children in 20th Century New York James Wunsch Abstract This article explains how and why over the course of the 20th century the street life of children in New York City disappeared. It draws on the very rich resources of memoir and fiction to understand what happened and, in doing so, it comes to understand the importance of street life in stirring the literary imagination. Wunsch, James. “The Street Life of Children in 20th Century New York”. http://escholarship.org/uc/ucdavislibrary_streetnotes Streetnotes (2015) 23: 51-XX 52 ISSN: 2159-2926 For a child growing up on the Lower East Side, life was endlessly absorbing. In a neighborhood bursting with people, actually spilling out onto the streets, it was always possible for a bright girl or boy to experience pain, sorrow, or pleasure merely by walking around and being observant. —Irving Howe and Kenneth Libo, “Growing Up in Cities,” How We Lived: A Documentary History of Immigrant Jews in America, 1880-1930.1 I’m so grateful for the little TV in my room. When I’m stuck inside, it sort of brings me outside to the world. —Latoya Hunter, The Diary of Latoya Hunter: My First Year in Junior High.2 Introduction What was it like to grow up in New York City in the twentieth century? The most vivid answers came from New Yorkers themselves, who were often moved to write about their coming of age in the city.
    [Show full text]
  • 1997 Sundance Film Festival Awards Jurors
    1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J.
    [Show full text]
  • Hallmarks of Gender-Based Violence Prevention & Response At
    Hallmarks of Gender-Based Violence Prevention & Response at PLU A timeline snapshot of investments in programs, events, and initiatives Fall 2005: PLU receives $300,000 in grant funding from Department of Justice Office on Violence Against Women to address sexual assault, dating/domestic violence, and stalking on campus. Coordinated Community Response (CCR) Team formed consisting of campus and community partners to lead prevention and response efforts for gender-based violence related to the DOJ grant. Spring 2006: Victim Advocate (Jennifer Warwick) and Men Against Violence (MAV) Coordinator (Jonathan Grove) hired to implement goals of the “Voices Against Violence” (VAV) grant project. CCR team members attend the first of many quarterly Training and Technical Institutes hosted by the Office on Violence Against Women. Fall 2006: VAV beings annual training for Campus Safety, Residential Life, and Student Leaders to help individuals recognize instances of gender-based violence within the scope of their roles and refer to appropriate resources. Victim Advocate begins providing services (emotional support, safety planning, resources referrals) to students, faculty, and staff impacted by gender-based violence. Advocates work with an average of 50-60 clients each academic year. The first student peer education coordinator (Abi McLane, ‘08) is hired to implement SAPET presentations on campus. The first annual White Ribbon Campaign is hosted at PLU, encouraging men to pledge to not commit or condone violence against women. Spring 2007: PLU appoints Title IX Coordinator (Teri Phillips). Circles of Healing psycho-educational support group for survivors of sexual or domestic violence begins. CCR develops “Sexual Assault, Intimate Partner Violence and Stalking: Help is Available Brochure” to highlight the resources available on campus and in the local community for victims/survivors.
    [Show full text]
  • Coalition Chronicles 33-2: Domestic
    A newsletter of End Domestic Abuse WI Volume 33 Issue 2 In This Issue The Double Imprisonment of Battered Women Who Are Incarcerated From End Abuse Director, Patti Seger Wisconsin’s women’s prisons are filled with survivors of domestic and sexual violence. These women are Women’s Experiences of doubly imprisoned: first, by trauma from the violence Abuse as Risk Factors for they have suffered, and second, by the iron bars and Incarceration Click to read razor wire fences that surround them daily. They are Best Practice Toolkit incarcerated by a criminal legal system that does not Click to read consider their histories of abuse when deciding their fates. Intersection: Victimization, Mental Illness, & The experience of interpersonal violence is a significant factor in the crimes Incarceration Click to read committed by the majority of incarcerated women. Some women land in prison because they killed or seriously hurt an abuser, almost always in self-defense. Brenda Clubine Some are there because an abuser threatened to kill them if they didn’t forge a Click to read name on a check, steal, deal drugs, or engage in prostitution. They may be there Betty’s Story Click to read because they stole to feed themselves and their children. The crimes that result in incarceration are often acts of survival. Collateral Consequences Click to read Behind bars and far from homes, families, children, and domestic violence agencies that might offer assistance, too often these women are forgotten Asha Family Services victims of domestic abuse: they are left with few ways to heal from trauma, both Click to read from the initial abuse and from the circumstances of their present lives in prison.
    [Show full text]
  • Cinematographer As Storyteller How Cinematography Conveys the Narration and the Field of Narrativity Into a Film by Employing the Cinematographic Techniques
    Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. Cinematographer as Storyteller How cinematography conveys the narration and the field of narrativity into a film by employing the cinematographic techniques. Author: Babak Jani. BA Master of Philosophy (Mphil): Art and Design University of Wales Trinity Saint David. Swansea October 2015 Revised January 2017 Director of Studies: Dr. Paul Jeff Supervisor: Dr. Robert Shail This research was undertaken under the auspices of the University of Wales Trinity Saint David and was submitted in partial fulfilment for the award of a MPhil in the Faculty of Art and Design to the University of Wales Trinity Saint David. This page intentionally left blank. 4 The alteration Note: The alteration of my MPhil thesis has been done as was asked for during the viva for “Cinematographer as Storyteller: How cinematography conveys narration and a field of narrativity into a film by employing cinematographic techniques.” The revised thesis contains the following. 1- The thesis structure had been altered to conform more to an academic structure as has been asked for by the examiners.
    [Show full text]
  • Complicated Views: Mainstream Cinema's Representation of Non
    University of Southampton Research Repository Copyright © and Moral Rights for this thesis and, where applicable, any accompanying data are retained by the author and/or other copyright owners. A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. This thesis and the accompanying data cannot be reproduced or quoted extensively from without first obtaining permission in writing from the copyright holder/s. The content of the thesis and accompanying research data (where applicable) must not be changed in any way or sold commercially in any format or medium without the formal permission of the copyright holder/s. When referring to this thesis and any accompanying data, full bibliographic details must be given, e.g. Thesis: Author (Year of Submission) "Full thesis title", University of Southampton, name of the University Faculty or School or Department, PhD Thesis, pagination. Data: Author (Year) Title. URI [dataset] University of Southampton Faculty of Arts and Humanities Film Studies Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. DOI: by Eliot W. Blades Thesis for the degree of Doctor of Philosophy May 2020 University of Southampton Abstract Faculty of Arts and Humanities Department of Film Studies Thesis for the degree of Doctor of Philosophy Complicated Views: Mainstream Cinema’s Representation of Non-Cinematic Audio/Visual Technologies after Television. by Eliot W. Blades This thesis examines a number of mainstream fiction feature films which incorporate imagery from non-cinematic moving image technologies. The period examined ranges from the era of the widespread success of television (i.e.
    [Show full text]
  • Black Widows: Battered Mothers Who Kill
    Black Widows: Battered Mothers Who Kill Jay Berta Klyman Submitted under the supervision of Rebecca Shlafer-Nealy to the University Honors Program at the University of Minnesota-Twin Cities in partial fulfillment of the requirements for the degree of Bachelor of Science magna cum laude in Authentic Community Engagement. May 12, 2016 Summary The following paper examines battered mothers who kill their abusers. Through estimation, we find that this population is made up of 16,000 women who are presently incarcerated in the United States. Research examines the cases of Artiesha Love and Natalie Pollard, two mothers in the St. Paul/Minneapolis area who allegedly murdered their abusers. Through media analysis of over 15 sources, it is clear that the media lacks an understanding of domestic violence in the cases of battered mothers who kill. Turning to existing research, it is clear that very little research has been done around the role of motherhood. Of the literature examined, no previous research has done to make sense of how motherhood might affect a woman’s decision to kill or not kill her abuser. There is hope when it comes to case studies such as the Sin by Silence bills and documentary in California, and the #SayHerName component of the #BlackLivesMatter movement. The issue of battered mothers who kill their abusers intersects with police brutality, racial disparities, and the criminalization of people of color and the movement to end domestic violence. Introduction Our cultural narrative in the United States around domestic violence brings to mind a woman and her children, bruised and bloodied sitting in a battered women’s shelter.
    [Show full text]
  • Linda Garcia Merchant 11252 S
    Linda Garcia Merchant 11252 S. Normal Avenue, Chicago, IL 60628 c (312) 399-7811 f (773) 629-8170 [email protected] EDUCATION 1982, B.S., with honors, Advertising Design/Photography Western Illinois University 2008-2009, Columbia College Chicago, MFA Film & Video, Follett Fellowship Recipient SELECTED PROFESSIONAL POSITIONS: Producer, Las Pilonas Productions, Phoenix, Arizona 2011 to present Project Coordinator, ‘The Virtual Reunification of the Wisconsin Latina Activist Network’ Course CLS 330: Past and Present Ideologies of the Chican@/Latin@ Movements, University of Wisconsin, Madison 2012 to present Technical Director ‘Chicana Por Mi Raza’ Digital Humanities Project, University of Michigan, 2009 to present Consultant, Somos Latinas Digital Humanities project, 2012 to present Organizing Manager, Voces Primeras, LLC, 2006 to present Web Designer/Developer, Duografix, 2000-2008 Adjunct Professor, Columbia College, Arts, Entertainment & Media Management Department “Management Applications for the Web”, 2000 to 2001 Editor and Content Producer, twotightshoes.net, Chicago, IL 1998 – 2003 Marketing Specialist/IT, Larry Gordon Agency, Chicago, IL 1998 to present Graphics Production Coordinator, 1996 Olympics /Atlanta. GES Exposition Services FILMS/PUBLICATIONS Producer, Director, “Chicana Por Mi Raza Digital Humanities Project: Mujeres del Partido” 2012 Director, ‘Thresholds’, February 2011 Writer, Producer, Four In Grace, 2009, Noelle, 2013 Blogpost, ‘Organized Coraje’, Summer of Feminista, Viva La Feminista, 2012 Producer, Co-director, ‘The A Word’, 2011 Blogpost, ‘Chicanas who spoke out and inspire’, Summer of Feminista, Viva La Feminista, 2011 Producer, Director, ‘Amigas! Fifteen Years of Amigas Latinas’ 2010 Producer, Co-director, ‘Palabras Dulces, Palabras Amargas’ (Sweet Words, Bitter Words) 2009 “From Ava Gardner to Mis Nalgas: The Story of My Brown Skinned Sexuality”, Dialogo, DePaul University Press, 2009.
    [Show full text]
  • T H E C O M B at IV E P H a SE C Heck Y U W Ebsite for in Form Ation
    PHASE COMBATIVE THE May 6–June 25, 2017 6–June 25, May The Combative Phase takes its title from an essay by Teshome Gabriel as ‘speaking for,’ as in politics, and representation as ‘representation,’ as in The university and the cinema are not dissimilar institutions. They make 23 titled “Towards a Critical Theory of Third art or philosophy.” 23 comparable claims to be spaces of revelation and of enlightenment. In 19 Teshome Gabriel, “Towards Gayatri Chakravorty Spivak, World Films.”19 This text draws on the writing a Critical Theory of Third World “Can the Subaltern Speak?” 1969, a pivotal year for this exhibition, Noël Burch coined the unwieldy Films,” Questions of Third Cinema, Colonial Discourse and Post-Colonial of Frantz Fanon on decolonization, and ed. Jim Pines and Paul Willemen The temporal, spatial, and socio-political Theory: A Reader, eds. Patrick term “institutional mode of representation (IMR)” to characterize the Williams and Laura Chrisman (London: BFI, 1989), 298–316. 1 proposes a “genealogy of Third World film frame of the university—and particularly, (New York: Columbia University dominant standard of totalizing illusionistic representation in cinema. Press, 1994), 70. culture” on a path from “domination to liberation.” Gabriel identifies three its attendant conditions of access to IMR might equally be applied to the 1 Noël Burch, Praxis du Cinéma, phases in this genealogy: firstly, a phase of “unqualified assimilation” in education and means of production—unifies the films exhibited. More figure of the modern university.
    [Show full text]
  • Faculty Directory
    FACULTY AND ADMINISTRATORS 2016-2017 CLAYTON ABAJIAN (2014), Lecturer of Nursing, B.S.N., California State University, Sacramento MIKAEL J. ANDERSON (2003), Professor of Construction KIMO AH YUN (1996), Professor of Communication Management; Chair, Department of Construction Studies, B.A., California State University, Management, B.S., M.S., University of California, Sacramento; M.A., Kansas State University; Ph.D., Davis; Registered Professional Engineer; Licensed Michigan State University General Contractor DALE AINSWORTH (2014), Assistant Professor of Health ANDREW K. ANKER (1996), Professor of Design; Chair, Science, B.A., Mississippi College; M.S., Pepperdine Department of Design, B.A., State University of University; Ph.D., Saybrook University New York, Binghamton; M.Arch., Harvard Graduate School of Design; M.Env.Des., Yale PHILLIP D. AKUTSU (2008), Associate Professor of School of Architecture Psychology, B.S., University of Washington; Ph.D., University of California, Los Angeles JUDE ANTONYAPPAN (1998), Professor of Social Work, P.U.C., Holy Cross College, University of Madurai; KRISTEN WEEDE-ALEXANDER (2002), Professor, B.Sc., St. Mary's College; M.S.W., Stella Maris College of Education, Graduate and Professional College, Ph.D., University of California, Berkeley Studies, B.A., University of California, Riverside; M.S., Ph.D., University of California, Davis BEHNAM S. ARAD (1997), Professor of Computer Science, B.S., University of Massachusetts, Lowell; M.S., DALE ALLENDER (2014), Assistant Professor, College of Purdue University,
    [Show full text]
  • Stores of Memory:” an Oral History of Multigenerational Jewish Family Businesses in the Lower East Side
    “Stores of Memory:” An Oral History of Multigenerational Jewish Family Businesses in the Lower East Side By Liza Zapol Advisor: Dr. Ruksana Sussewell Department of Sociology An Audio Thesis and Annotation submitted to the Faculty of Columbia University In partial fulfillment of the requirements for the Degree of Master of Arts in Oral History April 28, 2011 1 I have walked through many lives, some of them my own, and I am not who I was, though some principle of being abides, from which I struggle not to stray. -Stanley Kunitz, 1979 © Copyright by Liza Zapol 2011 2 Table of Contents Acknowledgements..............................................................................................................3 “Stores of Memory” with Annotation..............................................................................4 History and Memory of the Jewish Lower East Side..........................................................4 Visiting Lower East Side Stores........................................................................................11 Streit’s Matzo Factory........................................................................................................14 Harris Levy Linens............................................................................................................21 A Candy Story Interlude....................................................................................................27 Economy Candy.................................................................................................................27
    [Show full text]
  • 2008 OAH Annual Meeting • New York 1
    Welcome ear colleagues in history, welcome to the one-hundred-fi rst annual meeting of the Organiza- tion of American Historians in New York. Last year we met in our founding site of Minneap- Dolis-St. Paul, before that in the national capital of Washington, DC. On the present occasion wew meet in the world’s media capital, but in a very special way: this is a bridge-and-tunnel aff air, not limitedli to just the island of Manhattan. Bridges and tunnels connect the island to the larger metropolitan region. For a long time, the peoplep in Manhattan looked down on people from New Jersey and the “outer boroughs”— Brooklyn, theth Bronx, Queens, and Staten Island—who came to the island via those bridges and tunnels. Bridge- and-tunnela people were supposed to lack the sophistication and style of Manhattan people. Bridge- and-tunnela people also did the work: hard work, essential work, beautifully creative work. You will sees this work in sessions and tours extending beyond midtown Manhattan. Be sure not to miss, for example,e “From Mambo to Hip-Hop: Th e South Bronx Latin Music Tour” and the bus tour to my own Photo by Steve Miller Steve by Photo cityc of Newark, New Jersey. Not that this meeting is bridge-and-tunnel only. Th anks to the excellent, hard working program committee, chaired by Debo- rah Gray White, and the local arrangements committee, chaired by Mark Naison and Irma Watkins-Owens, you can chose from an abundance of off erings in and on historic Manhattan: in Harlem, the Cooper Union, Chinatown, the Center for Jewish History, the Brooklyn Historical Society, the New-York Historical Society, the American Folk Art Museum, and many other sites of great interest.
    [Show full text]