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CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017 (2-20-17)
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
A Distinctive Liberal Arts and Sciences College in the Pacific Northwest the Evergreen State College Is Designed for Students Who Are Curious About Real Life
A distinctive liberal arts and sciences college in the Pacific Northwest The Evergreen State College is designed for students who are curious about real life. Evergreen is a public, four-year liberal arts college, located in the Pacific Northwest, offering a curriculum that focuses on problems, themes and experiences in the world. The faculty is dedicated to teaching and working closely with students—in the classroom, the lab and the field. Evergreen students work with faculty to set their own academic goals, chart their progress, evaluate their achievements, and shape their studies to explore specific areas of interest. When they graduate, Evergreen students understand how their studies relate to people, events and issues. Faculty at Evergreen have transformed traditional education into an unmatched learning experience. Instead of taking four or five separate, unrelated classes each quarter, you’ll take one program that unifies these classes around a central theme, taught by two or three faculty from different academic disciplines. Since you do all of your academic work in one program, your faculty team will know how much work is being assigned to you, so there’s no possibility of two tests on the same day or having to choose between a field trip and a conflicting class. This interdisciplinary approach sets learning at Evergreen apart from other colleges. Many Evergreen programs continue for two or three consecutive quarters. This allows you to build specific skills to produce highly sophisticated work, even in introductory offerings. You’ll work most often in small groups with your faculty, beginning your freshman year. At Evergreen, you’ll be encouraged to voice your opinion. -
The Evergreen State College Magazine Spring 2011 Vol
The Evergreen State College Magazine Spring 2011 Vol. 32, No. 02 Spring 2011 Member, Council for Advancement and Support of Education Publisher Photo: Hannah Pietrick ‘10 Lee Hoemann Editor Ann Mary Quarandillo Designers Judy Nuñez-Piñedo Alyssa Parker ’06 Writers Dr. Purce joined students, faculty and staff in celebrating the newly renovated Evergreen Arts Annex on Carolyn Shea June 7. The reception included displays of student artwork and honored graduating senior Heather Hall, Ann Mary Quarandillo the 2011 recipient of the William Winden Achievement in the Arts award. John McLain A few years back, I was a top contender in a succession of oyster-eating Class Notes Editor contests that are an integral part of Olympia’s annual SLURP—the Pat Barte ’91 Shellfi sh Lovers Ultimate Rejuvenation Party. Held by the Pacifi c Coast Staff Photographer Shellfi sh Growers Association, this community bash features all manner Hannah Pietrick ’10 of delectable shellfi sh dishes, as well as microbrews, Washington wines, Karissa Carlson and, of course, the raw oyster-bolting race. Using enticing local fare as the and Photo Services fulcrum, the celebration not only fosters camaraderie—and a bit of jovial Director of Alumni Relations competition—it also raises money for protecting and restoring one of our R.J. Burt key food sources along the West Coast: shellfi sh growing. In this issue, we’d like to give you a taste for how some of Evergreen’s Evergreen Magazine is creative individuals are using food to sustain themselves and their published twice annually communities. Whether they are feeding or educating others, nourishing by the Offi ce of Marketing, relationships and economic opportunities, or breaking new culinary Communications and ground, they all live, breathe, and literally eat the values to which they College Relations. -
The Erasure of Politics in American Cinema
bs_bs_banner Not a History Lesson: The Erasure of Politics in American Cinema SHERRY B. ORTNER There is a long-standing distinction in Hollywood between “entertainment” and everything else. The “everything else” includes among other things any direct address of political subjects, which are assumed to turn American audiences off. This article presents both an ethnographic account of this Hollywood ideology and an examination of several recent films in terms of their different strategies for erasing politics, both narratively and visually. It also reviews some of the theories of how this ideology became hegemonic in the world of American film, and how it plays out at different historical periods. [entertainment, hegemony, Hollywood, independent film, politics] Introduction invasion of Iraq, and furthermore made some massive errors of judgment, and thus we can be shown very he inspiration for this article came initially from a precisely how Iraq was allowed to disintegrate into series of puzzling experiences with several films chaos. In the film, Ferguson interviews a wide range of that struck me as very “political,” but that were policy people, military people, and journalists who speak T 1 explicitly described by their directors as “not political.” with incredible frankness and eloquence about what The first was a film called Paradise Now (2005) directed needed to be done but wasn’t, and what shouldn’t have by Palestinian-Dutch director Hany Abu-Assad, which I been done but was. The result, as the film makes crystal saw in a screening in Los Angeles. The film is about two clear, was the almost complete disintegration of the rule young men in Palestine, Said and Khaled, who are of law in Iraq after the American invasion, as American recruited to be suicide bombers. -
CMSI Journey to the Academy Awards -- Race and Gender in a Decade of Documentary 2008-2017
! Journey to the Academy Awards: A Decade of Race & Gender in Oscar-Shortlisted Documentaries (2008-2017) PRELIMINARY KEY FINDINGS Caty Borum Chattoo, Nesima Aberra, Michele Alexander, Chandler Green1 February 2017 In the Best Documentary Feature category of the Academy Awards, 2017 is a year of firsts. For the first time, four of the five Oscar-nominated documentary directors in the category are people of color (Roger Ross Williams, for Life, Animated; Ezra Edelman, for O.J.: Made in America; Ava DuVernay, for 13th; and Raoul Peck, for I Am Not Your Negro). In fact, 2017 reveals the largest percentage of Oscar-shortlisted documentary directors of color over at least the past decade. Almost a third (29%) of this year’s 17 credited Oscar-shortlisted documentary directors (in the Best Documentary Feature category) are people of color, up from 18 percent in 2016, none in 2015, and 17 percent in 2014. The percentage of recognized women documentary directors, while an increase from last year (24 percent of recognized shortlisted directors in 2017 are women, compared to 18 percent in 2016), remains at relatively the same low level of recognition over the past decade. In 2016, as a response to widespread criticism and negative media coverage, the Academy of Motion Picture Arts & Sciences welcomed a record number of new members to become part of the voting class to bestow Academy Awards: 683 film professionals (46 percent women, 41 percent people of color) were invited in.2 According to the Academy, prior to this new 2016 class, its membership was 92 percent white and 75 percent male.3 To represent the documentary category, 42 new documentary creative professionals (directors and producers) were invited as new members. -
Copertina CAT ENG 545X210 13-10-10:Layout 1 13/10/10 14.47 Pagina 1
Copertina_CAT_ENG 545x210_13-10-10:Layout 1 13/10/10 14.47 Pagina 1 OCTOBER 28 | NOVEMBER 5 2010 NOVEMBER 5 INTERNATIONAL ROME FILM FESTIVAL 2010 ROME FILM FESTIVAL 5 INTERNATIONAL NOVEMBER | OCTOBER 28 OCTOBER WITH THE SUPPORT OF THE PRESIDENT OF THE ITALIAN REPUBLIC OCTOBER 28 | NOVEMBER 5 2010 SUMMARY 2010 Introductions ....................................................................................................pag. 20 Tribute to Akira Kurosawa .................................................................................pag. 128 Sandro Bondi ....................................................................................................pag. 22 Rashomon ......................................................................................................pag. 129 Gianni Alemanno ...............................................................................................pag. 23 Marc’Aurelio Award in memory of Suso Cecchi d’Amico .......................................pag. 130 Renata Polverini ................................................................................................pag. 24 Nicola Zingaretti ...............................................................................................pag. 25 Official Selection | Out of Competition - Alice nella città .....................................pag. 132 Giancarlo Cremonesi ..........................................................................................pag. 26 Gianni Borgna, Carlo Fuortes ..............................................................................pag.