San Francisco, a Direct Action and Self- Queer/Gay/Lesbian/Bisexual

Total Page:16

File Type:pdf, Size:1020Kb

San Francisco, a Direct Action and Self- Queer/Gay/Lesbian/Bisexual April 14, 1992 Oliver Stone/Craig Zadan Story Line Productions 100 Universal City Plaza Bldg 506, Suite 111 Universal City, CA 91608 Dear Mr's. Stone & Zadan We are members of Outrage! San Francisco, a direct action group which protests homophobia and promotes self-empowerment and self- determination of all queer/gay/lesbian/bisexual people. We understand that Mr. Zadan and others will be in San Francisco on the weekend of May 29, 30 and 31 to address the community's concerns regarding "The Mayor of Castro Street." Although we know that GLAAD San Francisco is hosting a town meeting around that time, we would like to host a separate private meeting with you as well. As street activists, we are more closing associated and connected with those who may be planning actions such as were seen during the filming of "Basic Instinct." We extend this invitation to you in good faith and will make every attempt to enter the discussion with open minds. We would like to meet with either or both Mr. Stone and Mr. Zadan as well as anyone else closelv associated with the project who is in a decision making role. This invitation is also extended to the director and Robin Williams. The purpose of the meeting would be to air our differences about the film and, hopefully, begin some kind of dialogue where we are all talking with each other instead of to each other through the press. In addition to certain activist organizers, we are inviting other concerned individuals such as Randy Shilts, Rob Epstein (director of "The Times of Harvey Milk") and Tom Ammiano. We have yet to receive confirmation or compile a complete list of those who wish to attend. If you accept, we will advise you of the final list well before the meeting date. We have asked professional facilitators Nancy Hopkins and Gil Lopez of the firm Hopkins and Lopez, a meeting facilitation training group, to act as facilitators/mediators at the meeting and they have graciously agreed to provide their services gratis. Their phone number is below. We at Outrage! read Mr. Stone's interview in the Advocate and understand his frustration with the project, but we would also like to point out that queer activists, and the lesbian, gay and bisexual community in general, also feel frustrated and angry with the countless dangerously negative or sanitized images of us which are produced by Hollywood and its almost complete dismissal and Page 2 lack of understanding of our issues. The story of Harvey Milk is a very personal one to many people in our community. Surely you can understand why we feel passionately that it be told accurately and explicitly with the politics and rage intact. We feel it is essential that Harvey's story be told with the input of the community. We request that you ask yourselves whether or not it would really be sacrificing the project's artistic integrity to talk to us about our concerns and listen to our suggestions. Perhaps our points of view will help you to make it an even better film. If you, the producers, director and star give this meeting a chance and truly listen to what we have to say, we believe we can fend off of a divisive and embarrassing battle which will only detract from the work of us all. Instead of protesting this film, we would like to place ourselves in the position of welcoming you to San Francisco and helping you get the film made. As I hope is evident from this letter and our willingness to talk, we are not "absolutists" as Mr. Stone described Queer Nation LA to be in your interview with the Advocate. In fact, we would like to supply you with some accurate information about queer activists. We would like to suggest a meeting in the afternoon of May 29, 1992 from about 2:00 pm to 4:00 pm, at a location in or near the Castro. Hopefully, by then, you will have your director so our meeting can be as productive as possible. If this time is inconvenient, please call or write me as soon as possible to discuss an alternate time. We look forward to your response. Singed, LCiJjA^ Allen Carson for Outrage! San Francisco 260 Page Street, Apt 9 San Francisco, CA 94102 Outrage! Contacts: Allen Carson(415) 978-0433 or (415) 252-5831 John Woods (510) 446-3921 or (415) 821-6108 cc: Jeff Yarbrough, The Advocate Daniel Mangin, Bay Area Reporter Rob Epstein, Telling Pictures Nancy Hopkins, Hopkins & Lopez (415) 863-8132 Randy Shilts, c/o SF Chronicle Tom Ammiano, SF School Board 02.■24' 19:12 ©213 871 2963 SPECTACOR FILM @004 . 005 ■5 f -iro.j .= .£3 Oliver St,one - Director 7 Feb. 1992 aolli*wood, Calif. In He: 'The Mayor of Casi-i'^ Street' Dear Mr. Stone. This letter is an insider's view cf Dan white for your consideration. I first became accceinted with M'. white while awaiting riy federal parole revocation hearing in the f an Francisco county jail. As a jail trusty I had access r.c i he segregated cell where be was caged until his trial for rha dcd ie killings of Harv^ Milk and George Mcscone. My crusty chores in-cluded bringing the meals to his cell on a rood cart, obtainiri reading materials (he preferred the writings of Jack ".ondon) , and sweep and mop the tier area out¬ side the cells. My acquaintance with Mr. Fhite ci:.i be documented and confirmed from different sources: Jail records, ry fe.deral parole officer, my attorney who visited me at tne 1, fam,ily meiribers, jail guards, etc. L'Uckiiy, I beat the rap a'.galn-st b- , 'was released before his trial, and corresponded with him. In m/ personal belongings I have several letters frorri Dan. I liked the go'--.net "what he did. Even attended his trial. I sm .not gay, never a .ve been; but from personal experienc I can tell you this: Dan White: wa a cicset queen. We 'wiled away the time playing ca :ss through the cell-baxs and jail- house conversations. Because of -.is sea status I was for long stretch the only company Da.n had. I recall that time vividly, -and n :it merely because of Dan*:; notoriety; for as an asp:iring w-rlnsr I tend -O take a unique .notice o;: events and people: their foibles, tone of voLce, off-the-cuff coicments. The sort of stuff that nor.-writ.err ""et sll by, l pick u.p on. Let ne give you an example, Talxcng with Dan ac :;.he ;ell-bars one time: "YOU knew Tony", he said, "th:s ;ay after day waiting for trial, the pressure just keeps mourvting and mounting, NOW I know what it reels like to be under the gun," 02-24-92 19:12 ©213 S71 2963 SPECTACOR FILM i) 005-005 IS: .42 FPOn rn ST:2Sa:i =.04 Ir. Re: "The Mayor of Castrc Street' Letter to Oliver Stone - ptce 2 A vision fisshed-up in niy mind when ne said that. A vision of Harvey Milk looking up from the floor of h: s City .Hall office, looking up into Dan's eyes as he bent over him, gun in hand, to put one in his head. A double vision for George Moscone Yes Dan, I can understand under- -the-gun pressure. Mr. stone, if you're interested, Z'c- be glad to talk with you or your assistant on my other impressions, conversations, and experiences with Dan White in the San Francisco couv:y jail. .Might surprise you on a side of him unreported in news rr.edl.. accounts. Looking forward to hear from you, T am. Sincerely yours. (#76141-012 J-unit) 3901 Klein Boulevard Lompoc, Ca. 93436 *• F.S. note: I am writing from the U.-j. Penitenriary-Lonipoc, where I'm doing a 2G-year sentence for armed ::ank.-robbery. TOTAL P.aa '24 92 19:11 ©213 871 2963 ■SPECTACOR FILM 0003.'005 Ft3-24-lS92 13 = 42 ,-rC'1 V C \ V Ms. Lucy Fishsz: Tony Medina (#76141-012-J-unit) sr. Vice Preside.nt,Production 392Bo-ulevard WarneiT Bro-tliers, Inc. Lompoc/ Ca. 9 3436 4000 Warner Boulevard 7 Feb. 1992 Burbank, Ca, 91522 Dear Ms. Fisher. Your name is on a Warner B^j^tbers^ 1: s.tL for executives here at the., Wii4.t,er's Club. The director, Olive: Sto.ne's last filn was a Warner release. Not much of a connection ior writing to you, but it's all I got. Don't know how else to get 'his letter to him (enclosed). The .news media says that Mr. Stonen next film is to be 'The .Mayor of If you'll read tha enclosed letter, there's a' chance Mr. Stone might be interested in what information I hay§ff Certainly would appreciate your con.;ideration and assistance. YO'irs most ^ncerely. OUVer Stone April 20th, 1992 IHLAN, INC. 3110 Main Street *301 Santa Monica California 90405 Dear Mr. Stone, Warmest aloha from the Garden Island of ^aua i I read your interv'iew in the Advocate and enjoy your perspective and believe in my heart that you are the right person to bring The Mayor Of Castro Street to the public. In many ways you are a lot like Harvey who pushed the creative and political envelope to it's limits and beyond, regardless of the dangers. I encourage you to reconsider your decision not to direct.
Recommended publications
  • Unprocessed Materials
    BID# 09ITB12346B-BR UNPROCESSED MATERIALS Vision People Families Neighborhoods Mission To serve, protect and govern in concert with local municipalities Values People Customer Services Ethics Resource Management Innovation Equal Opportunity REQUEST FOR INVITATION TO BID NO. 09ITB12346B-BR UNPROCESSED MATERIALS For THE LIBRARY DEPARTMENT BID DUE DATE AND TIME: December 30, 2008, 11:00 A.M. BID ISSUANCE DATE: November 21, 2008 PURCHASING CONTACT: Brian Richmond at 404-612-7915 E-MAIL: [email protected] All bids must be mailed to: LOCATION: FULTON COUNTY DEPARTMENT OF PURCHASING & CONTRACT COMPLIANCE 130 PEACHTREE STREET, S.W., SUITE 1168 ATLANTA, GA 30303 1 BID# 09ITB12346B-BR UNPROCESSED MATERIALS COMPANY NAME: ___________________________________________ ADDRESS: ___________________________________________ CITY: ________________________ STATE: ________________________ ZIP CODE: ________________________ CONTACT PERSON: ________________________ TELEPHONE NUMBER: ________________________ FAX NUMBER: ________________________ EMAIL ADDRESS: ________________________ Note: All vendors submitting a bid must complete this page. If you are submitting a bid, please submit the original and five copies. Vendors have up to 2:00 P.M. Monday, December 15, 2008 to email any questions that you may have. All bids should be sealed and mailed to the following address: The Fulton County Department of Purchasing and Contract Compliance 130 Peachtree Street S.W. Suite 1168 Atlanta Georgia 30303 Attn: Brian Richmond 2 BID# 09ITB12346B-BR UNPROCESSED
    [Show full text]
  • Dp Harvey Milk
    1 Focus Features présente en association avec Axon Films Une production Groundswell/Jinks/Cohen Company un film de GUS VAN SANT SEAN PENN HARVEY MILK EMILE HIRSCH JOSH BROLIN DIEGO LUNA et JAMES FRANCO Durée : 2h07 SORTIE NATIONALE LE 4 MARS 2008 Photos et dossier de presse téléchargeables sur www.snd-films.com DISTRIBUTION : RELATIONS PRESSE : SND JEAN-PIERRE VINCENT 89, avenue Charles-de-Gaulle SOPHIE SALEYRON 92575 Neuilly-sur-Seine Cedex 12, rue Paul Baudry Tél. : 01 41 92 79 39/41/42 75008 Paris Fax : 01 41 92 79 07 Tél. : 01 42 25 23 80 3 SYNOPSIS Le film retrace les huit dernières années de la vie d’Harvey Milk (SEAN PENN). Dans les années 1970 il fut le premier homme politique américain ouvertement gay à être élu à des fonctions officielles, à San Francisco en Californie. Son combat pour la tolérance et l’intégration des communautés homosexuelles lui coûta la vie. Son action a changé les mentalités, et son engagement a changé l’histoire. 5 CHRONOLOGIE 1930, 22 mai. Naissance d’Harvey Bernard Milk à Woodmere, dans l’Etat de New York. 1946 Milk entre dans l’équipe de football junior de Bay Shore High School, dans l’Etat de New York. 1947 Milk sort diplômé de Bay Shore High School. 1951 Milk obtient son diplôme de mathématiques de la State University (SUNY) d’Albany et entre dans l’U.S. Navy. 1955 Milk quitte la Navy avec les honneurs et devient professeur dans un lycée. 1963 Milk entame une nouvelle carrière au sein d’une firme d’investissements de Wall Street, Bache & Co.
    [Show full text]
  • National Film Registry Titles Listed by Release Date
    National Film Registry Titles 1989-2017: Listed by Year of Release Year Year Title Released Inducted Newark Athlete 1891 2010 Blacksmith Scene 1893 1995 Dickson Experimental Sound Film 1894-1895 2003 Edison Kinetoscopic Record of a Sneeze 1894 2015 The Kiss 1896 1999 Rip Van Winkle 1896 1995 Corbett-Fitzsimmons Title Fight 1897 2012 Demolishing and Building Up the Star Theatre 1901 2002 President McKinley Inauguration Footage 1901 2000 The Great Train Robbery 1903 1990 Life of an American Fireman 1903 2016 Westinghouse Works 1904 1904 1998 Interior New York Subway, 14th Street to 42nd Street 1905 2017 Dream of a Rarebit Fiend 1906 2015 San Francisco Earthquake and Fire, April 18, 1906 1906 2005 A Trip Down Market Street 1906 2010 A Corner in Wheat 1909 1994 Lady Helen’s Escapade 1909 2004 Princess Nicotine; or, The Smoke Fairy 1909 2003 Jeffries-Johnson World’s Championship Boxing Contest 1910 2005 White Fawn’s Devotion 1910 2008 Little Nemo 1911 2009 The Cry of the Children 1912 2011 A Cure for Pokeritis 1912 2011 From the Manger to the Cross 1912 1998 The Land Beyond the Sunset 1912 2000 Musketeers of Pig Alley 1912 2016 Bert Williams Lime Kiln Club Field Day 1913 2014 The Evidence of the Film 1913 2001 Matrimony’s Speed Limit 1913 2003 Preservation of the Sign Language 1913 2010 Traffic in Souls 1913 2006 The Bargain 1914 2010 The Exploits of Elaine 1914 1994 Gertie The Dinosaur 1914 1991 In the Land of the Head Hunters 1914 1999 Mabel’s Blunder 1914 2009 1 National Film Registry Titles 1989-2017: Listed by Year of Release Year Year
    [Show full text]
  • Media Resources for Macro Social Work Practice 1
    MEDIA RESOURCES FOR MACRO SOCIAL WORK PRACTICE MOVIES AND DOCUMENTARIES 1. Brooklyn Matters is a riveting look at how big real estate, politics, community voices, and the desperate need for jobs and housing clash in one of the largest development proposals in the history of New York City. The film poses vital, timely questions that are relevant to cities across the country: What is the proper use of eminent domain? What role does environmental and economic justice play in government‐sponsored projects? Who represents the community? Should traffic‐intensive projects be approved without mandatory mitigation measures? Should taxpayer money go to acquire private property for a sports area? What and who determines if an area is "blighted?" Does the public have a right to know about the use of public finances in large‐scale real estate projects? Brooklyn Matters brings a depth of expert commentary to the debate and introduces many important community voices that have struggled to be heard on this project. This film's exploration of the risks that come with a concentration of power is important for anyone concerned with who has a voice and who has a vote in shaping the future of our cities. http://www.newday.com/films/brooklynmatters.html 2. Bus Riders Union Documentary: Organizing to fight price increases and to improve public transportation in poor neighborhoods. In this extraordinary video, Academy Award‐winning cinematographer Haskell Wexler records the several‐year‐ long struggle of the Los Angeles Bus Riders Union (BRU) to win better service and to challenge the race and class bias in city spending priorities.
    [Show full text]
  • Harvey Milk Archives--Scott Smith Collection, 1930-1995GLC 35
    http://oac.cdlib.org/findaid/ark:/13030/c8x63q17 No online items Harvey Milk Archives--Scott Smith Collection, 1930-1995GLC 35 Finding aid prepared by Tim Wilson James C. Hormel LGBTQIA Center, San Francisco Public Library 100 Larkin Street San Francisco, CA, 94102 (415) 557-4400 [email protected] 2003 Harvey Milk Archives--Scott Smith GLC 35 1 Collection, 1930-1995GLC 35 Title: Harvey Milk Archives--Scott Smith Collection, Date (inclusive): 1930-1995 Date (bulk): 1973-1985 Collection Identifier: GLC 35 Creator: Milk, Harvey Physical Description: 28 cubic feet Contributing Institution: James C. Hormel LGBTQIA Center, San Francisco Public Library 100 Larkin Street San Francisco, CA, 94102 (415) 557-4400 [email protected] Abstract: Harvey Milk was the first gay man elected to the San Francisco Board of Supervisors. Scott Smith was his partner and friend. The collection documents the personal and political life of Harvey Milk, and the personal life of Scott Smith. Milk's political papers include issue files from the Board of Supervisors, as well as speeches and campaign literature. The photographs document Milk's and Smith's activities in the gay community. Physical Location: The collection is stored onsite. Language of Materials: Collection materials are in English. Access The collection is available for use during San Francisco History Center hours, with photographs available during Photo Desk hours. Publication Rights All requests for permission to publish or quote from manuscripts must be submitted in writing to the City Archivist. Permission for publication is given on behalf of the San Francisco Public Library as the copyright holder. Preferred Citation [Identification of item], Harvey Milk Archives--Scott Smith Collection (GLC 35), LGBTQIA Center, San Francisco Public Library.
    [Show full text]
  • Documentary Techniques
    1 COM 321, Documentary Form in Film, Television, & Interactive Media Techniques—Part 1 I. Narration A. Voiceover 1. Third person Voice-of-God/omniscient narrator -Why We Fight (c. 1942) (VO: Walter Huston; D: Frank Capra) -For the Love of Movies: The Story of American Film Criticism (2009) (VO: Patricia Clarkson; D: Gerald Peary) VO—celebrity/recognizable voice (still omniscient) -The Times of Harvey Milk (1984) (VO: Harvey Fierstein; D: Robert Epstein) -Hollywood (1980) (VO: James Mason; D: Kevin Brownlow) 2. First person VO—known subject -American Splendor (2003) (VO: Harvey Pekar; D: Shari Springer Berman, Robert Pulcini) -Mr. Death: The Rise and Fall of Fred A. Leuchter Jr. (1999) (VO: Fred Leuchter, Jr.; D: Errol Morris) VO—celebrity acting as subject -The Civil War (1990) (VO: Morgan Freeman as Frederick Douglass; D: Ken Burns) -Tales of the Rat Fink (2006) (VO: John Goodman as Ed “Big Daddy” Roth, the Smothers Brothers as a car and trailer; D: Ron Mann) VO—documentarist -L.A. Plays Itself (2003) (VO & D: Thom Andersen) 3. Second person—Can you think of examples? (Media examples from outside of documentaries: “Music Minus One,” “CO-STAR Records”) B. On-camera narrator 1. Naturally occurring subject dialogue -Titicut Follies (1967) (D: Frederick Wiseman) -When We Were Kings (1996) (D: Leon Gast) 2. “Documentarist” -Religulous (2008) (S & W: Bill Maher; D: Larry Charles) -Shine a Light (2006) (D: Martin Scorsese) -An Inconvenient Truth (2006) (S & W?: Al Gore; D: Davis Guggenheim) -This Filthy World (2006) (S & W: John Waters; D: Jeff Garlin) 3. Interviewee on location -The Times of Harvey Milk (1984) (D: Robert Epstein) 2 4.
    [Show full text]
  • DVD/VHS Title List
    2011 SUBJECT VIDEO & DVD LIST -- LANEY LIBRARY LISTENING & VIEWING CENTER **Recently added titles are in RED African American Studies p.1 Journalism p. 29 Architectural , Engineering, & Construction Technology p. 4 Labor Studies p. 30 Art p. 6 Language and Writing p. 31 Asian / Asian American Studies p.7 Law and Justice p. 32 Biology p. 9 Library and Information Studies p. 34 Business / Economics/Accounting p. 10 Literature p.34 Career Guidance p. 11 Mathematics p. 35 Chemistry p. 13 Mexican / Latin American Studies p. 36 Computer Information Systems p. 13 Music / Dance p. 37 Cosmetology p. 14 Native American/Indigenous Peoples Studies p. 39 Culinary Arts p. 14 Near Eastern Studies p. 40 Drama / Theater / Film p. 15 Philosophy / Religion p. 41 Education p. 19 Photography p. 42 English as a Second Language p. 20 Physical Education/ Sports p. 42 Foreign Languages p. 20 Psychology p. 42 Government /Political Science p. 21 Science / Environment p. 43 Health / Medicine / Nutrition / Safety p. 23 Sociology p. 45 History, General p. 25 Women’s Studies p. 47 History, United States p. 26 **Peralta Board of Trustee Meetings p. 47 AFRICAN AMERICAN STUDIES cc Africa (parts 1-4) DVD 186 African art: legacy of oppression MVHS 1106 African Haitian dance class: Katherine Dunham technique MVHS 975 cc Africans in America (parts 1-4, plus guide) MVHS 1051 Alex Haley: a conversation with Alex Haley MVHS 778 Alice Walker MVHS 759 All power to the people! The Black Panther Party and beyond MVHS 1154 Almos‘ a man MVHS 153 cc Amistad DVD 201 At the river I stand (civil rights) MVHS 890 sub Banished DVD 239 sub La bataille d‘Alger = The battle of Algiers DVD 140 Beyond the dream VI, a celebration of Black history: blacks in politics, a struggle… MVHS 874 Beyond the dream VII, a celebration of Black history: the vanishing Black male… MVHS 875 cc Bill Moyers Journal: The Reverent Jeremiah Wright Speaks Out DVD 421 Bill Robinson: Mr.
    [Show full text]
  • Film Locations in San Francisco
    Film Locations in San Francisco Title Release Year Locations A Jitney Elopement 1915 20th and Folsom Streets A Jitney Elopement 1915 Golden Gate Park Greed 1924 Cliff House (1090 Point Lobos Avenue) Greed 1924 Bush and Sutter Streets Greed 1924 Hayes Street at Laguna The Jazz Singer 1927 Coffee Dan's (O'Farrell Street at Powell) Barbary Coast 1935 After the Thin Man 1936 Coit Tower San Francisco 1936 The Barbary Coast San Francisco 1936 City Hall Page 1 of 588 10/02/2021 Film Locations in San Francisco Fun Facts Production Company The Essanay Film Manufacturing Company During San Francisco's Gold Rush era, the The Essanay Film Manufacturing Company Park was part of an area designated as the "Great Sand Waste". In 1887, the Cliff House was severely Metro-Goldwyn-Mayer (MGM) damaged when the schooner Parallel, abandoned and loaded with dynamite, ran aground on the rocks below. Metro-Goldwyn-Mayer (MGM) Metro-Goldwyn-Mayer (MGM) Warner Bros. Pictures The Samuel Goldwyn Company The Tower was funded by a gift bequeathed Metro-Goldwyn Mayer by Lillie Hitchcock Coit, a socialite who reportedly liked to chase fires. Though the tower resembles a firehose nozzle, it was not designed this way. The Barbary Coast was a red-light district Metro-Goldwyn Mayer that was largely destroyed in the 1906 earthquake. Though some of the establishments were rebuilt after the earthquake, an anti-vice campaign put the establishments out of business. The dome of SF's City Hall is almost a foot Metro-Goldwyn Mayer Page 2 of 588 10/02/2021 Film Locations in San Francisco Distributor Director Writer General Film Company Charles Chaplin Charles Chaplin General Film Company Charles Chaplin Charles Chaplin Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Metro-Goldwyn-Mayer (MGM) Eric von Stroheim Eric von Stroheim Warner Bros.
    [Show full text]
  • La Cage Aux Folles
    Scenic rendering by scenic designer Adam Koch P.L.A.Y. Performance = Literature + Art + You Student Matinee Series 2019-2020 La Cage aux Folles Discovery Guide DEAR EDUCATOR: Thank you for choosing to bring your students to La Cage aux Folles. We know that each academic year you are presented with a multitude of thought provoking and exciting educational visits, performances, exhibitions, tours, and other off-site opportunities to enrich your students’ classroom curriculum and to inspire them as they continue to transform into young adults, sharing their bright minds and open hearts with the world around them. And, each year, there is less time and fewer funds available to participate in these experiences, which are deeply meaningful in so very many ways. We appreciate that you found La Cage aux Folles compelling and enriching, and chose to share this particular story - and all of its many messages - with your students as you start the 2019-2020 school year. Over the next several pages, we hope to highlight information that will prepare your students to invest in this production and give them a glimpse into the world of the play. In a phone conversation with Melissa Rain Anderson, director of Geva’s production of La Cage aux Folles, Melissa immediately expressed her desire to share this piece with Rochester’s student population (with whom she is very familiar from her years of playing Mrs. Cratchit in Geva’s A Christmas Carol, as well countless other roles on our stage, and directing several recent Geva productions). Melissa specifically highlighted inclusion and acceptance (of ourselves and of others), drag culture, LGBTQ+ illumination, family relationships, generational divides, identity, community, and the highly theatrical style of this musical as opportunities for students to connect with the characters and the story they’ll experience in the theatre.
    [Show full text]
  • Jack C. Ellis and Betsy A. Mclane
    p A NEW HISTORY OF DOCUMENTARY FILM Jack c. Ellis and Betsy A. McLane .~ continuum NEW YOR K. L ONDON - Contents Preface ix Chapter 1 Some Ways to Think About Documentary 1 Description 1 Definition 3 Intellectual Contexts 4 Pre-documentary Origins 6 Books on Documentary Theory and General Histories of Documentary 9 Chapter 2 Beginnings: The Americans and Popular Anthropology, 1922-1929 12 The Work of Robert Flaherty 12 The Flaherty Way 22 Offshoots from Flaherty 24 Films of the Period 26 Books 011 the Period 26 Chapter 3 Beginnings: The Soviets and Political btdoctrinatioll, 1922-1929 27 Nonfiction 28 Fict ion 38 Films of the Period 42 Books on the Period 42 Chapter 4 Beginnings: The European Avant-Gardists and Artistic Experimentation, 1922-1929 44 Aesthetic Predispositions 44 Avant-Garde and Documentary 45 Three City Symphonies 48 End of the Avant-Garde 53 Films of the Period 55 Books on the Period 56 v = vi CONTENTS Chapter 5 Institutionalization: Great Britain, 1929- 1939 57 Background and Underpinnings 57 The System 60 The Films 63 Grierson and Flaherty 70 Grierson's Contribution 73 Films of the Period 74 Books on the Period 75 Chapter 6 Institutionalization: United States, /930- 1941 77 Film on the Left 77 The March of Time 78 Government Documentaries 80 Nongovernment Documentaries 92 American and British Differences 97 Denouement 101 An Aside to Conclude 102 Films of the Period 103 Books on the Period 103 Chapter 7 Expansion: Great Britain, 1939- 1945 105 Early Days 106 Indoctrination 109 Social Documentary 113 Records of Battle
    [Show full text]
  • Id Title Year Format Cert 20802 Tenet 2020 DVD 12 20796 Bit 2019 DVD
    Id Title Year Format Cert 20802 Tenet 2020 DVD 12 20796 Bit 2019 DVD 15 20795 Those Who Wish Me Dead 2021 DVD 15 20794 The Father 2020 DVD 12 20793 A Quiet Place Part 2 2020 DVD 15 20792 Cruella 2021 DVD 12 20791 Luca 2021 DVD U 20790 Five Feet Apart 2019 DVD 12 20789 Sound of Metal 2019 BR 15 20788 Promising Young Woman 2020 DVD 15 20787 The Mountain Between Us 2017 DVD 12 20786 The Bleeder 2016 DVD 15 20785 The United States Vs Billie Holiday 2021 DVD 15 20784 Nomadland 2020 DVD 12 20783 Minari 2020 DVD 12 20782 Judas and the Black Messiah 2021 DVD 15 20781 Ammonite 2020 DVD 15 20780 Godzilla Vs Kong 2021 DVD 12 20779 Imperium 2016 DVD 15 20778 To Olivia 2021 DVD 12 20777 Zack Snyder's Justice League 2021 DVD 15 20776 Raya and the Last Dragon 2021 DVD PG 20775 Barb and Star Go to Vista Del Mar 2021 DVD 15 20774 Chaos Walking 2021 DVD 12 20773 Treacle Jr 2010 DVD 15 20772 The Swordsman 2020 DVD 15 20771 The New Mutants 2020 DVD 15 20770 Come Away 2020 DVD PG 20769 Willy's Wonderland 2021 DVD 15 20768 Stray 2020 DVD 18 20767 County Lines 2019 BR 15 20767 County Lines 2019 DVD 15 20766 Wonder Woman 1984 2020 DVD 12 20765 Blackwood 2014 DVD 15 20764 Synchronic 2019 DVD 15 20763 Soul 2020 DVD PG 20762 Pixie 2020 DVD 15 20761 Zeroville 2019 DVD 15 20760 Bill and Ted Face the Music 2020 DVD PG 20759 Possessor 2020 DVD 18 20758 The Wolf of Snow Hollow 2020 DVD 15 20757 Relic 2020 DVD 15 20756 Collective 2019 DVD 15 20755 Saint Maud 2019 DVD 15 20754 Hitman Redemption 2018 DVD 15 20753 The Aftermath 2019 DVD 15 20752 Rolling Thunder Revue 2019
    [Show full text]
  • Documentary Cinema ENGL 245, Sections 1 and 2 Professor
    Documentary Cinema ENGL 245, Sections 1 and 2 Professor Rashna Richards Office: 307 Palmer Office Hours: T 12:15-2:15 and R 12:15-1:15 Office Phone: 843-3399 Email: [email protected] Semester: Spring 2015 Section 1: MWF 10:00-10:50; Section 2: MWF 11:00-11:50 Room: 206 Palmer Screening: W 7:00-9:30 Room: FJ-B Course Description Drawing on a variety of analytical perspectives, this course provides a comprehensive introduction to documentary film and video. Unlike the various genres of fiction film (comedy, science fiction, thriller, horror, romance, and so on), documentaries address the world as it exists rather than a world created by the filmmaker. Still, documentaries are not mere records of reality. From questions of ethics, ideology, politics, and power to concerns over gender, race, sexuality, and representation, we will explore the nature of documentary films, focusing on production as well as reception, on formal strategies as well as aesthetic pleasures. While we will investigate the documentary form's relation to reality, we will also try to destabilize the assumed boundaries between fact and fiction by considering such recent transformations as mockumentaries and self- reflexive docu-diaries. Overall, our goal will be to assess the ways in which non-fiction films reveal multiple, contingent truths rather than a unitary, unproblematic Truth. Richards 2 Course Policies Note 1: These policies will be applied without exceptions. In the interest of fairness to fellow students, please don't expect or ask for special accommodations or exemptions. Note 2: Failure to remember or follow any of these policies will result in severe penalties to your professionalism grade.
    [Show full text]