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Don't Try This at Home: Lessons from America's War on Drugs
Transcript Don’t Try This at Home: Lessons from America’s War on Drugs Eugene Jarecki Filmmaker; Director, The House I Live In Chair: Professor Alex Stevens Professor in Criminal Justice and Deputy Head of School, School of Social Policy, Sociology and Social Research, University of Kent 21 May 2013 The views expressed in this document are the sole responsibility of the author(s) and do not necessarily reflect the view of Chatham House, its staff, associates or Council. Chatham House is independent and owes no allegiance to any government or to any political body. It does not take institutional positions on policy issues. This document is issued on the understanding that if any extract is used, the author(s)/ speaker(s) and Chatham House should be credited, preferably with the date of the publication or details of the event. Where this document refers to or reports statements made by speakers at an event every effort has been made to provide a fair representation of their views and opinions, but the ultimate responsibility for accuracy lies with this document’s author(s). The published text of speeches and presentations may differ from delivery. Transcript: Lessons from America’s War on Drugs Alex Stevens: Good evening, everyone. Welcome to this fascinating event at Chatham House. My name is Alex Stevens; I’ll be chairing the event. I’m professor in criminal justice at the University of Kent and I’ve been working with Chatham House for the last year or so on their project on drugs and organized crime. I’m also a board member of the International Society for the Study of Drug Policy, and I’m just back from Bogota, Colombia, where we had our annual conference and discussed many of the issues that Eugene’s fascinating film touches upon. -
The King Premieres on Independent Lens Monday, January 28 on PBS
FOR IMMEDIATE RELEASE CONTACT Tanya Leverault, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom The King Premieres on Independent Lens Monday, January 28 on PBS Climb into Elvis’s 1963 Rolls-Royce for a Musical Road Trip and Timely Meditation on Modern America Online Streaming Begins January 29 (San Francisco, CA) — Forty years after the death of Elvis Presley, two-time Sundance Grand Jury winner Eugene Jarecki takes the King’s 1963 Rolls-Royce on a musical road trip across America. From Tupelo to Memphis to New York, Las Vegas, and countless points between, the journey explores the rise and fall of Elvis as a metaphor for the country he left behind. What emerges is a visionary portrait of the state of the American dream and a penetrating look at how the hell we got here. The King premieres on Independent Lens Monday, January 28, 2019, 9:00-10:30PM ET (check local listings) on PBS. Far more than a musical biopic, The King is a snapshot of Credit: David Kuhn America at a critical time in the nation’s history. Tracing Elvis’ life and career from his birth and meteoric rise in the deep south to his tragic and untimely end in Hollywood and Las Vegas, The King covers a vast distance across contemporary America, painting a parallel portrait of the nation’s own heights and depths, from its inspired origins to its perennial struggles with race, class, power, and money. -
Civil Rights Violations = Broken Windows: De Minimis Curet Lex
CIVIL RIGHTS VIOLATIONS = BROKEN WINDOWS: DE MINIMIS CURET LEX Anita Bernstein * Abstract Civil rights violations that appear relatively slight may warrant judicial redress despite their small size; some of them point up important principles. Leaving these violations unremedied may contribute to an ambient lawlessness that can foster bigger harms. A small infringement in this respect resembles the criminological construct of “broken windows,” which in its prescriptive form urges governments to view de minimis violations as harbingers of more disorder to come. Using broken windows to understand privately initiated civil rights claims honors a statutory mandate and helps to achieve progressive ends. This application is potentially better than the one that police impose on the street, which has raised concerns about both justice and efficacy. Rendered as a maxim, the precept that this Article commends is De minimis curet lex : The law ought to concern itself with some affronts that appear small. INTRODUCTION ................................................................................... 897 I. “B ROKEN WINDOWS ” AS METAPHOR AND REPARATIVE TECHNIQUE .................................................................................... 902 A. The Hypothesis ...................................................................... 902 1. Disorder (in Contradistinction to Crime)....................... 902 2. Order .............................................................................. 902 3. Order and Disorder as Transitions ................................ -
One of Us Discussion Guide
www.influencefilmclub.com One of Us Discussion Guide Director: Heidi Ewing & Rachel Grady Year: 2017 Time: 95 min You might know this directorial team from: Norman Lear: Just Another Version of You (2016) Detropia (2012) 12th & Delaware (2010) Jesus Camp (2006) The Boys of Baraka (2005) FILM SUMMARY Much like trying to escape the clutches of an extreme religious cult, it turns out leaving Brooklyn’s Hasidic Jewish society without some sort of psychiatric (and in some cases physical) damage is rather difficult. As a cloistered community constructed in the wake of the Holocaust with the sole purpose of self-preservation, the Hasidic populace live under strict religious law and patriarchal control, with its own private school system and emergency services. With ONE OF US, co-directors Heidi Ewing and Rachel Grady had to develop a covert system for shooting in order to infiltrate this reticent community as they documented a trio of Jews whose curiosity led them away from the laws of their faith and into the secular world. Ari, the youngest at 18, discovers the wonders of the internet. He soon realizes just how much of the world has been kept from him, having been raised in religious schools without access to outside information in any form. Luzer, having left years prior, lives in a mobile home in Los Angeles with dreams of breaking into Hollywood and nightmares of religious upbringing. Both men are frank about their sheltered, stifling, abusive experiences growing up. And yet they continue to mourn their loss of purpose—something that all men of faith possess— while their curiosity about the greater world leaves them permanently searching. -
Hulu No Longer for Sale, Owners Say 14 October 2011, by RYAN NAKASHIMA , AP Business Writer
Hulu no longer for sale, owners say 14 October 2011, By RYAN NAKASHIMA , AP Business Writer After months of being courted by technology giants launching the premium tier last November. CEO and TV signal providers, online video service Hulu Jason Kilar has said Hulu is on track to make is no longer for sale, its media company owners around $500 million in revenue this year, up from said Thursday. $263 million in 2010, and that the company is profitable. The Walt Disney Co., News Corp., Comcast Corp. and Providence Equity Partners had been In comparison, Netflix had 24.6 million paying shopping the site since June after receiving an subscribers at the end of June, but it warned last unsolicited takeover offer. month that it expected a net 600,000 to leave by the end of September after a series of unpopular They tested the waters for other interest, and decisions. They included hiking prices as much as dozens of companies, from Internet giants Google 60 percent on millions of customers and splitting its Inc. and Yahoo Inc. to satellite TV providers Dish streaming and DVD-by-mail services into two Network Corp. and DirecTV, began circling. separately-billed operations, a move it has since reversed. But the owners said in a joint statement Thursday that Hulu "holds a unique and compelling strategic Hulu's value may have fallen after consumers were value to each of its owners" and that they would seen railing against Netflix's price increase and refocus on "mapping out its path to even greater Netflix balked at paying an estimated $300 million a success." year for Disney and Sony movies through pay TV channel Starz, said Needham & Co. -
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. -
Nat Geo Taps the A-List for Its Latest Premium Play, ‘Breakthrough’ Advances in Biotechnology
NOVEMBER / DECEMBER 15 Nat Geo taps the A-list for its latest premium play, ‘Breakthrough’ CANADA POST AGREEMENT NUMBER 40050265 PRINTED IN CANADA USPS AFSM 100 Approved Polywrap USPS AFSM 100 Approved NUMBER 40050265 PRINTED IN CANADA POST AGREEMENT CANADA US $7.95 USD Canada $8.95 CDN Int’l $9.95 USD G<ID@KEF%+*-* 9L==8CF#EP L%J%GFJK8><G8@; 8LKF ALSO: VR – THE BIG PICTURE | AMY BERG TALKS JANIS GIJIKJK; A PUBLICATIONPUBLICATION OF BRUNICOBRUNICO COMMUNICATIONSCOMMUNICATIONS LTD.LTD. Realscreen Cover.indd 2 2015-11-09 4:33 PM Are you our next winner? Celebrating excellence in non-fi ction and unscripted entertainment Awards will be presented at the 2016 edition of Realscreen West, Santa Monica CA, June 9, 2016 Final entry deadline: Friday, February 5, 2016 To submit your entries go to awards.realscreen.com RS.27203.27200.RSARSW.indd 3 2015-11-10 10:05 AM contents november / december 15 DiscoveryVR intends to teach 13 viewers How to Survive in the Wild 22 through immersive content. BIZ Vice pacts with A+E, Rogers for cable channels; Montgomery set to lead ITV Studios U.S. Group ................................. 9 INGENIOUS Legendary rock icon Janis Joplin is the focal point of Amy Berg’s latest, Janis: Little Girl Blue. Amy Berg celebrates Janis Joplin .......................................................13 SPECIAL REPORTS 26 SCIENCE FOCUS Three science projects that tackle breakthroughs and big questions; a chat with Science Channel’s Marc Etkind ......................16 Couldn’t make it to Realscreen London? See what you VFX/ANIMATION missed in our photo page. Looking at the big picture for virtual reality content; Rebuilding history with CGI ..............................................................22 “It’s so diffi cult now to REALSCREEN LONDON deliver visual spectacle The scene at our UK conference’s second edition .............................26 that makes your eyes AND ONE MORE THING open again.” 18 Chris Evans talks Top Gear ............................................................... -
The Kimmel Center Cultural Campus Brings the Outrageous and Informative Game-Show Freakonomics Radio Live! to Philadelphia June 6, 2019
Tweet It! .@NPR hit show, @Freakonomics is coming to the @KimmelCenter! Join host Stephen J. Dubner for a rousing live game-show version of @TMSIDK_Show at the Merriam Theater on 6/6/19. More info @ kimmelcenter.org Press Contact: Lauren Woodard Jessica Christopher 215-790-5835 267-765-3738 [email protected] [email protected] THE KIMMEL CENTER CULTURAL CAMPUS BRINGS THE OUTRAGEOUS AND INFORMATIVE GAME-SHOW FREAKONOMICS RADIO LIVE! TO PHILADELPHIA JUNE 6, 2019 FOR IMMEDIATE RELEASE (Philadelphia, PA, June 7, 2019) – The Kimmel Center Cultural Campus is excited to welcome the entertaining and occasionally ridiculous journalism game-show Freakonomics Radio Live! to the Kimmel Center’s Merriam Theater stage on Saturday, June 6, 2019 at 7:30 p.m., in association with AEG. Born out of NPR’s popular podcast, Freakonomics Radio, award-winning author, journalist and host Stephen J. Dubner takes the stage to play “Tell Me Something I Don’t Know,” where contestants get a chance to try and wow Stephen and his co-host with a fascinating fact – a historical wrinkle, a new line of research – anything, really, as long as it’s factual, useful, and true! Complete with a human fact checker, an audience vote decides the winner of this outrageous and educational night. (P.S. watch out for prizes!) “We look forward to presenting this fascinating, fun and uniquely freaky take on education,” said Anne Ewers, President and CEO of the Kimmel Center for the Performing Arts. “As we pursue our Campus vision to be a catalyst for conversation in the Philadelphia community, our hope is that this event invites the audience to share in learning, through humor and an up-close-and-personal look at the making of this podcast.” Stephen J. -
Bryan Donnell • Director of Photography [email protected] • Website Bryandonnell.Com • 213.321.3909 M
Bryan Donnell • Director of Photography [email protected] • website bryandonnell.com • 213.321.3909 m DOCUMENTARY TELEVISION E.P./PRODUCER/DIRECTOR NETWORK/CO. Untitled doc feature Chai Vasarhelyi/Jimmy Chin HBO/Little Monsters Untitled doc feature Erin Lee Carr Netflix/Story Syndicate This Is Life w/ Lisa Ling (multiple eps) Lisa Ling/multiple CNN/Part2 We’re Here Peter Logreco HBO/IPC • nominee best doc series Emmy, IDA, Independent Spirit Untitled doc series Nikki Calabrese HBO/WoW Rick James biopic Steve Rivo/Sacha Jenkins Showtime/Mass Appeal The Con Star Price ABC/IPC Empires of New York (add’l) Matthew Galkin CNBC/IPC The Witnesses Matt Testa Oxygen/Herzog Broken Steve Rivo Netflix/ZeroPointZero The Redemption Project w/ Van Jones Jason Cohen CNN/Citizen Jones Murder Mountain Jon Chinn/Matt Testa/Joshua Zeman Netflix/Lightbox QB1 Peter Berg/Rachel Libert Netflix/Film45 Kids Behind Bars Peter Logreco A&E/IPC Afflicted Peter Logreco Netflix/Doc Shop Criminal Confessions Dick Wolf/Adam Kassen Oxygen/Shed Media Religion of Sports Tom Brady/Sam French Dish/Dirty Robber Invisible Killers Steve Rivo/BJ Perlmutt Discovery/Doc Group Hot Girls Wanted: Turned On Peter Logreco Netflix/Herzog Truth and Power Brian Knappenberger Pivot/Luminant Media DB Cooper: Case Closed? Ted Skillman History Channel truInside: Iconic Comedies Lisa Kalikow, Meri Haitkin, et al. truTV/left/right Morgan Spurlock: Inside Man Morgan Spurlock/Matt Galkin CNN/Warrior Poets • IDA AWARD, best doc series Living in Secret Sarah Skibitzke LMN/Brownstone Years of Living Dangerously (add’l) James Cameron/Joel Bach Showtime/Years Project • EMMY AWARD, best doc series Summer Dreams Jonathan Chinn/Ted Skillman CBS/Mandalay Sport in America (add’l) Adam del Deo/James Stern HBO/Endgame 30 for 30: The Dotted Line Morgan Spurlock/Matt Galkin ESPN/Warrior Poets Intervention Dan Partland A&E/GRB • EMMY AWARD, best reality series • EMMY NOM, best cinematography (for me) 30 Days: Animal Rights Morgan Spurlock/Jonathan Chinn FX/Actual Reality DOCUMENTARY FILMS PRODUCER/DIRECTOR DISTRIBUTOR/PROD. -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar 415
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ THE HOUSE I LIVE IN PREMIERES ON INDEPENDENT LENS ON MONDAY, APRIL 8, 2013 “I’d hate to imply that it’s your civic duty to see The House I Live In, but guess what — it is.” — Ty Burr, The Boston Globe (San Francisco, CA) — Winner of the Grand Jury Prize at the Sundance Film Festival, Eugene Jarecki’s The House I Live In builds a compelling case for the complete failure of America’s war on drugs. For the past forty years, the war on drugs has resulted in more than 45 million arrests, one trillion dollars in government spending, and America’s role as the world’s largest jailer. Yet for all that, drugs are cheaper, purer, and more available than ever. Filmed in more than twenty states, The House I Live In captures heart-wrenching stories from those on the front lines — from the dealer to the grieving mother, the narcotics officer to the senator, the inmate to the federal judge — and offers a penetrating look at the profound human rights implications of America’s longest war. The House I Live In premieres on Independent Lens, hosted by Stanley Tucci, on Monday, April 8, 2013 at 10 PM on PBS (check local listings). The film recognizes drug abuse as a matter of public health, and investigates the tragic errors and shortcomings that have resulted from framing it as an issue for law enforcement. -
J.D. Marlow Editor
811 Walton Ave # F9 J.D. Marlow (646) 456-3844 Bronx, NY 10451 Editor [email protected] Film & Video Credits: Editor “Love Fraud” 200 min 2020 4-Part Showtime Original Documentary Series Dirs. Heidi Ewing & Rachel Grady 2020 Sundance Film Festival Editor “Dogs” 60 min 2018 Netflix Original DoCumentary Series Exec. Prod. Amy Berg, Dir. Heidi Ewing Episode 2 – “The Kid With The Dog” Episode 6 – “Second Chances” Editor “One of Us” 95 min 2017 Netflix Original DoCumentary Feature Dirs. Heidi Ewing & Rachel Grady 2018 Oscar Short List, 2017 Toronto Film Festival Editor “Stay Woke: The Black Lives Matter Movement” 42 min 2016 BET The Truth Series – Broadcast Dir. Laurens Grant, Exec. Producer Jesse Williams 2017 Image Awards Nominee – Outstanding Series or Special Editor “Norman Lear: Just Another Version of You” 91 min 2015 PBS AmeriCan Masters – Documentary Feature Dirs. Heidi Ewing & Rachel Grady 2016 Sundance Film Festival (Opening Night Film) Editor / Co-ProduCer “Seeds of Time” 77 min 2013 PBS / Kino Lorber – Documentary Feature 2014 SXSW Film Festival, 2015 Berlinale Editor / ProduCer “After the Storm: Lessons from the Northern Edge” 54 min 2008 PBS Rhode Island – Broadcast Additional ExperienCe: In-House Post ProduCer Postworks Sep ‘08 – Aug ‘11 - Specialized in RED CAMERA, PHANTOM, & DSLR File Based Workflows - Conventional Film-to-tape, tape-to-tape dailies (HD & SD) & file-based dailies (RED, P2, XDCAM) - DI & Finishing workflows, delivery to major networks: HBO, PBS, Discovery, etc. Skills / Knowledge: Software: 10+ yrs experience Avid Media Composer, Adobe Premiere, Photoshop, and After Effects Hardware: Mac & PC Platform fluent, Blackmagic Decklink Studio, AJA Kona Formats: 16/35mm, HDCAM/HDCAM-SR, DigiBeta, Beta SP, DVCAM, Mini-DV / HDV RED, Phantom, P2 (AVCHD, AVC-INTRA), XDCAM / EX, SLR formats (Canon 5D/7D, H.264) EduCation: Emerson College (Boston, MA) May 2008 B.F.A. -
JULY 29-AUGUST 1, 2014 the Aspen Institute Is an Educational and Policy Studies Organization Based in Washington, DC
JULY 29-AUGUST 1, 2014 The Aspen Institute is an educational and policy studies organization based in Washington, DC. Its mission is to foster leadership based on enduring values and to provide a nonpartisan venue for dealing with critical issues. The Institute has campuses in Aspen, Colorado, and on the Wye River on Maryland’s Eastern Shore. It also maintains offices in New York City and has an international network of partners. For more information, visit www.aspeninstitute.org. The Aspen Global Leadership Network (AGLN) is a worldwide community of successful, high-integrity, entrepreneurial leaders, called Aspen Global Leadership Fellows. Because of their demonstrated leadership accomplishments and abilities, these Fellows have been selected to be part of one of 12 active or sector-specific Fellowships around the world. These Fellowships include or are modeled after the Aspen Institute’s flagship values-based leadership program, the Henry Crown Fellowship Program, launched in 1997. Fellows enter their program having demonstrated a great deal of personal success. They leave it inspired to make a greater mark on their communities and the world; to move, as we say, “from success to significance.” In between, they are provided with an intimate forum for deep introspection, probing dialogue, and interactive problem-solving. The Aspen Global Leadership Network is designed to spur these Fellows to stretch themselves — to take their leadership to greater heights and broaden their impact to include society at large. The Network connects Fellows through events like the Aspen Action Forum so that they can learn from, collaborate with, and support one another. The Aspen Global Leadership Network includes nearly 1,900 Fellows from 48 countries — and is growing.