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Recruiting Al Gore
RECRUITING AL GORE For years, he was introduced as the “next President of the United States” -- but in the wake of a personally devastating and controversial defeat in the 2000 election, Al Gore did something entirely unexpected. He hit the road, not in search of exile, but as a traveling showman. His “show” is a non-partisan, multimedia presentation that reveals, via an original mix of humor, cartoons and convincing scientific evidence, the resonant effects that global warming is wreaking upon our planet. It is also an arresting, inspirational “call to arms,” pointing out the opportunity that stands before the nation to put American ingenuity and spirit to work in attacking this crisis. With little fanfare, Gore has presented his show more than 1,000 times in cramped school auditoriums and hotel conference rooms in cities large and small, hoping to propel audiences to make a difference in what might otherwise turn out to be the biggest catastrophe of human history. Two people who became entranced by Gore’s show are leading environmental activist Laurie David and movie producer Lawrence Bender. David hosted two of Gore’s sold-out presentations in New York and Los Angeles, where it had a transforming effect on her. “I felt like Al Gore had become the Paul Revere of our times,” says David, “traveling around the country calling out this vital warning that we really can’t ignore.” She also realized that Gore faced a daunting uphill battle in getting his message out into the zeitgeist. “Having researched this subject for some 40 years, nobody understands the issue better than Al Gore and nobody can explain it more clearly and compellingly to the lay person,” notes David. -
485 Svilicic.Vp
Coll. Antropol. 37 (2013) 4: 1327–1338 Original scientific paper The Popularization of the Ethnological Documentary Film at the Beginning of the 21st Century Nik{a Svili~i}1 and Zlatko Vida~kovi}2 1 Institute for Anthropological Research, Zagreb, Croatia 2 University of Zagreb, Academy of Dramatic Art, Zagreb, Croatia ABSTRACT This paper seeks to explain the reasons for the rising popularity of the ethnological documentary genre in all its forms, emphasizing its correlation with contemporary social events or trends. The paper presents the origins and the de- velopment of the ethnological documentary film in the anthropological domain. Special attention is given to the most in- fluential documentaries of the last decade, dealing with politics: (Fahrenheit 9/1, Bush’s Brain), gun control (Bowling for Columbine), health (Sicko), the economy (Capitalism: A Love Story), ecology An Inconvenient Truth) and food (Super Size Me). The paper further analyzes the popularization of the documentary film in Croatia, the most watched Croatian documentaries in theatres, and the most controversial Croatian documentaries. It determines the structure and methods in the making of a documentary film, presents the basic types of scripts for a documentary film, and points out the differ- ences between scripts for a documentary and a feature film. Finally, the paper questions the possibility of capturing the whole truth and whether some documentaries, such as the Croatian classics: A Little Village Performance and Green Love, are documentaries at all. Key words: documentary film, anthropological topics, script, ethnographic film, methods, production, Croatian doc- umentaries Introduction This paper deals with the phenomenon of the popu- the same time, creating a work of art. -
Sundance Institute Announces Major New Initiatives for Films on Climate Change and the Environment
FOR IMMEDIATE RELEASE Media Contact: April 21, 2016 Janine Der Bogosian 310.360.1981 [email protected] Sundance Institute Announces Major New Initiatives for Films on Climate Change and the Environment Supported by Robert Rauschenberg Foundation, Rockefeller Foundation, Kendeda Fund, Discovery Channel, Code Blue Foundation and Joy Family Foundation Catching the Sun is First Project to Receive Support from Robert Rauschenberg Foundation; Documentary Premieres Tomorrow on Netflix for Earth Day Los Angeles, CA — Sundance Institute announced today a new initiative for films and emerging media projects exploring stories related to the urgent need for action with regard to the environment, conservation and climate change. Building on more than three decades of the Institute’s championing of independent stories focused on the environment, these grants to support new projects are led by founding support from the Robert Rauschenberg Foundation and include additional support from the Rockefeller Foundation, the Kendeda Fund, Discovery Channel, Code Blue Foundation and the Joy Family Foundation. Robert Redford, President & Founder of Sundance Institute, said, “We want this financial and creative support to stimulate the next wave of independent film and visual storytelling that inspires action on one of the most urgent issues of our time: the long-term, sustainable health of our planet.” The Institute’s new program with the Rauschenberg Foundation will identify and support the creation of four projects that tackle the subject of climate change and inspire action. As part of this joint initiative, filmmakers and climate change experts will gather together for a Climate Change Lab in 2017 at renowned American artist Robert Rauschenberg’s estate and studio in Captiva Island, Florida. -
Elon, “Salt”, Piedmont and Lithium Dreams – Part 1 This Is Part 1 of a Multi Part Series That Will Be Written Between Now and 2023
Elon, “Salt”, Piedmont and Lithium Dreams – Part 1 This is part 1 of a multi part series that will be written between now and 2023. I will follow both Tesla’s and Piedmont’s lithium journeys with interest. If I am wrong, it will be my pleasure to write a mea culpa as I have done before. Since being a guest on TC and Georgia’s Podcast a few weeks ago, I have been exposed to the anti Tesla crowd for the first time. I made it clear before agreeing to participate that I have no axe to grind with Tesla or Elon Musk other than the nonsensical statements about lithium made on Battery Day. The hosts of Chartcast were absolutely professional with me and have been on all the episodes I have listened to. I would not hesitate to be a guest again in the future. What I was not prepared for was the small percentage of what appear to be slightly unhinged Chartcast listeners that decided I needed to hear their “Elon rants”. That is no fault of the podcast hosts. At some level Tesla seems a cult on par with the best on them. We live in a celebrity culture driven largely by social media and inCreasingly shorter “news cycles”. A world where facts are often hard to come by and comments, no matter how far off base, by someone like Elon Musk will be taken as “gospel” by a significant percentage of his ~ 40 million twitter followers. Elon along with “sidekick of the moment” Drew Baglino shared the Battery Day stage to declare their latest magic trick - creating “instant lithium”. -
PARADISE LOST? – Climate Change in the North Woods
PARADISE LOST? Climate Change in the North Woods For additional scientific information, artists’ biographies, the Paradise Lost? documentary, the exhibition music and to send feedback on the exhibition please visit our Website. www.wisc.edu/cbe/K12/paradiselost.html Climate Change in the North Woods In May of 2006, 20 artists, seven scientists and PARADISE LOST? six educators met in Northern Wisconsin to learn Climate Change in the North Woods about climate change and consider ways that art The exhibition is segmented into three parts: could increase public understanding about climate 3 Consider Climate Change Earth’s climate system, human impacts on climate, change in the North Woods. The artists subsequently past records, and expected changes created pieces reflecting their perceptions of climate 13 Celebrate the Cold Our unique northern ecosystem and elements of its beauty change science, impacts made on northern ecosystems, and function that we stand to lose with a warmer climate 37 Alter the Course and actions people can take today to protect the Actions we can take, individually and collectively, to reduce greenhouse gas emissions and preserve our North Woods paradise North Woods. The goals of the resulting exhibition are to share information about the impacts of This exhibition/education program is coordinated by: The University of Wisconsin - Madison: Center for Biology Education, Department of Forest Ecology and Management, Center for Limnology, climate change on the North Woods and to encourage Trout Lake Field Station, Center for Continuing Studies and the Arts and by the North Lakeland Discovery Center, Manitowish Waters each of us to make thoughtful decisions to reduce This project is made possible by a grant from: The Ira and Ineva Reilly Baldwin Wisconsin Idea Endowment greenhouse gas emissions. -
The Nerve Interview: It Might Get Loud Director Davis Guggenheim | Nerve Entertainment 10/11/09 7:59 PM
The Nerve Interview: It Might Get Loud director Davis Guggenheim | Nerve Entertainment 10/11/09 7:59 PM PERSONALS | RSS | HELP | SITE MAP | ADVERTISE ON NERVE FEATURES ADVICE ENTERTAINMENT PHOTOGRAPHY BLOGS DATING CONFESSIONS 1 Aug 11th, 2009 With It Might Get Loud, director Davis Guggenheim wanted to tell the personal stories of three guitar legends from different generations: Jack White from the White Stripes, The Edge from U2, and Jimmy Page from Led Zeppelin. Guggenheim, who directed the 2007 global-warming doc An Inconvenient Truth, wanted to stay away from typical rock-documentary tactics. It Might Get Loud has no rock critics, no ex-girlfriends, and no narration. Instead Guggenheim focuses on why these three write and play the way they do and how they developed their personal styles. Guggenheim wanted the three to open up — and they did. Jimmy Page plays air guitar while listening to music that influenced him as a kid, Jack White writes an original song on camera, and The Edge talks about how he drives everyone crazy trying to get the music in his head to come out of the amps. The movie brings the three together on a soundstage to share stories, show one another their songs, and play. Nerve spoke with Guggenheim about the men behind the legends. — Emily Wilson You won an Oscar for An Inconvenient Truth. After that, why did you choose to do a movie about the electric guitar? I just make movies about people that fascinate me. The next one could be about an archeologist or I don’t know, a proctologist. -
Types of Movies & Movie Genres
Types of Movies & Movie Genres Two major types of movies: • Documentary • Narrative Documentary Films • The act of making a movie removes the possibility of a purely objective truth “creative treatment of actual reality” – defined 1926 • Even documentary filmmakers who aim to avoid influencing the events they record still have a great deal of narrative influence ie: camera as narrator and editing creating meaning Documentary Genres • Factual • Hoop Dreams, Touching the Void • Instructional • Persuasive • An Inconvenient Truth, Bowling for Columbine • Propaganda • Triumph of the Will Narrative Films • Mostly fiction, purpose is to engage & entertain • many genres/sub- genres ex ex sub-genres Narrative Film Genres • Few movies are strictly one genre today • Genre has a significant effect on how audiences choose the movies they go to/buy/rent • Cultural conditions contribute to changes in genre • ie: a western made during WWII v. one made during the Vietnam War Most popular movie genres in North America from 1995 to 2018, by total box office revenue (in billion U.S. dollars) Genre Conventions • Narrative/Story Formulas • The structure of the story: what’s the conflict/type of conflict? The plot. • ‘Narrative moments’ help define genres • chase sequences, shootouts, romance… • Theme (or topic): the unifying idea expressed through story and visuals • ie: redemption, vengeance, innocence, rags to riches, coming of age, rites of passage… • Character Types (ex) • genres become associated with different heroes and villains • Stars • actors factor -
Film Review – Truth to Power
Film review – Truth to Power 11 years ago, Al Gore released the Oscar-winning call to action on climate change – An Inconvenient Truth. Amy Nicholson reports for the IFoA after recently attended a screening of the follow-up to this film, An Inconvenient Sequel: Truth to Power, in the atmospheric Somerset House courtyard, where Gore introduced the film in person. The core of the film follows Gore on his Sisyphean task of campaigning, coercing and cajoling world leaders into taking action on climate change. We also see snippets from his roadshow, featuring some alarming graphs and statistics on the state of the planet, and footage from his climate activist training camps. All of this is interspersed with Gore’s candid reflections on his political career, and the film culminates in Gore’s involvement in the 2015 United Nations Climate Change Conference in Paris (COP 21). I have to admit that I left the screening mildly disappointed. Whilst the film tries to act as a rallying call (it makes no apologies for preaching to the converted), the analysis into what is causing climate change and the potential solutions is somewhat shallow. Gore appears reluctant to embrace the radical and rapid changes required to the way societies and economies are structured to address the issue. His self-reflections to the camera take up a large part of the film, and as heartfelt and affable as he may be, it takes away from the universally important message he is trying to portray. Unfortunately, the impact of the film’s climax, whereby a global agreement is reached at COP 21, is dampened by Donald Trump’s recent withdrawal from the agreement. -
Press Release
PRESS RELEASE FOR IMMEDIATE RELEASE The Department of Human Services April 9, 2019 Contact: Heather Keafer, Director of Communications Department of Human Services 267-275-2637 HBO Documentary Film FOSTER Comes to Pennsylvania As Part of 10- State Social Impact Screening Tour Hosted by Participant Media Campaign seeks to accelerate solutions to support children and families in the foster care system and in communities across the country Press Welcome Location: Landmark's Ritz 5, 214 Walnut St., Philadelphia WHEN: Thursday, April 11, 2019 4:30pm – 5pm Registration 5pm – 5:15pm Program 5:15 Documentary screening PHILADELPHIA, PA – The upcoming documentary FOSTER, presented by Participant Media and Emerson Collective, in association with HBO Documentary Films, is coming to Philadelphia on April 11, 2019, as part of a special 10-state social impact tour that aims to change perceptions about youth living in foster care and accelerate solutions for children and families in the foster care system. Hosted by Participant Media and The Philadelphia Department of Human Services, Juvenile Law Center and CHOP PolicyLab, the screening and discussion will bring Philadelphia policymakers, advocacy organizations, child welfare agencies and others together to generate ideas that can drive change for our community and help families thrive. Premiering on HBO on May 7, FOSTER, from Oscar®-winning filmmakers Mark Jonathan Harris and Deborah Oppenheimer, provides a first-hand look at the foster system through those who know it best: the children, youth, parents, and foster parents who experience it, and the professionals who work tirelessly every day in the field. With extraordinary access to the inner workings of the Los Angeles County Department of Children and Family Services, the film goes beyond headlines and stereotypes to take an unprecedented look at an often misunderstood world and upend some of our most enduring myths about foster care and those it serves. -
The Cove Press Notes
ROADSIDE ATTRACTIONS www.savejapandolphins.org A Jim Clark Film An Oceanic Preservation Society Production The Cove Directed by: Louie Psihoyos Produced by: Paula DuPré Pesmen, Fisher Stevens Written by: Mark Monroe Executive Producer: Jim Clark 91 minutes * Rated PG 13 for Disturbing Content For more information please contact: Roadside Attractions 42West (NY) 42 West (LA) Veronica Bufalini Tom Piechura Kathy Oberman Meghann Burns Sara Groves Rebecca Rosen 323-882-8490 212-277-7552 646-254-6037 [email protected] [email protected] [email protected] [email protected] [email protected] [email protected] www.roadsideattractionspublicity.com The Cove “We need to get in there and film what happens . we need to know the truth.” -- Ric O’Barry, THE COVE In a sleepy lagoon off the coast of Japan lies a shocking secret that a few desperate men will stop at nothing to keep hidden from the world. At last, the truth of THE COVE comes to the fore in an act of covert filmmaking that turns a documentary into a gripping action-adventure thriller . and a heart-pounding call for help from the world’s oceans. THE COVE begins in Taiji, Japan, where former dolphin trainer Ric O’Barry has come to set things right after a long search for redemption. In the 1960s, it was O’Barry who captured and trained the 5 dolphins who played the title character in the international television sensation “Flipper.” But his close relationship with those dolphins – the very dolphins who sparked a global fascination with trained sea mammals that continues to this day -- led O’Barry to a radical change of heart. -
An Inconvenient Truth’: a Social Representation of Scientific Expertise
Pearce, W. & Nerlich, B. (2017). ‘An Inconvenient Truth’: A social representation of scientific expertise. Science and the Politics of Openness: Here Be Monsters. Manchester: Manchester University Press. [Pre-review version] [CC-BY-NC] 1 Introduction June 30, 2006 marked the release of An Inconvenient Truth (AIT) (Guggenheim, 2006), a climate change documentary presented and written by leading US Democrat politician Al Gore. The film contains a heady mix of scientific expert evidence, personal stories and normative political statements. An ‘oral history’, based on interviews with those involved in the creation of the film and celebrating this anniversary, proclaimed: “Somehow, a film starring a failed presidential candidate and his traveling slideshow triggered a seismic shift in public understanding of climate change.” (Armstrong, Urry, Andrews, & Cronin, 2016). It is likely that AIT has contributed as much as anything, or anyone, else to making climate change expertise public. In particular, it brought climate science expertise, which had steadily accumulated in the preceding decades, into the public realm in a new way: combining scientific data with personal stories and calls for political action. In combining these elements, AIT made climate change public by offering a particular social representation of climate change. While primarily appealing to a public that was already interested in, and attentive to, climate change; AIT also helped to broaden that audience. The film's intended audience was what one may call its ‘convenient’ public. On the other hand, the film’s very success in speaking to such a public also triggered contestation from what one may call an ‘inconvenient’ public; that is, from an audience that disputed the film’s social representation of climate change expertise. -
A Review of Waiting for Superman Directed by Davis Guggenheim
________________________________________________________________________ Waiting for Balance: A Review of Waiting for Superman Directed by Davis Guggenheim Paramount Vantage and Participant Media, 2010. Approximately 90 minutes. ________________________________________________________________________ Reviewed by Joseph Flynn, Northern Illinois University Introduction Waiting for Superman is the latest documentary by the Academy Award winning director Davis Guggenheim. Guggenheim also directed An Inconvenient Truth, the Al Gore documentary about climate change and global warming. What made An Inconvenient Truth such a masterwork was that it presented stark and incontrovertible information about the destruction of our environment and further challenged the viewers to do something about it. Waiting for Superman follows a similar formula. It presents the viewer with an incredible amount of troubling information about our public schools and models of seemingly progressive advocates for change. The data represented is also properly cited on-screen, differentiating it from personal polemics like Michael Moore’s Bowling for Columbine and Fahrenheit 9-11. It concludes with a challenge to act for the best interests of our nation’s youths; the end credits in- clude a web site where viewers can go for ideas. That makes it difficult to speak negatively about the film, but upon a closer analysis we find that most of the information presented in the film is over-generalized and highly debatable. The problem with the film, ultimately, is that it is true and false, comprehensive and incomplete. Framing the Film The film begins with Geoffrey Canada, a dynamic educator and social activist who, as foun- der and Chief Executive Officer of the Harlem Children’s Zone, has created significant success for the community.