Where to Invade Next Discussion Guide
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Sicko: Sos Saúde - Uma Breve Análise Do Modelo De Gestão Público Ou Privado
SICKO: SOS SAÚDE - UMA BREVE ANÁLISE DO MODELO DE GESTÃO PÚBLICO OU PRIVADO Maria Helena da Silva1, e-mail: [email protected] Marcella Nascimento Tenório Cavalcante1, e-mail: [email protected] Daniel Oliveira1, e-mail: daniel [email protected] Centro Universitário Tiradentes/Medicina/Alagoas, AL. 4.06.00.00-9 - Saúde Coletiva 4.06.02.00-1 - Saúde Pública RESUMO: Introdução; O dilema da oferta de serviço público versus privado é recorrente. Tem-se por exemplo, a questão da saúde de milhões de estadunidenses que vivem em um modelo totalmente neoliberal. No Brasil, apesar da oferta particular, grande parte do atendimento é fornecido pelo Sistema Único de Saúde (SUS), sendo este considerado o maior sistema de saúde gratuito e universal existente. Objetivos; Discorrer, a partir do documentário assistido, a relação entre a escassez de amparo social referente à saúde nos sistemas neoliberais, a exemplo dos Estados Unidos da América – EUA, frente ao Brasil onde se possui direitos consolidados de saúde gratuita, apesar da crescente oferta privada destes serviços. Metodologia; Análise documental do filme SiCKO - Where to Invade Next (Onde invadir agora) de autoria do diretor Michael Moore, gravado em vários países no ano de 2015. Foram verificadas as etapas de contexto, autoria, autenticidade e confiabilidade, natureza do documentário, os conceitos- chave e a lógica proposta pelo autor. Resultados; Para alguns países, a exemplo dos EUA, a questão da saúde é tida como mercadoria, destacando-se uma visão puramente biológica e não sistêmica da mesma. Tal ponto de vista, corrobora para a suposta necessidade de privatização, pois uma população não atendida nas suas carências, como qualidade de vida, emprego e lazer, torna- se doente e acredita que saúde é realmente um ponto focal, uma demanda a ser comprada, e não dependente da interligação de fatores que fazem a doença acontecer. -
Downloaded Is a VH1 Rockdoc About Napster and the Digital Revolution
MAGNOLIA PICTURES AND GREAT POINT MEDIA A TROUPER PRODUCTION IN ASSOCIATION WITH ZIPPER BROS FILMS AND ROXBOURNE MEDIA LIMITED Present ZAPPA A film by Alex Winter USA – 129 minutes THE FIRST ALL-ACCESS DOCUMENTARY ON THE LIFE AND TIMES OF FRANK ZAPPA Official Selection 2020 SXSW – World Premiere 2020 CPH:DOX FINAL PRESS NOTES Distributor Contact: Press Contact NY/Nat’l: Press Contact LA/Nat’l: George Nicholis Tiffany Malloy Sara Tehrani Rebecca Fisher Tiffical Public Relations DDA PR Magnolia Pictures [email protected] [email protected] (212) 924-6701 201.925.1122 [email protected] 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com SYNOPSIS With unfettered access to the Zappa Vault, and the archival footage contained within, ZAPPA explores the private life behind the mammoth musical career that never shied away from the political turbulence of its time. Alex Winter's assembly features appearances by Frank's widow Gail Zappa and several of Frank's musical collaborators including Mike Keneally, Ian Underwood, Steve Vai, Pamela Des Barres, Bunk Gardner, David Harrington, Scott Thunes, Ruth Underwood, Ray White and others. 49 west 27th street 7th floor new york, ny 10001 tel 212 924 6701 fax 212 924 6742 www.magpictures.com DIRECTOR’S STATEMENT – ALEX WINTER It seemed striking to me and producer Glen Zipper that there had yet to be a definitive, all-access documentary on the life and times of Frank Zappa. We set out to make that film, to tell a story that is not a music doc, or a conventional biopic, but the dramatic saga of a great American artist and thinker; a film that would set out to convey the scope of Zappa’s prodigious and varied creative output, and the breadth of his extraordinary personal and political life. -
Bowling for Columbine 5
Institut for Informations- og Medievidenskab Aarhus Universitet p.o.v. A Danish Journal of Film Studies Editor Richard Raskin Number 16 December 2003 Department of Information and Media Studies University of Aarhus 2 p.o.v. number 16 December 2003 Udgiver: Institut for Informations- og Medievidenskab Aarhus Universitet Helsingforsgade 14 DK-8200 Aarhus N Oplag: 350 eksemplarer Trykkested: Repro-Afdeling, Det Humanistiske Fakultet Aarhus Universitet ISSN-nr.: 1396-1160 Omslag: Jakob Elias Nielsen Articles Copyright © 2003 the authors. The publication of this issue of p.o.v. was made possible by a grant from the Aarhus University Research Foundation. All correspondence should be addressed to: Richard Raskin Department of Information and Media Studies Helsingforsgade 14 DK-8200 Aarhus N, Denmark e-mail: [email protected] telephone: +45 89 42 9223 All issues of p.o.v. can be found on the Internet at: http://imv.au.dk/publikationer/pov/POV.html The contents of this journal are indexed in the MLA International Bibliography, the Film Literature Index and the International Index of Film Periodicals. STATEMENT OF PURPOSE The principal purpose of p.o.v. is to provide a framework for collaborative publication for those of us who study and teach film at the Department of Information and Media Studies at the University of Aarhus. We will also invite contributions from colleagues in other departments and at other universities. Our emphasis is on collaborative projects, enabling us to combine our efforts, each bringing his or her own point of view to bear on a given film or genre or theoretical problem. -
Journey to the Academy Awards: an Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY
Journey to the Academy Awards: An Investigation of Oscar-Shortlisted and Nominated Documentaries (2014-2016) PRELIMINARY KEY FINDINGS By Caty Borum Chattoo, Co-Director, Center for Media & Social Impact American University School of Communication | Washington, D.C. February 2016 OVERVIEW For a documentary filmmaker, being recognized by the Academy of Motion Picture Arts & Sciences for an Oscar nomination in the Best Documentary Feature category is often the pinnacle moment in a career. Beyond the celebratory achievement, the acknowledgment can open up doors for funding and opportunities for next films and career opportunities. The formal recognition happens in three phases: It begins in December with the Academy’s announcement of a shortlist—15 films that advance to a formal nomination for the Academy’s Best Documentary Feature Award. Then, in mid-January, the final list of five official nominations is announced. Finally, at the end of February each year, the one winner is announced at the Academy Awards ceremony. Beyond a film’s narrative and technical prowess, the marketing campaigns that help a documentary make it to the shortlist and then the final nomination list are increasingly expensive and insular, from advertisements in entertainment trade outlets to lavish events to build buzz among Academy members and industry influencers. What does it take for a documentary film and its director and producer to make it to the top—the Oscars shortlist, the nomination and the win? Which film directors are recognized—in terms of race and gender? -
CINEMA from JULY 1 Riverside Cinema Riverside Cinema Sharmill Films WHERE to INVADE NEXT GOD WILLING (SE DIO VUOLE) LEONARDO DA VINCI – the GENIUS in MILAN
RIVERSIDE CINEMA FROM JULY 1 Riverside Cinema Riverside Cinema Sharmill Films WHERE TO INVADE NEXT GOD WILLING (SE DIO VUOLE) LEONARDO DA VINCI – THE GENIUS IN MILAN Filmmaker Michael Moore visits various countries This recent Italian box-office success won Based on the stunning exhibition, Leonardo da to examine how Europeans view work, education, Best New Director for Edoardo Falcone at the Vinci – The Genius in Milan uses a combination health care, sex, equality and other issues. From recent Italian Oscars and tells the hilarious story of documentary interviews and mise-en- cafeteria food to sex education, Moore looks at of an atheist surgeon with a God-complex, a scènes to tell the story of the artist’s world and the benefits of schooling in France, Finland and charismatic priest, a dysfunctional family and an the treasures he left us, against the stunning Slovenia. In Italy, he marvels at how workers announcement that takes everyone by surprise! backdrop of Leonardo’s Milan. enjoy reasonable hours and generous vacation SATURDAY 2 JULY 4:30PM Drawing upon Leonardo’s legendary work as an time. In Portugal, Moore notes the effects of the SUNDAY 10 JULY 10:30AM artist, architect and scientist, audiences will be decriminalization of drugs. Through his travels, we TICKETS: SIDEKICKS MEMBERS ADULT $12, immersed in the story of Leonardo the man, in the discover just how different America is from the context of what was a truly legendary period in the rest of the world. CONC $9 SINGLE TICKETS ADULT $15, CONC $12, city’s history, and for the history of art. -
Bowling for Columbine Discussion Guide
www.influencefilmclub.com Bowling for Columbine Discussion Guide Director: Michael Moore Year: 2002 Time: 120 min You might know this director from: Where to Invade Next (2015) Capitalism: A Love Story (2009) Slacker Uprising (2007) Sicko (2007) Fahrenheit 9/11 (2004) The Big One (1997) Roger & Me (1989) FILM SUMMARY Guns are a fixed feature of American culture. Like cheeseburgers, Hollywood, James Dean, and the Star- Spangled Banner, the concept of what makes the U.S.A. the infamous country it is can be traced back to guns. But when Americans begin wielding these lethal weapons against one another and the media perpetuates an overriding sensation of fear and insecurity, people begin to ask: what’s happening to us? When the lives of 12 students and one teacher were taken by two students on April 20, 1999, in the Columbine High School massacre, everyone listened up. Children, the supposedly innocent of the world, were suddenly wielding immense power. The U.S. was in a state of shock, fear reigned, and gun sales increased. Michael Moore made BOWLING FOR COLUMBINE, his attempt at understanding what was going on in his homeland. The obvious culprits present themselves time and again. Poverty, racial inequality, a history of violence, aggression on the television, a propensity for war, an obsession with the right to own a weapon offer themselves as the reasons why such an atrocity could take place. Moore travels across the continental United States, asking the average American about their relationship with guns. Then he crosses the Canadian border, to explore the relationship this northern neighbor has to with guns without the corresponding violence. -
Film Library 1 of 58
2018-08-03 FNMM Library File.xlsx "Wallingford Neighbors for Peace and Justice"Film Library 1 of 58 IMPORTANT NOTICE: DVDs are available to borrow for PERSONAL VIEWING ONLY. Obtaining PUBLIC SCREENING RIGHTS are the responsibility of the borrower. DVDs are loaned for one month unless other arrangements are made. DVDs are loaned at no charge; however, DONATIONS are very much appreciated and allow us to maintain the DVD library. To borrow a DVD, come to our movie night in Wallingford (Seattle) or contact us at [email protected]. Title Format Year Length Director-Producer Keywords Comments (Dis)Honesty: The Truth About Lies DVD 2015 89 min Yael Melamede Society; Behavior 10 Questions for the Dalai Lama DVD 2006 Rick Ray Films The 11th Hour DVD 2007 92 min Leila Conner's Environment, Global Petersen & Nadia Warming Conner's 15 Years of War Against the Iraqi People DVD 2006 67 min Bert Sacks Compilation on Sanctions and war against Iraq The 1919 Seattle General Strike (Excerpt from ‘Witness to DVD/MP4 2000? 4 min Lucy Ostrander Labor, Organizing Revolution’) 1984 (1956 version) 1956 Michael Anderson 1984 (1984 version) 1984 113 min Michael Radford 2012 Time for Change (Ironweed) DVD 2010 85 min Joao Amorism, Daniel Culture, Pinchbeck Collaboration 3-1/2 Minutes 10 Bullets DVD 2015 98 min Marc Silver Racism; Guns; Violence The 3rd Trustee DVD 2007 96 min Michael Harris Native Alaska, oil Narrated by Billy spills, Exxon Valdez Frank, Jr. 5 Broken Cameras DVD 2011 90 min Mead Burnat, Guy Palestine Davidi 8 Things to Ask Your Representatives -
Documentary Film 3. Filmmakers' Theories Introduction
Component 2 Global filmmaking perspectives Section B: Documentary Film 3. Filmmakers’ Theories Introduction (from the specification) The documentary film will be explored in relation to key filmmakers from the genre. The documentary film studied may either directly embody aspects of these theories or work in a way that strongly challenges these theories. In either case, the theories will provide a means of exploring different approaches to documentary film and filmmaking. Two of the following filmmakers' theories must be chosen for study: Peter Watkins Watkins established his reputation with two docu-dramas from the 1960s, Culloden and The War Game. Both document events from the past using actors and reconstruction. In asking questions of conventional documentary, Watkins reflects his deep concern with mainstream media, which he has called the ‘monoform’. Nick Broomfield Broomfield, like Michael Moore, has developed a participatory, performative mode of documentary filmmaking. Broomfield is an investigative documentarist with a distinctive interview technique which he uses to expose people's real views. Like Watson, he keeps the filmmaking presence to a minimum, normally with a crew of no more than three. He describes his films as 'like a rollercoaster ride. They’re like a diary into the future.' 1 Kim Longinotto Longinotto has said 'I don’t think of films as documents or records of things. I try to make them as like the experience of watching a fiction film as possible, though, of course, nothing is ever set up.' Her work is about finding characters that the audience will identify with – 'you can make this jump into someone else’s experience'. -
Following Is a Listing of Public Relations Firms Who Have Represented Films at Previous Sundance Film Festivals
Following is a listing of public relations firms who have represented films at previous Sundance Film Festivals. This is just a sample of the firms that can help promote your film and is a good guide to start your search for representation. 11th Street Lot 11th Street Lot Marketing & PR offers strategic marketing and publicity services to independent films at every stage of release, from festival premiere to digital distribution, including traditional publicity (film reviews, regional and trade coverage, interviews and features); digital marketing (social media, email marketing, etc); and creative, custom audience-building initiatives. Contact: Lisa Trifone P: 646.926-4012 E: [email protected] www.11thstreetlot.com 42West 42West is a US entertainment public relations and consulting firm. A full service bi-coastal agency, 42West handles film release campaigns, awards campaigns, online marketing and publicity, strategic communications, personal publicity, and integrated promotions and marketing. With a presence at Sundance, Cannes, Toronto, Venice, Tribeca, SXSW, New York and Los Angeles film festivals, 42West plays a key role in supporting the sales of acquisition titles as well as launching a film through a festival publicity campaign. Past Sundance Films the company has represented include Joanna Hogg’s THE SOUVENIR (winner of World Cinema Grand Jury Prize: Dramatic), Lee Cronin’s THE HOLE IN THE GROUND, Paul Dano’s WILDLIFE, Sara Colangelo’s THE KINDERGARTEN TEACHER (winner of Director in U.S. competition), Maggie Bett’s NOVITIATE -
Introduction Matthew H
Michael Moore: Filmmaker, Newsmaker, Cultural Icon Matthew H. Bernstein, Editor http://press.umich.edu/titleDetailDesc.do?id=192221 The University of Michigan Press, 2010 Introduction matthew h. bernstein With the premiere of his popular debut ‹lm Roger & Me in late 1989, Michael Moore proved himself an astonishingly successful non‹ction ‹lmmaker. Thir- teen years later, Bowling for Columbine’s extraordinary box of‹ce performance and its Academy Award for Best Documentary con‹rmed Moore’s standing as a cultural commentator to be reckoned with. In the intervening years, Moore diversi‹ed his output: he became a best-selling book author, TV show pro- ducer, and media personality. When Fahrenheit 9/11 premiered in June 2004, following its winning the Palme D’Or at Cannes, Moore certi‹ed his status as a ‹lmmaker, newsmaker, icon, and political celebrity larger than any one of the ‹lms, books or TV shows he produced or the website established and main- tained in his name. For 20 years and counting, Moore has served as a comic, unof‹cial, har- ried, and harrying spokesperson for the disenfranchised working class and liberal and leftist Americans—a single-handed critic of corporate America and an answer to the rise of Fox News. He had also become a lightning rod for conservative criticism and personal attacks long before he attempted to in›uence the outcome of the 2004 American presidential election with Fahrenheit 9/11. And while 2007’s Sicko was not nearly so ambitious as the 2004 opus—and it’s worth recalling that no other theatrical non‹ction ‹lm has ever tried to dethrone a sitting American president—Moore’s 2007 movie inaugurated a more intensive phase in America’s ongoing efforts at healthcare reform that the Obama administration and Congress have begun to address through legislation. -
Where to Invade Next Gala
BERLINALE SPECIAL WHERE TO INVADE NEXT GALA Michael Moore Wo einmarschieren? Der oscarprämierte Dokumentarfilmer Michael USA 2015 Moore bietet dem Pentagon an, ab sofort das Einmarschieren in ferne 119 Min. · DCP · Farbe Länder als Ein-Mann-Armee zu übernehmen. Bei seinem Feldzug folgt der Regisseur drei Regeln: niemanden erschießen, kein Öl erbeuten Regie, Buch Michael Moore Kamera Richard Rowley, Jayme Roy und etwas nach Hause bringen, was den Amerikanern nutzt. Denn Schnitt Pablo Proenza, Woody Richman, seinem Recherche-Vorstoß liegt eine ganz eigene Agenda zugrunde, Tyler Walk er ist überzeugt, dass Lösungen für drängende soziale Probleme Ton Francisco Latorre, Hilary Stewart der USA woanders bereits existieren. So sammelt er Beispiele für Produzenten Tia Lessin, Carl Deal, bessere Lebens- und Arbeitsbedingungen: die Urlaubsregelung in Michael Moore 1954 in Flint, USA, geboren. Mit seinem Italien, das Schulessen in Frankreich, das Bildungssystem in Finnland, ersten Dokumentarfilm ROGER & ME (1989) Executive Producer Mark Shapiro, wurde er zum Wegbereiter für das moderne die Vergangenheitsbewältigung in Deutschland, die Gleichstellung Will Staeger Dokumentarfilmschaffen. Mit BOWLING FOR der Frauen in Island. Gewohnt subversiv, aber auch ausgelassen und Produktion COLUMBINE (Oscar 2003) und FAHRENHEIT fröhlich vertritt der Regisseur von FAHRENHEIT 9/11 und BOWLING Dog Eat Dog Films 9/11 (Goldene Palme in Cannes 2004) schuf er FOR COLUMBINE die Interessen seines Landes. Bei seiner ebenso New York, USA weitere Dokumentationen, die Kassenerfolge heiteren wie nachdenklichen globalen Invasion entstand ein Film tia@elsewherefilms.org wurden. Er ist auch als Sachbuchautor über die USA ohne eine einzige Einstellung auf US-amerikanischem erfolgreich. Michael Moore lebt in Traverse City, Boden. Weltvertrieb Michigan, wo er das Traverse City Film Festival Bloom Media gründete. -
Where to Invade Next – a New Film by Michael Moore That Promotes the ERA
Where to Invade Next – A New Film by Michael Moore that Promotes the ERA Dec. 11, 2015 Even though documentary film maker and Academy Award winner Michael Moore said after he finished his last film, Capitalism, A Love Story (2009), that he was through with making movies – he apparently didn’t mean it. And it is a good thing for us. Where to Invade Next, is the tongue-in-cheek title of this funny and ironic documentary which makes the case for empowering women and bringing back to the U.S. our original ideas which have helped Europeans flourish. The film opens nationwide on February 12. Restoring a Prosperous and Hopeful Nation - Moore went looking for America’s best ideas in Europe and he found many of them alive and well – even though most have long since disappeared from the American scene. Humane working environments that respect worker input, wages and salaries that support a middle class lifestyle, paid parental leave and paid vacations for all, primary and secondary education geared to student needs and not to standardized tests, a no tuition college education, nutritious and appealing school lunches, no laws against drug abuse, no capital punishment, rehabilitation for prisoners, and many more policies what would restore prosperity and hope in this country. Moore points out that taxation in the countries he visited isn’t dramatically higher than it is in the U.S. – contrary to right-wingers’ propaganda. A major conclusion of film is that countries need to put women in charge, and he demonstrates the point by what happened in Iceland when male bankers wrecked that nation’s economy.