DOCSLIB.ORG

Working Copy.Indd

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text

Load more

Dear Friends... Welcome to the 2009 Big Sky Documentary Film Festival! Now in our sixth year, we are again pleased to present Missoula with the best in documentary film from around the world. The 2009 installment includes 143 extraordinary films from more than 30 countries, a selection chosen from nearly 1000 submissions. The program is truly distinguished, offering the most diverse exhibition of work to ever screen under the Big Sky. This year’s films cover the gamut of possibilities within the non-fiction form, with topics ranging from the ivory-billed woodpecker to art cars; from rock docs to opera; from Antarctica to Swaziland! Special Features include retrospectives of filmmakers Ron Mann & Joe Berlinger (both in attendance) and live musical accompaniment to silent film by the world renowned Alloy Orchestra. Downtown Missoula’s historic Wilma Theatre, the 1100-seat venue that houses Montana’s largest screen, once again hosts a visual immersion into a world where reality plays itself. With packed audiences of avid moviegoers, most films are accompanied by a Q&A with their respective filmmakers. We cordially invite you to the Wilma Theatre, February 13 - 22, 2009, as we showcase the best in compelling and artistic nonfiction film. Enjoy! Mike Steinberg Festival Director Table of Contents PAGE Welcome from the Big Sky Film Institute 3 Ticket Information and Pass Prices 5 Festival Jury 6 Special Events 8 Special Features 10 Schedule of Films 12 Film Descriptions (Alphabetical) 16 Festival Contact Big Sky Documentary Film Festival Wilma Theatre, 131 Higgins Avenue, Ste. 3-6 Missoula, MT 59802 (406) 541-3456 (FILM) www.bigskyfilmfest.org [email protected] Cover Art: Greg Twigg Production: Dan Funsch 1 The Big Sky Film Institute Festival Staff Celebrating and Supporting the Documentary Arts in the American West Documentaries connect us with the human experience like no other art form. They PROGRAMMING DIRECTOR DEVELOPMENT DIRECTOR inspire our deepest passions and ideals. They have revolutionized how media is Doug Hawes-Davis Rita Pastore delivered and perceived by the public, and challenge us to think critically about the FESTIVAL DIRECTOR/PROGRAMMER SPECIAL EVENT COORDINATOR most important subjects of our time. Mike Steinberg Ingrid Lovitt The Big Sky Film Institute works to continue in the venerable traditions of PROGRAMMING ASSOCIATES VOLUNTEER COORDINATOR documentary. Our mission is to cultivate a vibrant center for documentary Dru Carr, Gita Saedi, Jeff Medley production and exhibition, and advance media literacy and public appreciation of Jenny Rohrer, and Doug BOX OFFICE MANAGER Whyte. film. The Institute is comprised of the Big Sky Documentary Film Festival, the Big Mikel Robinson Sky Film Series, and High Plains Films. PROGRAMMING FELLOWS OPERATIONS MANAGER Jessica Kozeny, Josh Timm Stotts Big Sky Film Series Miller, Anthony Sanchez, The Big Sky Film Series is a periodic free monthly screening series highlighting and Sarah Worner TECHNICAL DIRECTOR traditional and innovative non-fiction film. It is held the first Friday of the month Ken Furrow FESTIVAL COORDINATOR as part of downtown Missoula, Montana's "Art Walk." The 2009 Series will take Travis Morss INTERN place May through October (excluding July) at the Wilma Theatre located at 131 N. Paige Browning VOLUNTEER COORDINATOR Higgins Ave. Niki Payton Special Thanks High Plains Films MARKETING to the residents of Missoula for Documenting Nature & Society Since 1992 Ian Marquand six years of continued support and to all the volunteers who High Plains Films produces films that challenge, inspire, and educate, and allow people make the event happen! to think critically about the relationships between human culture, economy, and environment. Our films raise provocative questions about community values, liberty, consumerism, and the constantly evolving ideal of what the American Dream is all about. Our films have been broadcast on national and regional television, including the PBS series P.O.V., and screened in hundreds of festivals, universities, and commercial theaters around the world. "Eschewing rhetoric, hysteria, or commentary, the filmmakers employ a form of direct cinema that, in its restraint and layering of details, has a cumulative power." Milton MAM37 Tabbot, IFP New York 37th BENEFIT ART AUCTION & DINNER "For High Plains Films, filmmaking isn't about big budgets or special effects. They stick to an even-handed, humane approach to filmmaking, yet never shy away from eliciting strong emotional responses." High Country News Critically acclaimed by national media including The New York Times, National Public Radio, USA Today, Mother Jones Magazine, High Country News, and Salon.com, our films have garnered more than 50 awards, including the "True West Visionary Award" at the True/False West Film Festival, given to a filmmaker that "places an indelible mark on the world of documentary filmmaking." How You Can Help Join us for the Missoula Art Museum’s 37th These programs are made possible by the support of foundations, other NGOs, and people like you who enjoy the work we create and present. We are asking for your Benefit Art Auction and Exhibition! print. gelatin , silver support to keep the Big Sky Documentary Film Festival, Big Sky Film Series, and High 70 original contemporary artworks Plains Films strong and vibrant. By giving to the Big Sky Film Institute, you will help Exhibition through February 18 ensure that our programs flourish for the long-term future. Art Auction February 21, 5 PM The Big Sky Film Institute is a 501(c)(3) non-profit corporation and all contributions are Members $70 Non-members $80 Time This Perhaps fully tax-deductible. Please contact us to find out how to donate. For tickets & information: 406.728.0447 or www.missoulaartmuseum.org Big Sky Film Institute P.O. Box 8796, Missoula, MT 59807 Joshua Meier, Joshua Meier, (406) 541-FILM (3456) www.bigskyfilm.org 2 3 2009 Big Sky Documentary Film Festival Box Office Information • Individual tickets are sold at the Wilma Theatre box office before each show. • Passes are available for credit card purchase online at www.bigskyfilmfest.org or at the Wilma Theatre any time during the festival. • Passes purchased online will be held at the ticket window and available for pick up any time during the festival. Bring valid ID. • Passes are non-transferable. • All-Access Passes are good for all screenings, including the Awards Night screenings, and all filmmaker and VIP events/parties. Includes access to balcony seating. • All-Screenings Passes are good for all screenings, including Awards Night. Does not include special events or parties. • Awards Screening Tickets will be sold Friday February 13th at the box office. PRICES: All-Access Festival Pass..............................................................$250.00 All-Screenings Pass.....................................................................$100.00 One-Day Pass ................................................................................$ 40.00 Recession Special (5 screening pass)........................................$ 25.00 Single Screening Ticket (After 5 p.m.)......................................................................................$7.00 (Before 5 p.m.)...................................................................................$6.00 Individual tickets are good for one screening block. All films screen once, except award winners, which will screen again as special presentations February 20th, 21st, and 22nd. (Award winners to be announced at the Awards Ceremony, Thursday February 19th at the Wilma. See www.bigskyfilmfest.org for winning films.] PLEASE NOTE: Most of the films at this festival are not rated by the MPAA. If you are bringing children, please read film synopses carefully as some films may have sensitive content. If you have questions, please call the festival office, (406) 541-FILM (3456). IMPORTANT! Pass holders will have immediate entrance to the theatre. If purchasing tickets at the door, we recommend you arrive at least 10 minutes early for daytime screenings and 20 minutes early for evening screenings. Seating is first-come, first-served and all seats are general admission. Balcony seating is reserved for pass holders and overflow. Barring any technical difficulties, SCREENINGS WILL START ON TIME. 4 5 2009 Big Sky Documentary Film Festival Kristen Fitzpatrick Kristen studied Film at Florida Atlantic University, and received a B.A. in Communications in 2004. She has worked in indie film for over a decade Festival Jury & Staff and has been with Women Make Movies for over eight years. A one time projectionist and programmer for the Florida International Film Series, she is now the Distribution Manager at Women Make Movies, where she Richard Beer handles the film festival programming and liaisons with the filmmakers. In her spare time, Kristen judges films for several other festivals including the NY Asian International Richard Beer is the Artistic Director of Film Action Oregon and the historic Film Festival and the Student Academy Awards. She is a film geek and lives with her cat in Brooklyn. Hollywood Theatre, which was recently selected as one of only 18 cinemas in the country to be part of Sundance Institute Art House Project. Richard oversees all of Film Action’s exhibition, production and education programs, Brett Ingram including: Project Youth Doc (an intensive summer documentary production program for teens 13-15) and the Project Partners program (where local Formerly an electrical
Recommended publications
  • Rill^ 1980S DC

    Rill^ 1980S DC

    rill^ 1980S DC rii£!St MTEVOLUTIO N AND EVKllMSTINO KFFK Ai\ liXTEiniKM^ WITH GUY PICCIOTTO BY KATni: XESMITII, IiV¥y^l\^ IKWKK IXSTRUCTOU: MR. HiUfiHT FmAL DUE DATE: FEBRUilRY 10, SOOO BANNED IN DC PHOTOS m AHEcoorts FROM THE re POHK UMOEAG ROUND pg-ssi OH t^€^.S^ 2006 EPISCOPAL SCHOOL American Century Oral History Project Interviewee Release Form I, ^-/ i^ji^ I O'nc , hereby give and grant to St. Andrew's (interviewee) Episcopal School llie absolute and unqualified right to the use ofmy oral history memoir conducted by KAi'lL I'i- M\-'I I on / // / 'Y- .1 understand that (student interviewer) (date) the purpose of (his project is to collect audio- and video-taped oral histories of first-hand memories ofa particular period or event in history as part of a classroom project (The American Century Project). 1 understand that these interviews (tapes and transcripts) will be deposited in the Saint Andrew's Episcopal School library and archives for the use by ftiture students, educators and researchers. Responsibility for the creation of derivative works will be at the discretion of the librarian, archivist and/or project coordinator. I also understand that the tapes and transcripts may be used in public presentations including, but not limited to, books, audio or video doe\imcntaries, slide-tape presentations, exhibits, articles, public performance, or presentation on the World Wide Web at t!ic project's web site www.americaiicenturyproject.org or successor technologies. In making this contract I understand that I am sharing with St. Andrew's Episcopal School librai-y and archives all legal title and literary property rights which i have or may be deemed to have in my inten'iew as well as my right, title and interest in any copyright related to this oral history interview which may be secured under the laws now or later in force and effect in the United States of America.
  • Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY

    Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY

    Canadian Movie Channel APPENDIX 4C POTENTIAL INVENTORY CHRONOLOGICAL LIST OF CANADIAN FEATURE FILMS, FEATURE DOCUMENTARIES AND MADE-FOR-TELEVISION FILMS, 1945-2011 COMPILED BY PAUL GRATTON MAY, 2012 2 5.Fast Ones, The (Ivy League Killers) 1945 6.Il était une guerre (There Once Was a War)* 1.Père Chopin, Le 1960 1946 1.Canadians, The 1.Bush Pilot 2.Désoeuvrés, Les (The Mis-Works)# 1947 1961 1.Forteresse, La (Whispering City) 1.Aventures de Ti-Ken, Les* 2.Hired Gun, The (The Last Gunfighter) (The Devil’s Spawn) 1948 3.It Happened in Canada 1.Butler’s Night Off, The 4.Mask, The (Eyes of Hell) 2.Sins of the Fathers 5.Nikki, Wild Dog of the North 1949 6.One Plus One (Exploring the Kinsey Report)# 7.Wings of Chance (Kirby’s Gander) 1.Gros Bill, Le (The Grand Bill) 2. Homme et son péché, Un (A Man and His Sin) 1962 3.On ne triche pas avec la vie (You Can’t Cheat Life) 1.Big Red 2.Seul ou avec d’autres (Alone or With Others)# 1950 3.Ten Girls Ago 1.Curé du village (The Village Priest) 2.Forbidden Journey 1963 3.Inconnue de Montréal, L’ (Son Copain) (The Unknown 1.A tout prendre (Take It All) Montreal Woman) 2.Amanita Pestilens 4.Lumières de ma ville (Lights of My City) 3.Bitter Ash, The 5.Séraphin 4.Drylanders 1951 5.Have Figure, Will Travel# 6.Incredible Journey, The 1.Docteur Louise (Story of Dr.Louise) 7.Pour la suite du monde (So That the World Goes On)# 1952 8.Young Adventurers.The 1.Etienne Brûlé, gibier de potence (The Immortal 1964 Scoundrel) 1.Caressed (Sweet Substitute) 2.Petite Aurore, l’enfant martyre, La (Little Aurore’s 2.Chat dans
  • Com.Stampa GOGOL BORDELLO @ Meeting Del Mare 2014

    Com.Stampa GOGOL BORDELLO @ Meeting Del Mare 2014

    COMUNICATO STAMPA Si terrà dal 30 maggio all’1 giugno a Marina di Camerota (SA) la XVIII edizione del Meeting del Mare . Il festival ideato e diretto da don Gianni Citro , nato nel 1997, nel corso di questi anni ha ospitato grandi nomi della musica italiana: Vinicio Capossela, Franco Battiato, Piero Pelù, Subsonica, Caparezza, Afterhours, Elio e le storie tese, Morgan, Baustelle, Roy Paci, solo per citarne alcuni. Adesso, raggiunta la maggiore età, si regala una band internazionale dal grande impatto live, molto amata in Italia. Saranno infatti i GOGOL BORDELLO gli headliner della terza serata, in programma domenica 1 giugno al porto della cittadina cilentana (ingresso gratuito). Il travolgente combo gipsy-punk guidato da Eugene Hutz torna nel nostro paese per tre date – oltre al Meeting del Mare si esibiranno anche a Bologna (Rock in Idro, 31 maggio) e Milano (Carroponte, 4 giugno) – con il loro euforico show a seguito della pubblicazione dell’ultimo lavoro discografico “Pura Vida Conspiracy ”. Pubblicato lo scorso luglio per l’etichetta ATO Records/Casa Gogol Records, l’album è stato registrato in Texas ai Sonic Ranch Studio di El Paso e prodotto da Andrew Scheps . 12 tracce che seguono la scia dei precedenti lavori, su tutti “ Gypsy Punks: Underdog World Strike ” (2005, prodotto da Steve Albini ), “Super Taranta! ” (2007, prodotto da Victor Van Vugt ) e “ Trans- Continental Hustle ” (2010, prodotto da Rick Rubin ). Quello di Marina di Camerota si annuncia come uno concerto dirompente ed energico, tutto da ballare in riva al mare sulle note della patchanka musicale tipica di questa incredibile formazione e del suo carismatico leader.
  • DOCUMENTARY FILMS Page 1 of 10

    DOCUMENTARY FILMS Page 1 of 10

    DOCUMENTARY FILMS Page 1 of 10 DOCUMENTARY FILMS Documentary Films, strictly speaking, are non-fictional, "slice of life" factual works of art - and sometimes known as cinema verite. For many years, as films became more narrative- based, documentaries branched out and took many forms since their early beginnings - some of which have been termed propagandistic or non-objective. Documentary films have comprised a very broad and diverse category of films. Examples of documentary forms include the following: z 'biographical' films about a living or dead person (Madonna, John Lennon, Muhammad Ali - When We Were Kings (1996), Robert Crumb, Stephen Hawking in A Brief History of Time (1992), or Glenn Gould) z a well-known event (Waco, Texas incident, the Holocaust, the Shackleton expedition to the Antarctic) z a concert or rock festival (Woodstock or Altamont rock concerts, Madonna: Truth or Dare (1991), Stop Making Sense (1984)) z a comedy show (Richard Pryor or Eddie Murphy shows) z a live performance (Cuban musicians as in Buena Vista Social Club (1998), or the stage show Cirque du Soleil-Journey of Man (2000)) z a sociological or ethnographic examination following the lives of individuals over a period of time (e.g., Michael Apted's series of films: 28 Up (1984), 35 Up (1992) and 42 Up (1999), or Steve James' Hoop Dreams (1994)) z an expose including interviews (e.g., Michael Moore's social concerns films) z a sports documentary (extreme sports, such as Extreme (1999) or To the Limit (1989), or surfing, such as in The Endless Summer (1966))
  • Oldiemarkt Oktober 2005

    Oldiemarkt Oktober 2005

    2 S c h a l l p l a t t e n b Ö r s e n O l d i e M a r k t 1 0 / 0 5 SchallplattenbÖrsen sind seit einigen Jahren fester Bestandteil ZubehÖr an. Rund 250 BÖrsen finden pro Jahr allein in der der europÄischen Musikszene. Steigende Besucherzahlen zei- Bundesrepublik statt. Oldie-Markt verÖffentlicht als einzige gen, da¿ sie lÄngst nicht mehr nur Tummelplatz fÜr Insider sind. deutsche Zeit-schrift monatlich den aktuellen BÖrsen-kalender. Neben teuren RaritÄten bieten die HÄndler gÜnstige Second- Folgende Termine wurden von den Veranstaltern bekannt- Hand-Platten, Fachzeitschriften, BÜcher Lexika, Poster und gegeben: D a t u m S t a d t / L a n d V e r a n s t a l t u n g s - O r t V e r a n s t a l t e r / T e l e f o n 1. Oktober Ludwigsburg Forum am Schlosspark GÜnther Zingerle ¤ (091 31) 30 34 77 2. Oktober Dortmund Goldsaal Westfalenhalle Manfred Peters ¤ (02 31) 48 19 39 2. Oktober Koblenz Rhein-Mosel-Halle Wolfgang W. Korte ¤ (061 01) 12 86 62 2. Oktober Solingen Theater Agentur Lauber ¤ (02 11) 955 92 50 2. Oktober Schwerin Sport- und Kongresshalle WIR ¤ (051 75) 93 23 59 2. Oktober ZÜrich/Schweiz X-TRA Hanspeter Zeller ¤ (00 41) 14 48 15 00 3. Oktober Aschaffenburg Unterfrankenhalle Wolfgang W. Korte ¤ (061 01) 12 86 62 3. Oktober Dortmund Westfalenhalle Agentur Lauber ¤ (02 11) 955 92 50 3. Oktober Ingolstadt Theater GÜnther Zingerle ¤ (091 31) 30 34 77 8.
  • Film Film Film Film

    Film Film Film Film

    Annette Michelson’s contribution to art and film criticism over the last three decades has been un- paralleled. This volume honors Michelson’s unique C AMERA OBSCURA, CAMERA LUCIDA ALLEN AND TURVEY [EDS.] LUCIDA CAMERA OBSCURA, AMERA legacy with original essays by some of the many film FILM FILM scholars influenced by her work. Some continue her efforts to develop historical and theoretical frame- CULTURE CULTURE works for understanding modernist art, while others IN TRANSITION IN TRANSITION practice her form of interdisciplinary scholarship in relation to avant-garde and modernist film. The intro- duction investigates and evaluates Michelson’s work itself. All in some way pay homage to her extraordi- nary contribution and demonstrate its continued cen- trality to the field of art and film criticism. Richard Allen is Associ- ate Professor of Cinema Studies at New York Uni- versity. Malcolm Turvey teaches Film History at Sarah Lawrence College. They recently collaborated in editing Wittgenstein, Theory and the Arts (Lon- don: Routledge, 2001). CAMERA OBSCURA CAMERA LUCIDA ISBN 90-5356-494-2 Essays in Honor of Annette Michelson EDITED BY RICHARD ALLEN 9 789053 564943 MALCOLM TURVEY Amsterdam University Press Amsterdam University Press WWW.AUP.NL Camera Obscura, Camera Lucida Camera Obscura, Camera Lucida: Essays in Honor of Annette Michelson Edited by Richard Allen and Malcolm Turvey Amsterdam University Press Front cover illustration: 2001: A Space Odyssey. Courtesy of Photofest Cover design: Kok Korpershoek, Amsterdam Lay-out: japes, Amsterdam isbn 90 5356 494 2 (paperback) nur 652 © Amsterdam University Press, Amsterdam, 2003 All rights reserved. Without limiting the rights under copyright reserved above, no part of this book may be reproduced, stored in or introduced into a retrieval system, or transmitted, in any form or by any means (electronic, me- chanical, photocopying, recording or otherwise) without the written permis- sion of both the copyright owner and the author of the book.
  • Press Kit, High-Rez Images, Clips for Broadcast

    Press Kit, High-Rez Images, Clips for Broadcast

    THE MOVIE NETWORK AND THE MATCH FACTORY PRESENT A SPHINX PRODUCTIONS FILM “CARMINE STREET GUITARS” EXECUTIVE PRODUCERS CARTER LOGAN, MICHAEL HIRSH DIRECTOR OF PHOTOGRAPHY JOHN MINH TRAN, BECKY PARSONS SOUND RECORDIST MICHAEL GUGGINO SOUND DESIGN TED ROSNICK MUSIC SCORE THE SADIES EDITOR ROBERT KENNEDY WRITTEN BY LEN BLUM PRODUCED AND DIRECTED BY RON MANN PRODUCED IN ASSOCIATION WITH BELL MEDIA, TELEFILM CANADA AND THE ROGERS GROUP OF FUNDS THROUGH THE THEATRICAL DOCUMENTARY PROGRAM AND WITH THE PARTICIPATION OF THE ONTARIO MEDIA DEVELOPMENT CORPORATION AND THE CANADIAN FILM OR VIDEO PRODUCTION TAX CREDIT WITH RICK KELLY, CINDY HULEJ, DOROTHY KELLY FEATURING ESZTER BALINT, CHRISTINE BOUGIE (BAHAMAS), NELS CLINE (WILCO), KIRK DOUGLAS (THE ROOTS), ELEANOR FRIEDBERGER, BILL FRISELL, DALLAS GOOD (THE SADIES), TRAVIS GOOD (THE SADIES), DAVE HILL, JAIME HINCE (THE KILLS), STEWART HURWOOD, JIM JARMUSCH (SQÜRL), LENNY KAYE (PATTI SMITH BAND), MARC RIBOT, CHARLIE SEXTON (BOB DYLAN BAND) 4K / COLOR / 80 MIN 1 THE FILM Once the centre of the New York bohemia, Greenwich Village is now home to lux restaurants, and buzzer door clothing stores catering to the nouveau riche. But one shop in the heart of the Village remains resilient to the encroaching gentrification: Carmine Street Guitars. There, custom guitar maker Rick Kelly and his young apprentice Cindy Hulej, build handcrafted guitars out of reclaimed wood from old hotels, bars, churches and other local buildings. Nothing looks or sounds quite like a Rick Kelly guitar, which is the reason they are embraced by the likes of Bob Dylan, Lou Reed, Patti Smith, Jim Jarmusch, just to name a few.
  • Ahead of Their Time

    Ahead of Their Time

    NUMBER 2 2013 Ahead of Their Time About this Issue In the modern era, it seems preposterous that jazz music was once National Council on the Arts Joan Shigekawa, Acting Chair considered controversial, that stream-of-consciousness was a questionable Miguel Campaneria literary technique, or that photography was initially dismissed as an art Bruce Carter Aaron Dworkin form. As tastes have evolved and cultural norms have broadened, surely JoAnn Falletta Lee Greenwood we’ve learned to recognize art—no matter how novel—when we see it. Deepa Gupta Paul W. Hodes Or have we? When the NEA first awarded grants for the creation of video Joan Israelite Maria Rosario Jackson games about art or as works of art, critical reaction was strong—why was Emil Kang the NEA supporting something that was entertainment, not art? Yet in the Charlotte Kessler María López De León past 50 years, the public has debated the legitimacy of street art, graphic David “Mas” Masumoto Irvin Mayfield, Jr. novels, hip-hop, and punk rock, all of which are now firmly established in Barbara Ernst Prey the cultural canon. For other, older mediums, such as television, it has Frank Price taken us years to recognize their true artistic potential. Ex-officio Sen. Tammy Baldwin (D-WI) In this issue of NEA Arts, we’ll talk to some of the pioneers of art Sen. Sheldon Whitehouse (D-RI) Rep. Betty McCollum (D-MN) forms that have struggled to find acceptance by the mainstream. We’ll Rep. Patrick J. Tiberi (R-OH) hear from Ian MacKaye, the father of Washington, DC’s early punk scene; Appointment by Congressional leadership of the remaining ex-officio Lady Pink, one of the first female graffiti artists to rise to prominence in members to the council is pending.
  • Eugene Hutz Interview

    Eugene Hutz Interview

    4 FEATURE FOLK ON THE EDGE As Gogol Bordello returns to Australia, singer Eugene Hutz warns a musical storm is coming, writes Jane Cornwell fter three decades in the rock busi- ness, Eugene Hutz knows how to make an entrance. I’m waiting in the mezzanine lounge of a west London hotel popular with music- Aians, nodding along to an 1980s chart hit sound- track, when the lanky, long-haired frontman suddenly appears at the top of the stairs, strum- ming a beat-up Cordoba acoustic and looking, as they say in Britain, the dog’s bollocks. He’s wearing a bomber jacket, a looped patterned scarf, a single gold hoop earring and a clutch of long gold necklaces; his tight black trousers have large white termites printed on them. His cheekbones are sharp, his eyes cobalt blue. His handlebar moustache curls at the corners. A man without a moustache is like a woman with one, goes an old Ukrainian saying that Hutz, who is Ukrainian, has confessed to making up. “Hallo,” he says in his thick Slavic-American accent, percussively slapping the body of his guitar, which is plastered in oval-shaped car stickers from Spain, Mexico, Britain, all over. “So it is you who will tell them we are coming.” Gogol Bordello was last in Australia in 2010 storytelling. With all the illegitimate hierarch- try blues, Brazilian carnival music and keening Eugene Hutz but the memories of the band’s frenzied, mosh- ical things going on in society all the time, this folk melodies from eastern Europe. Two female channels his pit-tastic shows linger on in the minds of those feeling of all-inclusiveness is very healing for backing vocalists will whoop and high-kick.
  • Quest Magazine Vol 15 Issue 17

    Quest Magazine Vol 15 Issue 17

    LAWTON KICKS OFF FAIR WISCONSIN’S “GO ALL THE WAY” ELECTION RALLY UW-Madison Event Start Of Statewide Campus Campaign Madison - Wisconsin lieutenant brightest unless you happen to Judge co-founded Students for a Fair Wis - governor Barbara Lawton head - be gay, lesbian, bisexual (or) consin to build student opposition to the lined a rally for UW-students transsexual,” Lawton said. 2006 ballot measure that banned gay civil here October 15 urging atten - Fair Wisconsin’s “Go All The unions marriage as well as legal recognition dees to vote in state and local Way On Election Day” addresses for all unmarried couples regardless of sexual elections and help elect candi - the fact that the state is only orientation. dates who support LGBT rights. three seats away from having a “We as students have an undeniable legacy to LGBT rights advocacy group Fair pro-fairness majority in both fight for what is right,” Judge said. “The state Wisconsin sponsored the rally as houses of the State Legislature. Legislature is the first step. It’s the spear that we part of its “Go All the Way on A high turnout, particularly need to start reversing the effects of the ban.” Election Day” campaign to en - among younger voters who tend UW-Madison College Democrats Chair Claire courage students to vote to be more supportive of LGBT Rydell also spoke at the rally, expressing her through the entire ballot, especially at the equality will be very important. concern over students who don’t consider state level. The campaign is running on col - “The only way to change the leadership in casting their ballot to be important enough to lege campuses statewide.
  • At Last, Room at the Inn Va

    At Last, Room at the Inn Va

    the lgbtq community news source America’s local social bard news agenda Legendary gay playwright Transgender bias Spring’s arrival means Tennessee Williams is bill clears hurdle it’s time for the annual honored with local festival in Maryland House as Cherry Fund parties. marking his 100th birthday. session winds down. The fun kicks off next week. PAGE 21 PAGE 2 PAGE 25 washingtonblade.com • vol. 42, issue 12 • march 25, 2011 • Still sharp after 40 years Liz Taylor hailed for LGBT and AIDS activism Legacy lives on at D.C. medical center bearing her name By LOU CHIBBARO JR. [email protected] The death of Elizabeth Taylor on Wednesday drew expressions of sadness and admiration from AIDS and LGBT activists in D.C., who said they were honored that the city’s Whitman-Walker Clinic build- ing that bears her name would serve as a local legacy to the famous actress. Taylor, a two-time Academy Award-winning actress who starred in more than 50 fi lms over a period of nearly 70 years, died at a hospital in Los Angeles of congestive heart failure. She was 79. “She was an extraordinary personality and it’s a wonderful feeling that we have a little part of her legacy right here on 14th Street, said gay D.C. Council member Jim Graham (D-Ward 1). Graham served as executive director of the Whitman-Walker Clinic in November 1993, when Taylor came to D.C. for a ceremony to dedi- cate the Clinic’s main building for patient services as the Elizabeth Taylor Medical Center.
  • Post-Cinematic Affect

    Post-Cinematic Affect

    Post-Cinematic Affect Steven Shaviro 0 BOO KS Winchester, UK Washington, USA r First published by 0-Books, 2010 O Books ls an imprint of John Hunt Publishing Ltd., The Bothy, Deershot Lodge, Park Lane, Ropley, CONTENTS Hants, S024 OBE, UK [email protected] www.o-books.com For distributor details and how to order please visit the 'Ordering' section on oUr website. Text copyright Steven Shaviro 2009 Preface vii ISBN: 978 1 84694 431 4 1 Introduction All rights reserved. Except for brief quotations in critical articles or reviews, no part of 1 this book may be reproduced in any manner without prior written permission from 2 Corporate Cannibal the publishers. 11 3 Boarding Gate The rights of Steven Shaviro as author have been asserted in accordance with the Copyright, 35 1988. 4 Designs and Patents Act Southland Tales 64 5 A CIP catalogue record for this book is available from the British Library. Gamer 93 6 Coda Design: Stuart Davies 131 Printed In the UK by CPI Antony Rowe Works Cited 140 Endnotes 153 We operate a distinctive and ethical publishing philosophy in all areas of its business, from its global network of authors to production and worldwide distribution. Preface This book is an expanded version of an essay that originally appeared in the online journal Film-Philosophy. Earlier versions of portions of this book were delivered as talks sponsored by the Affective Publics Reading Group at the University of Chicago, by the film and media departments at Goldsmiths College, Anglia Ruskin University, University of the West of England, and Salford University, by the "Emerging Encounters in Film Theory" conference at Kings College, by the Experience Music Project Pop Conference, by the Nordic Summer University, by the Reality Hackers lecture series at Trinity University, San Antonio, and by the War and Media Symposium and the Humanities Center at Wayne State University.