DOCSLIB.ORG

12 Film Clips Volume 8, Number 2 FESPACO

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
12 Film Clips Volume 8, Number 2 FESPACO 40 Acres And AMule Filmworks a OW ACCEPTING SCRIPTS © Copyright Required DEVELOPMENT DEPARTMENT • 8 ST. FELIX STREET • BROOKLYN, NY 11217 Close Up 6 Cauleen Smith speaks from her soul and Thandie Newton scores big in the movies. 10 World View Bridgett M. Davis returnedfrom the 1994 Cannes Film Festival with disturbing revelations about the state ofAfrican American cinema. Black Film Review 12 Film Clips Volume 8, Number 2 FESPACO... Windows on the World explores the Galapogos 10th Anniversary Issue Islands... 95'...John Carstarphen takes a humorous look at Corporate & Editorial Offices 2025 Eye Street, NW Black romance...Danny Glover does storytelling. Suite 213 Washington DC 20006 Tel. 202.466.2753 FEATURES Fax. 202.466.8395 e-mail 14 In Our Own Image [email protected] SHERI PARKS Editor-in-Chief Why African American women are a vitalforce in the film industry. Plus Leasa Farrar-Frazer the Daughters ofthe Diaspora Filmography. Consulting Editor Tony Gittens (Black Film Institute) Art Direction & Design 16 Keys to the Kingdom Lorenzo Wilkins for SHADOWORKS PHYLLIS K. KLOTMAN AND JANET C. CUTLER. Contributing Editors Jacqueline Shearer was the personification ofcultural truth, commu­ Patricia AUfderheide nity activism and the celebration oflife. In a final conversation she Thomasina Sligh TaRessa Stovall shares her convictions and insights. Contributors Natalie Bullock 20 Recall and Recollect: Excavating the Life History of Eloyce King Patrick Gist Julia Chance GLORIA J. GIBSON-HuDSON Janet K. Cutler Eugenia C. Daniels The life ofa foremother ofBlack cinema is brought to light. Bridgett M. Davis Kwame-Cumale Fitzjohn Gloria J. Gibson-Hudson 22 Beyond Black and White TJ Johnson Phyllis R. Klotman JULIA CHANCE Sheri Parks Gianella Garrett's African American and Italian heritage inspired her to explore one of Jerry White America's most complex legacies in her documentary film Between Black and White. John Williams Lesette Heath 24 Music Video: With Love From Jazz Lee Co-Publisher LEASA FARRAR-FRAZER One Media, Inc. Eric Easter, CEO Melodie McDaniel andJazz Lee Alston combine their enormous talents and take on domestic violence. Plus a conversation with video pioneer Lionel Martin. National Advertising Sheila Reid One Media, Inc. 202.466.4716 DEPARTMENTS Black Film Review (ISSN 0887-5723) is published four times 4 Letter from the Editor 28 TechWatch: The Alliance ofBlack a year by One Media, Inc. in association with the Black Film 4 The Mail Entertainment Technicians' Shirley Institute of the University of the District of Columbia. Subscriptions are $13 per year for individuals and $25 for 8 Campus: NYU's Tisch School ofthe Moore andMarie Carter. institutions. Requests and correspondence should be sent to P.O. Box 18665, Washington, DC 20036. All other correspon­ Arts/American University School of 29Multi Media: Movie and video dence should be addressed to the editorial offices listed Communications. guides are as near as your computer above. No part of this publication shall be reproduced without consent of the publisher. 18 Review: Boaz Yakin proves an apt screen. This project was made possible in part by a grant from the player in the ghetto film genre. 34 Resource Exchange Media Arts Fund, created by the National Alliance of Media 27 Television: What's on and what's off Arts and Culture and the National Endowment for the Art, and supported by the Georgia Council for the Arts. in TV land. Cover Photographer: H. Braithwaite; Stylist: P. Chaffers; Concept: BFR NOW ON CD-ROM E. Easter, L. Farrar-Frazer; Props: Bono Film & Video Black Film Review is now availalable on CD-ROM through EBSCO Publishing's Academic Abstracts service. To purchase a subscription or Services afor a free 60-day trial, contact: EBSCO Publishing, P.O. Box 2250, Peabody, MA 01960, USA. Or call 1.800.653.2726. BLACK FILM REVIEW/3 FROM THE EDITOR THE MAIL With this issue, Black Film Review celebrates its tenth year as a journal focusing on Black Dear BFR, film and filmmakers. Anniversaries are a time to celebrate and they also give pause for I thoroughly enjoyed your last issue. Of particular reflection; a time for assessment of what has passed, then charting the future. interest were the interviews with the African filmmak­ ers, David Aschar, Jean-Marie Teno,and Jean-Pierre Bekolo. The past has not been without it's character-building struggles as is the case with most small arts organizations. onetheless, Black Film Review is excited by what we see in our future While the distributor(s) for their films may be common and that of Black cinema. It is not, however, an excitement naive of the very real challenges knowledge in our nation's capital, it is not in Clovis, New Mexico. As a relative newcomer to African and present for the many working professionals, those just starting out, and independents and African-American film, I have a lot of catching up to professionals in training. Rather, our excitement applauds the existence and renaissance of do and would like to see these films. Black cinema and our participation in the powerful act of images making that reflects, Can you help me out? Thanks. inspires and re-images our experiences, in spite of obstacles. Ty Hall Clovis, NM To express our enthusiasm and desire to address concerns important to the continued pro­ duction of films relevant to the Black experience, Black Film Review has made a number Gladly Contact California Newsreel, 149 9th Street, of changes. Dedication and commitment characterize our tradition of bringing you the best Suite 420, San Francisco, CAl 94103, 415.621.6196, fX.415.621.6522. of film analysis and critique. Building on that tradition, we have broadened our focus to include topics ranging from new technologies, to distribution and funding strategies, and ••••• trends in television and video production. These changes establish BFR's newly defined Dear BFR, mission of creating a dialog and synergy between the worlds of scholarly film criticism, the film industry and related fields, and the dynamic world of popular Black culture. In addition Thank you for your continual support; not only with Sankofa but with independent cinema pre & present to our new design and expanded format, we are also now on-line at [email protected] and BFR. We were very pleased with the article written by available on CD-ROM. E. Assata Wright. Additionally, Haile on the cover of Vol. 8, #1 was very timely. It was a historically signifi­ cant statement of respect by a magazine that hails Our cover concept, shot by photographer Hilton Barthwaite, was inspired by Eric Easter. the contributions and accomplishments of indepen­ Props were graciously donated by Bono Film and Video Services, Inc. in Arlington, Virginia. dent filmmakers while other periodicals turn their attention to commercial cinema. A special thanks goes to our summer intern, Lesette Heath, whose skills contributed great­ ly to this issue. We wish her tremendous success in her senior year at Hampton University. As we spread our wings and fly to other cities across the country, the distribution process that Sankofa is undergoing continues to be such an eye opening To our steadfast and expanding family of readers: Thank You. BFR enthusiastically looks experience, both for us as well as our audience. It forward to its next ten years of service which will place us solidly in the middle of the first proves that necessary struggle is never in vain. decade of the new millennium. See you there. Ada Marie Babino Mypheduh Films, Inc. New York/Washington, D.C. Black Film Review welcomes mail from its readers. Leasa Farrar-Frazer, editor Please send your letters to: Black Film Review, The Mail, P.O. Box 18665, Washington, D.C. 20036. Letters may be edited for length and clarity. 4/BLACK FILM REVIEW ) Congratulations to BLACK FILM REVIEW on your Tenth Anniversary from Quincy Jones-David Saltzman Entertainment THE MANY LAYERS OF CAULEEN SMITH film is grainy, and the camera movements are frequently jumpy. "My work is very crude. I'm not interested in slick­ ness," Smith says. Like the work of Coleman and his avant garde colleagues, Chronicles feels like the creation of some­ one emotionally engaged with the work -- too emotionally engaged to worry about simplifying her vision or making it gun to work in video and plans to what she calls "The Sapphire o video has its benefits because tribute. Video editing and other ore expensive than film but for of the creative process takes place. y friendly to improvisation. "I can't in such a linear way," Smith says iting and the advance planning ludes that she can "use video etch thing" her video work "informal essays...to work out some theoretical ideas." This skepticism with the medium, however, is scarcely vis­ ible in the first installment of the Sapphire tapes, titled The Message. The piece is essentially a video portrait of a shirtless man hanging around in a second story apartment. There is again a layered sound track with Smith discussing how she feels on an emotional, sensual, and political level about filming this man, and how this relates to her desire for him.This track is laid over ambient sound of her instructing him in what to do and how to pose.The images are jumpy and hand-held, and the composition is frequently awkward, only letting us see parts of the man's body, making him seem fragmented. It quickly ION to the screen with an filmmaker's alter-ego Kelly Gabron, who supposedly tells the becomes clear that the camera movements are as unsteady as all experiemental. Others, story of Smith's next film. She observes that Smith pleads with her confidence in her ability to gaze respectfully at the man, ould say she soul-speaks with the complexity and us to go back and tend to it, then takes one last tentative look and the compositions as awkward as her expressions of guilt of an elder.
Load more

Recommended publications
  • Race, Markets, and Hollywood's Perpetual Antitrust Dilemma
    Michigan Journal of Race and Law Volume 18 2012 Race, Markets, and Hollywood's Perpetual Antitrust Dilemma Hosea H. Harvey Temple University, James E. Beasley School of Law Follow this and additional works at: https://repository.law.umich.edu/mjrl Part of the Antitrust and Trade Regulation Commons, Civil Rights and Discrimination Commons, Entertainment, Arts, and Sports Law Commons, and the Law and Race Commons Recommended Citation Hosea H. Harvey, Race, Markets, and Hollywood's Perpetual Antitrust Dilemma, 18 MICH. J. RACE & L. 1 (2012). Available at: https://repository.law.umich.edu/mjrl/vol18/iss1/1 This Article is brought to you for free and open access by the Journals at University of Michigan Law School Scholarship Repository. It has been accepted for inclusion in Michigan Journal of Race and Law by an authorized editor of University of Michigan Law School Scholarship Repository. For more information, please contact [email protected]. RACE, MARKETS, AND HOLLYWOOD'S PERPETUAL ANTITRUST DILEMMA Hosea H. Harvey* This Article focuses on the oft-neglected intersection of racially skewed outcomes and anti-competitive markets. Through historical, contextual, and empirical analysis, the Article describes the state of Hollywood motion-picture distributionfrom its anti- competitive beginnings through the industry's role in creating an anti-competitive, racially divided market at the end of the last century. The Article's evidence suggests that race-based inefficiencies have plagued the film distribution process and such inefficiencies might likely be caused by the anti-competitive structure of the market itself, and not merely by overt or intentional racial-discrimination.After explaining why traditional anti-discrimination laws are ineffective remedies for such inefficiencies, the Article asks whether antitrust remedies and market mechanisms mght provide more robust solutions.
    [Show full text]
  • The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23P.; Paper Presented at the Society Tor Cinema Studies Conference (New York City, April 1975)
    i t i DOCUMENT RESUME ED 105 527 CS 501 036 AUTHOR Berg, Charles M. TITLE The Human Voice and the Silent Cinema. PUB DATE Apr 75 NOTE 23p.; Paper presented at the Society tor Cinema Studies Conference (New York City, April 1975) EDRS PRICE MF-$0.76 HC-$1.58 PLUS POSTAGE DESCRIPTORS *Audiovisual Communication; Communication (Thought Transfer); *Films; *Film Study; Higher Education; *History; *Sound Films; Visual Literacy ABSTRACT This paper traces the history of motion pictures from Thomas Edison's vision in 1887 of an instrument that recorded body movements to the development cf synchronized sound-motion films in the late 1920s. The first synchronized sound film was made and demonstrated by W. K. L. Dickson, an assistant to Edison, in 1889. The popular acceptance of silent films and their contents is traced. through the development of film narrative and the use of music in the early 1900s. The silent era is labeled as a consequence of technological and economic chance and this chance is made to account for the accelerated development of the medium's visual communicative capacities. The thirty year time lapse between the development of film and the -e of live human voices can therefore be regarded as the critical stimuli which pushed the motion picture into becoming an essentially visual medium in which the audial channel is subordinate to and supportive of the visual channel. The time lapse also aided the motion picture to become a medium of artistic potential and significance. (RB) U SOEPARTME NT OF HEALTH. COUCATION I. WELFARE e NATIONAL INSTITUTE OF 4 EOUCATION D, - 1'HA.
    [Show full text]
  • Summer Classic Film Series, Now in Its 43Rd Year
    Austin has changed a lot over the past decade, but one tradition you can always count on is the Paramount Summer Classic Film Series, now in its 43rd year. We are presenting more than 110 films this summer, so look forward to more well-preserved film prints and dazzling digital restorations, romance and laughs and thrills and more. Escape the unbearable heat (another Austin tradition that isn’t going anywhere) and join us for a three-month-long celebration of the movies! Films screening at SUMMER CLASSIC FILM SERIES the Paramount will be marked with a , while films screening at Stateside will be marked with an . Presented by: A Weekend to Remember – Thurs, May 24 – Sun, May 27 We’re DEFINITELY Not in Kansas Anymore – Sun, June 3 We get the summer started with a weekend of characters and performers you’ll never forget These characters are stepping very far outside their comfort zones OPENING NIGHT FILM! Peter Sellers turns in not one but three incomparably Back to the Future 50TH ANNIVERSARY! hilarious performances, and director Stanley Kubrick Casablanca delivers pitch-dark comedy in this riotous satire of (1985, 116min/color, 35mm) Michael J. Fox, Planet of the Apes (1942, 102min/b&w, 35mm) Humphrey Bogart, Cold War paranoia that suggests we shouldn’t be as Christopher Lloyd, Lea Thompson, and Crispin (1968, 112min/color, 35mm) Charlton Heston, Ingrid Bergman, Paul Henreid, Claude Rains, Conrad worried about the bomb as we are about the inept Glover . Directed by Robert Zemeckis . Time travel- Roddy McDowell, and Kim Hunter. Directed by Veidt, Sydney Greenstreet, and Peter Lorre.
    [Show full text]
  • Through the Lens of Critical Race Theory
    AN ANALYSIS OF DUVERNAY’S “WHEN THEY SEE US” THROUGH THE LENS OF CRITICAL RACE THEORY by Uwode Ejiro Favour A Thesis Submitted in Partial Fulfillment for the Requirements for the Degree MASTER OF ARTS Major Subject: Communication West Texas A&M University Canyon, TX May 2020 APPROVED: ___________________________ Date: _____________________ Chairperson, Thesis Committee ___________________________ Date: _______________________ Member, Thesis Committee ___________________________ Date: _______________________ Member, Thesis Committee _________________________________ Date: ___________________ Head, Major Department _________________________________ Date: ___________________ Dean, Graduate School ABSTRACT The film series, When They See Us, has been the most popular four part mini- series on Netflix since its release in 2019. It was produced and directed by Ava DuVernay and it touches upon true events that happened in 1989 at Central Park. The series presents the story of five black and brown boys and their brutal experiences in the hands of the American justice system. Kevin Richardson, Korey Wise, Raymond Santana, Yusef Salam, and Antron McCray were all fourteen to sixteen years old when they were accused of raping and brutalizing Trisha Meili at Central Park. DuVernay crafts scenes that are raw and horrifying but points to the lived experiences of people of color in America. The purpose of this thesis was to explore Ava DuVernay’s movie, When They See Us and its portrayal of the bias nature of the criminal justice system in America against people of color. This study sought to explore the connection of microaggressions and racism to police brutality against people of color in the United States. By using both critical race theory and standpoint theory, the study analyzes the experiences of the men of color in the movie as it relates to racism and judicial inequality, and how this directly reflects the experiences of people of color within the American society.
    [Show full text]
  • Philosophy Goes to the Movies
    PHILOSOPHY GOES TO THE MOVIES ‘Philosophy Goes to the Movies is very clearly and engagingly written. It has a particular claim on the attention of those preparing students for a systematic study of philosophy, one that distinguishes it from any other introductory book I know of.’ Stephen Mulhall, University of Oxford ‘I think this is an excellent text. Falzon is in control of his material. He writes clearly and at a level that undergraduates can understand. He seems as comfortable describing films as he is explaining the nature of a philosophical problem. It will make an outstanding text to use in introductory philosophy classes.’ Thomas Wartenburg, Mount Holyoke College, USA Philosophy Goes to the Movies is a new kind of introduction to philosophy that makes use of film to help us understand philosophical ideas and positions. Drawing on art- house movies like Cinema Paradiso and Hollywood blockbusters such as The Matrix, Christopher Falzon introduces and discusses central areas of philosophical concern, including: • the theory of knowledge • the self and personal identity • ethics • social and political philosophy • science and technology • critical thinking. Falzon draws from the ideas of a diverse selection of thinkers, from Plato and Descartes to Marcuse and Foucault. Ideal for the beginner, this book guides the student through philosophy using lively and illuminating cinematic examples including Total Recall, Crimes and Misdemeanors, Monty Python and the Holy Grail, Antz and Wings of Desire. It will also appeal to anyone interested in the philosophical dimensions of cinema. Christopher Falzon is Lecturer in Philosophy at Newcastle University, Australia. He is the author of Foucault and Social Dialogue (Routledge, 1998).
    [Show full text]
  • L3702 LETHAL WEAPON 2 (USA, 1989) (Other Titles: Arma Lethale 2; Arme Fatale 2; Brennpunkt L.A.; Dodbringende Veben 2)
    L3702 LETHAL WEAPON 2 (USA, 1989) (Other titles: Arma lethale 2; Arme fatale 2; Brennpunkt L.A.; Dodbringende veben 2) Credits: director, Richard Donner ; writer, Jeffrey Boam. Cast: Mel Gibson, Danny Glover, Joe Pesci, Joss Ackland. Summary: Police thriller set in contemporary Los Angeles. Detectives Riggs (Gibson) and Murtaugh (Glover) must guard a free-wheeling witness (Pesci) in a drug money laundering scheme run by South African diplomats. A comedy of car chases, gun battles, and under-water escapes. Ansen, David. “The arts: Movies: Gibson and Glover return: ‘Lethal weapon 2’ serves up sadism with a smile” 114 Newsweek (Jul 17, 1989), p. 53. [Reprinted in Film review annual 1990] Avins, Mimi. “Shot by shot” Premiere 2/12 (Aug 1989), p. 72-6. Baumann, Paul D. “Screen: Scorching the screen” Commonweal 116 (Oct 6, 1989), p. 529-30. Blair, Iain. “Movies: Mel’s lethal appeal: He’s got killer looks, but shucks, Gibson’s just one of the guys” Chicago tribune (Jul 9, 1989), Arts, p. 4. Blois, Marco de. “Lethal weapon II” 24 images 44-45 (autumn 1989), p. 109. Broeske, Pat H. “A high-caliber Danny Glover” Los Angeles times (Jul 11, 1989), Calendar, p. 1. “Business: Talk about placements” Newsweek 114 (Jul 31, 1989), p. 50. Carr, Jay. “Three stooges with guns” Boston globe (Jul 7, 1989), Arts and film, p. 41. Christensen, Johs H. “Dodbringende veben 2” Levende billeder 5 (Sep 1989), p. 47. Clark, Mike. “‘Lethal 2’ is loaded with bang and blanks” USA today (Jul 7, 1989), p. 1D. Cliff, Paul. “Movie trax” Film monthly 1 (Dec 1989), p.
    [Show full text]
  • Introduction Chapter 1
    Notes Introduction 1. For The Economistt perpetuating the Patent Office myth, see April 13, 1991, page 83. 2. See Sass. 3. Book publication in 1906. 4.Swirski (2006). 5. For more on eliterary critiques and nobrow artertainment, see Swirski (2005). 6. Carlin, et al., online. 7. Reagan’s first inaugural, January 20, 1981. 8. For background and analysis, see Hess; also excellent study by Lamb. 9. This and following quote in Conason, 78. 10. BBC News, “Obama: Mitt Romney wrong.” 11. NYC cabbies in Bryson and McKay, 24; on regulated economy, Goldin and Libecap; on welfare for Big Business, Schlosser, 72, 102. 12. For an informed critique from the perspective of a Wall Street trader, see Taleb; for a frontal assault on the neoliberal programs of economic austerity and political repression, see Klein; Collins and Yeskel; documentary Walmart. 13. In Kohut, 28. 14. Orwell, 318. 15. Storey, 5; McCabe, 6; Altschull, 424. 16. Kelly, 19. 17. “From falsehood, anything follows.” 18. Calder; also Swirski (2010), Introduction. 19. In The Economist, February 19, 2011: 79. 20. Prominently Gianos; Giglio. 21. The Economistt (2011). 22. For more examples, see Swirski (2010); Tavakoli-Far. My thanks to Alice Tse for her help with the images. Chapter 1 1. In Powers, 137; parts of this research are based on Swirski (2009). 2. Haynes, 19. 168 NOTES 3. In Moyers, 279. 4. Ruderman, 10. 5. In Krassner, 276–77. 6. Green, 57; bottom of paragraph, Ruderman, 179. 7. In Zagorin, 28; next quote 30; Shakespeare did not spare the Trojan War in Troilus and Cressida.
    [Show full text]
  • The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013
    The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 COUNCIL ON LIBRARY AND INFORMATION RESOURCES AND THE LIBRARY OF CONGRESS The Survival of American Silent Feature Films: 1912–1929 by David Pierce September 2013 Mr. Pierce has also created a da tabase of location information on the archival film holdings identified in the course of his research. See www.loc.gov/film. Commissioned for and sponsored by the National Film Preservation Board Council on Library and Information Resources and The Library of Congress Washington, D.C. The National Film Preservation Board The National Film Preservation Board was established at the Library of Congress by the National Film Preservation Act of 1988, and most recently reauthorized by the U.S. Congress in 2008. Among the provisions of the law is a mandate to “undertake studies and investigations of film preservation activities as needed, including the efficacy of new technologies, and recommend solutions to- im prove these practices.” More information about the National Film Preservation Board can be found at http://www.loc.gov/film/. ISBN 978-1-932326-39-0 CLIR Publication No. 158 Copublished by: Council on Library and Information Resources The Library of Congress 1707 L Street NW, Suite 650 and 101 Independence Avenue, SE Washington, DC 20036 Washington, DC 20540 Web site at http://www.clir.org Web site at http://www.loc.gov Additional copies are available for $30 each. Orders may be placed through CLIR’s Web site. This publication is also available online at no charge at http://www.clir.org/pubs/reports/pub158.
    [Show full text]
  • PAF 2015 ENG.Indd
    14th Festival of Film Animation 3–6 12 2015 Olomouc www.pifpaf.cz Catalogue PAF 2015 Acknowledgement: www.pifpaf.cz Danniela Arriado, Jiří Bartoník, Jana Bébarová, Petr Bilík, Petr Bielesz, Martin Blažíček, Michal Blažíček, Authors: Martin Búřil, Filip Cenek, Eva Červenková, Martin Čihák, Alexander Campaz, Martin Čihák, Eliška Děcká, David Katarína Gatialová, Marie Geierová, Vladimír Havlík, Helán, Miloš Henkrich, Alexandr Jančík, Tomáš Javůrek, Tamara Hegerová, Štěpánka Ištvánková, Jana Jedličková, Nela Klajbanová, Martin Mazanec, Marie Meixnerová, Alexandr Jeništa, Anna Jílková, Lucie Klevarová, Jiří Neděla, Jonatán Pastirčák,Tomáš Pospiszyl, Jakub Korda, Jana Koulová, Petr Krátký, Zdeňka Krpálková, Pavel Ryška, Matěj Strnad, Lenka Střeláková, Josef Kuba, Jiří Lach, Richard Loskot, Ondřej Molnár, Barbora Trnková, Veronika Zýková Hana Myslivečková, NAMU, Lenka Petráňová, Jan Piskač, Mari Rossavik, Radim Schubert, Kateřina Skočdopolová, Translators: Matěj Strnad, Barbora Ševčíková, Jan Šrámek, Petr Vlček, Magda Bělková, Nikola Dřímalová, Helena Fikerová, Kateřina Vojkůvková, FAMU Center for Audiovisual Studies, Václav Hruška, Karolina Chmielová, Jindřich Klimeš, Café Tungsram and Ondřej Pilát, Zuzana Řezníčková, Samuel Liška, Marie Meixnerová, Michaela Štaffová Audio-Video Department at the Faculty of Fine Arts of Brnu University of Technology, Department of Theatre and Film Editor: Studies at the Faculty of Arts of Palacký University Olomouc, Veronika Zýková The One Minutes, The University of J. E. Purkyně Czech proofreading: Festival
    [Show full text]
  • Filmography 1963 Through 2018 Greg Macgillivray (Right) with His Friend and Filmmaking Partner of Eleven Years, Jim Freeman in 1976
    MacGillivray Freeman Films Filmography 1963 through 2018 Greg MacGillivray (right) with his friend and filmmaking partner of eleven years, Jim Freeman in 1976. The two made their first IMAX Theatre film together, the seminal To Fly!, which premiered at the Smithsonian National Air and Space Museum on July 1, 1976, one day after Jim’s untimely death in a helicopter crash. “Jim and I cared only that a film be beautiful and expressive, not that it make a lot of money. But in the end the films did make a profit because they were unique, which expanded the audience by a factor of five.” —Greg MacGillivray 2 MacGillivray Freeman Films Filmography Greg MacGillivray: Cinema’s First Billion Dollar Box Office Documentarian he billion dollar box office benchmark was never on Greg MacGillivray’s bucket list, in fact he describes being “a little embarrassed about it,” but even the entertainment industry’s trade journal TDaily Variety found the achievement worth a six-page spread late last summer. As the first documentary filmmaker to earn $1 billion in worldwide ticket sales, giant-screen film producer/director Greg MacGillivray joined an elite club—approximately 100 filmmakers—who have attained this level of success. Daily Variety’s Iain Blair writes, “The film business is full of showy sprinters: filmmakers and movies that flash by as they ring up impressive box office numbers, only to leave little of substance in their wake. Then there are the dedicated long-distance specialists, like Greg MacGillivray, whose thought-provoking documentaries —including EVEREST, TO THE ARCTIC, TO FLY! and THE LIVING Sea—play for years, even decades at a time.
    [Show full text]
  • Through FILMS 70 Years of European History Through Films Is a Product in Erasmus+ Project „70 Years of European History 1945-2015”
    through FILMS 70 years of European History through films is a product in Erasmus+ project „70 years of European History 1945-2015”. It was prepared by the teachers and students involved in the project – from: Greece, Czech Republic, Italy, Poland, Portugal, Romania, Spain, Turkey. It’ll be a teaching aid and the source of information about the recent European history. A DANGEROUS METHOD (2011) Director: David Cronenberg Writers: Christopher Hampton, Christopher Hampton Stars: Michael Fassbender, Keira Knightley, Viggo Mortensen Country: UK | GE | Canada | CH Genres: Biography | Drama | Romance | Thriller Trailer In the early twentieth century, Zurich-based Carl Jung is a follower in the new theories of psychoanalysis of Vienna-based Sigmund Freud, who states that all psychological problems are rooted in sex. Jung uses those theories for the first time as part of his treatment of Sabina Spielrein, a young Russian woman bro- ught to his care. She is obviously troubled despite her assertions that she is not crazy. Jung is able to uncover the reasons for Sa- bina’s psychological problems, she who is an aspiring physician herself. In this latter role, Jung employs her to work in his own research, which often includes him and his wife Emma as test subjects. Jung is eventually able to meet Freud himself, they, ba- sed on their enthusiasm, who develop a friendship driven by the- ir lengthy philosophical discussions on psychoanalysis. Actions by Jung based on his discussions with another patient, a fellow psychoanalyst named Otto Gross, lead to fundamental chan- ges in Jung’s relationships with Freud, Sabina and Emma.
    [Show full text]
  • First Friday News & Views
    MARCH 2007 First Friday VOLUME 12 News & Views ISSUE 3 THE MONTHLY NEWSLETTER OF THE A Haggard Miracle FIRST FRIDAY by Jonathan Wilson BREAKFAST CLUB, INC. fter three weeks of intense counseling, the not-so-Reverend Ted Haggard would have folks believe he’s 100% heterosexual. If such success is to be be- lieved, his counselors have something they need to take on the road. I think INSIDE Ted’ll be an excellent show pony so long as they keep him on a short leash and away from temptation. They dare not turn their backs on him. “Dreamgirls” Movie Re- 2 view by Gary Kaufman When interviewed, even the head of Exodus International, a group that touts the idea that homosexuality can be “cured,” doubted Ted’s conversion. No matter that the knowledgeable, even those who want to believe, doubt the account. We need to keep in mind the audience Hag- February Speaker Review 3 by Bruce Carr gard is playing to. These are people who profess to believe the earth is about 6000 years old; Methuselah lived 900 years; Jonah lived seven days in the belly of a whale, and survived; and Jesus was born of a virgin and went on to walk on water, turn water into wine, raise the dead, Briefs & Shorts 3 cure leprosy, and restore sight to the blind. In the ranks of the gullible, these folks are the crème From the Editor 4 de la crème. For them, Haggard’s conversion from gay to straight in record time would be no more than a minor miracle.
    [Show full text]