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Don't Try This at Home: Lessons from America's War on Drugs
Transcript Don’t Try This at Home: Lessons from America’s War on Drugs Eugene Jarecki Filmmaker; Director, The House I Live In Chair: Professor Alex Stevens Professor in Criminal Justice and Deputy Head of School, School of Social Policy, Sociology and Social Research, University of Kent 21 May 2013 The views expressed in this document are the sole responsibility of the author(s) and do not necessarily reflect the view of Chatham House, its staff, associates or Council. Chatham House is independent and owes no allegiance to any government or to any political body. It does not take institutional positions on policy issues. This document is issued on the understanding that if any extract is used, the author(s)/ speaker(s) and Chatham House should be credited, preferably with the date of the publication or details of the event. Where this document refers to or reports statements made by speakers at an event every effort has been made to provide a fair representation of their views and opinions, but the ultimate responsibility for accuracy lies with this document’s author(s). The published text of speeches and presentations may differ from delivery. Transcript: Lessons from America’s War on Drugs Alex Stevens: Good evening, everyone. Welcome to this fascinating event at Chatham House. My name is Alex Stevens; I’ll be chairing the event. I’m professor in criminal justice at the University of Kent and I’ve been working with Chatham House for the last year or so on their project on drugs and organized crime. I’m also a board member of the International Society for the Study of Drug Policy, and I’m just back from Bogota, Colombia, where we had our annual conference and discussed many of the issues that Eugene’s fascinating film touches upon. -
The King Premieres on Independent Lens Monday, January 28 on PBS
FOR IMMEDIATE RELEASE CONTACT Tanya Leverault, ITVS 415-356-8383 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom The King Premieres on Independent Lens Monday, January 28 on PBS Climb into Elvis’s 1963 Rolls-Royce for a Musical Road Trip and Timely Meditation on Modern America Online Streaming Begins January 29 (San Francisco, CA) — Forty years after the death of Elvis Presley, two-time Sundance Grand Jury winner Eugene Jarecki takes the King’s 1963 Rolls-Royce on a musical road trip across America. From Tupelo to Memphis to New York, Las Vegas, and countless points between, the journey explores the rise and fall of Elvis as a metaphor for the country he left behind. What emerges is a visionary portrait of the state of the American dream and a penetrating look at how the hell we got here. The King premieres on Independent Lens Monday, January 28, 2019, 9:00-10:30PM ET (check local listings) on PBS. Far more than a musical biopic, The King is a snapshot of Credit: David Kuhn America at a critical time in the nation’s history. Tracing Elvis’ life and career from his birth and meteoric rise in the deep south to his tragic and untimely end in Hollywood and Las Vegas, The King covers a vast distance across contemporary America, painting a parallel portrait of the nation’s own heights and depths, from its inspired origins to its perennial struggles with race, class, power, and money. -
1997 Sundance Film Festival Awards Jurors
1997 SUNDANCE FILM FESTIVAL The 1997 Sundance Film Festival continued to attract crowds, international attention and an appreciative group of alumni fi lmmakers. Many of the Premiere fi lmmakers were returning directors (Errol Morris, Tom DiCillo, Victor Nunez, Gregg Araki, Kevin Smith), whose earlier, sometimes unknown, work had received a warm reception at Sundance. The Piper-Heidsieck tribute to independent vision went to actor/director Tim Robbins, and a major retrospective of the works of German New-Wave giant Rainer Werner Fassbinder was staged, with many of his original actors fl own in for forums. It was a fi tting tribute to both Fassbinder and the Festival and the ways that American independent cinema was indeed becoming international. AWARDS GRAND JURY PRIZE JURY PRIZE IN LATIN AMERICAN CINEMA Documentary—GIRLS LIKE US, directed by Jane C. Wagner and LANDSCAPES OF MEMORY (O SERTÃO DAS MEMÓRIAS), directed by José Araújo Tina DiFeliciantonio SPECIAL JURY AWARD IN LATIN AMERICAN CINEMA Dramatic—SUNDAY, directed by Jonathan Nossiter DEEP CRIMSON, directed by Arturo Ripstein AUDIENCE AWARD JURY PRIZE IN SHORT FILMMAKING Documentary—Paul Monette: THE BRINK OF SUMMER’S END, directed by MAN ABOUT TOWN, directed by Kris Isacsson Monte Bramer Dramatic—HURRICANE, directed by Morgan J. Freeman; and LOVE JONES, HONORABLE MENTIONS IN SHORT FILMMAKING directed by Theodore Witcher (shared) BIRDHOUSE, directed by Richard C. Zimmerman; and SYPHON-GUN, directed by KC Amos FILMMAKERS TROPHY Documentary—LICENSED TO KILL, directed by Arthur Dong Dramatic—IN THE COMPANY OF MEN, directed by Neil LaBute DIRECTING AWARD Documentary—ARTHUR DONG, director of Licensed To Kill Dramatic—MORGAN J. -
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar 415
FOR IMMEDIATE RELEASE CONTACT Voleine Amilcar 415-356-8383 x 244 [email protected] Mary Lugo 770-623-8190 [email protected] Cara White 843-881-1480 [email protected] For downloadable images, visit pbs.org/pressroom/ THE HOUSE I LIVE IN PREMIERES ON INDEPENDENT LENS ON MONDAY, APRIL 8, 2013 “I’d hate to imply that it’s your civic duty to see The House I Live In, but guess what — it is.” — Ty Burr, The Boston Globe (San Francisco, CA) — Winner of the Grand Jury Prize at the Sundance Film Festival, Eugene Jarecki’s The House I Live In builds a compelling case for the complete failure of America’s war on drugs. For the past forty years, the war on drugs has resulted in more than 45 million arrests, one trillion dollars in government spending, and America’s role as the world’s largest jailer. Yet for all that, drugs are cheaper, purer, and more available than ever. Filmed in more than twenty states, The House I Live In captures heart-wrenching stories from those on the front lines — from the dealer to the grieving mother, the narcotics officer to the senator, the inmate to the federal judge — and offers a penetrating look at the profound human rights implications of America’s longest war. The House I Live In premieres on Independent Lens, hosted by Stanley Tucci, on Monday, April 8, 2013 at 10 PM on PBS (check local listings). The film recognizes drug abuse as a matter of public health, and investigates the tragic errors and shortcomings that have resulted from framing it as an issue for law enforcement. -
Eugene Jarecki's
26 CHICAGO READER | FEBRUARY 17, 2006 | SECTION ONE Letters continued from page 3 No More Find it! Where That Came From Dear sirs: Z Michael Miner’s excellent overview of the issues involving Great Lakes water resources [“They Need It. We Waste It,” January 13] left out one pertinent fact: The New Reader Classifieds 90 percent of all the water chicagoreader.com | section 4 in the five lakes is the result of runoff from receding glaciers during the time when the Ice Age ended. Thus in the intervening 10,000 years only 10 percent of the water volume of the Great Lakes is due to rainfall and inflow from rivers and streams. The inadvisability of any large-scale diversion of Great Lakes water to both future freshwater supplies and to commercial navigation is obvious. All of us who are residents of the Great Lakes basin, whether Canadian or American, should take an active role in advocating for the passage of the Great Lakes- Saint Lawrence River Basin Water Resources Compact by contacting our respective elected representatives. Chet Alexander Alsip PS: This is not a new issue. While vacationing in a number of western states in 1982 and 1984 (both election years) I read and heard of a number of candidates for public office who advocated diverting Great Lakes water to the west. One proposal envisioned the construction of a pipeline from the western tip of Lake Superior at Duluth, Minnesota, that would supply water to the Dakotas, Montana, and Wyoming. Weekly Wackadoo Hola, I must tell you of my intense pleasure, which is your weekly columnist gone wackadoo .. -
Iraq War Documentaries in the Online Public Sphere
Embedded Online: Iraq War Documentaries in the Online Public Sphere Eileen Culloty, MA This thesis is submitted to Dublin City University for the award of PhD in the Faculty of Humanities and Social Sciences. Dublin City University School of Communications Supervisor: Dr. Pat Brereton September 2014 I hereby certify that this material, which I now submit for assessment on the programme of study leading to the award of Doctor of Philosophy is entirely my own work, that I have exercised reasonable care to ensure that the work is original, and does not to the best of my knowledge breach any law of copyright, and has not been taken from the work of others save and to the extent that such work has been cited and acknowledged within the text of my work. Signed: ___________ ID No.: ___________ Date: _________ ii DEDICATION This work is dedicated to the memory of Martin Culloty. … I go back beyond the old man Mind and body broken To find the unbroken man. It is the moment before the dance begins. Your lips are enjoying themselves Whistling an air. Whatever happens or cannot happen In the time I have to spare I see you dancing father Brendan Kennelly (1990) ‘I See You Dancing Father’ iii TABLE OF CONTENTS ABSTRACT ............................................................................................................................ vii LIST OF FIGURES ................................................................................................................ viii ABBREVIATIONS ................................................................................................................... -
'Freakonomics' Documentary May Be a Rarity: Profitable
April 4, 2010 ‘Freakonomics’ Documentary May Be a Rarity: Profitable By MICHAEL CIEPLY If Steven D. Levitt and Stephen J. Dubner, the authors of “Freakonomics,” were to examine the movie business, they might ask: Why do documentary filmmakers keep doing it? It can’t be the money, because the world is awash in documentaries that make little at the box office or are not distributed at all. Occasionally, though, a documentary makes a buck for those involved — and the new documentary based on “Freakonomics” could do just that. Magnolia Pictures is expected to announce on Monday that it has acquired domestic distribution rights to the film, which was produced by the Green Film Company and directed, in parts, by a series of well-known documentarians. Those include Alex Gibney ( “Taxi to the Dark Side” ), Rachel Grady and Heidi Ewing ( “Jesus Camp” ), Morgan Spurlock ( “Super Size Me” ), Eugene Jarecki ( “Why We Fight” ) and Seth Gordon ( “The King of Kong” ). “Freakonomics,” the film, got started when Chad Troutwine, a producer who worked on an earlier multidirector movie, “Paris, Je T’aime,” became interested in the best-selling book, which looks into matters like the socioeconomic implications of baby naming. Dan O’Meara, who with Chris Romano and Mr. Troutwine is a producer of “Freakonomics,” said the movie cost just under $3 million, which is not small potatoes in the documentary world. One financial hurdle, Mr. O’Meara said, was that the big-name filmmakers, unlike many on the festival circuit, actually had to be paid. Mr. O’Meara declined to say exactly how much each received, but all were paid the same, he said, and the amounts were “a pretty reasonable fee, above guild minimums.” Mr. -
Rafea: Solar Mama
RAFEA: SOLAR MAMA Noujaim Films Presents: RAFEA: SOLAR MAMA A film by Mona Eldaief & Jehane Noujaim Toronto International Film Festival 2012 DOC NYC 2012 : Special Jury Prize + Audience Award International Documentary Film Festival, Amsterdam 2012: Oxfam Global Justice Award Doha Tribeca International Film Festival 2012 Rafea is a Bedouin living on the Jordan-Iraq border. She and 30 illiterate grandmothers from around the world will travel to The Barefoot College in India to become Solar Engineers. If she succeeds, she will power her entire village, but can she re- wire the traditional minds of her Bedouin community? www.rafeasolarmama.com Mona Eldaief :[email protected] Jehane Noujaim : [email protected] RAFEA: SOLAR MAMA Synopsis “If we are going to see real development in the world then our best investment is women” -- Desmond Tutu Rafea is a Bedouin woman who lives with her four daughters in one of Jordan’s poorest desert villages on the Iraqi border. She is given a chance to travel to India to attend the Barefoot College, where illiterate mothers and grandmothers from around the world are trained in 6 months to be solar engineers. If Rafea succeeds, she will be able to electrify her village, train more engineers, and provide for her daughters. Even when she returns as the first female solar engineer in the country, her real challenge will have just begun. Will she find support for her new venture? Will she be able to inspire the other women in the village to join her and change their lives? And most importantly, will she be able to re-wire the traditional minds of some of the members of her Bedouin community that stand in her way? RAFEA: SOLAR MAMA Director’s Statement Wherever we come from, at one point in our lives, we have all been given a challenge that we doubted we were capable of. -
HOUSE-Fac-Guide.Pdf
A Message from the Film’s Producer, Eugene Jarecki With Vision ... e senselessness and scope of the tragedy of drug abuse while inicting immeasurable By Faith ... in Newtown, CT demand that we as damage both on those targeted by drug rough Action Americans take a moral inventory of who laws and on the hopes and beliefs of those we are as a nation and what we want to be who enforce them. A Message from the Samuel DeWitt Proctor Conference going forward. I’ve spent the last several years making a documentary about the But there was hope, too, because in so - e Social Justice Network - severity of America’s drug laws and their many people I met, I found great majesty– e United States represents 5% of the world’s population, yet holds 25% of the world’s incarcerated. For the past devastating impact on poor and minority the capacity to forgive, to search within several years, the Samuel DeWitt Proctor Conference has been engaged in implementing a national educational communities and the national soul- oneself, to seek a higher purpose and to awareness campaign on the impact of mass incarceration on our families, communities and this nation searching that Newtown demands is not look for a better way. I can report that the (www.tobefreeatlast.net). We have done so, along with many others in an interfaith and ecumenical manner. Two unrelated to a long overdue reexamination approach America has taken to our drug seminal works on this issue are: e New Jim Crow: Mass Incarceration in the Age of Colorblindness by Michelle of the drug war and the brutality it has problem is increasingly seen as morally Alexander and Slavery by Another Name by Douglas Blackmon. -
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 -
Freakonomics
Freakonomics KINOSTART: 24.10.2013 Pressematerial unter www.kinostar.com 1 Inhaltsverzeichnis Cast und Crew Seite 3 Technische Daten Seite 3 Inhalt Seite 4 Die Buchvorlage Seite 5 Über den Film Seite 6 Das „Freakonomics“-Phänomen Seite 7 Die fünf Elemente von „Freakonomics“ Seite 8 - 9 Die vier Segmente des Films Seite 10 - 16 Über die Filmemacher Seite 17 - 20 Kontakt Seite 21 2 Crew Regie Heidi Ewing, Alex Gibney, Seth Gordon, Rachel Grady, Eugene Jarecki, Morgan Spurlock Drehbuch Peter Bull, Alex Gibney, Jeremy Chilnick, Morgan Spurlock, Eugene Jarecki, Heidi Ewing, Rachel Grady, Seth Dordon Produktion Chad Troutwine, Chris Romano, Dan O'Meara Cast Carl Alleyne Freund Zoe Sloane Blake Adesuwa Addy Iyare Mutter von Temptress Jade Viggiano High School Schülerin Sammuel Soifer Jake Jalani McNair Loser Andrew Greiche Jake Alyssa Wheeldon High School Schülerin Amancaya Aguilar Mercedes Kellie Gerardi Lexus Technische Daten Länge 93 Minuten Produktionsland USA Produktionsjahr 2010 Sound Mix Dolby Digital 3 Inhalt Kann Bestechung eine gute Sache sein? Bestimmt dein Name dein Schicksal? Was haben Sumoringer und Lehrer gemeinsam? Was wäre wenn alles, was wir über die Natur des Menschen wissen, falsch ist? FREAKONOMICS gibt Aufschluss über diese und andere Fragen. Was steckt wirklich hin ter vielen Themen des Alltags? Oft ist die naheliegende nicht die richtige Erkenntnis. Sechs renommierte Dokumentarfilmregisseure befassen sich mit den eigenwilligen The sen des bekannten Ökonomen Steven Levitt und des erfolgreichen Schriftstellers Stephen Dubner aus dem gleichnamigen Sachbuch-Bestseller. 4 Die Buchvorlage Das Buch „Freakonomics“ ist eine Sammlung von Wirtschaftsartikeln, die Themen und Theorien behandeln, die in den traditionellen Wirtschaftswissenschaften so nicht vorkom men. -
Freakonomics
Name _____________________________________________ Date ___________________ Period __________ Freakonomics Summary: In 2005, economist Steven Levitt and journalist Stephen Dubner teamed-up to write the book Freakonomics. Covering a wide-range of topics, the two set out to demonstrate that statistics and figures can be used to belie things we previously believed to know as fact. Now, documentarians Seth Gordon, Alex Gibney, Morgan Spurlock, Eugene Jarecki, Heidi Ewing and Rachel Grady have created a documentary based on Levitt and Dubner’s findings that is not only endlessly fascinating, but also immensely entertaining. Separated into four chapters with interludes, each documentarian (or pair of documentarians in Ewing and Grady) takes on a different section of the book and analyzes it in their own style. First up is Spurlock (Super Size Me), who attempts to discover if a person’s first name can dictate their success in life. Next, Alex Gibney (Taxi to the Dark Side) investigates corruption in the thought-to-be sacred world of Japanese sumo wrestling. Eugene Jarecki (Why We Fight) then looks at the incredible drop in crime rates during the 1990s and finally, Ewing and Grady (Jesus Camp) aim to learn if cash incentives can motivate underachieving students in Chicago public schools. Fundamental ideas offered in the video: *Incentives are the corner stone of modern life. *The conventional wisdom is often wrong. *Dramatic effects often have distant, even subtle, causes. *“Experts”—from criminologists to real-estate agents—use their informational advantage to serve their own agenda. *Knowing what to measure and how to measure it makes a complicated world much less so.