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Julia Reichert and the Work of Telling Working-Class Stories
FEATURES JULIA REICHERT AND THE WORK OF TELLING WORKING-CLASS STORIES Patricia Aufderheide It was the Year of Julia: in 2019 documentarian Julia Reichert received lifetime-achievement awards at the Full Frame and HotDocs festivals, was given the inaugural “Empowering Truth” award from Kartemquin Films, and saw a retrospec- tive of her work presented at the Museum of Modern Art in New York. (The International Documentary Association had already given her its 2018 award.) Meanwhile, her newest work, American Factory (2019)—made, as have been all her films in the last two decades, with Steven Bognar—is being championed for an Academy Award nomination, which would be Reichert’s fourth, and has been picked up by the Obamas’ new Higher Ground company. A lifelong socialist- feminist and self-styled “humanist Marxist” who pioneered independent social-issue films featuring women, Reichert was also in 2019 finishing another film, tentatively titled 9to5: The Story of a Movement, about the history of the movement for working women’srights. Yet Julia Reichert is an underrecognized figure in the contemporary documentary landscape. All of Reichert’s films are rooted in Dayton, Ohio. Though periodically rec- ognized by the bicoastal documentary film world, she has never been a part of it, much like her Chicago-based fellow Julia Reichert in 2019. Photo by Eryn Montgomery midwesterners: Kartemquin Films (Gordon Quinn, Steve James, Maria Finitzo, Bill Siegel, and others) and Yvonne 2 The Documentary Film Book. She is absent entirely from Welbon. 3 Gary Crowdus’s A Political Companion to American Film. Nor has her work been a focus of very much documentary While her earliest films are mentioned in many texts as scholarship. -
The BG News February 13, 1987
Bowling Green State University ScholarWorks@BGSU BG News (Student Newspaper) University Publications 2-13-1987 The BG News February 13, 1987 Bowling Green State University Follow this and additional works at: https://scholarworks.bgsu.edu/bg-news Recommended Citation Bowling Green State University, "The BG News February 13, 1987" (1987). BG News (Student Newspaper). 4620. https://scholarworks.bgsu.edu/bg-news/4620 This work is licensed under a Creative Commons Attribution-Noncommercial-No Derivative Works 4.0 License. This Article is brought to you for free and open access by the University Publications at ScholarWorks@BGSU. It has been accepted for inclusion in BG News (Student Newspaper) by an authorized administrator of ScholarWorks@BGSU. Spirits and superstitions in Friday Magazine THE BG NEWS Vol. 69 Issue 80 Bowling Green, Ohio Friday, February 13,1987 Death Funding cut ruled for 1987-88 Increase in fees anticipated suicide by Mike Amburgey said. staff reporter Dalton said the proposed bud- get calls for $992 million Man kills wife, The Ohio Board of Regents statewide in educational subsi- has reduced the University's dies for 1987-88, the same friend first instructional subsidy allocation amount funded for this year. A for 1987-88 by $1.9 million, and 4.7 percent increase is called for by Don Lee unless alterations are made in in the academic year 1988-89 Governor Celeste's proposed DALTON SAID given infla- wire editor budget, University students tionary factors, the governor's could face at least a 25 percent budget puts state universities in The manager of the Bowling instructional fee increase, a difficult place. -
ECON 3240 American Factory Workers in Chinese Factory Spring 2020
ECON 3240 American Factory workers in Chinese Factory Spring 2020 American Factory is great documentary for us, mainly because it discusses how some can fall out of the middle class, becoming vulnerable if not poor, but then thanks to government policy (what government) claw the their way back into the middle class, keeping the Dream alive for themselves and their children we hope (IG mobility). It is also the almost universal story but a story of how workers and manageres learng by doing (aka learning by doing). For reasons that become obviout in the film the same factories and workers learn to do better overtime, like AI but not artificial, more of a group dynamic with input from workers and managers. Somehow workers can become much more productive over time, using lesst time to produce the same number of cars (or glass panels..). The makers of this documentatry sense this dynamic: the camera dwells on the machinery and workers converting sand (silicon) many shapes of very transparent glass (our Coa our Chinese owner entreprenuer writes a song about transparency, which could have two meanings, and Fu, see the Terry Gross interview below. We see the last GM S-10 truck role through the assembly line and we are off, new owners, some new workers from China and 2000 American workers, some from the GM plant that clased. To spread the pain/ privelidge we can the divide the 1 hour 50 minute file into three sectiosn. Everyone read the cast of characters below should watch the first 20 minutes (some of the key cast members are listed below, the huge factory building itself is a star…I thought it was in Dayton, Ohio but actually in another town, this happens when land intensive factories spring up near cities). -
History Overview Detailed 2020-2021 Tri 2
TRIMESTERTRIMESTER 2 HISTORYHISTORY OVERVIEWOVERVIEW 2020-2021 1/4-1/4-1/1/77 The Constitution Date 1787 Themes Rise and Fall of Empires and Nations Trade and Commerce Readings 1/4-5 Hist US V3 Ch 35, 36 Shhh! p 7-26 1/6-7 Hist US V3 Ch 37, 38 Shhh! p 28-44 1/11-12 Hist US V3 Ch 39, 40 Who Was Geo Washington? pp 1-21 Founding Mothers – Mrs. Jay Story of George Washington Ch 1-2 1/13-14 Hist US V3 Ch 41, 42 Who Was Geo Washington? pp 22-42 Story of George Washington Ch 3-4 BriefBrief OverviewOverview ofof AmericaAmerica inin thethe AftermathAftermath ofof thethe RevolutionaryRevolutionary WarWar The state of American affairs post-Revolutionary War: Congress and the states are in debt, and a postwar depression on the scale of the Great Depression of the 1930s exacerbates the troubles. Currency is losing value. Army vets are unpaid – given promissory notes that are worth little due to inflation. Vets sell their notes to put clothes on their backs and food in their mouths. Economic slump of the 1780s had many sources: • Massive quantities of property were destroyed in the war. • Because men were fighting in the war, they were unable to perform their regular jobs. Economic output fell. • Enslaved men, women, and children emancipated themselves by leaving with the British or simply running into forests and swamps. This was a financial loss to their enslavers. • Britain refused to allow Americans to trade with British sugar islands in the Caribbean – one of the American’s greatest income sources. -
National Conference
NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION In Memoriam We honor those members who passed away this last year: Mortimer W. Gamble V Mary Elizabeth “Mery-et” Lescher Martin J. Manning Douglas A. Noverr NATIONAL CONFERENCE OF THE POPULAR CULTURE ASSOCIATION AMERICAN CULTURE ASSOCIATION APRIL 15–18, 2020 Philadelphia Marriott Downtown Philadelphia, PA Lynn Bartholome Executive Director Gloria Pizaña Executive Assistant Robin Hershkowitz Graduate Assistant Bowling Green State University Sandhiya John Editor, Wiley © 2020 Popular Culture Association Additional information about the PCA available at pcaaca.org. Table of Contents President’s Welcome ........................................................................................ 8 Registration and Check-In ............................................................................11 Exhibitors ..........................................................................................................12 Special Meetings and Events .........................................................................13 Area Chairs ......................................................................................................23 Leadership.........................................................................................................36 PCA Endowment ............................................................................................39 Bartholome Award Honoree: Gary Hoppenstand...................................42 Ray and Pat Browne Award -
Nota Integrativa
Annual Report 2017 MEDIASET S.p.A. - via Paleocapa, 3 - 20121 Milan Share Capital Euros 614,238,333.28 fully paid up Tax Code, VAT number and inscription number in the Milan Enterprises Register: 09032310154 Website: www.mediaset.it Table of Contents Consolidated Financial Statements 2017 Directors’ report on operations Corporate Boards ..................................................................................................... 1 Financial Highlights .................................................................................................. 2 Directors’ Report on Operations ................................................................................ 5 General economic trends ........................................................................................... 8 Development in the legislative framework in the television sector ................................. 9 Mediaset shares ..................................................................................................... 11 Significant Events and Key Corporate Transaction for the year ................................... 13 The Main Group companies ...................................................................................... 16 Group Profile and Performance Review by Business Segment ..................................... 17 Consolidated Performance by Geographical Area and Business Segment Economic Results ............................................................................................. 51 Balance Sheet and Financial Position ................................................................. -
BETH BARRETT STAN SHIELDS Artistic Director Programming Manager
BETH BARRETT STAN SHIELDS Artistic Director Programming Manager DEAR MEMBERS OF THE PRESS: It is our distinct honor to welcome you to the 45th annual Seattle International Film Festival! We are so happy to have you join this year as a partner at the Festival. It’s your work that helps connect filmmakers and audiences through the powerful experience of film. We are deeply appreciative of the knowledge, skill, and passion you bring to your work that has allowed us to become the SIFF we are today. Our 2019 Media Guide filled with all the pertinent information you’ll need to navigate the next 25 days: media guidelines and contacts, film listings, forums, and events. Many of you are already familiar with SIFF’s extensive Festival offerings. For those of you who are attending for the first time, we are here to help you discover the depth and range of our programming. The greater press community has always been an integral part of SIFF and we look forward to sharing with you all that our festival has to offer. Sincerely, Beth Barrett Stan Shields SIFF.NET · 206.464.5830 · PRESS OFFICE 206.315.0694 · [email protected] 1 TABLE OF CONTENTS 3 . PRESS INFORMATION 5 . SIFF STAFF 11 . SIFF BOARD 12 . ABOUT SIFF 13 . SIFF 2019 BY THE NUMBERS 14 . SIFF 2019 FACT SHEET 15 . EVENT SCHEDULE 22 . MEDIA GUIDELINES 23 . HOLD REVIEWS 27 . VENUES 28 . TICKETING 31 . FEATURE FILM INFORMATION 39 . FEATURES BY COUNTRY 44 . TOPICS OF INTEREST 56 . AWARDS & COMPETITIONS 64 . LOUNGE 65 . EDUCATION 66 . SPECIAL GUESTS 67 . -
Job Ter Burg, Ace, Nce Film Editor
JOB TER BURG, ACE, NCE FILM EDITOR Short Biography Job ter Burg (1972, Maarn, The Netherlands) graduated from The Netherlands Film and Television Academy as a film editor (1992-1996), after two years of studying Film and Television at the University of Utrecht (1990-1992), which were preceded by grammar school in Doorn (1984-1990). He started out as an editor for mostly television documentaries, but after his continued collaboration with film school class mate Martin Koolhoven on DARK LIGHT (1997) and the much awarded SUZY Q (1999), he focused on editing feature films. After two nominations for Best Film Editing (at the yearly Dutch Film Festival in Utrecht) for his work on GODFORSAKEN (Pieter Kuijpers, 2003) and SCHNITZEL PARADISE (Martin Koolhoven, 2005), he got to be the lead film editor on the prestigious BLACK BOOK (2006), Paul Verhoeven’s first Dutch film in 20 years. Ter Burg was awarded with the ICS Award for Best Editing for Paul Verhoeven’s ELLE (2016) and with the Golden Calf for Best Film Editing for his work on Rudolf van den Berg’s TIRZA (2010). ELLE (2016) won more than 60 awards, including two Golden Globes (Best Foreign Language Film 2017 & Best Actress 2017) and was nominated for an Academy Award in the Best Actress category (Isabelle Huppert). BORGMAN (2013) and ELLE (2016) were selected for the Competition at the Festival de Cannes, BRIMSTONE (2016) and BLACK BOOK (2006) were selected for the Competition in at the Venice Film Festival. THE LAST DAYS OF EMMA BLANK (2009) won the Europa Cinemas Award at Venice Days. -
35 Years of Nominees and Winners 36
3635 Years of Nominees and Winners 2021 Nominees (Winners in bold) BEST FEATURE JOHN CASSAVETES AWARD BEST MALE LEAD (Award given to the producer) (Award given to the best feature made for under *RIZ AHMED - Sound of Metal $500,000; award given to the writer, director, *NOMADLAND and producer) CHADWICK BOSEMAN - Ma Rainey’s Black Bottom PRODUCERS: Mollye Asher, Dan Janvey, ADARSH GOURAV - The White Tiger Frances McDormand, Peter Spears, Chloé Zhao *RESIDUE WRITER/DIRECTOR: Merawi Gerima ROB MORGAN - Bull FIRST COW PRODUCERS: Neil Kopp, Vincent Savino, THE KILLING OF TWO LOVERS STEVEN YEUN - Minari Anish Savjani WRITER/DIRECTOR/PRODUCER: Robert Machoian PRODUCERS: Scott Christopherson, BEST SUPPORTING FEMALE MA RAINEY’S BLACK BOTTOM Clayne Crawford PRODUCERS: Todd Black, Denzel Washington, *YUH-JUNG YOUN - Minari Dany Wolf LA LEYENDA NEGRA ALEXIS CHIKAEZE - Miss Juneteenth WRITER/DIRECTOR: Patricia Vidal Delgado MINARI YERI HAN - Minari PRODUCERS: Alicia Herder, Marcel Perez PRODUCERS: Dede Gardner, Jeremy Kleiner, VALERIE MAHAFFEY - French Exit Christina Oh LINGUA FRANCA WRITER/DIRECTOR/PRODUCER: Isabel Sandoval TALIA RYDER - Never Rarely Sometimes Always NEVER RARELY SOMETIMES ALWAYS PRODUCERS: Darlene Catly Malimas, Jhett Tolentino, PRODUCERS: Sara Murphy, Adele Romanski Carlo Velayo BEST SUPPORTING MALE BEST FIRST FEATURE SAINT FRANCES *PAUL RACI - Sound of Metal (Award given to the director and producer) DIRECTOR/PRODUCER: Alex Thompson COLMAN DOMINGO - Ma Rainey’s Black Bottom WRITER: Kelly O’Sullivan *SOUND OF METAL ORION LEE - First -
Jmackcv321.Pdf
773.595.2312 [email protected] ____________________________________________________________________________________________________Jodie Mack education: 2007 MFA, Film/Video/New Media School of the Art Institute of Chicago 2004 BA, Summa cum laude: Film and Media Studies University of Florida professional experience: 2015- Associate Professor of Film and Media Studies, Dartmouth College—Hanover, NH 2010-15 Assistant Professor of Film and Media Studies, Dartmouth College—Hanover, NH 2009-10 Adjunct Faculty in Moving Image, University of Illinois at Chicago—Chicago, IL 2008-10 Adjunct Faculty in the College of Digital Media, DePaul University—Chicago, IL Faculty in Animation, California State Summer School for the Arts—Valencia, CA 2007-9 Student Activities Coordinator, Television Department: Columbia College Chicago—Chicago, IL 2006-10 Adjunct Faculty, Early College Program: School of the Art Institute of Chicago—Chicago, IL 2005-7 Distribution Assistant, Video Data Bank—Chicago, IL Teaching Assistant, School of the Art Institute of Chicago—Chicago, IL 2004-5 Instructor, Schools Uniting Neighborhoods—Portland, OR films and videos: 2019 Wasteland No. 2: Hardy, Hearty (6m40s, 16mm, color, silent) 2018 The Grand Bizarre (61m, 16mm, color, sound) Hoarders Without Borders (4m45s, 16mm, color, silent) 2017 Wasteland No. 1: Ardent, Verdant (4m30s, 16mm, color, silent) Goody Goody (3m, super 16mmà DV, color, sound) 2016 Curses (4m45s, digital video, color, sound) 2015 Something Between Us (10m, 16mm, color, sound) 2014 Razzle Dazzle (5m, 16mm, -
Dedicato a Giuseppe De Francesco
Dedicato a Giuseppe De Francesco 1 2 3 Il cinema è luce. Vivilo, con Gesam Luce. GESAM CONVIENE... ANCHE AL TERRITORIO] { 4 5 www.lucar.it connesso oltre lo schermo 6 7 LUCCA FILM FESTIVAL E EUROPA CINEMA 2017 Giorgio Catalani, Maggie Brunetti, Giacomo Brunelli, Nicola D’Olivo (pratiche amministrative) Traduzione Catalogo “Lucca Film Festival e Europa Mattia Grassi, Rita Cimatti. Assistenti alla produzione esecutiva: Cinema 2017”: Presidente: Valetina Braccini Tessa Wiechmann Nicola Borrelli Volontari: Lavinia Andreini Vice Presidente: Lisa Granuzza Di Vita, Elettra Dini, Federico Della Cro- Responsabile biglietteria: Stefano Giorgi ce, Laura Pantaleoni, Lisa Bruci, Mila D’Amato, Rebecca Sigla Lucca Film Festival 2017: Ilaria Riccomini Tozzetti, Vincenzo Matteucci, Matilde Venturi, Elettra Kalispéra Production Biglietteria: Comitato Artistico: Dini, Federico Della Croce, Laura Pantaleoni, Lisa Bruci, Riprese e montaggio video: Michela Randaccio, Virginia Iacopetti Alessandro De Francesco, Stefano Giorgi, Mila D’Amato, Rebecca Tozzetti, Vincenzo Matteucci, Kalispéra Production Nicolas Condemi, Francesco Giani, Federico Salvetti, Matilde Venturi. Kalispéra Production sono: Autisti: Federico Ghivizzani.Alessandro Romanini, Stefano Alfredo Ferrua, Lorenzo Gigli, Francesco Nanni, Marco Viani, Michele Borgia, Giovanni Frullani Giuntini, Silvia Bizio, Simone Gialdini, Rachele Pollastrini. Responsabile comunicazione visiva e marketing: Antonio Petta, Federico Salvetti, Irene Scanavacca, Francesco Giani Francesco Terranova, Samuele Andreoni Accoglienza -
Carla Vistarini
CARLA VISTARINI 8 luglio 1948 https://it.wikipedia.org/wiki/Carla_Vistar ini www.carlavistarini.com Autrice televisiva, teatrale, musicale e sceneggiatrice, studi economici, in attività dal 1970 a oggi. Autrice e responsabile artistica in RAI dal 1974 Socia della S.I.A.E., Società Italiana degli Autori e Editori, dal 1976. Premio I.D.I. (Istituto del Dramma Italiano) 1987. Premio David di Donatello 1995 per la miglior sceneggiatura. Membro della Giuria del Premio David di Donatello dal 1996 a oggi. Commissario Artistico del Festival di Sanremo 1997. E' l'unica donna ad aver ricoperto il ruolo di Direttore artistico del festival di Sanremo nella sua intera storia. Commissario di Sezione della SIAE, 2000. Membro dell'Assemblea e del Comitato di Vigilanza SIAE 2003- 2007 Member of European Film Academy 2000-2007 Membro del Comité exécutif du Conseil International des Créateurs Dramatiques, Littéraires et Audiovisuels CIADVL-CISAC 2007-2009, Conferenze e studi su Diritto d'Autore in U.S.A., Corea del Sud, UK, Brasile, Spagna, ecc. Scrittore per GEMS Gruppo Editoriale Mauri Spagnol, Garzanti dal 2013 a oggi Musica Carla Vistarini scrive per RCAItaliana, CGD, Ricordi, CBS, Fonit, Sony, Emi, Polydor, Universal, etc. A oggi oltre trecento sue canzoni sono state interpretate e incise dai più famosi cantanti e artisti italiani, tra i quali: Mina, Ornella Vanoni, Mia Martini, Renato Zero, Patty Pravo, Peppino Di Capri, Alice, Massimo Ranieri, Riccardo Fogli, Loretta Goggi, Gigi Proietti, Silvie Vartan, ecc. Più volte presenti nella Hit Parade, e cover all’estero. Premio della Critica Discografica nel 1975 con “La voglia di sognare” scritta 1 Carla Vistarini - i per Ornella Vanoni; vittoria al Disco per l’estate nel 1976 con “Mondo” scritta per da Riccardo Fogli; World Popular Song Festival Award a Tokyo nel 1977 con “Ritratto di donna” scritta per Mia Martini; premio della Critica al Festival di Sanremo nel 1990 con “La nevicata del ‘56” cantata ancora da Mia Martini; "Buonanotte Buonanotte" per Mina, "Cos'è" per Renato Zero, da Nightmare before Christmas.