The Hunting Ground
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Submitted By: Laurence Thrush Comment Of
Submitted by: Laurence Thrush Comment of:! Film Independent, Chicago Filmmakers, Kindling Group, Kirby Dick, Jeffrey Kusama-Hinte, J S Mayank, David Novack, Laurence Thrush IN RE: Docket No. RM 2011-07 RESPONSE TO PROPOSED CLASS 7D We, the undersigned organizations and individuals, write in support of the Comment of International Documentary Association, Kartemquin Educational Films, Inc., National Alliance for Media, Arts, and Culture, and Independent Film Project, petitioning for an exemption to the DMCA’s anti-circumvention measures for DVD, Blu-Ray, and digitally transmitted video for the purpose of documentary and fictional filmmaking (“Proposed Class 7D”).1 The undersigned organizations work to support and defend filmmakers nationwide through educational outreach, financial support, and advocacy. Through seminars, written resources, workshops, festivals, grants, and other means, we support filmmakers at every stage of the filmmaking process. The undersigned individuals are award-winning filmmakers with decades of experience who have spent their careers contributing to American culture and journalism through film and who deeply understand the increasing value of filmmaking to our civic discourse, educational system, and American society as a whole. As filmmakers and filmmaker organizations, we know that the doctrine of fair use is integral to the filmmaking process. Without it we could not tell our stories, comment on society and culture, or illustrate our themes and arguments effectively. We write in support of Proposed Class 7D because we are concerned that the DMCA is prohibiting access to source material we depend on in order to make fair use. The Librarian of Congress must renew the 2010 exemption for DVDs for documentary filmmaking in order to prevent substantial harm to our ability to make fair use. -
Download Annual Report
The New Conservative Flagship ANNUAL REPORT 2020A About American Compass Table of Contents Our Mission To restore an economic consensus that emphasizes the importance of family, community, and industry to the nation’s liberty and prosperity: 1 Founder’s Letter 4 REORIENTING POLITICAL FOCUS from growth for its own sake to widely shared economic development that sustains vital social institutions. SETTING A COURSE for a country in which families can achieve self- sufficiency, contribute productively to their communities, and prepare the next 2 Year in Review 10 generation for the same. Conservative Flagship 12 HELPING POLICYMAKERS NAVIGATE the limitations that markets and government each face in promoting the general welfare and the nation’s security. Changing the Debate 14 Our Activities Creating Community 16 AFFILIATION. Providing opportunities for people who share its mission to The Commons 18 build relationships, collaborate, and communicate their views to the broader political community. Our Growing Influence 20 DELIBERATION. Supporting research and discussion that advances understanding of economic and social conditions and tradeoffs through study of history, analysis of data, elaboration of theory, and development of policy 3 Our Work 21 proposals. ENGAGEMENT. Initiating and facilitating public debate to challenge existing Rebooting the American System 22 orthodoxy, confront the best arguments of its defenders, and force scrutiny of unexamined assumptions and unconsidered consequences. Coin-Flip Capitalism 26 Our Principles Moving the Chains 30 AMERICAN COMPASS strives to embody the principles and practices of a healthy democratic polity, combining intellectual combat with personal civility. Corporate Actual Responsibility 34 We welcome converts to our vision and value disagreement amongst A Seat at the Table 38 our members. -
Ethics After Hours the Bleeding Edge
Ethics After Hours The Bleeding Edge Documentary _________________________________________________________________ Summary1 Medical devices can save lives, help us live longer, and improve our quality of life. In The Bleeding Edge, Kirby Dick, Amy Ziering and Amy Herdy explore how lax regulations, corporate cover-ups and the drive for profit in the medical device industry may put patients at risk. The program features cases where medical devices such as Essure (a permanent birth control device), vaginal mesh, the DaVinci Surgical System, and chrome-cobalt hip- replacements have caused irrevocable harm to patients. Director: Kirby Dick Producer: Amy Ziering and Amy Herdy Released: April 21, 2018 Available on Netflix Duration: 1 hours 40 Mins. Discussion questions: • What was your initial reaction to this documentary? • In your opinion, what are the ethical responsibilities of the medical device industry, the medical community, and the government in ensuring patient safety regarding medical devices through approval, usage guidelines, and reporting of adverse events? • Should health care providers be better educated about the approval processes for drugs and medical devices? • According to the documentary, pre-market approval (PMA) for medical devices requires only one clinical trial or study. o Did it surprise you that the approval for medical devices requires fewer steps than the approval of new drugs? o Discuss various reasons for this difference in approval process. Do you believe that it is justified? • What type of regulatory and non-regulatory measures do you think could help alleviate the problems around patient safety outlined in the documentary? 1 This summary is adapted from Wikipedia https://en.wikipedia.org/wiki/The_Bleeding_Edge and Netflix’s website. -
1 the Bleeding Edge, An Independent Documentary Directed
1 The Bleeding Edge, an independent documentary directed by Kirby Dick and produced by Amy Ziering through their production company, Chain Camera Pictures, unearths systematic corruption within the “$400 billion medical device industry” (The Bleeding Edge 2018). The film takes a deep dive into the healthcare impacts of medical device “innovation” (Dick 2018). Both Dick and Ziering specialize in investigative journalism and documentary having produced the Emmy Award-winning and Academy Award-nominated documentary, The Invisible War (The Bleeding Edge 2018). In all of their documentaries, Dick and Ziering focus on issues of “breaking news,” aiming to inform public opinion, and influence policy (Fuchs 2018). According to Ziering, in an interview by No Film School, when she and Dick decide to make a film they “first get intrigued, then outraged, and then [they] decide to make a movie” (Buder 2018). In the case of The Bleeding Edge, the topic of the film arose when one of Chain Camera Picture’s producers, Amy Herdy, came forward with “this crazy story” about one of her neighbors, who had experienced complications due to an untested medical device (Buder 2018). The disbelief following the interview resulted in an in-depth investigation into this “breaking news,” where research was conducted, and interviews with survivors, professionals, scholars, and doctors were recorded (Fuchs 2018). This information was then synthesized and analyzed, before getting compiled into a commercially consumable film that informs the public of the fractured health system that “has devolved into [a] business” (Fuchs 2018) The Bleeding Edge is an independent film, meaning that,t was not produced in Hollywood and is not backed by any super PACs or the government (Grove 2014). -
Lonely Soldiers: Women at War in Iraq a Regional Premiere by Helen Benedict March 16 – April 6, 2014
Play Guide Lonely Soldiers: Women at War in Iraq A regional premiere by Helen Benedict March 16 – April 6, 2014 1 History Theatre 30 East Tenth Street Saint Paul, MN 55101 Box Office: 651.292.4323 Group Sales: 651.292.4320 www.HistoryTheatre.com Table of Contents Summary of the Play* ............................................................................................ 3 About the author – Helen Benedict* ...................................................................... 3 The World of the Play: Military Ranks and Organization ....................................... 4 The World of the Play: Women in the Military* ...................................................... 5 Timeline of Women in the Military .......................................................................... 6 Sexual Assault in the Military* ................................................................................ 9 Activities • Small Group Discussion / Classroom Discussion .................................... 12 • What is Sexual Harassment? ................................................................... 13 • Sexual Harassment .................................................................................. 14 • Sexual Harassment vs. Flirting................................................................. 16 For Further Research and Suggested Reading* ................................................. 18 Help Lines, Websites, and Resources ................................................................. 20 *Material provided by Laura Weber. Play -
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. -
Witch Hunts and the Sexual Assault Enterprise on the Modern Campus
Witch Hunts and the Sexual Assault Enterprise on the Modern Campus I. Introduction On December 13, 2013, Amherst College expelled a student for violating its disciplinary code, concerning Sexual Misconduct Policy: Sexual Assault .1 This decision may seem innocuous, but in reality it effectively proclaimed the student guilty of rape and demolished his professional and academic career. Furthermore, while punishing a rapist is commendable, the facts of the situation present an entirely different interpretation. On February 4-5, 2012, the accused student (known as John Doe) and the accuser (known as Sandra Jones) returned to Jones’ room, where Doe’s girlfriend also lived. Sometime during the night, Jones engaged in sexual activities with Doe. After one year and nine months, Jones filed an official complaint with Amherst, alleging Doe raped her. 2 In merely six weeks between the filing of the complaint and the disciplinary ruling, the college’s investigator conducted interviews that constituted all the evidence gathered for the case. The investigator found that: Jones changed her story concerning whether she ever consented to the act; one of Jones’ witnesses blatantly lied about the encounter; evidence showed that Jones lied about sending texts to another student concerning the encounter (though the investigator never interviewed that student). 3 Despite knowing of a witness who had evidence that called the accusations into question, the investigator never pursued contacting that witness.4 Interestingly, the investigator made no conclusions as to whether Doe sexually assaulted Jones, but did determine that Doe blacked out from alcohol intoxication and could not recall anything. 5 Despite having no clear findings, Amherst expelled Doe approximately one month after the 1 Complaint and Jury Demand at 15, Doe v. -
The Hunting Ground” Director
Date: January 11, 2017 (Wednesday) Kirby Dick is an Academy Award®- nominated and two-time Emmy Award®-winning documentary film Screening of “The Hunting Ground” director. His most recent feature, THE INVISIBLE WAR, a Wednesday, 11 January 2017, 5:30pm - 7:30pm groundbreaking investigation into 11/F, Cheng Yu Tung Tower, Centennial Campus, HKU the epidemic of rape within the U.S. Co-organized by the Centre for Comparative and Public Law, Women’s Studies military, won 2014 Emmy Awards Research Centre, The University of Hong Kong. for Best Documentary and Outstanding Investigative The statistics are staggering. One in five women in college are sexually assaulted, Journalism, Long Form; a 2013 yet only a fraction of these crimes are reported, and even fewer result in Peabody Award; and the 2012 punishment for the perpetrators. From the intrepid team behind The Invisible War Sundance Film Festival Audience comes The Hunting Ground, a piercing, monumental exposé of rape culture on Award. It was also nominated for an Academy Award®- for Best campuses, poised to light a fire under a national debate. Documentary Feature.Dick’s prior In a tour de force of verité footage, expert insights, and first-person testimonies, film, OUTRAGE, an indictment of the film follows undergraduate rape survivors pursuing both their education and the hypocrisy of powerful, closeted justice, despite ongoing harassment and the devastating toll on them and their politicians and the institutions that families. protect them, was nominated for an Emmy for Outstanding Scrutinizing the gamut of elite Ivies, state universities, and small colleges, Investigative Journalism. In 2006 he filmmakers Kirby Dick and Amy Ziering reveal an endemic system of institutional directed THIS FILM IS NOT YET cover-ups, rationalizations, victim-blaming, and denial that creates perfect storm RATED, a breakthrough conditions for predators to prey with impunity. -
False Allegations of Sexual Assault
47VAW3877VAW161210.1177/1077801210387747Lisak et al.Violence Against Women Symposium on False Allegations of Rape Violence Against Women 16(12) 1318 –1334 False Allegations of Sexual © The Author(s) 2010 Reprints and permission: http://www. Assualt: An Analysis of Ten sagepub.com/journalsPermissions.nav DOI: 10.1177/1077801210387747 Years of Reported Cases http://vaw.sagepub.com David Lisak1, Lori Gardinier2, Sarah C. Nicksa2, and Ashley M. Cote2 Abstract One of the most controversial disputes affecting the discourse related to violence against women is the dispute about the frequency of false allegations of sexual assault. In an effort to add clarity to the discourse, published research on false allegations is critiqued, and the results of a new study described. All cases (N = 136) of sexual assault reported to a major Northeastern university over a 10-year period are analyzed to determine the percentage of false allegations. Of the 136 cases of sexual assault reported over the 10-year period, 8 (5.9%) are coded as false allegations. These results, taken in the context of an examination of previous research, indicate that the prevalence of false allegations is between 2% and 10%. Keywords false allegations, sexual assault Rape is unique. No other violent crime is so fraught with controversy, so enmeshed in dispute and in the politics of gender and sexuality. For example, despite decades of careful social science research, prevalence rates are still frequently challenged on political grounds, and bold assertions are made in the absence of any data (e.g., MacDonald, 2008; Roiphe, 1993). And within the domain of rape, the most highly charged area of debate concerns the issue of false allegations. -
Ending Sexual Violence in One Generation
Ending Sexual Violence in One Generation A progress report for the United States Raliance is a collaborative initiative dedicated to ending sexual violence in one generation. Composed of three top sexual violence prevention organizations – the National Sexual Violence Resource Center (NSVRC), the California Coalition Against Sexual Assault (CALCASA)- PreventConnect and the National Alliance to End Sexual Violence (NAESV) – Raliance serves as the central hub for effective allocation and distribution of programmatic funding in sexual violence prevention and as the go-to resource for policymakers, advocates, service providers and the media. Raliance is funded through a $10 million multiyear commitment from the National Football League. The name was inspired by the entity’s intent to rally engagement from stakeholders and align goals and resources behind its overarching mission of putting a stop to sexual violence once and for all. Learn more at Raliance.org. Ending Sexual Violence in One Generation Executive summary This report analyzes progress in the movement to end sexual violence and how it is shaping public conversation and, ultimately, our culture in how we address this important societal issue. Although much work remains to be done, significant accomplishments have been made and additional positive changes are underway. Understanding this watershed moment and the potential to create real and lasting cultural change requires a nuanced discussion about many on-going contributing factors, including the following: • Media – including entertainment and news channels – help shape the national conversation about sexual violence. These platforms have the ability to tell more complete stories that enhance the public’s understanding of sexual violence and break down misconceptions and myths. -
ACTION TOOLKIT the Topic of Sexual Violence Can Trigger Traumatic Memories for Survivors
ACTION TOOLKIT The topic of sexual violence can trigger traumatic memories for survivors. As an organizer, it is important to be sensitive. Survivors have the right to talk about their experiences on their own terms. They may simply need to talk. If you sense that a survivor needs additional support, call the appropriate campus resource or contact a national hotline: ₀ National Sexual Assault Hotline: (800) 656-HOPE (4673) or at http://ohl.rainn.org/online ₀ National Planned Parenthood Hotline: (800) 230-PLAN (7526) ₀ National Suicide Prevention Hotline: (800) 273-8255 Facts from the film ₀ ●16 to 20 percent percent of women who enroll in college are sexually assaulted while in college.1 ₀ ●88 percent of women raped on campus do not report.2 ₀ ●In 2012, 45 percent of colleges reported zero sexual assaults.3 ₀ ●Only 2 to 8 percent of sexual assault claims are found to be false.4 ₀ ●Less than 8 percent of men in college commit more than 90 percent of sexual assaults.5 ₀ ●95 percent of college presidents say their institutions handle sexual assault “appropriately.”6 1 Fisher, Cullen, Turner (2000); Krebs, Lindquist, Warner, Fisher, Martin (2007); Princeton Sexual Experiences Survey (2008); University of Oregon Sexual Violence and Institutional Betrayal Survey (2014); MIT Community Attitudes on Sexual Assault (2014) 2 Kilpatrick, Resnick, Ruggiero, Conoscenti, McCauley (2007) 3 Washington Post (2014) 4 Percentage of sexual assault claims found to be false: 8% Grace, Lloyd, & Smith (1992); 3% Kelly, Lovett, & Regan (2005); 2% Heenan & Murray (2006); 7% Lonsway & Archambault (2008); 5% Spohn, White, & Tellis (2014) 5 David Lisak Ph D and Paul M Miller (2002) 6 2014 Gallup poll You’ve watched the film, now what? After watching The Hunting Ground, you may feel enraged, frustrated, disheartened or stunned by the widespread inaction to address sexual violence on U.S. -
2020 Sundance Film Festival: 118 Feature Films Announced
FOR IMMEDIATE RELEASE Media Contact: December 4, 2019 Spencer Alcorn 310.360.1981 [email protected] 2020 SUNDANCE FILM FESTIVAL: 118 FEATURE FILMS ANNOUNCED Drawn From a Record High of 15,100 Submissions Across The Program, Including 3,853 Features, Selected Films Represent 27 Countries Once Upon A Time in Venezuela, photo by John Marquez; The Mountains Are a Dream That Call to Me, photo by Jake Magee; Bloody Nose, Empty Pockets, courtesy of Sundance Institute; Beast Beast, photo by Kristian Zuniga; I Carry You With Me, photo by Alejandro López; Ema, courtesy of Sundance Institute. Park City, UT — The nonprofit Sundance Institute announced today the showcase of new independent feature films selected across all categories for the 2020 Sundance Film Festival. The Festival hosts screenings in Park City, Salt Lake City and at Sundance Mountain Resort, from January 23–February 2, 2020. The Sundance Film Festival is Sundance Institute’s flagship public program, widely regarded as the largest American independent film festival and attended by more than 120,000 people and 1,300 accredited press, and powered by more than 2,000 volunteers last year. Sundance Institute also presents public programs throughout the year and around the world, including Festivals in Hong Kong and London, an international short film tour, an indigenous shorts program, a free summer screening series in Utah, and more. Alongside these public programs, the majority of the nonprofit Institute's resources support independent artists around the world as they make and develop new work, via Labs, direct grants, fellowships, residencies and other strategic and tactical interventions.