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How Laura Poitras Helped Snowden Spill His Secrets
How Laura Poitras Helped Snowden Spill His Secrets Documentary filmmaker Laura Poitras in Berlin. By PETER MAASS Published: August 13, 2013 This past January, Laura Poitras received a curious e-mail from an anonymous stranger requesting her public encryption key. For almost two years, Poitras had been working on a documentary about surveillance, and she occasionally received queries from strangers. She replied to this one and sent her public key — allowing him or her to send an encrypted e-mail that only Poitras could open, with her private key — but she didn’t think much would come of it. The stranger responded with instructions for creating an even more secure system to protect their exchanges. Promising sensitive information, the stranger told Poitras to select long pass phrases that could withstand a brute-force attack by networked computers. “Assume that your adversary is capable of a trillion guesses per second,” the stranger wrote. Before long, Poitras received an encrypted message that outlined a number of secret surveillance programs run by the government. She had heard of one of them but not the others. After describing each program, the stranger wrote some version of the phrase, “This I can prove.” 1 From www.nytimes.com/2013/08/18/magazine/laura-poitras-snowden.html?hpw 20 August 2013 Seconds after she decrypted and read the e-mail, Poitras disconnected from the Internet and removed the message from her computer. “I thought, O.K., if this is true, my life just changed,” she told me last month. “It was staggering, what he claimed to know and be able to provide. -
FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS
KRIS EVANS Member Academy of Makeup Artist Motion Picture Arts and Sciences IATSE 706, 798 and 891 BAFTA Los Angeles [email protected] (323) 251-4013 FILMS MANK Makeup Artist Netflix Director: David Fincher SUN DOGS Makeup Department Head Fabrica De Cine Director: Jennifer Morrison Cast: Ed O’Neill, Allison Janney, Melissa Benoist, Michael Angarano FREE STATE OF JONES Key Makeup STX Entertainment Director: Gary Ross Cast: Mahershala Ali, Matthew McConaughey, GuGu Mbatha-Raw THE PERFECT GUY Key Makeup Screen Gems Director: David M Rosenthal Cast: Sanaa Lathan, Michael Ealy, Morris Chestnut NIGHTCRAWLER Key Makeup, Additional Photography Bold Films Director: Dan Gilroy HUNGER GAMES MOCKINGJAY PART 1 & 2 Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE HUNGER GAMES: CATCHING FIRE Background Makeup Supervisor Lionsgate Director: Francis Lawrence THE FACE OF LOVE Assistant Department Head Mockingbird Pictures Director: Arie Posen THE RELUCTANT FUNDAMENTALIST Makeup Department Head Cine Mosaic Director: Mira Nair Cast: Riz Ahmed, Kate Hudson, Kiefer Sutherland ABRAHAM LINCOLN VAMPIRE HUNTER 2012 Special Effects Makeup Artists th 20 Century Fox Director: Timur Bekmambetov THE AMAZING SPIDER-MAN 2012 Makeup Artist Columbia Pictures Director: Marc Webb THE HUNGER GAMES Background Makeup Supervisor Lionsgate Director: Gary Ross THE RUM DIARY Key Makeup Warner Independent Pictures Director: Bruce Robinson Cast: Amber Heard, Giovanni Ribisi, Amaury Nolasco, Richard Jenkins 1 KRIS EVANS Member Academy of Makeup Artist -
The Views of the U.S. Left and Right on Whistleblowers Whistleblowers on Right and U.S
The Views of the U.S. Left and Right on Whistleblowers Concerning Government Secrets By Casey McKenzie Submitted to Central European University Department of International Relations and European Studies In partial fulfillment of the requirements for the degree of Master of Arts Supervisor: Professor Erin Kristin Jenne Word Count: 12,868 CEU eTD Collection Budapest Hungary 2014 Abstract The debates on whistleblowers in the United States produce no simple answers and to make thing more confusing there is no simple political left and right wings. The political wings can be further divided into far-left, moderate-left, moderate-right, far-right. To understand the reactions of these political factions, the correct political spectrum must be applied. By using qualitative content analysis of far-left, moderate-left, moderate-right, far-right news sites I demonstrate the debate over whistleblowers belongs along a establishment vs. anti- establishment spectrum. CEU eTD Collection i Acknowledgments I would like to express my fullest gratitude to my supervisor, Erin Kristin Jenne, for the all the help see gave me and without whose guidance I would have been completely lost. And to Danielle who always hit me in the back of the head when I wanted to give up. CEU eTD Collection ii Table of Contents Abstract ....................................................................................................................................... i Acknowledgments..................................................................................................................... -
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. -
Tenth Conference on Cuban and Cuban-American Studies
Cuban Research Institute School of International and Public Affairs Tenth Conference on Cuban and Cuban-American Studies “More Than White, More Than Mulatto, More Than Black”: Racial Politics in Cuba and the Americas “Más que blanco, más que mulato, más que negro”: La política racial en Cuba y las Américas Dedicated to Carmelo Mesa-Lago February 26-28, 2015 WELCOMING REMARKS I’m thrilled to welcome you to our Tenth Conference on Cuban and Cuban-American Studies. On Friday evening, we’ll sponsor the premiere of the PBS documentary Cuba: The Forgotten Organized by the Cuban Research Institute (CRI) of Florida International University (FIU) Revolution, directed by Glenn Gebhard. The film focuses on the role of the slain leaders since 1997, this biennial meeting has become the largest international gathering of scholars José Antonio Echeverría and Frank País in the urban insurrection movement against the specializing in Cuba and its diaspora. Batista government in Cuba during the 1950s. After the screening, Lillian Guerra will lead the discussion with the director; Lucy Echeverría, José Antonio’s sister; Agustín País, Frank’s As the program for our conference shows, the academic study of Cuba and its diaspora brother; and José Álvarez, author of a book about Frank País. continues to draw substantial interest in many disciplines of the social sciences and the humanities, particularly in literary criticism, history, anthropology, sociology, music, and the On Saturday, the last day of the conference, we’ll have a numerous and varied group of arts. We expect more than 250 participants from universities throughout the United States and presentations. -
31St ANNUAL WOMEN of ACHIEVEMENT AWARDS GALA to HONOR
Contact: Vivacity Media Group | 212-812-1483 Leslie Papa, [email protected] Whitney Holden Gore, [email protected] Ailsa Hoke, [email protected] WOMEN’S PROJECT THEATER PRESENTS THE 31st ANNUAL WOMEN OF ACHIEVEMENT AWARDS GALA TO HONOR Emmy Award-winning Stage, Screen, and TV Actress & Founder of A Is For.. MARTHA PLIMPTON Celebrated Film, Television and Theater Producer, President of Segal NYC and Gatherer Entertainment JENNA SEGAL Award-Winning Actress, Film Producer, and Director & Founder of The Rainforest Fund TRUDIE STYLER HOSTED BY Celebrated comedienne, Two-time Grammy Nominee & Comedy Central Roast Star LISA LAMPANELLI WITH SPECIAL PERFORMANCES & APPEARANCES BY Fun Home’s Tony Award Nominee & Tony Award Winner BETH MALONE & JEANINE TESORI Acclaimed Dance Company MONICA BILL BARNES & CO. Emmy Award Nominated creator of “Call The Midwife” HEIDI THOMAS AND MORE SOON TO BE ANNOUNCED MONDAY, JUNE 13, 2016 AT THE EDISON BALLROOM, NYC TICKETS AVAILABLE VIA WPTHEATER.ORG (New York, NY) Women’s Project Theater (WP Theater), under the leadership of Producing Artistic Director Lisa McNulty and Managing Director Maureen Moynihan, is thrilled to announce the 31st ANNUAL WOMEN OF ACHIEVEMENT AWARDS GALA. The gala will honor Emmy Award winning actress Martha Plimpton; celebrated film, television and Broadway producer Jenna Segal; and actress, producer, environmentalist and UNICEF ambassador Trudie Styler. Hosted by Grammy nominated comedienne Lisa Lampanelli, with special performances by Fun Home’s Tony Award Nominee Beth Malone and Tony Award winner Jeanine Tesori; dance company Monica Bill Barnes & Co. and a presentation by Emmy Award nominee Heidi Thomas (creator of “Call the Midwife”), the Gala will take place on Monday, June 13, 2016 at 6:30pm at The Edison Ballroom, 240 W 47th Street. -
Lady Day at Emerson's Bar & Grill
PRESS RELEASE – FRIDAY 3 FEBRUARY 2017 RECORD SIX-TIME TONY AWARD-WINNER AUDRA McDONALD MAKES HER WEST END DEBUT IN LADY DAY AT EMERSON'S BAR & GRILL WYNDHAM’S THEATRE, LONDON From 17 June to 9 September 2017 PRODUCTION PHOTOGRAPHY AVAILABLE HERE Username: Lady Day | Password: Holiday TICKETS ON SALE HERE FROM MIDDAY ON FRIDAY 3 FEBRUARY After the joyous news of Audra McDonald’s unexpected pregnancy last year, producers of the postponed London run of Lady Day at Emerson’s Bar & Grill are delighted to announce that this summer, McDonald, the Tony, Grammy, and Emmy Award-winning singer and actress, will be making her long awaited West End debut portraying jazz legend Billie Holiday in a performance that won her a record-setting sixth Tony Award. This critically acclaimed production, which broke box office records at the Circle in the Square in New York, will run for a limited engagement at Wyndham’s Theatre from Saturday 17 June to Saturday 9 September, with opening night for press on Tuesday 27 June 2017. “Audra McDonald is a vocal genius! One of the greatest performances I ever hope to see.” New York Magazine Written by Lanie Robertson and directed by Lonny Price, Lady Day at Emerson’s Bar & Grill recounts Holiday's life story through the songs that made her famous, including “God Bless the Child,” “What a Little Moonlight Can Do,” “Strange Fruit” and “Taint Nobody’s Biz- ness.” “Mesmerizing! Pouring her heart into her voice, Audra McDonald breathes life into Billie Holiday’s greatest songs.” The New York Times Lady Day at Emerson’s Bar & Grill won two Tony Awards in 2014 including ‘Best Performance by a Leading Actress in a Play’ for Audra McDonald, making her Broadway’s most decorated performer, winner of six Tony Awards and the first and only person to receive awards in all four acting categories. -
Artelogie, 16 | 2021 Diaspora, De/Reterritorialization and Negotiation of Identitary Music Practic
Artelogie Recherche sur les arts, le patrimoine et la littérature de l'Amérique latine 16 | 2021 Fotografía y migraciones, siglos XIX-XXI. Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores Electronic version URL: https://journals.openedition.org/artelogie/9381 DOI: 10.4000/artelogie.9381 ISSN: 2115-6395 Publisher Association ESCAL Electronic reference Iván César Morales Flores, “Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid”, Artelogie [Online], 16 | 2021, Online since 27 January 2021, connection on 03 September 2021. URL: http://journals.openedition.org/artelogie/9381 ; DOI: https://doi.org/10.4000/artelogie. 9381 This text was automatically generated on 3 September 2021. Association ESCAL Diaspora, de/reterritorialization and negotiation of identitary music practic... 1 Diaspora, de/reterritorialization and negotiation of identitary music practices in “La Rumba de Pedro Pablo”: a case study of Cuban traditional and popular music in 21st Madrid Iván César Morales Flores This text is part of the article “La Rumba de Pedro Pablo: de/reterritorialization of Cuban folkloric, traditional and popular practices in the Madrid music scene of the 21st century” published in Spanish in the dossier “Abre la muralla: refracciones latinoamericanas en la música popular española desde los años 1960”, Celsa Alonso and Julio Ogas (coords.), in Cuadernos de Etnomusicología, Nº 13, 2019, as a result of the Research Project I+D+i: “Música en conflicto en España y Latinoamérica: entre la hegemonía y la transgresión (siglos XX y XXI)” HAR2015-64285- C2-1-P. -
Lecuona Cuban Boys
SECCION 03 L LA ALONDRA HABANERA Ver: El Madrugador LA ARGENTINITA (es) Encarnación López Júlvez, nació en Buenos Aires en 1898 de padres españoles, que siendo ella muy niña regresan a España. Su figura se confunde con la de Antonia Mercé, “La argentina”, que como ella nació también en Buenos Aires de padres españoles y también como ella fue bailarina famosísima y coreógrafa, pero no cantante. La Argentinita murió en Nueva York en 9/24/1945.Diccionario de la Música Española e Hispanoamericana, SGAE 2000 T-6 p.66. OJ-280 5/1932 GVA-AE- Es El manisero / prg MS 3888 CD Sonifolk 20062 LA BANDA DE SAM (me) En 1992 “Sam” (Serafín Espinal) de Naucalpan, Estado de México,comienza su carrera con su banda rock comienza su carrera con mucho éxito, aunque un accidente casi mortal en 1999 la interumpe…Google. 48-48 1949 Nick 0011 Me Aquellos ojos verdes NM 46-49 1949 Nick 0011 Me María La O EL LA CALANDRIA Y CLAVELITO Duo de cantantes de puntos guajiros. Ya hablamos de Clavelito. La Calandria, Nena Cruz, debe haber sido un poco más joven que él. Protagonizaron en los ’40 el programa Rincón campesino a traves de la CMQ. Pese a esto, sólo grabaron al parecer, estos discos, y los que aparecen como Calandria y Clavelito. Ver:Calandria y Clavelito LA CALANDRIA Y SU GRUPO (pr) c/ Juanito y Los Parranderos 195_ P 2250 Reto / seis chorreao 195_ P 2268 Me la pagarás / b RH 195_ P 2268 Clemencia / b MV-2125 1953 VRV-857 Rubias y trigueñas / pc MAP MV-2126 1953 VRV-868 Ayer y hoy / pc MAP LA CHAPINA. -
Political Goals Versus Commercial Goals: Emile De Antonio's Rush To
Media Industries 6.2 (2019) Political Goals versus Commercial Goals: Emile de Antonio’s Rush to Judgment on the Market Nora Stone1 UNIVERSITY OF ARKANSAS AT LITTLE ROCK norastone [AT] gmail.com Abstract Emile de Antonio had reason to hope that his second documentary, Rush to Judgment (1967), would be as popular as his first, Point of Order! (1963). Made with bestselling author and political commentator Mark Lane, Rush to Judgment was one of the very first films to question the Warren Commission’s conclusion about the Kennedy assassination. However, despite its topicality, Rush to Judgment did not entice exhibitors or audiences. While de Antonio and others attributed the film’s commercial failure to politically motivated censorship and intimidation, this explanation does not account for other factors in the documentary’s release. Using trade journals and Emile de Antonio’s archive, this article finds that Rush to Judgment’s release was hobbled by an inexperienced and dysfunctional distribution company and by de Antonio and Lane’s divergent goals. Most of all, though, the instability of the independent film market in the mid-1960s sunk the release of Rush to Judgment. Keywords: Film Distribution, Documentary, Committed Documentary, Political Emile de Antonio’s first film, Point of Order!, was a surprise success at the box office in 1964. Made with Dan Talbot, owner of the recently opened arthouse New Yorker Theater and later founder of distribution company New Yorker Films, Point of Order! tells the story of the infa- mous Army–McCarthy hearings of 1954. Distributor Walter Reade-Sterling booked Point of Order! in over one hundred cinemas, as well as numerous college campuses. -
California State University, Northridge Exploitation
CALIFORNIA STATE UNIVERSITY, NORTHRIDGE EXPLOITATION, WOMEN AND WARHOL A thesis submitted in partial satisfaction of the requirements for the degree of Master of Arts in Art by Kathleen Frances Burke May 1986 The Thesis of Kathleen Frances Burke is approved: Louise Leyis, M.A. Dianne E. Irwin, Ph.D. r<Iary/ Kenan Ph.D. , Chair California State. University, Northridge ii DEDICATION This thesis is dedicated to Dr. Mary Kenon Breazeale, whose tireless efforts have brought it to fruition. She taught me to "see" and interpret art history in a different way, as a feminist, proving that women's perspectives need not always agree with more traditional views. In addition, I've learned that personal politics does not have to be sacrificed, or compartmentalized in my life, but that it can be joined with a professional career and scholarly discipline. My time as a graduate student with Dr. Breazeale has had a profound effect on my personal life and career, and will continue to do so whatever paths my life travels. For this I will always be grateful. ACKNOWLEDGEMENTS In addition, I would like to acknowledge the other members of my committee: Louise Lewis and Dr. Dianne Irwin. They provided extensive editorial comments which helped me to express my ideas more clearly and succinctly. I would like to thank the six branches of the Glendale iii Public Library and their staffs, in particular: Virginia Barbieri, Claire Crandall, Fleur Osmanson, Nora Goldsmith, Cynthia Carr and Joseph Fuchs. They provided me with materials and research assistance for this project. I would also like to thank the members of my family. -
Daniel Berrigan SJ and the Conception of a Radical Theatre A
Title: “This is Father Berrigan Speaking from the Underground”: Daniel Berrigan SJ and the Conception of a Radical Theatre Author Name: Benjamin Halligan Affiliation: University of Wolverhampton Postal address: Dr Benjamin Halligan Director of the Doctoral College Research Hub - MD150g, Harrison Learning Centre City Campus South, University of Wolverhampton Wulfruna Street, Wolverhampton WV1 1LY United Kingdom [email protected] 01902 322127 / 07825 871633 Abstract: The letter “Father Berrigan Speaks to the Actors from Underground” suggests the conception of a radical theatre, intended as a contribution to a cultural front against the US government during a time of the escalation of the war in Vietnam. The letter was prepared further to Berrigan’s dramatization of the trial in which he and fellow anti-war activists were arraigned for their public burning of draft cards in 1968. The play was The Trial of the Catonsville Nine and its production coincided with a period in which Berrigan, declining to submit to imprisonment, continued his ministry while a fugitive. Keywords: Daniel Berrigan, underground, Jesuit, Catonsville, anti-war, theatre, counterculture, spirituality, activism, Living Theatre. Biographical note: Dr Benjamin Halligan is Director of the Doctoral College of the University of Wolverhampton. Publications include Michael Reeves (Manchester UP, 2003), Desires for Reality: Radicalism and Revolution in Western European Film (Berghahn, 2016), and the co-edited collections Mark E. Smith and The Fall: Art, Music and Politics (Ashgate, 2010), Reverberations: The Philosophy, Aesthetics and Politics of Noise (Continuum, 2012), Resonances: Noise and Contemporary Music (Bloomsbury Academic, 2013), The Music Documentary: Acid Rock to Electropop (Routledge, 2013), and The Arena Concert: Music, Media and Mass Entertainment (Bloomsbury Academic, 2015).