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Teaching Nuclear Issues Through Popular Culture Texts
Social Education 82(3), pp. 149–150, 151–154 ©2018 National Council for the Social Studies The Bomb and Beyond: Teaching Nuclear Issues through Popular Culture Texts Hiroshi Kitamura and Jeremy Stoddard America’s atomic attacks on Hiroshima and Nagasaki—on August 6 and 9, 1945, of ways, but often revolves around an respectively—instantly killed some 200,000 Japanese and precipitated the end of effort to understand how and why the World War II. They also helped usher in the Cold War, a new era of global tension Truman administration unleashed a that pushed the world towards the brink of destruction. In this menacing climate, in pair of destructive weapons on a mass which the United States and the then-Soviet Union pursued a fierce international of civilians. Often a debate or delibera- rivalry, nuclear issues became central to top-level diplomacy and policymaking. tion model is used to engage students in Citizens around the world experienced a full spectrum of emotions—fear, paranoia, exploring the motives and implications rage, and hope—as they lived in this “nuclear world.” of official U.S. decision making—such as to save American lives, check Soviet Presently, nearly three decades after classroom, including films, TV shows, expansionism, or justify the two-billion- the fall of the Berlin Wall, the original video games, photography, and online dollar cost of the Manhattan Project. But nuclear arms race has subsided, but databases. These cultural texts illustrate this intellectual exercise also carries the nuclear issues remain seminal. Continued diverse societal views from different risk of reducing the experience to strate- challenges related to the development points in time. -
Videography and Photography: Critical Thinking, Ethics and Knowledge-Based Practice in Visual Media
Videography and photography: Critical thinking, ethics and knowledge-based practice in visual media Storytelling through videography and photography can form the basis for journalism that is both consequential and high impact. Powerful images can shape public opinion and indeed change the world, but with such power comes substantial ethical and intellectual responsibility. The training that prepares journalists to do this work, therefore, must meaningfully integrate deep analytical materials and demand rigorous critical thinking. Students must not only have proficient technical skills but also must know their subject matter deeply and understand the deeper implications of their journalistic choices in selecting materials. This course gives aspiring visual journalists the opportunity to hone critical-thinking skills and devise strategies for addressing multimedia reporting’s ethical concerns on a professional level. It instills values grounded in the best practices of traditional journalism while embracing the latest technologies, all through knowledge-based, hands-on instruction. Learning objectives This course introduces the principles of critical thinking and ethical awareness in nonfiction visual storytelling. Students who take this course will: Learn the duties and rights of journalists in the digital age. Better understand the impact of images and sound on meaning. Develop a professional process for handling multimedia reporting’s ethical challenges. Generate and translate ideas into ethically sound multimedia projects. Understand how to combine responsible journalism with entertaining and artistic storytelling. Think and act as multimedia journalists, producing accurate and balanced stories — even ones that take a point of view. Course design This syllabus is built around the concept of groups of students going through the complete process of producing a multimedia story and writing journal entries about ethical concerns that surface during its development and execution. -
An Amazing 1969 Account of the Stonewall Uprising
An Amazing 1969 Account of the Stonewall Uprising GARANCE FRANKE- RUTA THE ATLANTIC JAN 24, 2013 Despite progress, the circumstances that gave rise to the rebellion that began the contemporary gay rights movement haven't changed as much as we might think. When President Obama briefly mentioned Stonewall during his Inaugural address, it prompted a lot of chatter about of the Stonewall riot and his historic adoption of the gay rights cause as his own. But what happened at the Stonewall Inn, really? New York papers tend to call it the Stonewall uprising, not the Stonewall riot, because it played out as six days of skirmishes between young gay, lesbian, and transgender individuals and the New York Police Department in the wake of a police raid of the Christopher Street bar in Manhattan's West Village. The raid came amid a broader police crackdown on gay bars for operating without N. Y. State Liquor Authority licenses, which was something they did only because the SLA refused to grant bars that served gays licenses, forcing them to operate as illegal saloons. Into that void stepped opportunists and Mafia affiliates, who ran the unlicensed establishments and reputedly had deals with the police to stay in business. But on the night of June 27, 1969, a police raid on the Stonewall involving the arrests of 13 people inside the bar met unexpected resistance when a crowd gathered and one of those arrested, a woman, cried out to the assembled bystanders as she was shoved into a paddy wagon, "Why don't you guys do something!" The conflict over the next six days played out as a very gay variant of a classic New York street rebellion. -
Mark Kitchell
A film by Mark Kitchell 101 min, English, Digital (DCP/Blu-ray), U.S.A, 2012, Documentary FIRST RUN FEATURES The Film Center Building | 630 Ninth Ave. #1213 | New York, NY 10036 (212) 243-0600 | Fax (212) 989-7649 | [email protected] www.firstrunfeatures.com www.firstrunfeatures.com/fiercegreenfire About the Film A FIERCE GREEN FIRE: The Battle for a Living Planet is the first big-picture exploration of the environmental movement – grassroots and global activism spanning fifty years from conservation to climate change. Directed and written by Mark Kitchell, Academy Award- nominated director of Berkeley in the Sixties, and narrated by Robert Redford, Ashley Judd, Van Jones, Isabel Allende and Meryl Streep, the film premiered at Sundance Film Festival 2012, won acclaim at festivals around the world, and in 2013 begins theatrical release as well as educational distribution and use by environmental groups. Inspired by the book of the same name by Philip Shabecoff and informed by advisors like E.O. Wilson and Tom Lovejoy, A FIERCE GREEN FIRE chronicles the largest movement of the 20th century and one of the keys to the 21st. It brings together all the major parts of environmentalism and connects them. It focuses on activism, people fighting to save their homes, their lives, the future – and succeeding against all odds. The film unfolds in five acts, each with a central story and character: • David Brower and the Sierra Club’s battle to halt dams in the Grand Canyon • Lois Gibbs and Love Canal residents’ struggle against 20,000 tons of toxic chemicals • Paul Watson and Greenpeace’s campaigns to save whales and baby harp seals • Chico Mendes and Brazilian rubbertappers’ fight to save the Amazon rainforest • Bill McKibben and the 25-year effort to address the impossible issue – climate change Surrounding these main stories are strands like environmental justice, going back to the land, and movements of the global south such as Wangari Maathai in Kenya. -
Documentary Film/TV
Documentary Film/TV Form-Evolution-Approaches The EXPLOSION of the Documentary Form 1. Tools of Creation: a. Editing Systems: Adobe, Final Cut, Vegas, Avid, iMovie, MovieMaker b. Cameras: • Digital Video TapeCardStream • DSLR • 4K-Black Magic, RED • GoPro • Drones, DJI Phantom 2. Distribution Outlets: – TV: HBO, NatGeo, Discovery, TLC, PBS, Animal Planet, Food Network, etc. – YouTube – Vimeo – Netflix-Amazon-Hulu – Social Media—FB, INSTAGRAM, – Festivals: Toronto, Amsterdam, Tribeca, Sundance, Banff, Telluride, 3. Funding: Kickstarter, et.al. 4. Marketing and Crowd-sourcing options: 5. Hi Profits vs. low cost of Production (small crews) Highest Grossing Documentaries of ALL TIME Market Share of Documentary Films (1995-2016) Movies Inflation- Market Year in Gross Tickets Sold Adjusted Top-Grossing Movie Gross that Year Share Release Gross 1995 9 1.54% $81,994,311 18,849,263 $158,899,287 Hoop Dreams $5,758,625 1996 6 0.11% $6,549,634 1,481,814 $12,491,692 Snowriders $2,035,470 1997 9 0.16% $10,372,500 2,259,800 $19,050,114 When We Were Kings $2,666,118 1998 12 1.27% $85,954,501 18,327,179 $154,498,119 Everest $66,877,098 1999 24 1.20% $88,091,366 17,340,810 $146,183,028 Mysteries of Egypt $27,042,366 2000 39 1.68% $126,503,895 23,470,090 $197,852,859 Dolphins $54,000,000 2001 21 0.26% $21,741,633 3,841,268 $32,381,889 Shackleton's Antarctic Adventure $6,683,025 2002 24 0.78% $71,043,258 12,227,743 $103,079,873 Space Station $30,460,417 2003 47 0.99% $90,795,051 15,057,198 $126,932,179 Space Station $15,713,110 2004 89 2.54% $235,480,966 -
When Did You Become Gay?
1 | AN INTRODUCTION TO WHAT I HEAR WHEN YOU SAY Deeply ingrained in human nature is a tendency to organize, classify, and categorize our complex world. Often, this is a good thing. This ability helps us make sense of our environment and navigate unfamiliar landscapes while keeping us from being overwhelmed by the constant stream of new information and experiences. When we apply this same impulse to social interactions, however, it can be, at best, reductive and, at worst, dangerous. Seeing each other through the lens of labels and stereotypes prevents us from making authentic connections and understanding each other’s experiences. Through the initiative, What I Hear When You Say ( WIHWYS ), we explore how words can both divide and unite us and learn more about the complex and everchanging ways that language shapes our expectations, opportunities, and social privilege. WIHWYS ’s interactive multimedia resources challenge what we think we know about race, class, gender, and identity, and provide a dynamic digital space where we can raise difficult questions, discuss new ideas, and share fresh perspectives. 1 | Introduction WHEN DID YOU BECOME GAY? if you don’t have an answer it doesn’t make you any less gay, it doesn’t make you any less queer or less trans be- “ cause we’re all evolving and we all change, and we don’t have this one day on our calendar where we suddenly understood everything. Kristin Russo, Activist / YouTube def•i•ni•tion of, relating to, or exhibiting sexual desire or behavior direct- GAY [gey] adjective ed toward a person or persons of one’s own sex. -
Legacy, Vol. 17, 2017
2017 A Journal of Student Scholarship A Publication of the Sigma Kappa Chapter of Phi Alpha Theta A Publication of the Sigma Kappa & the Southern Illinois University Carbondale History Department & the Southern Illinois University Volume 17 Volume LEGACY • A Journal of Student Scholarship • Volume 17 • 2017 LEGACY Volume 17 2017 A Journal of Student Scholarship Editorial Staff Denise Diliberto Geoff Lybeck Gray Whaley Faculty Editor Hale Yılmaz The editorial staff would like to thank all those who supported this issue of Legacy, especially the SIU Undergradute Student Government, Phi Alpha Theta, SIU Department of History faculty and staff, our history alumni, our department chair Dr. Jonathan Wiesen, the students who submitted papers, and their faculty mentors Professors Jo Ann Argersinger, Jonathan Bean, José Najar, Joseph Sramek and Hale Yılmaz. A publication of the Sigma Kappa Chapter of Phi Alpha Theta & the History Department Southern Illinois University Carbondale history.siu.edu © 2017 Department of History, Southern Illinois University All rights reserved LEGACY Volume 17 2017 A Journal of Student Scholarship Table of Contents The Effects of Collegiate Gay Straight Alliances in the 1980s and 1990s Alicia Mayen ....................................................................................... 1 Students in the Carbondale, Illinois Civil Rights Movement Bryan Jenks ...................................................................................... 15 The Crisis of Legitimacy: Resistance, Unity, and the Stamp Act of 1765, -
My Scientology Movie
BBC FILMS & BBC WORLDWIDE Present A RED BOX FILMS PRODUCTION Directed by: John Dower Presented by: Louis Theroux Written by: John Dower & Louis Theroux Produced by: Simon Chinn MY SCIENTOLOGY MOVIE U.K. production R/T: 99 minutes Shot on Sony F55 and Canon CS00-PL (Panasonic HE120 and Flip Mino HD) TFF 2016- For further publicity information please contact: Emma Griffiths EMMA GRIFFITHS PR [email protected] www.eg-pr.com TIFF 2016: US Sales Contact: Josh Braun-Submarine [email protected] International Sales Contact: Mark Lane- HanWay Select- [email protected] SHORT SYNOPSIS Not your typical exposé. BBC doc-maker and journalist Louis Theroux teams up with director John Dower and double Academy Award winning producer Simon Chinn (Searching for Sugar, Man On Wire) to explore the self-mythologizing Church of Scientology. Following a long fascination with the religion and with much experience in dealing with eccentric, unpalatable and unexpected human behavior, the beguilingly unassuming Theroux won’t take no for an answer when his request to enter the Church’s headquarters is turned down. Inspired by the Church’s use of filming techniques, and aided by ex-members of the organization, Theroux uses actors to replay some incidents people claim they experienced as members in an attempt to better understand the way it operates. In a bizarre twist, it becomes clear that the Church is also making a film about Louis Theroux. Suffused with a good dose of humor and moments worthy of a Hollywood script, MY SCIENTOLOGY MOVIE is as outlandish as it is revealing. -
Env & Society/F-10.Cwk
SOCI–X235-001 ENVIRONMENT AND SOCIETY (Fall, 2010) Class Time: 3:30-4:45pm, T/R, MO 535 Professor: Dr. Anthony E. Ladd Office: The Department of Sociology, MO 537-D Office Hours: MWR 1:00-3:00pm & by appt. Phone: 865-3640 Email: [email protected] “ Only when the last tree had died and the last river been poisoned and the last fish been caught will we realize that we cannot eat money.” -- Old Cree Indian saying “If we do not change the direction we are going, we will end up where we are headed.” -- Old Chinese Proverb “The price one pays for an environmental education is to live in a world of wounds.” -- Aldo Leopold COURSE DESCRIPTION Environmental Sociology, as a subfield within the larger discipline of sociology, is concerned with the study of the interactions between human societies and the natural environment. As an elective in both the Advanced Common Curriculum and the Environmental Studies Program, this class will help introduce you to the study of environmental history, problems, policies, and controversies from a sociological perspective, but it will also incorporate a number of other academic viewpoints as well. Overall, the readings, lectures, films, and discussion for this class will enable you to become a more informed and critical thinker regarding your relationship to the nature and the future of life on this planet. My aim is to increase not just your knowledge about the world you share, but develop in you the wisdom to envision and practice a way of life which can help to ensure its sustainability. -
PETER ZEITLINGER Director of Photography
PETER ZEITLINGER Director of Photography Narrative Features: SALT AND FIRE - Benaroya Pictures - Werner Herzog, director QUEEN OF THE DESERT - IFC Films/Benaroya - Werner Herzog, director ANGELIQUE - EuropaCorp - Ariel Zeitoun, director HATED - Independent - Lee Madsen, director MY SON, MY SON WHAT HAVE YE DONE - First Look Pictures - Werner Herzog, director Starring Willem Dafoe and Michael Shannon THE BAD LIEUTENANT: PORT OF CALL - NEW ORLEANS - Millennium Films - Werner Herzog, director Nomination, Best Cinematography, Independent Spirit Awards Starring Nicolas Cage and Eva Mendes HOUSE OF CARDS - The Independents - Silvia Zeitlinger, director RESCUE DAWN - MGM - Werner Herzog, director Starring Christian Bale and Steve Zahn INVINCIBLE - Werner Herzog Filmproduktion - Werner Herzog, director Documentary Features: LO & BEHOLD, REVERIES OF THE CONNECTED WORLD - Magnolia Pictures - Werner Herzog, director INTO THE INFERNO - Netflix - Werner Herzog, director FROM ONE SECOND TO THE NEXT - AT&T - Werner Herzog, director CAVES OF FORGOTTEN DREAMS - Werner Herzog Filmproduktion - Werner Herzog, director TONTINE MASSACRE - Scrimshaw Productions - Ezna Sands, director ENCOUNTERS AT THE END OF THE WORLD - Discovery Films - Werner Herzog, director Nomination, Academy Award, Best Documentary GRIZZLY MAN - Lionsgate - Werner Herzog, director Winner, Alfred P. Sloan Prize, Sundance Film Festival Nine Best Documentary Awards WHEEL OF TIME - Werner Herzog Filmproduktion - Werner Herzog, director LITTLE DIETER NEEDS TO FLY - Werner Herzog Filmproduktion -
Earth Day 1970-1995: an Information Perspective
UCLA Electronic Green Journal Title Earth Day 1970-1995: An Information Perspective Permalink https://escholarship.org/uc/item/8nt2x0xk Journal Electronic Green Journal, 1(3) Author Stoss, Frederick Publication Date 1995 DOI 10.5070/G31310193 Peer reviewed eScholarship.org Powered by the California Digital Library University of California Earth Day 1970-1995: An Information Perspective Fred Stoss <[email protected]> Energy, Environment, and Resources Center, University of Tennessee, Knoxville, TN 37932, USA. TEL: 615- 675-9510. "Earth Day is a commitment to make life better, not just bigger and faster; to provide real rather than rhetorical solutions. It is a day to re-examine the ethic of individual progress at mankind's expense. It is a day to challenge the corporate and government leaders who promise change, but who shortchange the necessary programs. It is a day for looking beyond tomorrow. April 22 seeks a future worth living. April 22 seeks a future." Environmental Teach-In Advertisement New York Times January 18, 1970 (1) The celebratory event known as "Earth Day," created in 1969 and 1970, found its initial inspiration in the 1950s and 1960s, decades marked by tremendous social and cultural awareness, times of activism and change. One cultural concept around which millions of people began to rally was the environment. The legacy of environmental thought in the decades prior to the first Earth Day gave birth to the event in 1970. A body of environmental literature emerged in the United States which traced its roots to the colonial and post-Revolutionary War periods. The writings of Henry David Thoreau, John Muir, and George Perkins in the latter half of the 19th and in the 20th century stimulated and created a philosophy and ethic for the environment and concerns for nature and the wilderness. -
Rescue Dawn La Cavale Secours À L’Aube — États-Unis 2007, 126 Minutes Charles-Stéphane Roy
Document généré le 28 sept. 2021 03:04 Séquences La revue de cinéma Rescue Dawn La cavale Secours à l’aube — États-Unis 2007, 126 minutes Charles-Stéphane Roy Léo Bonneville 1919-2007 Numéro 250, septembre–octobre 2007 URI : https://id.erudit.org/iderudit/58972ac Aller au sommaire du numéro Éditeur(s) La revue Séquences Inc. ISSN 0037-2412 (imprimé) 1923-5100 (numérique) Découvrir la revue Citer ce compte rendu Roy, C.-S. (2007). Compte rendu de [Rescue Dawn : la cavale / Secours à l’aube — États-Unis 2007, 126 minutes]. Séquences, (250), 43–43. Tous droits réservés © La revue Séquences Inc., 2007 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ CRITIQUES I LES FILMS RESCUE DAWN I La cavale // fut un temps où les bravades de Werner Herzog dans des contrées impossibles attiraient les badauds par milliers dans les salles. Après avoir été jusqu'au bout de l'enfer et en être revenu d'innombrables fois, l'Allemand a délaissé la fiction le temps de plusieurs documentaires réussis, plus inspiré par les vrais fous que par ses créations.