DOCSLIB.ORG

Sallyfield Shows,Depth Vymetm'oredtess Dedicated

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sallyfield Shows,Depth Vymetm'oredtess Dedicated I 12 page daily nebraskan monday,eprll2, J 979 Sally Field shows,depth in realiSticMoirma lie9 ! By Peg Sheidrick gent commercials. Like nearly everyone else in townshe works at the textile mill, In a year when the emphasis seems to be but unlike everyone else, she occasionally on epic thrills and topical chills, Norma speaks out against the inhumanity of the down-to-eart- Rae is the kind of h, authen- management. Outside, work, her only tic character study that can get lost in the escapes are TV, drinking and sex, and all shuffle. Hill reruns. of them are too of M 4 But Norma Rae's life when The movie is set in an impoverished changes a New York raised labor southern mill town in the sweltering heat Reuben, organizer, of last summer and focuses on the effort comes onto the scene. Through Reuben to unionize the local textile workers. The and the union, Norma Rae finds the way to and and ultimate- film setting could hardly be more mun- channel her anger energy t could dane compared to other recent releases. ly accomplishes what Reuben never have. She becomes a cross between Moses and with cour- Joan of Arc, fighting her battles ' i .. .. ' L . .7. age and resourcefulness which is seldom al- lowed a screen heroine. Sally Field plays the role with ferocious credibility. First rate performance The role seems a natural for someone But Norma Rae is far from dull, thanks like Jane Fonda, but is hardly what one to a good director, an intelligent script and would expect from a former flying nun. an absorbing performance by Sally Field in : Pieldt however, gives a first rate perfor- the title role. mance as the hero- m unschooled, toughened ine whose quick wits and uncompromising Martin Ritt, who directed - last year's . will are her only hope for triumph over the underrated Casey's Shadow, makes, ex- stifling, numbing grind of factory life. ' cellent use of a strong' cast and authentic Field proves she's capable of much more ft locations to create Norma Rae's a than cute and hugging Burt world, looking X V' v sleepy village whose awakening to a sense Reynolds. self-wort- h of parallels Norma Rae's own Ron Leibman plays Reuben with skill, X development. although his character is so overwhelming- and noble borders on a ft . ly sincere he para- 4 f Realistic ' r . f 0 setting gon. Beau Bridges is good as Norma's hus- ambiance tex- f Ritt captures the of the band who loves her enough to accept her v Ifiti tile factory in all its noisy, dehumanizing activities, eventually without feeling threat-- Ritt chose to film on loca- ,jfx- oppressiveness. , ened. The supporting cast is very tion in Opelika, Ala. The resulHs a por- behevable trait more convincing than any studio The film's only problem is that it's could manufacture, a gritty, steamy world about fifteen minutes too long. It builds to-on- e C of peeling paint and unkempt beauty. peak quite well, but fails when trying for another. Even so, Norma Rae is a fine, is laced with natural humor The script full study of a fascinating woman. and believable characters. Harriet Frank, Norma Rae is claying at the Douglas Photo courtesy 20th Cantury Fox Jr. and Irving Ravetch based their screen Three. Sally Field as labor organizer Norma Rae play on the story of a real southern 4' woman, and the story rings true through- out. Norma Rae is the best developed char- acter, but even among the lesser roles there are very few stereotypes. Festival ofArts to be celebrated indoors I Opting for more than sudsy sentimen- Local artists will have tality or easy cliches, Ravetch and Frank a chance to "The Festival of Arts is part of a cele- pleased with this she their arrangement, said, tell their tale with integrity and authenti- display works during the Festival of bration of the Week of Art," Hall said. "It because they didn't have to tear down their Arts at 7 -- city as they create Norma Rae, one of the Pershing Auditorium, April and 8. is to encourage artists in the area." booths at night and they didn't have female characters -- most interesting in quite . worry about the rain ruining their crafts; awhile. Jackie Hall, executive director of Lin- The type of crafts displayed will a" Unique character coln Community Arts Council, said that Last year the festival was held on 15th vary great deal. According to Hall, one of the Norma Rae Webster is a feisty, inde- the festival this year will include 172 and N streets two but extending blocks, most unusual this year is a taxidermist, pendent young widow, the kind of "work- booths with artists from the local area and due to bad weather it was moved Per- into There will be 15 informative booths on the ing mother" youTl never see on the deter-- nine other states. shing, Hall said. Many of the artists were different arts, such as the dance companies m Lincoln. , Entertainment from a variety of bands Rush's ehea dedicated will be part of the celebration. The Ger- vymetm'oredtess man Americans from Russia will have an ethnic food stand outside the auditorium By Casey McCabe Some of the band's original material though on such songs as "Closer to The selling runzas, coffee and homemade rye bread. - showed promise, but as things began to bog Heart he noticeably shyed away from the The sounds produced by Rush and down, they fell back on a lOninute drum high end of his range. ' ht with, clowns, the Theatre Kickin in their Thursday night perfor- solo mat finally-caug- the: audience's At some points in the show, the Along Arts group's -- For Youth will mance at Pershing Auditorium were un- energy. The novelty soon wore off, but a sound became almost a drone, and a few provide a booth for young children to at and listen stories mistakably loud and heavy metal. ,v blitzing finale of guitar mania was almost bored fans began to leave early ; But for the stay to J 1 Hall said this will be a sort enough to earn the group an encore . al- dedicated fans, Rush lengthy set gave them of babysitting: While that sort of fare has always been service ror parenu wno wisn to wander '5 most. all came for. they . with local concert the imin? . i v i popular goers, Area concert goers wi3 have a bonanza among tne booms. and nature the : spired repetitive f night Headlining the evening' was; Rush, a the next few months: music dimmed the initial enthusiasm the of three-piec-e Canadian outfit. Tfcopch the - Lincoln "Many of the local artists are wefl in attendance. lv " 4,500 veterans of toms htss k Jcthro TuH, AfirJ 21, Bob Deaney Sports known to the public is wefl as those from being ffem&pheres)t Ru&Y sbc5 tdxtiosr. Complex. the surrounding ttita,n JhtTvUd; Everyi saw little rariaace, and ths bsni inesibcrs Oasha thing Is original and handmade, nothing is themselves cemed - leg; thaa csthpyd. Ifcrbie Hancock, April 3, liusic Box. imported. And-som- e of the artists will be -- : ' rj Selections induicd To . Aerosmith, Civic Auditorium. selliag their crafts -i ; OOQQDSDS-C'CUb- Tzsszgs Bsscok April 3, v Tarewell to. Kba??CkaefTo Jht Atlanta Rthyfcm Section, April 14, Gvic ... Heart" and mztsrvlfram their best known Auditorisnt. la addition, there wffl be an art rafile as 1 work 2112 well uHantphetet ?.7 Roxy Uudx,ApriI 15, Uvdc Box. fponsored by the Lincoln Community Arts ' George Carlin, April 20, Mode Hall. CoundL Hckeu wi3 be one dollar and Opening act for Rush was the Omaha Lif-so- n, Some cnpresiTe leads from Akx Yes, April 24, Gvic Auditorium. eight Items done local artists wffl based Kickin'; The by be band, group seemed to a dry ke fog, and an occasional fire Doobie Brothers, April 26, Civic Auditor- - rallied off. flail said thai the items be themselves more than the range enjoying bomb on stzs returned (he band to their, ;..funi.:. .. from oil paintings to ascratchboardr. audience was, as they performed their rightful setting and got some fists in the air Diana Ross, May 2, Civic Auditorium. while 5 material going throui the . from ?' 1 motions; the audkflce.Titidi smed ruicta ilcGim'OarkIIillman, .May II. Music Admission Is free to the festival on Le.hurl-- y April expected of a heavy metal outfit, J "for of from ths -i-- ; , . ;, jome bto glory bLThs IM. J fc7, 10 am. to 8 pm. and April 8, 10 am. to Civic i Moody Bluesrilay 12, Aumtorium. 5 Drawings for the raffle will be ; ftiiLm to their knees, rubbisz emtar strina toarin? vnealt of Gej!iv Th?v rmvf.l. 4 Rod Stewert: pin. April i Is Jcne 12. Chic Auditorium. 8 at 4:30 and winners do cot need to waH to ; pin. 2jdnt the prodvux.fttdbitkj, etc : td ih most e!:ctiidty;pf.tVe erzzlr.l Eric Clapton, June.JS, Chic Auditorium; ... ''...
Load more

Recommended publications
  • THE MANY NORMA RAES: WORKING-CLASS WOMEN in the 1970S CAMPAIGN to ORGANIZE J.P
    THE MANY NORMA RAES: WORKING-CLASS WOMEN IN THE 1970s CAMPAIGN TO ORGANIZE J.P. STEVENS Joey Ann Fink A dissertation submitted to the faculty of the University of North Carolina at Chapel Hill in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Department of History. Chapel Hill 2015 Approved by: Jacquelyn Dowd Hall John Kasson Robert Korstad Nancy MacLean Zaragosa Vargas ©2015 Joey Ann Fink ALL RIGHTS RESERVED ii ABSTRACT Joey Ann Fink: The Many Norma Raes: Working-Class Women in the 1970s Campaign to Organize J.P. Stevens (Under the direction of Jacquelyn Dowd Hall) In the 1970s, labor, civil rights activists, feminists, religious leaders, and mill workers united in a multi-faceted campaign to unionize J. P. Stevens’s textile mills in the Piedmont South. The campaign had support from celebrities, civic leaders, and professional athletes. In 1979, the Academy Award-winning movie, Norma Rae, dramatized the story of mill worker Crystal Lee Sutton, who was fired and arrested for her part in the organizing drive in Roanoke Rapids, North Carolina. Sutton toured the country as the “real Norma Rae,” ratcheting up the public pressure on Stevens, the nation’s second largest textile manufacturer and “number one labor law violator.” This dissertation presents the Stevens campaign as part of a broad movement for workers’ rights in the 1970s that tapped into a groundswell of grassroots organizing in the South and nationwide around issues of economic injustice, occupational health and safety, civil rights, and feminism. The organizing drive in Roanoke Rapids in 1973-74 demonstrated that the mill workers could sustain interracial solidarity as they contended with Stevens’s harassment and intimidation, as well as internal conflicts over issues of sexuality and respectability.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • This Month on Tcm On
    WEEKLY THIS MONTH ON TCM SHOWCASES 1 “31 DAYS OF OSCAR®”– 5 ROBERT OSBORNE’S PICKS 12 WESTERSTERN JUSTUSTICE 19 GUGUEST PPRROGRAMMER: 26 MUSIC BY MANCINI THE ESSENTIALS UNITED ARTISTS JOEL GREY Good News (’47) HanHang ‘Em HigHigh (’68(’68) Days of Wine and Roses (’62) Must-See Classics The Circus (’28) The Hard Way (’42) The Westerneesterner (’40(’40) The BesBest Years of OuOur Lives (’46) Dear Heart (’64) Saturdays at 8:00pm (ET) 5:00pm (PT) The Moon and Sixpence (’42) Limelight (’52) The MaMan frofrom ColoradColorado (’48(’48) Yankee DoodlDoodle DandDandy (’42) The Pink Panther (’64) Grand Hotel (’32) To Be or Not To Be (’42) A Day at the Races (’37) RequieRequiem fofor a GunfighGunfighter (’65(’65) On ththe Waateterrfrfront (’54) Mr. Hobbs Takes a Vacation (’62) The Big Chill (’83)* I Married a Witch (’42) OklahomOklahoma Territorerritory (’60(’60) Bachelor in Paradise (’61) Tootsie (’82) Brewster’s Millions (’45) 6 KIM NOVAK: LIVE FROM THE The Law West of Tombstone (’58(’58) 20 THE MOON ANAND THE STARS Gun Crazy (’50) The Lady Eve (’41) The Southerner (’45) TCM CLASSIC FILM FESTIVAL For All MankinMankind (’89(’89) 27 THE NEED FOR SPEED Hangmen Also Die (’43) Kim Novak: Live from the TCM 13 LIONEL ROGOSIN 2010 (’84(’84) Le Mans (’71) The Story of G.I. Joe (’45) TCM UNDERGROUND Classic Film Festival (’13) On tthhe Bowerery (’56) FoForbidderbidden Planet (’56(’56) The Crowd Roars (’32) Monsieur Verdoux (’47) Cult Classics Bell, Book and Candle (’58) Come Back, AfAfrricica (’59) 20 MillioMillion Miles to EartEarth (’57(’57) The Fast and the Furious (’55) Red River (’48) Fridays at 2:00am (ET) 11:00pm (PT) Kim Novak: Live from the TCM An American in Sophiatown (’07) Marooned (’69(’69) Thunder Road (’58) Witness for the Prosecution (’57) Wild Guitar (’62) Classic Film Festival (’13) Black RootRoots (’70) Smokey and the Bandit (’77) Cyrano de Bergerac (’50) The Sadist (’63) * Picnic (’55) Good Times, Wonderfrfuul Times (’66) 21 STARRTARRING DEAN STOCKWELL Speed (’36) A Hole in the Head (’59) The Awful Dr.
    [Show full text]
  • American Girl Place and Actors' Equity Association
    Mississippi College Law Review Volume 28 Issue 1 Vol. 28 Iss. 1 Article 6 2009 American Girl Place and Actors' Equity Association: A Tale of Tenacious Thespians and How Their Legitimate Right to Join the Union Received Reluctant, but Just, Recognition Taylor Simpson-Wood Follow this and additional works at: https://dc.law.mc.edu/lawreview Part of the Law Commons Custom Citation 28 Miss. C. L. Rev. 97 (2008-2009) This Article is brought to you for free and open access by MC Law Digital Commons. It has been accepted for inclusion in Mississippi College Law Review by an authorized editor of MC Law Digital Commons. For more information, please contact [email protected]. AMERICAN GIRL PLACE AND ACTORS' EQUITY ASSOCIATION: A TALE OF TENACIOUS THESPIANS AND How THEIR LEGITIMATE RIGHT TO JOIN THE UNION RECEIVED RELUCTANT, BUT JUST, RECOGNITION Taylor Simpson-Wood * 1. PROLOGUE: OPEN CASTING CALL - HEROES WANTED! "And standing there as big as life And smiling with his eyes, Joe says, 'What they forgot to kill Went on to organize Went on to organize."" A comparison of the courage which permeated the screen as Norma Rae raised her "Union" sign in the mill,2 to the heroism displayed by Karen Silkwood as she fought her battles over health and safety issues,3 to the gritty depiction in On The Waterfront of corruption in a New York City harbor trade union,' to the lurid details of the saga of the infamous union leader Jimmy Hoffaj beautifully illustrates the diametrically opposed * The author is an Associate Professor of Law, Barry University School of Law.
    [Show full text]
  • Norma Rae Showing at Kentucky Theatre Nov. 3 Film Ties Together Labor, Health Reform, Gender, and Racial Justice Movements
    Norma Rae showing at Kentucky Theatre Nov. 3 Film ties together labor, health reform, gender, and racial justice movements By Betsy Taylor On September 11, Crystal Lee Sutton died from brain cancer at age 68. She faced her death with the same fighting spirit that blazes out of Norma Rae (1979), the film based on her life. Denied possibly life saving treatments for two months after her diagnosis, Sutton had to battle illness and an insurance corporation simultaneously. In a June 2008 interview with the Burlington Times-News, reporter Handgraaf observed that Sutton saw this as “another example of abusing the working poor.” “It is almost,” she said, “like...committing murder”. Central Kentucky gets a chance to honor Sutton's generous, valiant spirit at a public celebration at the Kentucky Theatre on November 3. At 6:30, the Reel World String Band will kick things off with a rousing set of labor and justice music, followed by the film Norma Rae. I think Crystal Lee Sutton would like this event. Organized by the Kentucky Division of the United Nations Association, it aims to gather together all sorts of people and justice struggles—labor, health reform, racial and gender justice. I was nervous sitting down to watch Norma Rae last night. Could it possibly be as good as I remembered it? Well, yes, in the cold morning sunlight, I have to say it's a great film, with meanings that have deepened after 30 years—tragically, shamefully for all Americans. All I really remembered from my previous viewing many years ago was that culminating scene when Sally Field leaps onto a table, holding up a sign on which she has rapidly scrawled “UNION,” surrounded by the deafening racket of the textile mill, the police and company bosses massing to haul her (illegally) to jail, and the fierce gaze of hundreds of her co-workers on the knife's edge between their fear and their hunger to revolt, to join the union, to throw off several generations of subordination in a two-class company town.
    [Show full text]
  • E the Other Hollywood Renaissance
    EDITED BY DOMINIC LENNARD, R. BARTON PALMER AND, PALMER BARTON R. Traditions in American Cinema POMERANCE MURRAY Series Editors: Linda Badley and R. Barton Palmer This series explores a wide range of traditions in American cinema which are in need of introduction, investigation or critical reassessment. It emphasises the multiplicity rather than the supposed homogeneity of studio-era and independent filmmaking, making a case that the American cinema is more diverse than some accounts might suggest. THE OTHER HOLLYWOOD RENAISSANCE In the late 1960s, the collapse of the classic Hollywood studio system led in part, and for less than a decade, to a production trend heavily influenced by the international art cinema. Reflecting a new self-consciousness in the US about the national film patrimony, RENAISSANCE HOLLYWOOD THE OTHER this period is known as the Hollywood Renaissance. However, critical study of the period is generally associated with its so-called principal auteurs, slighting a number of established and emerging directors who were responsible for many of the era’s most innovative and artistically successful releases. With contributions from leading film scholars, this book provides a revisionist account EDITED BY DOMINIC LENNARD, R. BARTON PALMER, of this creative resurgence by discussing and memorializing twenty-four directors of note who have not yet been given a proper place in the larger history of the period. Including AND MURRAY POMERANCE filmmakers such as Hal Ashby, John Frankenheimer, Mike Nichols, and Joan Micklin Silver, this more expansive approach to the auteurism of the late 1960s and 1970s seems not only appropriate but pressing – a necessary element of the re-evaluation of “Hollywood” with THE OTHER which cinema studies has been preoccupied under the challenges posed by the emergence and flourishing of new media.
    [Show full text]
  • The Bison, April 13, 1979
    Harding University Scholar Works at Harding The iB son Archives and Special Collections 4-13-1979 The iB son, April 13, 1979 Follow this and additional works at: https://scholarworks.harding.edu/thebison Recommended Citation The iB son, April 13, 1979. (1979). Retrieved from https://scholarworks.harding.edu/thebison/1165 This Newspaper is brought to you for free and open access by the Archives and Special Collections at Scholar Works at Harding. It has been accepted for inclusion in The iB son by an authorized administrator of Scholar Works at Harding. For more information, please contact [email protected]. ~ The Harding BISON Vol. 54, No. 22 April 13, 1979 Cloud, Stamatis, Faulkner vie for SA p-:-esident_ial position by Doug Thompson Kenny Stamatis students of the "whys" of Har­ Jonathan Cloud, Kenny Sta­ Kenny Stamatis stated that he ding policies, being a channel for matis, and Andrea Faulkner are was not intending to make any ideas both ways. "It is a running for SA President. , fundamental changes in the SA if responsibility of the SA to present Elections will be April 18 for he:~.. ~\~.ted, "It's not the earth­ the Administration's viewpoint to them and other members of the shaking changes that get the the students," she said. Executive Council. Class most done, but the continuous, "In the SA, availability can be representatives will be voted on seemingly insignificant things just as important as ability, for April 25, petitions for that add up,'' he said. · both informing students of the representatives are due April 16. "The SA is not a student administration's views, and in All three Presidential can­ government, but-- an influence.
    [Show full text]
  • TITLE CALL NUMBER for Film Information, Follow This Link: Www
    For film information, follow this link: www.imdb.com TITLE FORMAT CALL NUMBER (500) days of Summer DVD PN 1997.2 .F58 2009 (Un)qualified: how God uses broken people to do big things AB CD BV 4598.2 .F87 2016 *Batteries not included DVD PN 1997 .B377 B377 1999 21 DVD PN 1997.2 .A149 A149 2008 300 DVD PN 1997.2 .E79 T4744 2007 1408 DVD PN 1995.9 .H6 F6878446 2007 2012 DVD PN 1997.2 .T835 2010 2 fast 2 furious DVD PN 1997 .F377 F377 2003 2 guns BLU-RAY PN 1997.2 .A12 2013 2 guns DVD PN 1997.2 .A12 2013 2nd chance AB CD PS 3566 .A822 A614 2002 3:10 to Yuma DVD PN 1997.2 .A138 A138 2007 3 comedy film favorites. Dodgeball DVD PN 1995.9 .C55 V38 2014 V.3 3 comedy film favorites. The internship DVD PN 1995.9 .C55 V38 2014 V.1 3 comedy film favorites. The watch DVD PN 1995.9 .C55 V38 2014 V.2 3 days to kill DVD PN 1997.2 .A15 2014 4 classic film favorites : Affair to remember DVD PN 1997 .A1 F68 2014 V.1 4 classic film favorites : Laura DVD PN 1997 .A1 F68 2014 V.2 4 classic film favorites : A letter to three wives DVD PN 1997 .A1 F68 2014 V.3 4 classic film favorites : The three faces of Eve DVD PN 1997 .A1 F68 2014 V.4 4 film favorites. Western collective DVD PN 1997 .Y68 2010 4 Film favorites: Girl's night collection: Chasing liberty DVD PN 1997 .E88 2010 V.4 4 Film favorites: Girl's night collection: Cinderella story DVD PN 1997 .E88 2010 V.1 4 Film favorites: Girl's night collection: Sisterhood of the traveling pants DVD PN 1997 .E88 2010 V.3 4 Film favorites: Girl's night collection: What a girl wants DVD PN 1997 .E88 2010 V.2 4 for Texas DVD PN 1995.9 .W4 F62 2005 The 5th wave DVD PN 1997.2 .A15 2016 The 6th day DVD PN 1997 .S597 S597 2001 9-1-1.
    [Show full text]
  • The Whistleblower
    The Whistleblower From Wikipedia, the free encyclopedia The Whistleblower Promotional poster Directed by Larysa Kondracki Produced by Christina Piovesan Amy Kaufman Celine Rattray Benito Mueller Wolfgang Mueller Written by Larysa Kondracki Eilis Kirwan Starring Rachel Weisz Vanessa Redgrave Benedict Cumberbatch David Strathairn Monica Bellucci Cinematography Kieran McGuigan Editing by Julian Clarke Distributed by Samuel Goldwyn Films September 13, 2010(Toronto) Release date(s) August 12, 2011 (Canada) Running time 112 minutes Country Canada Germany Language English The Whistleblower is a 2010 thriller film directed by Larysa Kondracki, written by Kondracki and Eilis Kirwan, starring Rachel Weisz.[1] Inspired by actual events, the film tells the story of Kathryn Bolkovac, and premiered at the 2010 Toronto International Film Festival.[2] It was distributed theatrically in the United States by Samuel Goldwyn Films in August 2011.[3] Plot Kathryn Bolkovac (Rachel Weisz) is a police officer from Lincoln, Nebraska who accepts an offer to work with the U.N. International Police in post-war Bosnia at a U.K. company called Democra Security. Upon fighting for the trial for a Muslim woman suffering from domestic abuse and succeeding, Kathryn is made head of the department of gender affairs. She becomes involved in the case of a young Ukrainian woman named Raya, who had recently been sold by her uncle to a sex trafficking ring. She escapes and Kathryn sends her to a women's shelter specifically set up for the victims of sexual slavery. Through Raya's case, Kathryn is able to uncover a wide-scale sexual slavery and human-trafficking ring that various international personnel, including that of the U.S., have participated in.
    [Show full text]
  • Arts of Work: Making Sense of Films About Working People and Their Jobs by Alan Clardy
    RESEARCH REPORT Arts of work: Making Sense of Films about working People and their Jobs by Alan Clardy or decades, films have opened a window into the world of dramatic focus on personal adjustment and sacrifice. In other films, work (the major life activity of productive economic activity) the occupation of the main characters is more central to the plot, but Fand working (the personal experience of work) for mass only in the sense that it defines the genre of the story; films about audiences around the world. Although surprisingly many films private detectives or the police are really dramas of mystery and deal with these topics in a peripheral manner, far fewer focus action. In other films, like American Beauty (1999) the working primarily on these twin issues. Charlie Chaplin’s Modern Times situations of the main characters (here played by Kevin Spacey and (1936) – inspired by his visit to the huge Ford Motor plant at River Annette Bening) are somewhat more important ingredients to the Rouge – famously shows the plight of his “tramp” character at a story, framing the real dramas of a broken marriage, teenage and factory, where he becomes so much a part of the machinery that he adult rebellion, and deliverance. Finally, a number of films cannot stop and is literally swallowed whole.1 A year earlier in implicate issues and aspects of work as ways to illustrate the larger Black Fury (1935), Paul Muni plays an immigrant coal miner context of class. For example, we see a young Loretta Lynn's whose anguish over lost love makes him a pawn in a game of hardscrabble life as a Coal Miner's Daughter (1980), yet learn little increasing labor strife, fueled by a Pinkerton-type agency stirring about the actual work of coal miners.
    [Show full text]
  • And the Loser Is
    AND THE LOSER IS ... A History of Oscar Oversights Second Edition Aubrey Malone Series in Cinema and Culture Copyright © 2020 Vernon Press, an imprint of Vernon Art and Science Inc, on behalf of the author. All rights reserved. No part of this publication may be reproduced, stored in a retrieval system, or transmitted in any form or by any means, electronic, mechanical, photocopying, recording, or otherwise, without the prior permission of Vernon Art and Science Inc. www.vernonpress.com In the Americas: In the rest of the world: Vernon Press Vernon Press 1000 N West Street, C/Sancti Espiritu 17, Suite 1200, Wilmington, Malaga, 29006 Delaware 19801 Spain United States Second Edition Series in Cinema and Culture Library of Congress Control Number: 2017957522 ISBN: 978-1-62273-914-1 Product and company names mentioned in this work are the trademarks of their respective owners. While every care has been taken in preparing this work, neither the authors nor Vernon Art and Science Inc. may be held responsible for any loss or damage caused or alleged to be caused directly or indirectly by the information contained in it. Every effort has been made to trace all copyright holders, but if any have been inadvertently overlooked the publisher will be pleased to include any necessary credits in any subsequent reprint or edition. All images used in this book are from pixabay.com Contents Acknowledgements v Preface vii Prologue ix Introduction xi Foreword xix Cosy Cartels 1 Omissions Impossible 17 The Worst Years of Their Lives 29 Tickets to Palookaville 63 Oscar Wild 101 They Shoot Wives, Don’t They? 133 Snubbing the Snubbers 153 And Injustice for All 187 Endearing Accolades 207 The Nonsensical Nineties 231 New Millennium 255 Ebony and Ivory 283 Notes 293 Bibliography 315 Index 325 Acknowledgements I would like to thank all the librarians and researchers who’ve helped me write this book as well as all the people who’ve exchanged views with me about its themes over the years, in pubs and clubs, in cinemas and theaters, in kitchens and living-rooms and on the street.
    [Show full text]
  • Martin Ritt's Southern Films
    City University of New York (CUNY) CUNY Academic Works Publications and Research CUNY Graduate Center 1981 "How Come Everybody Down Here Has Three Names?": Martin Ritt's Southern Films Michael Adams City University of New York How does access to this work benefit ou?y Let us know! More information about this work at: https://academicworks.cuny.edu/gc_pubs/128 Discover additional works at: https://academicworks.cuny.edu This work is made publicly available by the City University of New York (CUNY). Contact: [email protected] 'How Come Everybody Down HereHas Three Names?": Martin Ritt's Southern Films MICHAEL ADAMS In recent years no major director has made as many filmswith South­ ern settings as has Martin Ritt. A New York Jew born in 1914 who briefly attended Elon College in North Carolina in the 1930s, Ritt began his acting care<)rin the late thirtiesand directed plays while in the army during World War II. He acted in and directed plays and television programs (he was blacklisted from television in 1951) for several years before directingthe firstof his twenty-two films, Edge of the City, in 1957. Nearly a third of these films have been set in the South: The Long, Hot Summer (1958), The Sound and the Fury (1959), Sounder (1972), Conrack (1974), Casey's Shadow (1978), Norma Rae (1979), and Back Roads, to be released in 1981.' This group of films exemplifies the way the South has been treated by Hollywood over the past twenty-five years, revealing a mixture of suspicion and affec­ tion, amusement and outrage.Ritt's attitudes toward the South have changed surprisingly little over the years.
    [Show full text]