subscribe to this pageThe Price of Delivery (The Brian Lehrer Show: Friday, 06 June 2008
Shih-Ching Tsou and Sean Baker , co-directors of Take Out , talk about their film which chronicles a day in the life of an illegal immigrant struggling to pay off his smuggling debt.
June 5, 2008
Film Spotlights City Life Often Overlooked
By JENNIFER 8. LEE
The directors of "Take Out," a feature film about a Chinese deliveryman who must pay off his debt to immigrant-smugglers, do not claim that their movie is based on a true story. But it has more than a passing resemblance to a documentary, so much so that after a screening, one of the audience members asked where the man was now, and whether he was doing all right.
About the Film:
Long overshadowed by its close proximity to New York City, the treasures and history of Newark, NJ have remained hidden to many of the citizens of New Jersey and the region. A new documentary film, The Once and Future Newark, debuted in the Fall of 2006. Produced by Rutgers University in Newark, the film features a number of city sites, as a group tour is hosted by Rutgers History Professor Clement Price, a celebrated scholar of Newark and New Jersey history. Part travelogue, part documentary and part history lesson, the film engages viewers' interest for personal exploration and discovery of the city. The locations included in the film were chosen for their broad cultural, social and historical significance. Price's great personal warmth, his affection for the city, and his profound feeling for Newark's fascinating interface of cultures, races and ethnicities, and religions makes this a personal and engaging film.
Pamela Yates; Peter Kinoy
1999
Visual Material : Videorecording : 
VHS tape 1 videocassette (56 min.) : sd., col. with b&w sequences ; 1/2 in. Beginning in June 1998, members of the Philadelphia-based Kensington Welfare Rights Union take a thirty-day bus trip across country to collect stories of the poor, homeless, and unemployed to be presented as evidence to the United Nations of economic human rights violations by the U.S. government.
Pamela Yates; Peter Kinoy
1997 Visual Material : Videorecording : VHS tape 1 videocassette (60 min.) : sd., col. ; 1/2 in. Documentary from the point-of-view of Philadelphia welfare recipients, showing some of the devastating effects of welfare reform. Chronicles the growth of the Kensington Welfare Rights Union, a group of welfare recipients organizing to protest the cuts in their benefits and to work toward better living conditions for poor people who live in the Kensington neighborhood of Philadelphia.
American Institute of Architects.
1972 Visual Material : Motion picture : 
Film 27 min. sd. color. 16 mm. Provides a basic overview of the activities of a community design center through the voices of people from poor and minority inner-city communities, and of personnel working in local centers to provide architectural and planning services to these communities. Explores the work of community design centers in Cleveland, New Orleans, San Francisco, and Philadelphia.
manufactured landscapes /
Jennifer Baichwal; Nick De Pencier; Daniel Iron; Edward Burtynsky
2007 Visual Material : Videorecording : 
DVD video 1 videodisc (90 min.) : sd., col. and b&w ; 4 3/4 in. Follows photographer Edward Burtynsky as he travels through China photographing the effects of that country's massive industrial revolution.
Gary Burns; Jim Brown; Shirley Vercruysse; Daniel Jeffery; Bob Legare; Jane Macfarlane, actress.; Ashleigh Fidyk; Joey Santiago
| 2007, 2006 Widescreen format. English Visual Material : Videorecording : DVD video 1 videodisc (85 min.) ; sd., col. ; 4 3/4 in. Montréal, Québec : Alliance Atlantis : Distributed exclusively in Canada by Motion Picture Distribution LP, A Canadian family struggles with existential despair, exacerbated by the drabness of their suburban locale. |
A juxtaposition of philosophical narration and visual montage, presented in the form of a woman's voice, reading and commenting upon the letters she receives from "Sandor Krasna," a freelance cameraman who travels the world, particularly focussing on those "two extreme poles of survival," Western Africa and Japan. His reflections concern filming, time, memory, history, ritual, and civilization.
film about mutant ants living in the LA sewer system
from the website -
The 55 minute documentary film while replete with humorous anecdotes is one of the most serious and disturbing assessments of the rampant use of this inexpensive and highly addicting drug.
CRACKHEADS GONE WILD is a new and contemporary version of “Scared Straight” an earlier documentary on juvenile crime and the negative road to prison that youth can expect with continued criminal involvement.
The documentary shows the destructive nature of Crack Cocaine through the eyes of actual users who have experienced the devastation of addiction, and how the users cover the racial, ethnic and socio-economic spectrum of our society.
Call#: University Museum Library Desk VHS TX945.5.S54 F56 1989
MOVIE REVIEW
'Who Killed the Electric Car?': Some Big Reasons the Electric Car Can't Cross the Road
By MANOHLA DARGIS
A murder mystery, a call to arms and an effective inducement to rage, "Who Killed the Electric Car?" is the latest and one of the more successful additions to the growing ranks of issue-oriented documentaries. Like Al Gore's "Inconvenient Truth" and the better nonfiction inquiries into the war in Iraq, this information-packed history about the effort to introduce — and keep — electric vehicles on the road wasn't made to soothe your brow. For the film's director, Chris Paine, the evidence is too appalling and our air too dirty for palliatives.
The Online Journal asked Fritz Attaway, a senior executive with the Motion Picture Association of America, to debate the issue over email with Wendy Seltzer, a law professor who specializes in intellectual property and First Amendment issues. Their exchange is below.
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But, as we all know, these numbers regarding China are completely bogus anyways. Because most MPAA member movies can't be sold in China so they have no loss. China only allows 20 foreign films to be imported each year, and usually 14 - 16 of these are from MPAA members. So what the MPA is talking about in this report isn't "profits lost to pirates in China" but "profits lost to closed markets in China".
May 28, 2006
No Free Samples for Documentaries: Seeking Film Clips With the Fair-Use Doctrine
By ELAINE DUTKA
THE film producer Alicia Sams viewed "Wanderlust," a documentary about American road movies, as a way of introducing a new generation to Bonnie and Clyde, Thelma and Louise, and other giants of the genre. Films like "Five Easy Pieces," "Easy Rider" and "The Grapes of Wrath," she was convinced, offered a window into the American character.
The 90-minute documentary, to be broadcast Monday night on the Independent Film Channel, was also a window into the frustrations of making a clip-intensive film dependent on copyright clearance, which has become hugely expensive in the past decade. Initial quotations for the necessary sequences came to more than $450,000, which would have raised by half the cost of the IFC film, directed by the Oscar-nominated team of Shari Springer Berman and Robert Pulcini ("American Splendor").
"Paramount wanted $20,000 for 119 seconds of 'Paper Moon,' " Ms. Sams said. "The studios are so afraid of exploitation that they set boundaries no one will cross. Even after the prices were cut, we were $150,000 in the hole."
Unwilling to pay those fees, IFC's general manager, Evan Shapiro, helped Ms. Sams pursue another, more aggressive, tack, which may point the way for documentarians who want to tap movie iconography without paying studio prices. Its strategy involved some negotiating hardball, backed up by a willingness to fall back on the tricky legal doctrine known as fair use.
Mr. Shapiro called in a Los Angeles entertainment lawyer, Michael C. Donaldson, who drilled him on copyright law. Under the 165-year-old fair-use doctrine, Mr. Shapiro was told, filmmakers, news gatherers, critics and educators can access material at no cost if they add something to it (like a voice-over), don't undermine its value or use more than needed to make a point. Free speech trumps private property when a project is in the public interest, a term broadly defined.
"Fair use is the lubricant that allows creativity and copyright law to coexist," said Mr. Donaldson, a former president of the International Documentary Association.
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Black Label bicycle club
(i think it is a documentary - but it is unclear)
see also myspace page for the film - http://www.myspace.com/bikemovie
see also the myspace page for this film
http://profile.myspace.com/index.cfm?fuseaction=user.viewprofile&friendID=54430439