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"content": "\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\u003c/p>\n\u003cp>https://youtu.be/bQMF5MSohPA\u003c/p>\n\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That photo became a famous \u003cem>Life\u003c/em> cover, but not famous enough to make the Lovings’ fight a textbook case today. Given the import of \u003cem>Loving v. Virginia\u003c/em> for the civil rights of minority Americans (on June 12, 1967, the Supreme Court struck down all anti-miscegenation laws), its disappearance from the history books is hard to explain. Nichols is not the first to make a film about the Lovings; in fact the idea for \u003cem>Loving\u003c/em> sprang from Nancy Buirski’s HBO documentary \u003cem>The Loving Story\u003c/em>. With this lovely, empathetic account of their struggle, Nichols restores the couple’s brave moment to history.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The title \u003cem>Loving\u003c/em> may seem a rough fit for a movie made by Jeff Nichols, whose previous work includes \u003cem>Take Shelter\u003c/em> and \u003cem>Mud\u003c/em>. But Richard and Mildred Loving were the names of the real-life couple who inspired his new film; in the late 1950s they were forbidden to love and marry by the state of Virginia. And Nichols, who has elastic gifts, has made a gracefully classical film about the Lovings, who were arrested because they were an interracial couple living in a state that still had on its books an anti-miscegenation statute that many whites believed was decreed by God himself.\u003c/p>\n\u003cp>How the couple, with help from two canny ACLU lawyers working pro bono, managed to overturn that statute and in the process change the U.S. Constitution makes a great story. But though Bobby Kennedy does get on the blower for a quick message to Mildred, \u003cem>Loving\u003c/em> is the furthest thing from a triumphalist courtroom thriller. It’s an intimate domestic drama about race in America, not Race in America, via a large-hearted portrait of two profoundly apolitical people who wanted to live with the same basic rights as those enjoyed by white Americans. Like them, \u003cem>Loving\u003c/em> is modest, quiet and deep. Like all Nichols’ work with his longtime cinematographer, Adam Stone, the film highlights the lush beauty of the rural American South.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/bQMF5MSohPA'\n title='//www.youtube.com/embed/bQMF5MSohPA'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Nichols tells this stirring story with a Southerner’s rich feel for the complexities of a region too often dismissed as a capital of crude racism. Bigots have their day in \u003cem>Loving,\u003c/em> but in the film’s tranquil opening scenes, the director sets up the casually integrated community of Central Point that’s home to Richard (Joel Edgerton), a white bricklayer, and Mildred (Ruth Negga), a homemaker who’s half black and half Native American. Their ethnically mixed peers take Mildred’s pregnancy and their marriage (in that order) in stride. Poverty in \u003cem>Loving\u003c/em> is never treated as disabling; the Lovings get on with their plans, helped without fanfare by family and friends. But the misgivings of their parents (Sharon Blackwood is wonderfully spare as Richard’s dour mother) are confirmed when sheriff’s deputies show up in the middle of the night to arrest them.\u003c/p>\n\u003cp>Thrown into jail and then banished for 25 years from the Comonwealth of Virginia by a judge, the two move to Washington, D.C., where they raise three children. But Mildred constantly pines for home and family, and it’s here that Nichols subtly shifts our attention from Richard, a loving husband nevertheless possessed of his mother’s stubbornly taciturn temperament, to Mildred, beautifully underplayed by Negga as an unassuming but steely activist who is more willing than her husband to solicit help and compromise where needed. Comedians Nick Kroll and Jon Bass are mischievously cast as the ACLU lawyers who leap on this opportunity to score big with the Supreme Court, and the long and thorny obstacle race to victory quickens the pace but never strays from the point of view of the Lovings. Michael Shannon, by this point a virtual muse for Nichols, gets in a puckish quickie as the \u003cem>Life\u003c/em> photographer who catches the money shot of Richard and Mildred on the couch, giggling at a television sitcom in a rare moment of unguarded happiness.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>That photo became a famous \u003cem>Life\u003c/em> cover, but not famous enough to make the Lovings’ fight a textbook case today. Given the import of \u003cem>Loving v. Virginia\u003c/em> for the civil rights of minority Americans (on June 12, 1967, the Supreme Court struck down all anti-miscegenation laws), its disappearance from the history books is hard to explain. Nichols is not the first to make a film about the Lovings; in fact the idea for \u003cem>Loving\u003c/em> sprang from Nancy Buirski’s HBO documentary \u003cem>The Loving Story\u003c/em>. With this lovely, empathetic account of their struggle, Nichols restores the couple’s brave moment to history.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now 15 Years Old, SF Transgender Film Festival Pushes for More Than Visibility",
"headTitle": "Now 15 Years Old, SF Transgender Film Festival Pushes for More Than Visibility | KQED",
"content": "\u003cp>In mid-October, \u003ca href=\"http://www.fox.com/the-rocky-horror-picture-show\" target=\"_blank\" rel=\"noopener\">Fox released its remake\u003c/a> of cult classic \u003cem>The Rocky Horror Picture Show\u003c/em>, the latest example of Hollywood’s efforts to represent transgender experience through popular entertainment (albeit the transgender experience of an alien-cum-mad-scientist).\u003c/p>\n\u003cp>\u003ca href=\"http://www.vulture.com/2016/10/fox-rocky-horror-highs-and-lows.html\" target=\"_blank\" rel=\"noopener\">Critical reception\u003c/a> was mixed at best, but Laverne Cox’s performance as Dr. Frank N. Furter, a role made legend by Tim Curry in the 1975 film, was singled out as a highlight. Yet despite this increased mainstream visibility, trans lives, particularly trans women of color, are not equally valued in our country — \u003ca href=\"http://www.avp.org/storage/documents/ncavp_transhvfactsheet.pdf\" target=\"_blank\" rel=\"noopener\">72 percent of the victims of hate violence homicides in 2013 were transgender women\u003c/a>.\u003c/p>\n\u003cp>While \u003ca href=\"http://www.newyorker.com/magazine/2015/12/14/dolls-and-feelings\" target=\"_blank\" rel=\"noopener\">\u003ci>Transparent\u003c/i>\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/news/in-theory/wp/2015/09/22/how-orange-is-the-new-black-wins-at-illustrating-identity/\" target=\"_blank\" rel=\"noopener\">\u003ci>Orange Is The New Black\u003c/i>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=d88APYIGkjk\" target=\"_blank\" rel=\"noopener\">\u003ci>The Danish Girl\u003c/i>\u003c/a>, and Caitlyn Jenner’s breathlessly reported debut portray (slightly more realistic) representations of transgender lives, they still downplay the violence those same communities face on a daily basis.\u003c/p>\n\u003cp>The 15th annual \u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Transgender Film Festival\u003c/a>, running Nov. 10–13 at the Roxie Theater, answers the dangers faced by transgender people with a glorious range of responses, celebrating visibility from within a vibrantly diverse community. Here are four not-to-be-missed highlights from this year’s SFTFF:\u003c/p>\n\u003cfigure id=\"attachment_12322261\" class=\"wp-caption aligncenter\" style=\"max-width: 935px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322261\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1.jpg\" alt=\"Still from 'Free Cece!'\" width=\"935\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1.jpg 935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-520x370.jpg 520w\" sizes=\"(max-width: 935px) 100vw, 935px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Free Cece!’ \u003ccite>(Courtesy of Jac Gares)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>\u003ca href=\"http://sftff.org/opening-night-feature/\" target=\"_blank\" rel=\"noopener\">FREE CeCe!\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Thursday, Nov. 10, 8pm\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>Chrishaun ‘CeCe’ McDonald was out for a night with friends in June 2011 when a man and two women harassed the group outside a Minneapolis bar. The encounter escalated to assault when, as CeCe and her friends defended themselves, the male attacker was fatally stabbed. CeCe, a trans woman, was tried, convicted, and ultimately housed for 41 months in a men’s prison, which ushered her into a hell that few of us can or want to imagine. \u003cem>FREE CeCe!\u003c/em> recounts McDonald’s time behind bars, but that important narrative isn’t the focus of Gares’ film. Instead, emphasis is placed on how national and international trans communities fought to tell CeCe’s story and hold attention on what becomes of black and brown bodies within the prison industrial complex. Laverne Cox acted as the film’s executive producer and is featured prominently throughout the film, but this isn’t her story. Our eyes are trained on CeCe who, by surviving an incredible trauma, emerged as a powerful advocate for trans rights both in and outside the prison system.\u003c/p>\n\u003cfigure id=\"attachment_12322262\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322262\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/elcamino-500x332.jpg\" alt=\"Still from 'El Camino.'\" width=\"500\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-375x249.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘El Camino.’ \u003ccite>(Courtesy of Alexander Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/el-camino-transgender-shorts-program/\" target=\"_blank\" rel=\"noopener\">El Camino\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Friday, Nov. 11, 8pm (with shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>\u003cem>El Camino\u003c/em> portrays a family’s struggle to retrieve the body of their husband and father, who died in prison. While the short film centers on this mournful task, it subtly addresses a few of the myriad challenges — education, employment, familial estrangement or separation — faced by those living in the United States without the basic protections and dignities afforded by citizenship. Screening in San Francisco only days after Donald Trump’s stunning upset, the traumas envisioned by director Alexander Lee capture the fears of what may lie in store for millions.\u003c/p>\n\u003cfigure id=\"attachment_12322263\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322263\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/mezzo-500x333.jpg\" alt=\"Breanna Sinclaire\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Breanna Sinclaire \u003ccite>(Courtesy of Nicole Opper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/mezzo-transgender-shorts/\" target=\"_blank\" rel=\"noopener\">Mezzo\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Saturday, Nov. 12, 7pm (with shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>\u003cem>Mezzo\u003c/em> documents the life of Breanna Sinclair, a talented performer who, among other accomplishments, was the first transgender artist to \u003ca href=\"http://m.mlb.com/video/topic/8877514/v175908683/sdoak-breanna-sinclair-sings-the-national-anthem\" target=\"_blank\" rel=\"noopener\">sing\u003c/a> the national anthem at a major league baseball game. \u003cem>Mezzo\u003c/em> shifts from present-day conversations with the artist to flashbacks in which a boy comes to terms with his ill-fitted gender identity at a young age. Sinclair’s burgeoning surety in her adult life contrasts with the doubt her youthful self faces. Director Nicole Opper’s portrayal of Sinclair’s struggles and success is entirely engaging, bolstered by vibrant cinematographic choices and tantalizing tastes of Sinclair’s commanding voice throughout.\u003c/p>\n\u003cfigure id=\"attachment_12322264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322264\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/0_Ryans1200.jpg\" alt=\"Still from 'Ryans.'\" width=\"1200\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-520x219.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ryans.’ \u003ccite>(Courtesy of Rain Valdez and Natalie Heltzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/mezzo-transgender-shorts/\" target=\"_blank\" rel=\"noopener\">Ryans\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Saturday, Nov. 12, 7pm (part of shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>It’s a familiar scene: Girl meets Boy, set up by a matchmaker friend. Girl freaks out because Boy has the same name (Ryan) as the man who just broke her heart. Girl dresses down Boy for an offense beyond his control. Will they reconcile? Actor and director Rain Valdez’s funny and poignant short film proceeds through tried-and-true tropes; miscommunication, misdirection, and a reconciliation that foretells a bright future for two very attractive people. Clocking in at 14 minutes, \u003cem>Ryans\u003c/em> is exactly the length most rom-coms should be. And with its strong performances, \u003ci>Ryans\u003c/i> presents romantic engagement as something we all seek and deserve, gender identity be damned.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Transgender Film Festival runs Nov. 10-13 at the Roxie Theater in San Francisco. For tickets and more information, visit \u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">sftff.org\u003c/a>.\u003c/em>\u003c/p>\n\n",
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"headline": "Now 15 Years Old, SF Transgender Film Festival Pushes for More Than Visibility",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>In mid-October, \u003ca href=\"http://www.fox.com/the-rocky-horror-picture-show\" target=\"_blank\" rel=\"noopener\">Fox released its remake\u003c/a> of cult classic \u003cem>The Rocky Horror Picture Show\u003c/em>, the latest example of Hollywood’s efforts to represent transgender experience through popular entertainment (albeit the transgender experience of an alien-cum-mad-scientist).\u003c/p>\n\u003cp>\u003ca href=\"http://www.vulture.com/2016/10/fox-rocky-horror-highs-and-lows.html\" target=\"_blank\" rel=\"noopener\">Critical reception\u003c/a> was mixed at best, but Laverne Cox’s performance as Dr. Frank N. Furter, a role made legend by Tim Curry in the 1975 film, was singled out as a highlight. Yet despite this increased mainstream visibility, trans lives, particularly trans women of color, are not equally valued in our country — \u003ca href=\"http://www.avp.org/storage/documents/ncavp_transhvfactsheet.pdf\" target=\"_blank\" rel=\"noopener\">72 percent of the victims of hate violence homicides in 2013 were transgender women\u003c/a>.\u003c/p>\n\u003cp>While \u003ca href=\"http://www.newyorker.com/magazine/2015/12/14/dolls-and-feelings\" target=\"_blank\" rel=\"noopener\">\u003ci>Transparent\u003c/i>\u003c/a>, \u003ca href=\"https://www.washingtonpost.com/news/in-theory/wp/2015/09/22/how-orange-is-the-new-black-wins-at-illustrating-identity/\" target=\"_blank\" rel=\"noopener\">\u003ci>Orange Is The New Black\u003c/i>\u003c/a>, \u003ca href=\"https://www.youtube.com/watch?v=d88APYIGkjk\" target=\"_blank\" rel=\"noopener\">\u003ci>The Danish Girl\u003c/i>\u003c/a>, and Caitlyn Jenner’s breathlessly reported debut portray (slightly more realistic) representations of transgender lives, they still downplay the violence those same communities face on a daily basis.\u003c/p>\n\u003cp>The 15th annual \u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">San Francisco Transgender Film Festival\u003c/a>, running Nov. 10–13 at the Roxie Theater, answers the dangers faced by transgender people with a glorious range of responses, celebrating visibility from within a vibrantly diverse community. Here are four not-to-be-missed highlights from this year’s SFTFF:\u003c/p>\n\u003cfigure id=\"attachment_12322261\" class=\"wp-caption aligncenter\" style=\"max-width: 935px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322261\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1.jpg\" alt=\"Still from 'Free Cece!'\" width=\"935\" height=\"665\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1.jpg 935w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-160x114.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-800x569.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-768x546.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-240x171.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-375x267.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/FREE_CeCe_still_CourtesyOfJacGares-1-520x370.jpg 520w\" sizes=\"(max-width: 935px) 100vw, 935px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Free Cece!’ \u003ccite>(Courtesy of Jac Gares)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003ci>\u003ca href=\"http://sftff.org/opening-night-feature/\" target=\"_blank\" rel=\"noopener\">FREE CeCe!\u003c/a>\u003c/i>\u003c/h3>\n\u003ch5>Thursday, Nov. 10, 8pm\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>Chrishaun ‘CeCe’ McDonald was out for a night with friends in June 2011 when a man and two women harassed the group outside a Minneapolis bar. The encounter escalated to assault when, as CeCe and her friends defended themselves, the male attacker was fatally stabbed. CeCe, a trans woman, was tried, convicted, and ultimately housed for 41 months in a men’s prison, which ushered her into a hell that few of us can or want to imagine. \u003cem>FREE CeCe!\u003c/em> recounts McDonald’s time behind bars, but that important narrative isn’t the focus of Gares’ film. Instead, emphasis is placed on how national and international trans communities fought to tell CeCe’s story and hold attention on what becomes of black and brown bodies within the prison industrial complex. Laverne Cox acted as the film’s executive producer and is featured prominently throughout the film, but this isn’t her story. Our eyes are trained on CeCe who, by surviving an incredible trauma, emerged as a powerful advocate for trans rights both in and outside the prison system.\u003c/p>\n\u003cfigure id=\"attachment_12322262\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322262\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/elcamino-500x332.jpg\" alt=\"Still from 'El Camino.'\" width=\"500\" height=\"332\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-160x106.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-240x159.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/elcamino-500x332-375x249.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘El Camino.’ \u003ccite>(Courtesy of Alexander Lee)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/el-camino-transgender-shorts-program/\" target=\"_blank\" rel=\"noopener\">El Camino\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Friday, Nov. 11, 8pm (with shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>\u003cem>El Camino\u003c/em> portrays a family’s struggle to retrieve the body of their husband and father, who died in prison. While the short film centers on this mournful task, it subtly addresses a few of the myriad challenges — education, employment, familial estrangement or separation — faced by those living in the United States without the basic protections and dignities afforded by citizenship. Screening in San Francisco only days after Donald Trump’s stunning upset, the traumas envisioned by director Alexander Lee capture the fears of what may lie in store for millions.\u003c/p>\n\u003cfigure id=\"attachment_12322263\" class=\"wp-caption alignright\" style=\"max-width: 500px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322263\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/mezzo-500x333.jpg\" alt=\"Breanna Sinclaire\" width=\"500\" height=\"333\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/mezzo-500x333-375x250.jpg 375w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003cfigcaption class=\"wp-caption-text\">Breanna Sinclaire \u003ccite>(Courtesy of Nicole Opper)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/mezzo-transgender-shorts/\" target=\"_blank\" rel=\"noopener\">Mezzo\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Saturday, Nov. 12, 7pm (with shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>\u003cem>Mezzo\u003c/em> documents the life of Breanna Sinclair, a talented performer who, among other accomplishments, was the first transgender artist to \u003ca href=\"http://m.mlb.com/video/topic/8877514/v175908683/sdoak-breanna-sinclair-sings-the-national-anthem\" target=\"_blank\" rel=\"noopener\">sing\u003c/a> the national anthem at a major league baseball game. \u003cem>Mezzo\u003c/em> shifts from present-day conversations with the artist to flashbacks in which a boy comes to terms with his ill-fitted gender identity at a young age. Sinclair’s burgeoning surety in her adult life contrasts with the doubt her youthful self faces. Director Nicole Opper’s portrayal of Sinclair’s struggles and success is entirely engaging, bolstered by vibrant cinematographic choices and tantalizing tastes of Sinclair’s commanding voice throughout.\u003c/p>\n\u003cfigure id=\"attachment_12322264\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12322264\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/0_Ryans1200.jpg\" alt=\"Still from 'Ryans.'\" width=\"1200\" height=\"506\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-160x67.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-800x337.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-768x324.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-1020x430.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-1180x498.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-960x405.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-240x101.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-375x158.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/0_Ryans1200-520x219.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ryans.’ \u003ccite>(Courtesy of Rain Valdez and Natalie Heltzel)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch3>\u003cem>\u003ca href=\"http://sftff.org/mezzo-transgender-shorts/\" target=\"_blank\" rel=\"noopener\">Ryans\u003c/a>\u003c/em>\u003c/h3>\n\u003ch5>Saturday, Nov. 12, 7pm (part of shorts program)\u003cbr>\nTickets: $12-15 sliding scale\u003c/h5>\n\u003cp>It’s a familiar scene: Girl meets Boy, set up by a matchmaker friend. Girl freaks out because Boy has the same name (Ryan) as the man who just broke her heart. Girl dresses down Boy for an offense beyond his control. Will they reconcile? Actor and director Rain Valdez’s funny and poignant short film proceeds through tried-and-true tropes; miscommunication, misdirection, and a reconciliation that foretells a bright future for two very attractive people. Clocking in at 14 minutes, \u003cem>Ryans\u003c/em> is exactly the length most rom-coms should be. And with its strong performances, \u003ci>Ryans\u003c/i> presents romantic engagement as something we all seek and deserve, gender identity be damned.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cem>The San Francisco Transgender Film Festival runs Nov. 10-13 at the Roxie Theater in San Francisco. For tickets and more information, visit \u003ca href=\"http://sftff.org/\" target=\"_blank\" rel=\"noopener\">sftff.org\u003c/a>.\u003c/em>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Film's Experimental Future and Unruly Past Converge in New Festival",
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"content": "\u003cp>At a screening earlier this week, former Ann Arbor Film Festival Director David Dinnell described this as a perversely busy week for cinema in the Bay Area. The week’s turned out to be perverse for other reasons, but the fact remains that the concentration of complimentary (and competing) screenings point to the local experimental film scene’s renewed vitality. \u003c/p>\n\u003cp>Beyond the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/09/bask-in-master-filmmaker-robert-beavers-light-touch-at-bampfa/\" target=\"_blank\" rel=\"noopener\">Robert Beavers residency at BAMPFA\u003c/a>, we have \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma/\" target=\"_blank\" rel=\"noopener\">Bruce Conner exhibit at SFMOMA\u003c/a>, another expanded cinema event in San Francisco Cinematheque’s ongoing \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-five-spectres/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> program featuring local darlings Kerry Laitala and John Davis, and a Canyon Cinema salon featuring \u003ca href=\"http://canyoncinema.com/2016/11/08/november-14-canyon-cinema-salon-with-toney-w-merritt/\" target=\"_blank\" rel=\"noopener\">filmmaker Toney Merritt\u003c/a>‘s under-seen work.\u003c/p>\n\u003cfigure id=\"attachment_12318482\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318482\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still.jpg\" alt=\"Kimberly Forero-Arnias, still from 'Hay Algo Y Se Va,' 2014.\" width=\"1000\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-520x390.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Forero-Arnias, still from ‘Hay Algo Y Se Va,’ 2014. \u003ccite>(Courtesy of Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most exciting is \u003ca href=\"http://www.lightfieldfilm.org/\" target=\"_blank\" rel=\"noopener\">Light Field\u003c/a>, a new festival co-organized by several local artists — a festival without any formal ties to the usual film societies and repertory houses (screenings migrate between The Lab, Artists’ Television Access, the Roxie, and a venue to be announced). I haven’t seen most of the films being shown, but those I have bode well for an eclectic yet selective showcase.\u003c/p>\n\u003cp>Dispensing with the convention of limiting festival selections to works made in the previous 12 months — fresh product, in other words — Light Field recoups several gems past their ordinary sell-by date. A three-minute song like Kimberly Forero-Arnia’s \u003cem>Hay Algo Y Se Va\u003c/em> (2014) is probably fated to be overlooked in a welter of big-name premieres, but its intricate editing pattern sticks with me three years after first seeing it.\u003c/p>\n\u003cfigure id=\"attachment_12318483\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/solid_light_still.jpg\" alt=\"Anthony McCall sketch, 1973.\" width=\"1000\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-520x390.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Anthony McCall sketch, 1973. \u003ccite>(Courtesy of Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chronology is further scrambled by retrospective selections interspersed throughout the Light Field programs. Aside from a major work \u003cem>(New York Portrait, Chapter I)\u003c/em> by Peter Hutton, a treasured landscape specialist who died this past June, these revivals travel way off the beaten path.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Exerting outward pressure on experimental cinema’s already porous boundaries, the older works are positioned as if to argue that the best way to contend with film’s uncertain future is to dig deeper into its unruly past. The program concludes with Anthony McCall’s \u003cem>Line Describing a Cone\u003c/em> (1973) and \u003cem>Conical Solid\u003c/em> (1974), two works that offer a kind of rallying cry for this new gathering: no matter the state of the art, cinema always belongs to the present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Light Field runs Nov. 11–13 at the Lab, Artists’ Television Access and the Roxie, all in San Francisco. For tickets and more information, visit \u003ca href=\"http://www.lightfieldfilm.org/\" target=\"_blank\" rel=\"noopener\">lightfieldfilm.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>At a screening earlier this week, former Ann Arbor Film Festival Director David Dinnell described this as a perversely busy week for cinema in the Bay Area. The week’s turned out to be perverse for other reasons, but the fact remains that the concentration of complimentary (and competing) screenings point to the local experimental film scene’s renewed vitality. \u003c/p>\n\u003cp>Beyond the \u003ca href=\"https://ww2.kqed.org/arts/2016/11/09/bask-in-master-filmmaker-robert-beavers-light-touch-at-bampfa/\" target=\"_blank\" rel=\"noopener\">Robert Beavers residency at BAMPFA\u003c/a>, we have \u003ca href=\"https://ww2.kqed.org/arts/2016/10/28/bruce-conner-artist-who-twice-declared-himself-dead-lives-on-at-sfmoma/\" target=\"_blank\" rel=\"noopener\">Bruce Conner exhibit at SFMOMA\u003c/a>, another expanded cinema event in San Francisco Cinematheque’s ongoing \u003ca href=\"http://www.sfcinematheque.org/screenings/perpetual-motion-program-five-spectres/\" target=\"_blank\" rel=\"noopener\">Perpetual Motion\u003c/a> program featuring local darlings Kerry Laitala and John Davis, and a Canyon Cinema salon featuring \u003ca href=\"http://canyoncinema.com/2016/11/08/november-14-canyon-cinema-salon-with-toney-w-merritt/\" target=\"_blank\" rel=\"noopener\">filmmaker Toney Merritt\u003c/a>‘s under-seen work.\u003c/p>\n\u003cfigure id=\"attachment_12318482\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318482\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still.jpg\" alt=\"Kimberly Forero-Arnias, still from 'Hay Algo Y Se Va,' 2014.\" width=\"1000\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/hay_algo_y_se_va_still-520x390.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Kimberly Forero-Arnias, still from ‘Hay Algo Y Se Va,’ 2014. \u003ccite>(Courtesy of Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Most exciting is \u003ca href=\"http://www.lightfieldfilm.org/\" target=\"_blank\" rel=\"noopener\">Light Field\u003c/a>, a new festival co-organized by several local artists — a festival without any formal ties to the usual film societies and repertory houses (screenings migrate between The Lab, Artists’ Television Access, the Roxie, and a venue to be announced). I haven’t seen most of the films being shown, but those I have bode well for an eclectic yet selective showcase.\u003c/p>\n\u003cp>Dispensing with the convention of limiting festival selections to works made in the previous 12 months — fresh product, in other words — Light Field recoups several gems past their ordinary sell-by date. A three-minute song like Kimberly Forero-Arnia’s \u003cem>Hay Algo Y Se Va\u003c/em> (2014) is probably fated to be overlooked in a welter of big-name premieres, but its intricate editing pattern sticks with me three years after first seeing it.\u003c/p>\n\u003cfigure id=\"attachment_12318483\" class=\"wp-caption aligncenter\" style=\"max-width: 1000px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318483\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/solid_light_still.jpg\" alt=\"Anthony McCall sketch, 1973.\" width=\"1000\" height=\"750\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still.jpg 1000w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-160x120.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-800x600.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-768x576.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-960x720.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-240x180.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-375x281.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/solid_light_still-520x390.jpg 520w\" sizes=\"(max-width: 1000px) 100vw, 1000px\">\u003cfigcaption class=\"wp-caption-text\">Anthony McCall sketch, 1973. \u003ccite>(Courtesy of Light Field)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Chronology is further scrambled by retrospective selections interspersed throughout the Light Field programs. Aside from a major work \u003cem>(New York Portrait, Chapter I)\u003c/em> by Peter Hutton, a treasured landscape specialist who died this past June, these revivals travel way off the beaten path.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Exerting outward pressure on experimental cinema’s already porous boundaries, the older works are positioned as if to argue that the best way to contend with film’s uncertain future is to dig deeper into its unruly past. The program concludes with Anthony McCall’s \u003cem>Line Describing a Cone\u003c/em> (1973) and \u003cem>Conical Solid\u003c/em> (1974), two works that offer a kind of rallying cry for this new gathering: no matter the state of the art, cinema always belongs to the present.\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Light Field runs Nov. 11–13 at the Lab, Artists’ Television Access and the Roxie, all in San Francisco. For tickets and more information, visit \u003ca href=\"http://www.lightfieldfilm.org/\" target=\"_blank\" rel=\"noopener\">lightfieldfilm.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>As the poet remakes language each time she writes a poem, so Robert Beavers reconstitutes the basic elements of sound cinema for his intensely concentrated short films — many of which are screening this week as part of his \u003ca href=\"http://bampfa.org/program/cinema-mon-amour-robert-beavers\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Berkeley Art Museum and Pacific Film Archive (BAMPFA).\u003c/p>\n\u003cp>Take \u003cem>Pitcher of Colored Light\u003c/em> (2007), a subdued yet exacting portrait of Beavers’ elderly mother that transforms her modest Cape Cod house into a wild glade of sensory detail. The film patterns itself after the seasons with radical economy — a few frames of an azalea bush here, the same petals dusting the ground there. The formal syntax sharpens our perceptions until we are processing half-heard sounds and flitting images with the quick, primary awareness typically reserved for emergencies. And yet for all its surface acuity, the film’s underlying energy — I want to say its sense of purpose — remains soft, dilated, adrift.\u003c/p>\n\u003cfigure id=\"attachment_12318268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200.jpg\" alt=\"Still from 'Pitcher of Colored Light,' 2007.\" width=\"1200\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-960x705.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-520x382.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pitcher of Colored Light,’ 2007. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardening provides \u003cem>Pitcher of Colored Light\u003c/em> with a characteristically tangible metaphor for the work of art, but the film also exemplifies Beavers’ lifelong preoccupation with architecture as form and form as architecture. The wood-shingled cottage is a long way from the duomos dotting his European films, but its psychological grandeur inheres to every frame. The resulting montage, like the equally wonderful \u003cem>Listening to the Space in My Room\u003c/em> (2013), strikes me as a modern variation on the “memory palace,” the elaborate visualization technique used to store and recall information. The classical art of memory was supplanted by paper, printing, and, eventually, photography, but Beavers’ recent films suggest a continued role for such architectural figures in recovering the more fleeting intimations of being.\u003c/p>\n\u003cp>\u003cem>Pitcher of Colored Light\u003c/em> is one of many films showing during Beavers’ residency, which comes seven years after he anchored in the Bay Area to show the whole of \u003cem>My Hand Outstretched to the Winged Distance and Sightless Measure\u003c/em>. The present program promises a more varied but no less intensive encounter. In addition to reviving several of the cycle’s key entries, the series includes a program of recent works, an afternoon talk on film poetics, and several features and shorts selected by Beavers as being influential or otherwise kindred.\u003c/p>\n\u003cfigure id=\"attachment_12318271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200.jpg\" alt=\"Still from 'From the Notebook Of...' 1971/1998.\" width=\"1200\" height=\"868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘From the Notebook Of…’ 1971/1998. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reflecting on his 18-film cycle \u003cem>My Hand Outstretched to the Winged Distance and Sightless Measure\u003c/em>, Robert Beavers wrote in 2011 that the decades-in-the-making series “can be understood in one way as autobiographical, as growing out of my relation to Gregory Markopoulos, protected by solitude and the spirit that came from our dedication to filmmaking.” The two men left New York for Europe in the late 1960s, when Markopoulos was a major figure of American avant-garde cinema and Beavers still a young man. The decision was obviously crucial to Beavers’ subsequent artistic development, but biography only takes us so far in accounting for true originality.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Opening night at BAMPFA centers on a new 35mm print of \u003cem>From the Notebook of…\u003c/em> (1971/1998), a remarkably perspicacious exposition of the cinematic medium made when the filmmaker was all of 22. Already, a demanding formal syntax works to grant viewers a finely calibrated, intimate experience of their own perceptual relays at work. Rigorously executed, the film’s golden light is nevertheless redolent of the leisure and quiet supporting such sustained inquiry. A climactic double portrait of Beavers and Markopoulos basks in the glow of a life in art.\u003c/p>\n\u003cfigure id=\"attachment_12318272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200.jpg\" alt=\"Still from 'Ground,' 1993-2001.\" width=\"1200\" height=\"867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ground,’ 1993-2001. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The distinctive compression of Beavers’ films is perhaps most intensely felt in \u003cem>The Ground\u003c/em> (1993-2001), the final film of the cycle and the first composed after Markopoulos’ death. Grief is evoked by a few isolated gestures, sounds, and landscapes. In one of the film’s motifs, Beavers forms a fist to beat his own chest. In another, a stonemason strikes his chisel. Rhyming the gestures of lamentation and creation suggests a rough arithmetic for catharsis, and yet one is continually brought back to ground by the sheer force of each of the self-inflicted blows: metaphor is ever embodied, figurative bound to the figure. The essential materiality of Beavers’ films, their medium specificity, means that opportunities to see them are limited to the cinema and thus few and far between. Take any chance you can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ci>Cinema Mon Amour: Robert Beavers runs Nov. 8-14 at the Berkeley Art Museum and Pacific Film Archive in Berkeley. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/cinema-mon-amour-robert-beavers\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>As the poet remakes language each time she writes a poem, so Robert Beavers reconstitutes the basic elements of sound cinema for his intensely concentrated short films — many of which are screening this week as part of his \u003ca href=\"http://bampfa.org/program/cinema-mon-amour-robert-beavers\" target=\"_blank\" rel=\"noopener\">residency\u003c/a> at the Berkeley Art Museum and Pacific Film Archive (BAMPFA).\u003c/p>\n\u003cp>Take \u003cem>Pitcher of Colored Light\u003c/em> (2007), a subdued yet exacting portrait of Beavers’ elderly mother that transforms her modest Cape Cod house into a wild glade of sensory detail. The film patterns itself after the seasons with radical economy — a few frames of an azalea bush here, the same petals dusting the ground there. The formal syntax sharpens our perceptions until we are processing half-heard sounds and flitting images with the quick, primary awareness typically reserved for emergencies. And yet for all its surface acuity, the film’s underlying energy — I want to say its sense of purpose — remains soft, dilated, adrift.\u003c/p>\n\u003cfigure id=\"attachment_12318268\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318268\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200.jpg\" alt=\"Still from 'Pitcher of Colored Light,' 2007.\" width=\"1200\" height=\"881\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-160x117.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-800x587.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-768x564.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-1020x749.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-1180x866.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-960x705.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-240x176.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-375x275.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Pitcher-of-Colored-Light_1200-520x382.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Pitcher of Colored Light,’ 2007. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Gardening provides \u003cem>Pitcher of Colored Light\u003c/em> with a characteristically tangible metaphor for the work of art, but the film also exemplifies Beavers’ lifelong preoccupation with architecture as form and form as architecture. The wood-shingled cottage is a long way from the duomos dotting his European films, but its psychological grandeur inheres to every frame. The resulting montage, like the equally wonderful \u003cem>Listening to the Space in My Room\u003c/em> (2013), strikes me as a modern variation on the “memory palace,” the elaborate visualization technique used to store and recall information. The classical art of memory was supplanted by paper, printing, and, eventually, photography, but Beavers’ recent films suggest a continued role for such architectural figures in recovering the more fleeting intimations of being.\u003c/p>\n\u003cp>\u003cem>Pitcher of Colored Light\u003c/em> is one of many films showing during Beavers’ residency, which comes seven years after he anchored in the Bay Area to show the whole of \u003cem>My Hand Outstretched to the Winged Distance and Sightless Measure\u003c/em>. The present program promises a more varied but no less intensive encounter. In addition to reviving several of the cycle’s key entries, the series includes a program of recent works, an afternoon talk on film poetics, and several features and shorts selected by Beavers as being influential or otherwise kindred.\u003c/p>\n\u003cfigure id=\"attachment_12318271\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318271\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200.jpg\" alt=\"Still from 'From the Notebook Of...' 1971/1998.\" width=\"1200\" height=\"868\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-800x579.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-768x556.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-1020x738.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-1180x854.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-240x174.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_FromTheNotebookOf1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘From the Notebook Of…’ 1971/1998. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>Reflecting on his 18-film cycle \u003cem>My Hand Outstretched to the Winged Distance and Sightless Measure\u003c/em>, Robert Beavers wrote in 2011 that the decades-in-the-making series “can be understood in one way as autobiographical, as growing out of my relation to Gregory Markopoulos, protected by solitude and the spirit that came from our dedication to filmmaking.” The two men left New York for Europe in the late 1960s, when Markopoulos was a major figure of American avant-garde cinema and Beavers still a young man. The decision was obviously crucial to Beavers’ subsequent artistic development, but biography only takes us so far in accounting for true originality.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Opening night at BAMPFA centers on a new 35mm print of \u003cem>From the Notebook of…\u003c/em> (1971/1998), a remarkably perspicacious exposition of the cinematic medium made when the filmmaker was all of 22. Already, a demanding formal syntax works to grant viewers a finely calibrated, intimate experience of their own perceptual relays at work. Rigorously executed, the film’s golden light is nevertheless redolent of the leisure and quiet supporting such sustained inquiry. A climactic double portrait of Beavers and Markopoulos basks in the glow of a life in art.\u003c/p>\n\u003cfigure id=\"attachment_12318272\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" class=\"size-full wp-image-12318272\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200.jpg\" alt=\"Still from 'Ground,' 1993-2001.\" width=\"1200\" height=\"867\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-160x116.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-800x578.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-768x555.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-1020x737.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-1180x853.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-960x694.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-240x173.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-375x271.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/Beavers_Ground_1200-520x376.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Ground,’ 1993-2001. \u003ccite>(Courtesy of BAMPFA)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The distinctive compression of Beavers’ films is perhaps most intensely felt in \u003cem>The Ground\u003c/em> (1993-2001), the final film of the cycle and the first composed after Markopoulos’ death. Grief is evoked by a few isolated gestures, sounds, and landscapes. In one of the film’s motifs, Beavers forms a fist to beat his own chest. In another, a stonemason strikes his chisel. Rhyming the gestures of lamentation and creation suggests a rough arithmetic for catharsis, and yet one is continually brought back to ground by the sheer force of each of the self-inflicted blows: metaphor is ever embodied, figurative bound to the figure. The essential materiality of Beavers’ films, their medium specificity, means that opportunities to see them are limited to the cinema and thus few and far between. Take any chance you can.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" class=\"aligncenter size-full wp-image-12127869\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"Q.Logo.Break\" width=\"800\" height=\"78\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003cbr>\n\u003ci>Cinema Mon Amour: Robert Beavers runs Nov. 8-14 at the Berkeley Art Museum and Pacific Film Archive in Berkeley. For tickets and more information visit \u003ca href=\"http://bampfa.org/program/cinema-mon-amour-robert-beavers\" target=\"_blank\" rel=\"noopener\">bampfa.org\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Director Werner Herzog has made a name for himself documenting some sad and disturbing stories, such as men being eaten alive by bears, people waiting to be killed by an erupting volcano and child soldiers fighting in Nicaragua. But in person, Herzog is not all doom and gloom.\u003c/p>\n\u003cp>For example, while being interviewed at KQED Monday, Herzog gave a touching response to a question about Berkeley-based documentary filmmaker Les Blank, who died back in 2013. \u003c/p>\n\u003cp>“Frankly speaking, I do not feel that he has passed away. His films are so lively, and I speak of Blank in present terms,” Herzog said. “He’s so vivid, so alive, I have only understood it acoustically that he has passed away — it has not really entered my heart.” \u003c/p>\n\u003cp>Blank made two well-known documentaries about Herzog, both about the director achieving great feats as part of his work: \u003ci>Werner Herzog Eats His Shoe,\u003c/i> about the German director making good on a bet and eating his shoe over five hours at Chez Panisse; and \u003ci>Burden of Dreams,\u003c/i> about the making of Herzog’s epic feature \u003ci>Fitzcarraldo\u003c/i> where a wealthy rubber magnate pushes a steamship over a steep hill in the jungles of Peru.\u003c/p>\n\u003cp>The entire interview, captured by KQED Arts in a \u003ca href=\"https://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener\">Facebook Live video\u003c/a>, includes even more Bay Area-based stories, like the time that Herzog visited his longtime friend, actor Klaus Kinski, in his cabin in the woods of Lagunitas.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>But it was a question about the upcoming election where Herzog really showed his cheery side:\u003c/p>\n\u003cp>“Do not despair… The electorate has a collective intelligence that will not cause despair. And once this cloud of dust has settled, America will return to all it’s glory.”\u003c/p>\n\u003cp>\u003ci>Watch the interview yourself:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\u003cbr>\n\u003c/aside>\n\u003cp>\u003ci>Listen to Herzog’s interview on \u003cstrong>Forum\u003c/strong> below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[soundcloud url=”https://api.soundcloud.com/tracks/291964941″ params=”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false” width=”100%” height=”166″ iframe=”true” /]\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Director Werner Herzog has made a name for himself documenting some sad and disturbing stories, such as men being eaten alive by bears, people waiting to be killed by an erupting volcano and child soldiers fighting in Nicaragua. But in person, Herzog is not all doom and gloom.\u003c/p>\n\u003cp>For example, while being interviewed at KQED Monday, Herzog gave a touching response to a question about Berkeley-based documentary filmmaker Les Blank, who died back in 2013. \u003c/p>\n\u003cp>“Frankly speaking, I do not feel that he has passed away. His films are so lively, and I speak of Blank in present terms,” Herzog said. “He’s so vivid, so alive, I have only understood it acoustically that he has passed away — it has not really entered my heart.” \u003c/p>\n\u003cp>Blank made two well-known documentaries about Herzog, both about the director achieving great feats as part of his work: \u003ci>Werner Herzog Eats His Shoe,\u003c/i> about the German director making good on a bet and eating his shoe over five hours at Chez Panisse; and \u003ci>Burden of Dreams,\u003c/i> about the making of Herzog’s epic feature \u003ci>Fitzcarraldo\u003c/i> where a wealthy rubber magnate pushes a steamship over a steep hill in the jungles of Peru.\u003c/p>\n\u003cp>The entire interview, captured by KQED Arts in a \u003ca href=\"https://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\" target=\"_blank\" rel=\"noopener\">Facebook Live video\u003c/a>, includes even more Bay Area-based stories, like the time that Herzog visited his longtime friend, actor Klaus Kinski, in his cabin in the woods of Lagunitas.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>But it was a question about the upcoming election where Herzog really showed his cheery side:\u003c/p>\n\u003cp>“Do not despair… The electorate has a collective intelligence that will not cause despair. And once this cloud of dust has settled, America will return to all it’s glory.”\u003c/p>\n\u003cp>\u003ci>Watch the interview yourself:\u003c/i>\u003c/p>\n\u003caside class=\"aligncenter noborder\">\nhttps://www.facebook.com/kqedarts/videos/1230492090356905/?hc_ref=NEWSFEED\u003cbr>\n\u003c/aside>\n\u003cp>\u003ci>Listen to Herzog’s interview on \u003cstrong>Forum\u003c/strong> below:\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003c/p>\u003cp>\u003cdiv class='utils-parseShortcode-shortcodes-__shortcodes__shortcodeWrapper'>\n \u003ciframe width='”100%”' height='”166″'\n scrolling='no' frameborder='no'\n src='https://w.soundcloud.com/player/?url=”https://api.soundcloud.com/tracks/291964941″&visual=true&”color=ff5500&auto_play=false&hide_related=false&show_comments=true&show_user=true&show_reposts=false”'\n title='”https://api.soundcloud.com/tracks/291964941″'>\n \u003c/iframe>\n \u003c/div>\u003c/p>\u003cp>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! South Asian Film Festival Destroys Stereotypes",
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"content": "\u003cp>Neeraj Ghywan’s first feature, \u003cem>\u003ca href=\"http://www.thirdi.org/event/masaan-fly-away-solo/\" target=\"_blank\" rel=\"noopener\">Masaan\u003c/a>\u003c/em> (\u003cem>Fly Away Solo\u003c/em>), won the critic’s prize upon its debut at Cannes in 2015. Not a bad way to launch a career, and a provocative choice to open 3rd i’s annual \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a>. \u003c/p>\n\u003cp>The film braids tonally different stories of two young couples — one centering around an amorous hotel rendezvous that goes very bad and the other portraying a hopeful cross-caste romance — to depict the imposing constraints of tradition and custom on individual freedom amid India’s strides toward modernity and embrace of technology.\u003c/p>\n\u003cfigure id=\"attachment_12295872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/parched1200.jpg\" alt=\"Still from 'Parched.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12295872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Parched.’ \u003ccite>(Courtesy of Wolfe Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFISAFF, screening Nov. 10-13 at New People Cinema and the Castro Theater in San Francisco and Nov. 19 at Bluelight Cinema in Cupertino, revels in presenting characters and images to Bay Area moviegoers that destroy stereotypes. \u003c/p>\n\u003cp>Berkeley director John Turner and Mill Valley producer Eric Christensen collaborated on \u003cem>Korla\u003c/em>, a documentary portrait of a singular musical enigma who captivated West Coast audiences on television and in clubs. Hansal Mehta’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/aligarh/\" target=\"_blank\" rel=\"noopener\">Aligarh\u003c/a>\u003c/em> dramatizes the inspiring true story of a gay Indian linguistics professor whose job and career were threatened in 2010, and who found a slew of unexpected allies. Yet another film with a pithy one-word title, the vibrant Centerpiece selection, \u003cem>\u003ca href=\"http://www.thirdi.org/event/parched/\" target=\"_blank\" rel=\"noopener\">Parched\u003c/a>\u003c/em>, introduces three independent Indian women transcending the respective headaches of an alcoholic husband, loathsome son and judgmental neighbors. \u003c/p>\n\u003cp>India and its neighbors are on the move, propelled by youth and new ideas. Tap into the energy at 3rd i’s most colorful sampler.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>https://youtu.be/NhOjSnXCFww\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Neeraj Ghywan’s first feature, \u003cem>\u003ca href=\"http://www.thirdi.org/event/masaan-fly-away-solo/\" target=\"_blank\" rel=\"noopener\">Masaan\u003c/a>\u003c/em> (\u003cem>Fly Away Solo\u003c/em>), won the critic’s prize upon its debut at Cannes in 2015. Not a bad way to launch a career, and a provocative choice to open 3rd i’s annual \u003ca href=\"http://www.thirdi.org/\" target=\"_blank\" rel=\"noopener\">San Francisco International South Asian Film Festival\u003c/a>. \u003c/p>\n\u003cp>The film braids tonally different stories of two young couples — one centering around an amorous hotel rendezvous that goes very bad and the other portraying a hopeful cross-caste romance — to depict the imposing constraints of tradition and custom on individual freedom amid India’s strides toward modernity and embrace of technology.\u003c/p>\n\u003cfigure id=\"attachment_12295872\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/parched1200.jpg\" alt=\"Still from 'Parched.'\" width=\"1200\" height=\"800\" class=\"size-full wp-image-12295872\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-160x107.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-800x533.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-768x512.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-1020x680.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-1180x787.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-960x640.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-240x160.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-375x250.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/parched1200-520x347.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from ‘Parched.’ \u003ccite>(Courtesy of Wolfe Releasing)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The SFISAFF, screening Nov. 10-13 at New People Cinema and the Castro Theater in San Francisco and Nov. 19 at Bluelight Cinema in Cupertino, revels in presenting characters and images to Bay Area moviegoers that destroy stereotypes. \u003c/p>\n\u003cp>Berkeley director John Turner and Mill Valley producer Eric Christensen collaborated on \u003cem>Korla\u003c/em>, a documentary portrait of a singular musical enigma who captivated West Coast audiences on television and in clubs. Hansal Mehta’s \u003cem>\u003ca href=\"http://www.thirdi.org/event/aligarh/\" target=\"_blank\" rel=\"noopener\">Aligarh\u003c/a>\u003c/em> dramatizes the inspiring true story of a gay Indian linguistics professor whose job and career were threatened in 2010, and who found a slew of unexpected allies. Yet another film with a pithy one-word title, the vibrant Centerpiece selection, \u003cem>\u003ca href=\"http://www.thirdi.org/event/parched/\" target=\"_blank\" rel=\"noopener\">Parched\u003c/a>\u003c/em>, introduces three independent Indian women transcending the respective headaches of an alcoholic husband, loathsome son and judgmental neighbors. \u003c/p>\n\u003cp>India and its neighbors are on the move, propelled by youth and new ideas. Tap into the energy at 3rd i’s most colorful sampler.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\u003c/p>\n\u003cp>https://youtu.be/StqNCvQHJnM\u003c/p>\n\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Iggy Pop cares very deeply about things that are cool. This is clear throughout \u003cem>Gimme Danger\u003c/em>, the new documentary about the legendary rock band The Stooges, just based on the choices their wild, writhing, frequently shirtless frontman makes at every stage of his career: jumping into the crowd during his shows, squatting in a house in Detroit after the 1967 riots, taking advantage of a post-breakup contract with David Bowie to reunite the band on someone else’s dime. But his love of cool at the expense of all else comes especially into focus during his acceptance speech from The Stooges’ induction into the Rock and Roll Hall of Fame in 2010. “All the poor people who actually started rock-and-roll music are \u003cem>cool\u003c/em>,” he says in the clip.\u003c/p>\n\u003cp>These days the “rockumentary” is big again—not in the \u003cem>Spinal Tap\u003c/em> sense, but in a fully earnest form, where a band in its golden years gazes back on its time in the limelight with a knowing chuckle and embraces every drug-fueled act of rebellion as the moment when music changed forever. As filmmakers run out of Boomer-era acts to profile, some are even turning to \u003ca href=\"http://www.npr.org/2015/04/02/396791393/lambert-and-stamp-the-story-of-the-men-who-helped-make-the-who\" target=\"_blank\" rel=\"noopener\">band managers\u003c/a> instead. But are these kinds of nostalgic exercises “cool”? Or are they, as the arbiter of cool himself says here about the corporate flower-power acts marketed against The Stooges the late-’60s, another form of hijacking poor people’s cred for a quick buck?\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/StqNCvQHJnM'\n title='//www.youtube.com/embed/StqNCvQHJnM'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>Well, if anyone could be cool enough to document the Ann Arbor forefathers of punk, it’s Jim Jarmusch. The closest thing to a rock star in American cinema, Jarmusch—a lifelong outside-the-system filmmaker who often casts musicians in his movies—has a deep affinity for the subculture The Stooges helped usher in. It’s noticeable even in films of his that outwardly have nothing to do with music, like the natty comic nihilism of his period Western \u003cem>Dead Man\u003c/em>, but particularly in the ones that do. Jarmusch’s \u003cem>Only Lovers Left Alive\u003c/em>, in which Tom Hiddleston played a reclusive Detroit vampire who’s released centuries’ worth of compositions under famous names, might as well have been an alternative Iggy Pop history: Both men share Michigan ties, long hair, an under-appreciated role in the development of popular music, and the leathery skin and twisty bone structures of the undead.\u003c/p>\n\u003cp>In \u003cem>Gimme Danger\u003c/em>, Jarmusch makes the canny decision to identify Iggy by his birth name, Jim Osterberg, which has the effect of stripping away the artificiality that often plagues rock-docs of this sort. In fact, Jarmusch’s greatest accomplishment here may be that his film looks and feels just as raggedy as the band itself. Title cards in rock-poster font announce major chapters (“Stooges to L.A.!!”), while stories from the bandmates themselves, via interviews largely conducted in laundry rooms and other “undisclosed locations,” are illustrated with jerky animated sequences that could be lunchroom doodles.\u003c/p>\n\u003cfigure id=\"attachment_12286186\" class=\"wp-caption aligncenter\" style=\"max-width: 948px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme1.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"948\" height=\"648\" class=\"size-full wp-image-12286186\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1.jpg 948w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-160x109.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-800x547.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-768x525.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-240x164.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-375x256.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme1-520x355.jpg 520w\" sizes=\"(max-width: 948px) 100vw, 948px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The movie opens with the band’s 1973 flameout, brought on by drug abuse and backstage violence. It then jumps back to their already-rickety 1967 beginnings, when Osterberg, along with brothers Ron and Scott Asheton (guitar, drums) and novice musician Dave Alexander (bass), were making up their dirty, primitive sound as they went along, landing a record deal due to their association with the much buzzier MC5. Jarmusch could be arguing that the band’s entire trajectory was its own kind of flameout—one deliberately done for spectacle, like a stuntman’s controlled crash. From the beginning, the band’s nasty, antagonistic tendencies had as much potential to finish them off prematurely as they did to secure their legacy.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Where did all that, err, raw power come from? Osterberg himself name-checks early influences for his onstage behavior, including the kids’ clown Soupy Sales, and it was Howdy Doody’s request for his viewers to keep their letters to him short that led to the naked simplicity of Stooges lyrics like “Last year I was 21 / I didn’t have a lot of fun.” The band stayed apolitical even as contemporaries dug into the antiwar movement, a choice that in Osterberg’s telling seems to have been born as much out of sheer apathy as anything else, but nevertheless seems to have freed them to make fools out of themselves. Not that they wouldn’t have done that, anyway.\u003c/p>\n\u003cfigure id=\"attachment_12286188\" class=\"wp-caption aligncenter\" style=\"max-width: 503px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/11/gimme3.jpg\" alt=\"Iggy Pop and the Stooges.\" width=\"503\" height=\"355\" class=\"size-full wp-image-12286188\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3.jpg 503w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-160x113.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-240x169.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/11/gimme3-375x265.jpg 375w\" sizes=\"(max-width: 503px) 100vw, 503px\">\u003cfigcaption class=\"wp-caption-text\">Iggy Pop and the Stooges. \u003ccite>(Courtesy Amazon Studios/Magnolia Pictures)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>The film tells the story almost entirely through The Stooges’ own words, including the now-deceased Ashetons (archival footage for Ron, new interviews with Scott recorded before his 2014 death). A side plot allows for a fun comeback narrative involving guitarist James Williamson, who joined the band for the \u003cem>Raw Power\u003c/em> sessions in 1973 but retreated to a career in Silicon Valley in the intervening years, until Osterberg called him out of the blue to join the reunion tour in the mid-2000s. But even as he drags his veritable encyclopedia into a largely self-indulgent second hour, Jarmusch still leaves things off the table; more live footage of Osterberg in full vampire mode surely would have made his case for musical mischief better than the 69-year-old’s overly heady modern-day recollections.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Whatever nebulous value defines “cool” at the end of the day, the hands-down coolest thing about \u003cem>Gimme Danger\u003c/em> is seeing how a weird, self-described “trailer park kid” from the outskirts of Ann Arbor, working with wildly differing levels of musical talent, could influence generations’ worth of the most prominent names in rock. By this value alone, The Stooges may be the biggest secret success story in music. \u003cem>Gimme Danger\u003c/em> preserves their legacy better than any fan might have dared hope: by showing how the “poor people,” imperfections and all, could shock the world through sheer force of will.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Now Playing! James Baldwin, Carrie Fisher, Angela Davis tell 'Doc Stories'",
"headTitle": "Now Playing! James Baldwin, Carrie Fisher, Angela Davis tell ‘Doc Stories’ | KQED",
"content": "\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program#.WBIiJTKZPIF\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h3>\n\u003ch5>Nov. 3-6\u003cbr>\nVogue Theatre, Castro Theatre, JCCSF, San Francisco\u003cbr>\nTickets: $15\u003c/h5>\n\u003cp>The elbowing and jousting for Academy Award nominations currently in full swing is no longer the exclusive province of Hollywood execs, producers, agents and stars. The documentary world is likewise focused on awards season, albeit for prestige and ratings more than dollars and cents. This development derives in part from the relatively recent emergence of HBO as a player in nonfiction financing, acquisition and broadcast, and is fueled by Netflix’s recent strategy of throwing its muscle (i.e., deep pockets and vast audience) behind select social-issue films.\u003c/p>\n\u003cfigure id=\"attachment_12278229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200.jpg\" alt=\"Still from Raoul Peck's 'I Am No Your Negro.'\" width=\"1200\" height=\"789\" class=\"size-full wp-image-12278229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-520x342.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Peck’s ‘I Am Not Your Negro.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the universe that the San Francisco Film Society is leveraging for its annual fall showcase, \u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program#.WBIiJTKZPIF\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>. Kicking off Thursday, Nov. 3 at the Castro with the intimate crowd-pleaser \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/bright-lights-starring-carrie-fisher-and-debbie-reynolds\" target=\"_blank\" rel=\"noopener\">Bright Lights: Starring Carrie Fisher and Debbie Reynolds\u003c/a>\u003c/em> and continuing through Sunday, Nov. 6 at the Vogue, the A++ series includes new films alongside works currently or imminently available on your home screen. (It also recognizes one of 2016’s earlier highlights, \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/marathon-the-patriots-day-bombing\" target=\"_blank\" rel=\"noopener\">O.J.: Made In America\u003c/a>\u003c/em>, with an onstage dialogue with director Ezra Edelman.) Ava Duvernay’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/13th\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em> (with Angela Davis interviewed inside West Oakland’s abandoned train station) may be streaming now on Netflix, and Ricki Stern and Annie Sundberg’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/marathon-the-patriots-day-bombing\" target=\"_blank\" rel=\"noopener\">Marathon: The Patriot’s Day Bombing\u003c/a>\u003c/em> debuts later in November on HBO, but there’s nothing like seeing these films with an audience.\u003c/p>\n\u003cp>The doc I’m most excited about is Raoul Peck’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/i-am-not-your-negro\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em> (Sunday, Nov. 6 at 3pm, with the director on hand), which summons the fierce words, ideas and voice of the late, great author James Baldwin (himself the captivating subject of \u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">an early KQED documentary\u003c/a>, in 1963). Appraising and examining the experience of Black people in America across the past few decades, \u003cem>I Am Not Your Negro\u003c/em> doesn’t open hereabouts until Feb. 17, making this is a privileged, early opportunity to see an important film.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\u003cp>\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>\u003ci>Close the laptop, drop that tablet, pause the smartphone and join your fellow humans in Bay Area theaters this week with recommendations from our film critic Michael Fox.\u003c/i>\u003c/p>\n\u003ch3>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program#.WBIiJTKZPIF\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>\u003c/h3>\n\u003ch5>Nov. 3-6\u003cbr>\nVogue Theatre, Castro Theatre, JCCSF, San Francisco\u003cbr>\nTickets: $15\u003c/h5>\n\u003cp>The elbowing and jousting for Academy Award nominations currently in full swing is no longer the exclusive province of Hollywood execs, producers, agents and stars. The documentary world is likewise focused on awards season, albeit for prestige and ratings more than dollars and cents. This development derives in part from the relatively recent emergence of HBO as a player in nonfiction financing, acquisition and broadcast, and is fueled by Netflix’s recent strategy of throwing its muscle (i.e., deep pockets and vast audience) behind select social-issue films.\u003c/p>\n\u003cfigure id=\"attachment_12278229\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200.jpg\" alt=\"Still from Raoul Peck's 'I Am No Your Negro.'\" width=\"1200\" height=\"789\" class=\"size-full wp-image-12278229\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-160x105.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-800x526.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-768x505.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-1020x671.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-1180x776.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-960x631.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-240x158.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-375x247.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/10/I-Am-Not-Your-Negro-by-Dan-Budnik_01_1200-520x342.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Raoul Peck’s ‘I Am Not Your Negro.’ \u003ccite>(Courtesy of SFFS)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003cp>This is the universe that the San Francisco Film Society is leveraging for its annual fall showcase, \u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program#.WBIiJTKZPIF\" target=\"_blank\" rel=\"noopener\">Doc Stories\u003c/a>. Kicking off Thursday, Nov. 3 at the Castro with the intimate crowd-pleaser \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/bright-lights-starring-carrie-fisher-and-debbie-reynolds\" target=\"_blank\" rel=\"noopener\">Bright Lights: Starring Carrie Fisher and Debbie Reynolds\u003c/a>\u003c/em> and continuing through Sunday, Nov. 6 at the Vogue, the A++ series includes new films alongside works currently or imminently available on your home screen. (It also recognizes one of 2016’s earlier highlights, \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/marathon-the-patriots-day-bombing\" target=\"_blank\" rel=\"noopener\">O.J.: Made In America\u003c/a>\u003c/em>, with an onstage dialogue with director Ezra Edelman.) Ava Duvernay’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/13th\" target=\"_blank\" rel=\"noopener\">13th\u003c/a>\u003c/em> (with Angela Davis interviewed inside West Oakland’s abandoned train station) may be streaming now on Netflix, and Ricki Stern and Annie Sundberg’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/marathon-the-patriots-day-bombing\" target=\"_blank\" rel=\"noopener\">Marathon: The Patriot’s Day Bombing\u003c/a>\u003c/em> debuts later in November on HBO, but there’s nothing like seeing these films with an audience.\u003c/p>\n\u003cp>The doc I’m most excited about is Raoul Peck’s \u003cem>\u003ca href=\"http://www.sffs.org/exhibition/doc-stories/program/i-am-not-your-negro\" target=\"_blank\" rel=\"noopener\">I Am Not Your Negro\u003c/a>\u003c/em> (Sunday, Nov. 6 at 3pm, with the director on hand), which summons the fierce words, ideas and voice of the late, great author James Baldwin (himself the captivating subject of \u003ca href=\"https://vimeo.com/13175192\" target=\"_blank\" rel=\"noopener\">an early KQED documentary\u003c/a>, in 1963). Appraising and examining the experience of Black people in America across the past few decades, \u003cem>I Am Not Your Negro\u003c/em> doesn’t open hereabouts until Feb. 17, making this is a privileged, early opportunity to see an important film.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
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"mindshift": {
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"info": "The MindShift podcast explores the innovations in education that are shaping how kids learn. Hosts Ki Sung and Katrina Schwartz introduce listeners to educators, researchers, parents and students who are developing effective ways to improve how kids learn. We cover topics like how fed-up administrators are developing surprising tactics to deal with classroom disruptions; how listening to podcasts are helping kids develop reading skills; the consequences of overparenting; and why interdisciplinary learning can engage students on all ends of the traditional achievement spectrum. This podcast is part of the MindShift education site, a division of KQED News. KQED is an NPR/PBS member station based in San Francisco. You can also visit the MindShift website for episodes and supplemental blog posts or tweet us \u003ca href=\"https://twitter.com/MindShiftKQED\">@MindShiftKQED\u003c/a> or visit us at \u003ca href=\"/mindshift\">MindShift.KQED.org\u003c/a>",
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"order": 12
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"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
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"politicalbreakdown": {
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"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
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"possible": {
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"title": "Possible",
"info": "Possible is hosted by entrepreneur Reid Hoffman and writer Aria Finger. Together in Possible, Hoffman and Finger lead enlightening discussions about building a brighter collective future. The show features interviews with visionary guests like Trevor Noah, Sam Altman and Janette Sadik-Khan. Possible paints an optimistic portrait of the world we can create through science, policy, business, art and our shared humanity. It asks: What if everything goes right for once? How can we get there? Each episode also includes a short fiction story generated by advanced AI GPT-4, serving as a thought-provoking springboard to speculate how humanity could leverage technology for good.",
"airtime": "SUN 2pm",
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"pri-the-world": {
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"title": "PRI's The World: Latest Edition",
"info": "Each weekday, host Marco Werman and his team of producers bring you the world's most interesting stories in an hour of radio that reminds us just how small our planet really is.",
"airtime": "MON-FRI 2pm-3pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-World-Podcast-Tile-360x360-1.jpg",
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},
"radiolab": {
"id": "radiolab",
"title": "Radiolab",
"info": "A two-time Peabody Award-winner, Radiolab is an investigation told through sounds and stories, and centered around one big idea. In the Radiolab world, information sounds like music and science and culture collide. Hosted by Jad Abumrad and Robert Krulwich, the show is designed for listeners who demand skepticism, but appreciate wonder. WNYC Studios is the producer of other leading podcasts including Freakonomics Radio, Death, Sex & Money, On the Media and many more.",
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},
"reveal": {
"id": "reveal",
"title": "Reveal",
"info": "Created by The Center for Investigative Reporting and PRX, Reveal is public radios first one-hour weekly radio show and podcast dedicated to investigative reporting. Credible, fact based and without a partisan agenda, Reveal combines the power and artistry of driveway moment storytelling with data-rich reporting on critically important issues. The result is stories that inform and inspire, arming our listeners with information to right injustices, hold the powerful accountable and improve lives.Reveal is hosted by Al Letson and showcases the award-winning work of CIR and newsrooms large and small across the nation. In a radio and podcast market crowded with choices, Reveal focuses on important and often surprising stories that illuminate the world for our listeners.",
"airtime": "SAT 4pm-5pm",
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"officialWebsiteLink": "https://www.revealnews.org/episodes/",
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"link": "/radio/program/reveal",
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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
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