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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-jetee.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>La Jetée\u003c/i>\u003c/p>\n\u003cp>He was a writer first — of novels, poems, plays, journalism — and his movies are deeply literary in their textures and heady intimacies. His 1963 masterpiece \u003ci>La Jetée\u003c/i>, for instance, is self-described as “un photo-roman.” A thing to cozy up with. Built from still photographs, plus one rapturous, perfectly deployed moment of motion, \u003ci>La Jetée\u003c/i> still haunts us as a marvel of deceptive simplicity. Which is not to say it’s deceitful. But to quote its narrator, “images begin to ooze like confessions.” Here again is Marker the cunning self-abstractionist. Yes, it’s a movie full of great sci-fi stuff — time-travel, apocalypse, cosmic desire — but at its core is a delicious and doomed romance.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-grin.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Grin Without a Cat\u003c/i>\u003c/p>\n\u003cp>In 1977’s \u003ci>A Grin Without a Cat\u003c/i>, Marker sorts through the tumult of the late 1960s and the beleaguered aspirations of the New Left. It’s an untidy history, another rewriting, and another remembrance-dream built from incomplete and clashing images. “The nice side of that era,” Marker would reflect many years later, “is that you can say practically anything about it and be sure to strike home from a certain angle and lamely goof from another.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/marker-sans.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sans Soleil\u003c/i>\u003c/p>\n\u003cp>Marker had Marxism and Surrealism in his soul, but not dogma. Could we say catma? We sense a never-complacent political conscience, and an artist eager to report back to us, to confess his findings, from the past-future threshold.\u003c/p>\n\u003cp>The PFA’s program also includes a segment from \u003ci>The Owl’s Legacy\u003c/i>, Marker’s philosophical miniseries about the heritage of ancient Greece, and \u003ci>Junkopia\u003c/i>, in which another inspired science-fiction landscape, dotted with art-object flotsam, is gradually revealed as the shore of Emeryville. Plus Emiko Omori’s searching appreciation, \u003ci>To Chris Marker: An Unsent Letter\u003c/i>, which gathers warm testimony from local movie luminaries including David Thomson, Tom Luddy, and Janet and David Peoples — the latter pair having adapted \u003ci>La Jetée\u003c/i> into Terry Gilliam’s \u003ci>12 Monkeys\u003c/i>. For Omori, the broader project is tracing the conduits of artistic inspiration, or as the maestro himself would have it, “things that quicken the heart.” There are many.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>At Jetty’s End: A Tribute to Chris Marker, 1921–2012\u003c/b> runs for three Fridays — November 2, 16, and 30, 2012 — at the Pacific Film Archive in Berkeley. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/markertribute\">tickets and more information\u003c/a>, visit bampfa.berkeley.edu.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The outside world, however you define it, is knock-knock-knocking on your door. Between the baseball playoffs, the herky-jerky economy, the cacophonous election campaign, the teetering Euro, the in-flux Arab world, the (hopefully) rejuvenating Arctic ice layer and whatever rocks or visitors are heading our way through deep space (to continue the outward trajectory to possibly absurd lengths), one has to be alert to the latest developments. Perhaps the greatest function that filmmakers serve is the transmission of their culture’s concerns and values to people in other countries, as well as to their fellow citizens. October brings a deluge of reports from afar and not so far. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nextvoice.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Next Voice You Hear\u003c/i>\u003c/p>\n\u003cp>In his most recent book, \u003ci>An Army of Phantoms: American Movies and the Making of the Cold War\u003c/i>, the venerable critic and historian J. Hoberman revisited American movies in the decade following World War II. The U.S.A. circa 1950 might as well be another country, except that Hollywood is grappling with the same themes today: fear of unseen enemies, youth culture, war and its aftermath, unkept promises. Hoberman drew on his book for the Pacific Film Archive series \u003cb>An Army of Phantoms: American Cinema & the Cold War\u003c/b>, running Oct. 5-27, 2012, and he jets in from New York to introduce William Wellman’s \u003ci>The Next Voice You Hear\u003c/i> (Oct. 5) and Sam Fuller’s \u003ci>The Steel Helmet\u003c/i> (Oct. 6), and to give a more expansive talk before John Ford’s \u003ci>Fort Apache\u003c/i> (Oct. 7). The only thing scarier than the present is the past. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/armyofphantoms/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/warwitch.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>War Witch\u003c/i>\u003c/p>\n\u003cp>The Mill Valley Film Festival (Oct. 4-14, 2012) has championed American independent filmmakers since its inception 35 years ago — before it was cool, in other words. Bay Area directors are accorded a special place of honor in this year’s program by sheer force of numbers, with new documentaries and features by Emiko Omori, Russell Long, Nancy Kelly and Kenji Yamamoto, Lisa Fruchtman, Rob Nilsson, Kristy Guevara-Flanagan, Kelly Richardson, Melissa Howden, Will Parrinello and John Antonelli, among others. For a harrowing, haunting view from abroad, Canadian director Kim Nguyen’s \u003ci>War Witch\u003c/i> dramatizes the life of a female child soldier in Africa with honesty, poetry and empathy. For \u003ca href=\"http://www.mvff.com/\">more information\u003c/a> visit mvff.com.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/withoutcell.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Man Without a Cell Phone\u003c/i>\u003c/p>\n\u003cp>The 16th Arab Film Festival (Oct. 11-21, 2012), bless ’em, opens with a comedy. The protagonist of \u003ci>Man Without a Cell Phone\u003c/i> is a young, immature Palestinian-Israeli whose social life is threatened (and political awakening is triggered) by his father’s efforts to “evict” the nearby cell tower. All politics is local, they say. The rest of the AFF lineup offers fewer chuckles, but just as many insights into a diverse part of the world we \u003ci>still\u003c/i> don’t pay enough attention to. For \u003ca href=\"http://www.arabfilmfestival.org/\">more information\u003c/a> visit arabfilmfestival.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taiwandays.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Brighter Summer Day\u003c/i>\u003c/p>\n\u003cp>The San Francisco Film Society’s ambitious fall season continues with \u003cb>Taiwan Film Days\u003c/b> (Oct. 12-14, 2012), which devotes a weekend to such modern concerns as the neuroses of urban living, looking for love in an uncertain world and balancing family traditions with autonomy and independence. So far away yet so close — these are, in fact, universal concerns. For \u003ca href=\"http://sffs.org/Exhibition/SF-Film-Society-Cinema/Taiwan-Film-Days.aspx\">more information\u003c/a> visit sffs.org/.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/imaginarylight.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Imaginary Light\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Cinematheque’s longstanding mission of presenting the best avant-garde film and video represents a commitment to explorers and reporters working in a different dimension. Light, not geography, is the territory perennially under investigation by filmmakers who are masters of sensation, evocation and delicacy. \u003cb>The Lighted Field: Beings and Relations\u003c/b>, Oct. 18, 2012 at SFMOMA’s Phyllis Wattis Theater, brings together work by such leading lights (pardon the pun) as the world-renowned Andrew Noren (\u003ci>Imaginary Light\u003c/i>) and S.F.’s own, equally admired Nathaniel Dorsky (\u003ci>Pneuma\u003c/i>. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2176/\">more information\u003c/a> visit sfmoma.org/.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The outside world, however you define it, is knock-knock-knocking on your door. Between the baseball playoffs, the herky-jerky economy, the cacophonous election campaign, the teetering Euro, the in-flux Arab world, the (hopefully) rejuvenating Arctic ice layer and whatever rocks or visitors are heading our way through deep space (to continue the outward trajectory to possibly absurd lengths), one has to be alert to the latest developments. Perhaps the greatest function that filmmakers serve is the transmission of their culture’s concerns and values to people in other countries, as well as to their fellow citizens. October brings a deluge of reports from afar and not so far. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nextvoice.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Next Voice You Hear\u003c/i>\u003c/p>\n\u003cp>In his most recent book, \u003ci>An Army of Phantoms: American Movies and the Making of the Cold War\u003c/i>, the venerable critic and historian J. Hoberman revisited American movies in the decade following World War II. The U.S.A. circa 1950 might as well be another country, except that Hollywood is grappling with the same themes today: fear of unseen enemies, youth culture, war and its aftermath, unkept promises. Hoberman drew on his book for the Pacific Film Archive series \u003cb>An Army of Phantoms: American Cinema & the Cold War\u003c/b>, running Oct. 5-27, 2012, and he jets in from New York to introduce William Wellman’s \u003ci>The Next Voice You Hear\u003c/i> (Oct. 5) and Sam Fuller’s \u003ci>The Steel Helmet\u003c/i> (Oct. 6), and to give a more expansive talk before John Ford’s \u003ci>Fort Apache\u003c/i> (Oct. 7). The only thing scarier than the present is the past. For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/armyofphantoms/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/warwitch.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>War Witch\u003c/i>\u003c/p>\n\u003cp>The Mill Valley Film Festival (Oct. 4-14, 2012) has championed American independent filmmakers since its inception 35 years ago — before it was cool, in other words. Bay Area directors are accorded a special place of honor in this year’s program by sheer force of numbers, with new documentaries and features by Emiko Omori, Russell Long, Nancy Kelly and Kenji Yamamoto, Lisa Fruchtman, Rob Nilsson, Kristy Guevara-Flanagan, Kelly Richardson, Melissa Howden, Will Parrinello and John Antonelli, among others. For a harrowing, haunting view from abroad, Canadian director Kim Nguyen’s \u003ci>War Witch\u003c/i> dramatizes the life of a female child soldier in Africa with honesty, poetry and empathy. For \u003ca href=\"http://www.mvff.com/\">more information\u003c/a> visit mvff.com.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/withoutcell.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Man Without a Cell Phone\u003c/i>\u003c/p>\n\u003cp>The 16th Arab Film Festival (Oct. 11-21, 2012), bless ’em, opens with a comedy. The protagonist of \u003ci>Man Without a Cell Phone\u003c/i> is a young, immature Palestinian-Israeli whose social life is threatened (and political awakening is triggered) by his father’s efforts to “evict” the nearby cell tower. All politics is local, they say. The rest of the AFF lineup offers fewer chuckles, but just as many insights into a diverse part of the world we \u003ci>still\u003c/i> don’t pay enough attention to. For \u003ca href=\"http://www.arabfilmfestival.org/\">more information\u003c/a> visit arabfilmfestival.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/taiwandays.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Brighter Summer Day\u003c/i>\u003c/p>\n\u003cp>The San Francisco Film Society’s ambitious fall season continues with \u003cb>Taiwan Film Days\u003c/b> (Oct. 12-14, 2012), which devotes a weekend to such modern concerns as the neuroses of urban living, looking for love in an uncertain world and balancing family traditions with autonomy and independence. So far away yet so close — these are, in fact, universal concerns. For \u003ca href=\"http://sffs.org/Exhibition/SF-Film-Society-Cinema/Taiwan-Film-Days.aspx\">more information\u003c/a> visit sffs.org/.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/imaginarylight.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Imaginary Light\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The San Francisco Cinematheque’s longstanding mission of presenting the best avant-garde film and video represents a commitment to explorers and reporters working in a different dimension. Light, not geography, is the territory perennially under investigation by filmmakers who are masters of sensation, evocation and delicacy. \u003cb>The Lighted Field: Beings and Relations\u003c/b>, Oct. 18, 2012 at SFMOMA’s Phyllis Wattis Theater, brings together work by such leading lights (pardon the pun) as the world-renowned Andrew Noren (\u003ci>Imaginary Light\u003c/i>) and S.F.’s own, equally admired Nathaniel Dorsky (\u003ci>Pneuma\u003c/i>. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2176/\">more information\u003c/a> visit sfmoma.org/.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Paul Festa Takes Violin and Life Lessons in 'Tie It Into My Hand'",
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"content": "\u003cp>For his newest documentary, ODC Theater Resident Artist Paul Festa chronicled himself taking lessons on the Tchaikovsky violin concerto from various artists, none of whom are violinists. It’s OK because Festa is a violinist, and he knew the piece quite well to begin with.\u003c/p>\n\u003cp>It’s more than OK, actually, because it’s fascinating. What makes someone a “real” artist? What hinders him? In Festa’s case, a hand injury has been a factor, and his film doesn’t shy away from talk of debilitating wounds, which can be psychological as well as physical. \u003ci>Tie It Into My Hand\u003c/i> is what he calls it, quoting E. E. Cummings’ exaltation of someone who with fingers unable to hold a brush would issue that command — notable both for its determination and for needing someone else’s help.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Portrait of Paul Festa by Greg Gorman\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>John Fisher and Carey Perloff\u003c/p>\n\u003cp>Some of Festa’s instructors will seem familiar. Some are famous in their fields. Rather than waste time with introductions, however, he gets right to the lessons. And rather than training his camera on himself, he trains it on these others — advising, psychoanalyzing, challenging, consoling, and indeed instructing. Collectively they are a perceptive, open-hearted bunch, with much wisdom to share. “Oh, it’s so sweet,” one says, upon hearing a few bars. “I don’t know why you don’t have a career. Something must be wrong with your personality.” As another puts it, “We’re the frightened ones. It’s very scary being in front of your camera.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Coyote\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Eisa Davis\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Monique Jenkinson, a.k.a. Fauxnique\u003c/p>\n\u003cp>In the similarly structured \u003ci>Apparition of the Eternal Church\u003c/i>, from 2006, Festa gathered an array of personal responses to Olivier Messiaen’s 1932 organ composition by filming people listening to it through headphones and parsing what they hear. In 2010’s \u003ci>The Glitter Emergency\u003c/i>, his fable in the silent-film style, and a rapturous fusion of camp and class, Festa cast himself as a pixie violinist, advising a peg-legged ballerina, “Do not turn away from the magic within you.”\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> might be construed as a personal and spiritual synthesis of those earlier works. It’s also a highly elevated therapeutic exercise, innately inspirational without ever seeming too cheesy or self-serious, and the kind of thing you urgently want to share with your creative kin before even seeing how it ends. Ultimately Festa both illuminates and transcends the most universal aspects of performance anxiety, with the performance in question being not just a specific concerto but the entirety of the artist’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> screens Friday, September 21 and Saturday, September 22, with \u003ci>The Glitter Emergency\u003c/i> at ODC Theater in San Francisco. Paul Festa accompanies the screenings with a live performance of the Tchaikovsky violin concerto. For \u003ca href=\"http://odctheater.org/\">tickets and information\u003c/a>, visit odctheater.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>For his newest documentary, ODC Theater Resident Artist Paul Festa chronicled himself taking lessons on the Tchaikovsky violin concerto from various artists, none of whom are violinists. It’s OK because Festa is a violinist, and he knew the piece quite well to begin with.\u003c/p>\n\u003cp>It’s more than OK, actually, because it’s fascinating. What makes someone a “real” artist? What hinders him? In Festa’s case, a hand injury has been a factor, and his film doesn’t shy away from talk of debilitating wounds, which can be psychological as well as physical. \u003ci>Tie It Into My Hand\u003c/i> is what he calls it, quoting E. E. Cummings’ exaltation of someone who with fingers unable to hold a brush would issue that command — notable both for its determination and for needing someone else’s help.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Portrait of Paul Festa by Greg Gorman\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>John Fisher and Carey Perloff\u003c/p>\n\u003cp>Some of Festa’s instructors will seem familiar. Some are famous in their fields. Rather than waste time with introductions, however, he gets right to the lessons. And rather than training his camera on himself, he trains it on these others — advising, psychoanalyzing, challenging, consoling, and indeed instructing. Collectively they are a perceptive, open-hearted bunch, with much wisdom to share. “Oh, it’s so sweet,” one says, upon hearing a few bars. “I don’t know why you don’t have a career. Something must be wrong with your personality.” As another puts it, “We’re the frightened ones. It’s very scary being in front of your camera.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit3.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Peter Coyote\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit4.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Eisa Davis\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/tieit5.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>Monique Jenkinson, a.k.a. Fauxnique\u003c/p>\n\u003cp>In the similarly structured \u003ci>Apparition of the Eternal Church\u003c/i>, from 2006, Festa gathered an array of personal responses to Olivier Messiaen’s 1932 organ composition by filming people listening to it through headphones and parsing what they hear. In 2010’s \u003ci>The Glitter Emergency\u003c/i>, his fable in the silent-film style, and a rapturous fusion of camp and class, Festa cast himself as a pixie violinist, advising a peg-legged ballerina, “Do not turn away from the magic within you.”\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> might be construed as a personal and spiritual synthesis of those earlier works. It’s also a highly elevated therapeutic exercise, innately inspirational without ever seeming too cheesy or self-serious, and the kind of thing you urgently want to share with your creative kin before even seeing how it ends. Ultimately Festa both illuminates and transcends the most universal aspects of performance anxiety, with the performance in question being not just a specific concerto but the entirety of the artist’s life.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Tie It Into My Hand\u003c/i> screens Friday, September 21 and Saturday, September 22, with \u003ci>The Glitter Emergency\u003c/i> at ODC Theater in San Francisco. Paul Festa accompanies the screenings with a live performance of the Tchaikovsky violin concerto. For \u003ca href=\"http://odctheater.org/\">tickets and information\u003c/a>, visit odctheater.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The silly season is over. Children are back in school. It’s fall, and the race for little gold statuettes is on (mostly for the better, but not entirely). At our more esoteric venues, the voices of experimental and iconoclastic filmmakers ring out, and film festivals reclaim their place on the calendar. Take your vitamins, your double espresso, or your chem-lab energy drink: From here to Christmas, it’s pedal to the metal.\u003c/p>\n\u003cp>Kerry Laitala has the rare ability to summon the ghosts hiding between the frames. The internationally acclaimed San Francisco filmmaker (newly installed as interim chair of the San Francisco Art Institute’s Film Department), rescues and reclaims old films, infusing artifacts with a bemused yet respectful sensibility. Laitala inaugurates Shapeshifters Cinema, a monthly live-cinema series created and curated by Gilbert Guerrero and Kathleen Quillian on the first Thursday at the Arbor Cafe in North Oakland, with two new pieces, \u003ci>Trip the Light Fantastic\u003c/i> (a collaboration with Neal Johnson) and \u003ci>Velvet of Night\u003c/i> (with musician John Davis) on Sept. 6. For \u003ca href=\"http://www.shapeshifterscinema.com/\">more information\u003c/a>, visit shapeshiftercinema.com. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/31/beautyis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Beauty Is Embarrassing\u003c/i>\u003c/p>\n\u003cp>The artist’s life consists of more than trading witticisms with one’s muse. (Even if he/she is imaginary.) Wayne White is revered in certain circles for his multiple Emmy Award-winning work on \u003ci>Pee Wee’s Playhouse\u003c/i>, and his contributions to classic music videos such as Peter Gabriel’s \u003ci>Big Time\u003c/i>. But he also went through a blue period, and we’re not talking Picasso or Redd Foxx. Neil Berkeley’s wonderfully titled documentary, \u003ci>Beauty is Embarrassing\u003c/i> blends biography and performance into an intimate and refreshingly real portrait. \u003ci>Beauty is Embarrassing\u003c/i> plays Sept. 14-17 at the Roxie, with White in the house Sept. 15. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=03341208-1143-DBB3-C628ADABF4E6D98F\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/31/3rdi.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Runaway (Udhao)\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Now in its tenth year, the San Francisco South Asian Film Festival has become one of the liveliest stops on the Bay Area’s famously crowded festival lineup. The fest, unspooling Sept. 19-23 at the Castro and Roxie in San Francisco and Sept. 30 at the Camera 12 in San Jose, screens the best new films from India and neighboring countries, which \u003ci>will\u003c/i> surprise you with their frankness, sophistication and blazing color — along with a rambunctious revival of a Bollywood classic. For \u003ca href=\"http://www.thirdi.org/festival/\">more information\u003c/a>, visit thirdi.org. \u003c/p>\n\u003cp>Live cinema is the next cool thing (see Kerry Laitala, above), because it represents an attempt to remove predictability and passivity from the moviegoing experience. Eve Sussman’s recent film, \u003ci>whiteonwhite:algorithmicnoir\u003c/i>, involves a scientist in remote Siberia who tries to unravel the mystery surrounding his new employer. At each screening, a computer live-edits the film from a vast slew of audio and video slivers, creating associations from which viewers distill clues, and meaning. See it more than once during its free, but brief SFMOMA run, Sept. 27-30. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2178#ixzz22tCvacrZ\">more information\u003c/a>, visit sfmoma.org.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=CJFKGqqNrW4&w=480&h=270]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Morality is a major theme of the San Francisco Latino Film Festival, year after year. The programmers have a particular fondness for filmmakers who challenge their characters with tough ethical dilemmas, then deny them an easy way out. This year’s opening night film, Youssef Delara and Michael D. Olmos’ \u003ci>Filly Brown\u003c/i>, presents us with a street poet who has to choose between the financial (and artistic) lure of a record deal and quaint values such as loyalty and integrity. Like I said, the silly season is over. The S.F. Latino Film Festival screens Sept 13-28 in San Francisco, San Jose, Richmond and Oakland. For \u003ca href=\"http://www.sflatinofilmfestival.com/\">more information\u003c/a>, visit sflatinofilmfestival.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The silly season is over. Children are back in school. It’s fall, and the race for little gold statuettes is on (mostly for the better, but not entirely). At our more esoteric venues, the voices of experimental and iconoclastic filmmakers ring out, and film festivals reclaim their place on the calendar. Take your vitamins, your double espresso, or your chem-lab energy drink: From here to Christmas, it’s pedal to the metal.\u003c/p>\n\u003cp>Kerry Laitala has the rare ability to summon the ghosts hiding between the frames. The internationally acclaimed San Francisco filmmaker (newly installed as interim chair of the San Francisco Art Institute’s Film Department), rescues and reclaims old films, infusing artifacts with a bemused yet respectful sensibility. Laitala inaugurates Shapeshifters Cinema, a monthly live-cinema series created and curated by Gilbert Guerrero and Kathleen Quillian on the first Thursday at the Arbor Cafe in North Oakland, with two new pieces, \u003ci>Trip the Light Fantastic\u003c/i> (a collaboration with Neal Johnson) and \u003ci>Velvet of Night\u003c/i> (with musician John Davis) on Sept. 6. For \u003ca href=\"http://www.shapeshifterscinema.com/\">more information\u003c/a>, visit shapeshiftercinema.com. \u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/31/beautyis.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Beauty Is Embarrassing\u003c/i>\u003c/p>\n\u003cp>The artist’s life consists of more than trading witticisms with one’s muse. (Even if he/she is imaginary.) Wayne White is revered in certain circles for his multiple Emmy Award-winning work on \u003ci>Pee Wee’s Playhouse\u003c/i>, and his contributions to classic music videos such as Peter Gabriel’s \u003ci>Big Time\u003c/i>. But he also went through a blue period, and we’re not talking Picasso or Redd Foxx. Neil Berkeley’s wonderfully titled documentary, \u003ci>Beauty is Embarrassing\u003c/i> blends biography and performance into an intimate and refreshingly real portrait. \u003ci>Beauty is Embarrassing\u003c/i> plays Sept. 14-17 at the Roxie, with White in the house Sept. 15. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=03341208-1143-DBB3-C628ADABF4E6D98F\">more information\u003c/a>, visit roxie.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/31/3rdi.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Runaway (Udhao)\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>How exquisitely agonizing that it’s been so hard of late to keep up with the San Francisco Film Society Cinema, whose fine programming includes rarities, recent festival highlights, and oldies-but-goodies like the Italian omnibus \u003ci>Love in the City\u003c/i>, opening Friday. This particular film, from 1953, brings a special kind of repertory pleasure — not just \u003ci>Oh, I’ve always wanted to see that\u003c/i> but \u003ci>Oh, I’ve never heard of that.\u003c/i>\u003c/p>\n\u003cp>Overseen by early neorealist Cesare Zavattini, who for his part supplies a desperate saga of single-motherhood, \u003ci>Love in the City\u003c/i> quilts together a handful of filmmakers’ observations on mid-century romantic attachments. In retrospect it’s also a handy primer on the attitudes and behavior of modern Italian cinema, as glimpsed in the process of formation. There are the universal truths and then there are the uniquely Italian ones.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=IaXF5Sk5LF4&w=480&h=360]\u003c/p>\n\u003cp>Of course it’s easy to see any portmanteau as a mixed bag, but maybe more fun to grade internal incoherence on the curve of general accordance with the big-picture concept. Here, a few nonverbal episodes seem deceptively simple, like Dino Risi’s smoky dance hall full of fights and furtive glances, or Alberto Lattuada’s parade of pretty women and the rubbernecking men who ogle them — or, worse, cop feels on a crowded bus and degenerate into creepy lecher-zombies. Clearly these set pieces wouldn’t sustain themselves at feature length, but compilation conserves and invigorates their grace.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loveincity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Elsewhere we see masters working up their mastery: Michelangelo Antonioni’s restaged suicide attempts seem insouciantly cinematic, but also suggest alienation verging on a pose of itself; Federico Fellini finds poignant whimsy in the tale of a gentle naif who agrees to marry a werewolf, if only to seem agreeable. “I know myself,” she says, “I’ll become fond of him.” Both pieces resonate intriguingly with both directors’ later efforts.\u003c/p>\n\u003cp>Shot through with forlornness, largely from a female point of view, \u003ci>Love in the City\u003c/i> is ostensibly feminist, although it’s hard not to notice an abundance of maleness behind the camera, particularly in unseen omniscient narration. However sympathetic, its occasional explications can’t help but come across also as pat and patronizing, as when one offscreen male voice explains, “Many women like her could be saved with a little true love.” Well, it takes a woman’s first-hand testimony to convincingly rebuke the will to romanticize: “Love helps conquer all,” she says. “If it ends, everything falls apart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Love in the City\u003c/i> runs from August 17 through 23, 2012, at the Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/love-in-the-city.aspx\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>How exquisitely agonizing that it’s been so hard of late to keep up with the San Francisco Film Society Cinema, whose fine programming includes rarities, recent festival highlights, and oldies-but-goodies like the Italian omnibus \u003ci>Love in the City\u003c/i>, opening Friday. This particular film, from 1953, brings a special kind of repertory pleasure — not just \u003ci>Oh, I’ve always wanted to see that\u003c/i> but \u003ci>Oh, I’ve never heard of that.\u003c/i>\u003c/p>\n\u003cp>Overseen by early neorealist Cesare Zavattini, who for his part supplies a desperate saga of single-motherhood, \u003ci>Love in the City\u003c/i> quilts together a handful of filmmakers’ observations on mid-century romantic attachments. In retrospect it’s also a handy primer on the attitudes and behavior of modern Italian cinema, as glimpsed in the process of formation. There are the universal truths and then there are the uniquely Italian ones.\u003c/p>\n\u003cp>\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/IaXF5Sk5LF4'\n title='//www.youtube.com/embed/IaXF5Sk5LF4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>Of course it’s easy to see any portmanteau as a mixed bag, but maybe more fun to grade internal incoherence on the curve of general accordance with the big-picture concept. Here, a few nonverbal episodes seem deceptively simple, like Dino Risi’s smoky dance hall full of fights and furtive glances, or Alberto Lattuada’s parade of pretty women and the rubbernecking men who ogle them — or, worse, cop feels on a crowded bus and degenerate into creepy lecher-zombies. Clearly these set pieces wouldn’t sustain themselves at feature length, but compilation conserves and invigorates their grace.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/loveincity.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Elsewhere we see masters working up their mastery: Michelangelo Antonioni’s restaged suicide attempts seem insouciantly cinematic, but also suggest alienation verging on a pose of itself; Federico Fellini finds poignant whimsy in the tale of a gentle naif who agrees to marry a werewolf, if only to seem agreeable. “I know myself,” she says, “I’ll become fond of him.” Both pieces resonate intriguingly with both directors’ later efforts.\u003c/p>\n\u003cp>Shot through with forlornness, largely from a female point of view, \u003ci>Love in the City\u003c/i> is ostensibly feminist, although it’s hard not to notice an abundance of maleness behind the camera, particularly in unseen omniscient narration. However sympathetic, its occasional explications can’t help but come across also as pat and patronizing, as when one offscreen male voice explains, “Many women like her could be saved with a little true love.” Well, it takes a woman’s first-hand testimony to convincingly rebuke the will to romanticize: “Love helps conquer all,” she says. “If it ends, everything falls apart.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Love in the City\u003c/i> runs from August 17 through 23, 2012, at the Film Society Cinema in San Francisco. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema/love-in-the-city.aspx\">tickets and more information\u003c/a>, visit sffs.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The prolific Japanese screenwriter and director Kaneto Shindo, who died in May shortly after his 100th birthday, was an elemental filmmaker whose economy and discipline become more impressive with every passing year. (With every bloated blockbuster and incompetent indie, in fact.) An impeccable craftsman and an unwavering humanist, Shindo excised everything extraneous, from superfluous dialogue to secondary characters to subplots. That left ample room, in his sure hands, for mystery, ambiguity and terrifying profundity.\u003c/p>\n\u003cp>His best films, notably the three black-and-white gems in \u003cb>Kaneto Shindo Remembered\u003c/b> chosen by Yerba Buena Center For the Arts film curator Joel Shepard, examine the tightrope between responsibility to one’s self (and one’s own needs, no matter how base) and one’s responsibility to others, be they relatives or the larger community. Shindo was marked forever, though not embittered, by the destruction of Hiroshima. His finest work displays a remarkable willingness to understand even the most callous behavior, an approach that engages the viewer’s empathy without speechifying or moralizing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nakedisland.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Naked Island\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Naked Island\u003c/i> (Aug. 9, 7:30pm and Aug. 12, 2pm), made for a pittance in 1960 when Shindo’s production company was on the verge of going belly-up, is a mesmerizing, nonverbal study of a stoic couple with two young sons living atop a hilly island. At first glance, their self-sufficient life in scenic solitude seems idyllic. Then we see, again and again, the extraordinary physical labor required to collect and carry fresh water, row it home, and lug it up a slender path — without spilling! — for crops, goats, chickens and themselves. The work is backbreaking and unrelenting, yet Shindo tempers it by granting us the pleasure of watching elegant, practiced movements.\u003c/p>\n\u003cp>You have to figure out the relationships between people in Shindo’s films, not only how individuals are related but how they relate to each other. Divining the balance of power and the division of labor (and emotion), in this case between the mother and father, is endlessly fascinating. The persistence on display — which mirrors the life-goes-on determination of the Japanese people after the war — is a vote of affirmation for the continuance of civilization. Who says art can’t be simultaneously sobering and inspiring?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/onibaba.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Onibaba\u003c/i>\u003c/p>\n\u003cp>Civilization has destroyed itself and the world is upside down in the war-ridden medieval period of \u003ci>Onibaba\u003c/i> (\u003ci>The Hole\u003c/i>, Aug. 23, 7:30pm and Aug. 26, 2pm). In a vast, grassy field, a fierce mother (Nobuko Otawa) and sexy daughter-in-law (Jitsuko Yoshimura) prey on wounded and separated samurai, robbing the bodies of armor and weapons (which they fence for millet) before dumping them into a pit. Their primitivism approaches barbarism, and the return of an equally devious and feral man from the distant battles, bearing news that their son/husband is dead, does nothing to moderate the women’s behavior.\u003c/p>\n\u003cp>The younger woman, who’s been without a man for longer than we can guess, can’t resist sneaking out to the neighbor’s hut in the middle of the night for bouts of raw sex. (Shindo uses the roar of wind through the high grass to evoke lust as a force of nature, miraculously avoiding cliché or self-parody.) The mother-in-law, afraid of eventually losing her daughter-in-law and being abandoned to her own devices, and recognizing the absence of laws (and law enforcers), masquerades as a demon to keep the carnal conspirators apart. What could go wrong? Plenty. Despite, or because of, its simplicity, \u003ci>Onibaba\u003c/i> (1964) is a riveting parable of the tenuous line that separates human beings from animals, or worse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kuroneko.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Kuroneko\u003c/i>\u003c/p>\n\u003cp>Refreshingly, Shindo’s great films don’t present women as victims, even when they are persecuted. \u003ci>Kuroneko\u003c/i> (\u003ci>Black Cat\u003c/i>, Aug. 16, 7:30pm and Aug. 19, 2pm) begins with a rape —- a double rape, in fact — and a double killing at the hands of a band of ravenous samurai. The murdered women return as ghosts with the sole goal of seducing and killing samurai. The spoiled emperor orders the head of his samurai to destroy the ghosts who are thinning his forces; he, in turn, delegates the job to a newly minted samurai who proved his bravery against a bigger, stronger man.\u003c/p>\n\u003cp>The twist — there had to be one, right? — is the would-be slayer recognizes the ghosts as his lovely wife (Kiwako Taichi) and mother (the redoubtable Nobuko Otawa, again). With breathtaking audacity and dazzling seamlessness, Shindo grants husband and (ghost) wife a lengthy romantic interlude, wrapped in a lush score. Alas, this dream cannot continue indefinitely, for samurai and ghost have orders to destroy the other.\u003c/p>\n\u003cp>The weak, amoral samurai in \u003ci>Onibaba\u003c/i> and \u003ci>Kuroneko\u003c/i> can be seen not only as avatars of corruption but as casualties of war. The ordinary people, meanwhile, are entrusted with keeping the flame of society burning. This mini-retrospective is the ideal introduction to a thoroughly modern filmmaker who camouflaged deep themes with vivid atmospheres and limited dialogue.\u003c/p>\n\u003cp>\u003cb>Kaneto Shindo Remembered\u003c/b> runs August 19-26, 2012 at Yerba Buena Center For the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/kaneto-shindo-remembered\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The prolific Japanese screenwriter and director Kaneto Shindo, who died in May shortly after his 100th birthday, was an elemental filmmaker whose economy and discipline become more impressive with every passing year. (With every bloated blockbuster and incompetent indie, in fact.) An impeccable craftsman and an unwavering humanist, Shindo excised everything extraneous, from superfluous dialogue to secondary characters to subplots. That left ample room, in his sure hands, for mystery, ambiguity and terrifying profundity.\u003c/p>\n\u003cp>His best films, notably the three black-and-white gems in \u003cb>Kaneto Shindo Remembered\u003c/b> chosen by Yerba Buena Center For the Arts film curator Joel Shepard, examine the tightrope between responsibility to one’s self (and one’s own needs, no matter how base) and one’s responsibility to others, be they relatives or the larger community. Shindo was marked forever, though not embittered, by the destruction of Hiroshima. His finest work displays a remarkable willingness to understand even the most callous behavior, an approach that engages the viewer’s empathy without speechifying or moralizing.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/nakedisland.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Naked Island\u003c/i>\u003c/p>\n\u003cp>\u003ci>The Naked Island\u003c/i> (Aug. 9, 7:30pm and Aug. 12, 2pm), made for a pittance in 1960 when Shindo’s production company was on the verge of going belly-up, is a mesmerizing, nonverbal study of a stoic couple with two young sons living atop a hilly island. At first glance, their self-sufficient life in scenic solitude seems idyllic. Then we see, again and again, the extraordinary physical labor required to collect and carry fresh water, row it home, and lug it up a slender path — without spilling! — for crops, goats, chickens and themselves. The work is backbreaking and unrelenting, yet Shindo tempers it by granting us the pleasure of watching elegant, practiced movements.\u003c/p>\n\u003cp>You have to figure out the relationships between people in Shindo’s films, not only how individuals are related but how they relate to each other. Divining the balance of power and the division of labor (and emotion), in this case between the mother and father, is endlessly fascinating. The persistence on display — which mirrors the life-goes-on determination of the Japanese people after the war — is a vote of affirmation for the continuance of civilization. Who says art can’t be simultaneously sobering and inspiring?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/onibaba.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Onibaba\u003c/i>\u003c/p>\n\u003cp>Civilization has destroyed itself and the world is upside down in the war-ridden medieval period of \u003ci>Onibaba\u003c/i> (\u003ci>The Hole\u003c/i>, Aug. 23, 7:30pm and Aug. 26, 2pm). In a vast, grassy field, a fierce mother (Nobuko Otawa) and sexy daughter-in-law (Jitsuko Yoshimura) prey on wounded and separated samurai, robbing the bodies of armor and weapons (which they fence for millet) before dumping them into a pit. Their primitivism approaches barbarism, and the return of an equally devious and feral man from the distant battles, bearing news that their son/husband is dead, does nothing to moderate the women’s behavior.\u003c/p>\n\u003cp>The younger woman, who’s been without a man for longer than we can guess, can’t resist sneaking out to the neighbor’s hut in the middle of the night for bouts of raw sex. (Shindo uses the roar of wind through the high grass to evoke lust as a force of nature, miraculously avoiding cliché or self-parody.) The mother-in-law, afraid of eventually losing her daughter-in-law and being abandoned to her own devices, and recognizing the absence of laws (and law enforcers), masquerades as a demon to keep the carnal conspirators apart. What could go wrong? Plenty. Despite, or because of, its simplicity, \u003ci>Onibaba\u003c/i> (1964) is a riveting parable of the tenuous line that separates human beings from animals, or worse.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/kuroneko.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Kuroneko\u003c/i>\u003c/p>\n\u003cp>Refreshingly, Shindo’s great films don’t present women as victims, even when they are persecuted. \u003ci>Kuroneko\u003c/i> (\u003ci>Black Cat\u003c/i>, Aug. 16, 7:30pm and Aug. 19, 2pm) begins with a rape —- a double rape, in fact — and a double killing at the hands of a band of ravenous samurai. The murdered women return as ghosts with the sole goal of seducing and killing samurai. The spoiled emperor orders the head of his samurai to destroy the ghosts who are thinning his forces; he, in turn, delegates the job to a newly minted samurai who proved his bravery against a bigger, stronger man.\u003c/p>\n\u003cp>The twist — there had to be one, right? — is the would-be slayer recognizes the ghosts as his lovely wife (Kiwako Taichi) and mother (the redoubtable Nobuko Otawa, again). With breathtaking audacity and dazzling seamlessness, Shindo grants husband and (ghost) wife a lengthy romantic interlude, wrapped in a lush score. Alas, this dream cannot continue indefinitely, for samurai and ghost have orders to destroy the other.\u003c/p>\n\u003cp>The weak, amoral samurai in \u003ci>Onibaba\u003c/i> and \u003ci>Kuroneko\u003c/i> can be seen not only as avatars of corruption but as casualties of war. The ordinary people, meanwhile, are entrusted with keeping the flame of society burning. This mini-retrospective is the ideal introduction to a thoroughly modern filmmaker who camouflaged deep themes with vivid atmospheres and limited dialogue.\u003c/p>\n\u003cp>\u003cb>Kaneto Shindo Remembered\u003c/b> runs August 19-26, 2012 at Yerba Buena Center For the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/kaneto-shindo-remembered\">more information\u003c/a> visit ybca.org.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\n\u003c/p>\n\u003c/div>\u003c/p>",
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"title": "Theo Rigby Tells a Local Immigration Story in 'Sin País'",
"headTitle": "Theo Rigby Tells a Local Immigration Story in ‘Sin País’ | KQED",
"content": "\u003cp>If you tune into PBS’s \u003ci>P.O.V.\u003c/i> on Thursday (as you should), you will see \u003ci>Short Cuts\u003c/i>, a collection of short films, including \u003ca href=\"http://storycorps.org/animation/\">3 animated shorts from \u003ci>StoryCorps\u003c/i>\u003c/a> and the Academy Award-nominated \u003ci>The Barber of Birmingham\u003c/i>. You will also see a film that hits close to home: \u003ci>Sin País\u003c/i>, the story of the Mejia family, a mixed-immigration status family in San Francisco, trying to stay together after the parents are deported back to Guatemala. The film started as a thesis project at Stanford and has already won a Student Academy Award. The young director of the film, Theo Rigby, lives in San Francisco. In July, Theo, who is, not surprisingly a really nice guy, invited me to his studio in Dogpatch to discuss the film and what drew him to explore the human side of the immigration debate.\u003c/p>\n\u003cp>When Theo entered Stanford’s film program in 2008, he was already interested in the lives of immigrants. As a documentary photographer, he had traveled to the U.S.-Mexico border and immersed himself in the culture, learning about mixed-status families and the liminal lives they lead there. Theo became deeply involved in the stories of the people he was photographing, even helping one woman and her daughter raise money to get out of jail when they were caught by Border Patrol. His connection with that family went from being scientific to personal and Theo says: “After that whole experience, all these immigration issues that we read about and see in the news, kind of like talking point issues, became super real.”\u003c/p>\n\u003cp>[vimeo 11124305 w=480 h=272] \u003c/p>\n\u003cp>\u003ca href=\"http://vimeo.com/11124305\">Sin País (Without Country)__Trailer\u003c/a> from \u003ca href=\"http://vimeo.com/theorigby\">Theo Rigby\u003c/a> on \u003ca href=\"http://vimeo.com\">Vimeo\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So when Theo decided to move his focus from still photography to documentary film, the choice to focus on immigration was an easy one. He put the call out that he was looking for a family to do a documentary with and found the subjects of his film \u003ci>Sin País\u003c/i> at what turned out to be a very fortuitous time (for the film, not for the family). “I actually met the Mejia family in the middle of October 2009, two weeks before Sam and Elida were set to be deported,” he told me. “Basically they had been in the local news… and I got in touch with them through an activist they were working with to get their story out. I called Gilbert [the 19-year-old son] and he’s like ‘Yeah, sounds cool, come over and talk to my family and we’ll see.’ So I walked into their house and we all sat down in the living room in a circle, Gilbert and Helen, who was then 14, Sam and Elida the parents and Dulce who was 5 years old. And I don’t remember what I said exactly but I pitched them the film that became \u003ci>Sin País\u003c/i>.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sinpais.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Theo made it clear that if he told their story, he wanted to be fully involved and tell it as honestly as possible. He also wanted to go to Guatemala, if Sam and Elida were deported, to show both sides of the border. The family got behind the idea immediately, not just to get their own story out but because they hoped to put a human face on the experience of being an undocumented immigrant in the U.S.\u003c/p>\n\u003cp>The trust they put in Theo ultimately paid off. He followed the family through one of the greatest challenges they had ever faced, all the way to Guatemala, becoming part of their lives. The result was \u003ci>Sin País\u003c/i>, which manages to illuminate a small corner of a huge national issue, following a family that would otherwise be only a statistic and, for me at least, make you wonder what kind of secret stories your neighbors might living with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/theorigby.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sin País\u003c/i> filmmaker, Theo Rigby.\u003c/p>\n\u003cp>When I asked Theo how he managed to tell such an affecting and personal story about the experience of being an undocumented Latino immigrant in this country, especially seeing as he’s a white guy born in the United States (maybe an unnecessarily hard hitting question, but I was curious), he answered: “I think a lot of it has to do with intent. If I am very clear and honest about my intent and what I want to do, I can’t tell you what movie I am going to make because that happens in editing, that happens in life, it happens in five million factors, but I can tell you where I am coming from and how I feel about and what I want for the world and what I want for you and your family… And I need to be continually curious and asking questions and always learning… When it comes down to it, it’s a collaboration, too.”\u003c/p>\n\u003cp>It’s because of this honesty and curiosity that \u003ci>Sin País\u003c/i> is able to tell a human story about a very difficult situation without ever becoming sentimental or manipulative. In under 20 minutes, this is a huge feat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch \u003ca href=\"http://sinpaisfilm.com/\">Sin País\u003c/a> on \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=19194\">Thursday, August 9 at 10pm\u003c/a> on KQED 9 or \u003ca href=\"http://itunes.apple.com/us/app/pbs/id410053365?mt=8\">stream it on your iPad from P.O.V.\u003c/a>\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you tune into PBS’s \u003ci>P.O.V.\u003c/i> on Thursday (as you should), you will see \u003ci>Short Cuts\u003c/i>, a collection of short films, including \u003ca href=\"http://storycorps.org/animation/\">3 animated shorts from \u003ci>StoryCorps\u003c/i>\u003c/a> and the Academy Award-nominated \u003ci>The Barber of Birmingham\u003c/i>. You will also see a film that hits close to home: \u003ci>Sin País\u003c/i>, the story of the Mejia family, a mixed-immigration status family in San Francisco, trying to stay together after the parents are deported back to Guatemala. The film started as a thesis project at Stanford and has already won a Student Academy Award. The young director of the film, Theo Rigby, lives in San Francisco. In July, Theo, who is, not surprisingly a really nice guy, invited me to his studio in Dogpatch to discuss the film and what drew him to explore the human side of the immigration debate.\u003c/p>\n\u003cp>When Theo entered Stanford’s film program in 2008, he was already interested in the lives of immigrants. As a documentary photographer, he had traveled to the U.S.-Mexico border and immersed himself in the culture, learning about mixed-status families and the liminal lives they lead there. Theo became deeply involved in the stories of the people he was photographing, even helping one woman and her daughter raise money to get out of jail when they were caught by Border Patrol. His connection with that family went from being scientific to personal and Theo says: “After that whole experience, all these immigration issues that we read about and see in the news, kind of like talking point issues, became super real.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>So when Theo decided to move his focus from still photography to documentary film, the choice to focus on immigration was an easy one. He put the call out that he was looking for a family to do a documentary with and found the subjects of his film \u003ci>Sin País\u003c/i> at what turned out to be a very fortuitous time (for the film, not for the family). “I actually met the Mejia family in the middle of October 2009, two weeks before Sam and Elida were set to be deported,” he told me. “Basically they had been in the local news… and I got in touch with them through an activist they were working with to get their story out. I called Gilbert [the 19-year-old son] and he’s like ‘Yeah, sounds cool, come over and talk to my family and we’ll see.’ So I walked into their house and we all sat down in the living room in a circle, Gilbert and Helen, who was then 14, Sam and Elida the parents and Dulce who was 5 years old. And I don’t remember what I said exactly but I pitched them the film that became \u003ci>Sin País\u003c/i>.”\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sinpais.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003c/p>\n\u003cp>Theo made it clear that if he told their story, he wanted to be fully involved and tell it as honestly as possible. He also wanted to go to Guatemala, if Sam and Elida were deported, to show both sides of the border. The family got behind the idea immediately, not just to get their own story out but because they hoped to put a human face on the experience of being an undocumented immigrant in the U.S.\u003c/p>\n\u003cp>The trust they put in Theo ultimately paid off. He followed the family through one of the greatest challenges they had ever faced, all the way to Guatemala, becoming part of their lives. The result was \u003ci>Sin País\u003c/i>, which manages to illuminate a small corner of a huge national issue, following a family that would otherwise be only a statistic and, for me at least, make you wonder what kind of secret stories your neighbors might living with.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/theorigby.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sin País\u003c/i> filmmaker, Theo Rigby.\u003c/p>\n\u003cp>When I asked Theo how he managed to tell such an affecting and personal story about the experience of being an undocumented Latino immigrant in this country, especially seeing as he’s a white guy born in the United States (maybe an unnecessarily hard hitting question, but I was curious), he answered: “I think a lot of it has to do with intent. If I am very clear and honest about my intent and what I want to do, I can’t tell you what movie I am going to make because that happens in editing, that happens in life, it happens in five million factors, but I can tell you where I am coming from and how I feel about and what I want for the world and what I want for you and your family… And I need to be continually curious and asking questions and always learning… When it comes down to it, it’s a collaboration, too.”\u003c/p>\n\u003cp>It’s because of this honesty and curiosity that \u003ci>Sin País\u003c/i> is able to tell a human story about a very difficult situation without ever becoming sentimental or manipulative. In under 20 minutes, this is a huge feat.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Watch \u003ca href=\"http://sinpaisfilm.com/\">Sin País\u003c/a> on \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=19194\">Thursday, August 9 at 10pm\u003c/a> on KQED 9 or \u003ca href=\"http://itunes.apple.com/us/app/pbs/id410053365?mt=8\">stream it on your iPad from P.O.V.\u003c/a>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "5 Things You Didn't Know about The Castro Theatre",
"headTitle": "5 Things You Didn’t Know about The Castro Theatre | KQED",
"content": "\u003cp>The Golden Gate Bridge! The Palace of Fine Arts! Golden Gate Park! The row houses from Full House! Bi-Rite! All landmarks that make San Francisco the best city in the U.S. (yep, I said it). But, above all the beautiful spots in this town, there is one that holds the key to my heart: the Castro Theatre. About a year ago, some jerk spread a rumor on the internets about how the Castro might be closing down for good. My reaction can be best expressed through \u003ca href=\"http://25.media.tumblr.com/tumblr_m27bi7C3d51r6aoq4o1_500.gif\">this animated gif\u003c/a>. It was almost as bad as that time I was 11 and stayed up until 5am crying and trying to communicate with Anne Frank’s ghost.\u003c/p>\n\u003cp>Suffice it to say that this particular movie palace is an important part of my life. When I first visited SF in April 2006, the hills and the vistas and the gentle people made me start considering a permanent move, but a viewing of \u003ci>The Shining\u003c/i> at the Castro sealed the deal (I had never seen it ’cause I used to be a hopeless philistine). Beyond Shelley Duvall’s \u003ca href=\"http://24.media.tumblr.com/tumblr_m7ug5f3gPO1r2bxepo1_500.gif\">spastic\u003c/a>, \u003ca href=\"http://25.media.tumblr.com/tumblr_m77jidNW2W1rxepu2o2_500.gif\">knife-flailing\u003c/a> \u003ca href=\"http://25.media.tumblr.com/tumblr_m76gjvshYa1qbdgk6o3_500.gif\">dramatics\u003c/a>, I was taken by the architecture, the murals, the organ player, and that intergalactic-looking chandelier. Since then, I’ve experienced many a \u003ci>Sound of Music\u003c/i> sing-along, taken refuge in the theater for a nap during a storm, and unexpectedly cried into my smuggled-in burrito at the end of \u003ci>Lost in Translation\u003c/i> (get over it, Sofia haters). I treat the Castro like my living room: a perfectly acceptable forum in which to sing off-key about wayward nuns or get narcoleptic or showcase \u003ca href=\"http://24.media.tumblr.com/E9BxHe8R2q3rw0ebkWTvQa2Bo1_500.jpg\">my best ugly cry\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/castro2.jpg\">\u003c/p>\n\u003cp>During construction in 1922\u003cbr>source: \u003ca href=\"http://www.oscars.org/events-exhibitions/features/summer-of-silents/films.html\">oscars.org\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/c.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Pre-1937 interior shot with original chandelier that was destroyed in a fire\u003cbr>source: \u003ca href=\"http://www2.hawaii.edu/~angell/thsa/gl-levin.html\">Collection of Steve Levin\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/ccc.jpg\">\u003c/p>\n\u003cp>April 1948\u003cbr>source: \u003ca href=\"http://www.flickr.com/photos/78918837@N00/2939620484\">flickr\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And now this heaven on earth is celebrating its 90th birthday, starting this weekend! But before we get to the special events they have in store for us, let’s crack a history book and learn a thing or two about this crown jewel.\u003c/p>\n\u003cp>1. The Castro Theatre originally was located at 479 Castro Street when it opened in 1910, before moving to its rightful place at 429 Castro in 1922. The first location is now a retail store you might be familiar with by the name of Cliff’s Variety (whoa).\u003c/p>\n\u003cp>2. When the Castro Theatre we know and love opened on June 22, 1922, a silent film called \u003ci>Across the Continent\u003c/i> starring a morphine-addicted Wallace Reid was screened. As I’ve never heard a thing about that movie, I’m just going to pretend it was a Buster Keaton short.\u003c/p>\n\u003cp>3. The Castro’s architect, Timothy Pflueger, was self-taught and also designed Oakland’s Paramount Theatre, the luxurious cocktail lounge Top of the Mark, and some of the leading skyscrapers in San Francisco. Who needs college?\u003c/p>\n\u003cp>4. The Nasser brothers, sons of Lebanese immigrants, built the theatre at a cost of $300,000 and it has remained in their family to this very day!\u003c/p>\n\u003cp>5. The iconic vertical neon sign and marquee weren’t added until the late 1930s. The neon on both was restored in 2008 for the filming of Gus Van Sant’s biopic \u003ci>Milk\u003c/i>. Side note: I almost was an extra in that movie, before being deemed too skinny for the era by a casting director. How rude!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/castro3.jpg\">\u003c/p>\n\u003cp>Now that you’re a lot smarter, you’ve earned some anniversary intel! Kicking things off tonight is Jesse Hawthorne’s fantastic \u003ca href=\"http://www.midnitesformaniacs.com/\">\u003cb>Midnites for Maniacs\u003c/b>\u003c/a> series with a “Disco 4eva” triple bill of \u003ci>Roller Boogie\u003c/i>, \u003ci>Xanadu\u003c/i>, and \u003ci>Car Wash\u003c/i> (Linda Blair and Olivia Newton-John and Richard Pryor, oh my!). On Saturday, bring your parrot umbrellas or chimney brushes for a chance to win the costume contest at the \u003ci>Mary Poppins\u003c/i> sing-along. Then, on Sunday, watch curtains become gowns and Clark Gable not give a damn at a screening of \u003ci>Gone with the Wind\u003c/i> at 2pm, as well as a 30-minute concert by David Hegarty on the Mighty Wurlitzer Organ at 7:30pm right before the (\u003ca href=\"http://www.huffingtonpost.com/2012/08/01/sight-and-sound-2012-vertigo-citizen-kane_n_1729685.html\">recently-dethroned\u003c/a>) favorite of film snobs everywhere, \u003ci>Citizen Kane\u003c/i>. Later this month, on August 11th, don’t miss \u003cb>The Poseidon Event-ure\u003c/b> with ’60s icon Carol Lynley and \u003ca href=\"http://24.media.tumblr.com/tumblr_m7l28cWYxZ1qdorwao1_1280.jpg\">a Shelley Winters look-alike contest\u003c/a>! There are countless other offerings throughout the month so do yourself a favor and \u003ca href=\"http://www.castrotheatre.com/\">check out the theatre’s calendar\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And next time you visit the Castro Theatre, take a moment to really look around and appreciate the space, the history, and the 90 years worth of people who felt the same love we feel for this marvel of a landmark.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The Golden Gate Bridge! The Palace of Fine Arts! Golden Gate Park! The row houses from Full House! Bi-Rite! All landmarks that make San Francisco the best city in the U.S. (yep, I said it). But, above all the beautiful spots in this town, there is one that holds the key to my heart: the Castro Theatre. About a year ago, some jerk spread a rumor on the internets about how the Castro might be closing down for good. My reaction can be best expressed through \u003ca href=\"http://25.media.tumblr.com/tumblr_m27bi7C3d51r6aoq4o1_500.gif\">this animated gif\u003c/a>. It was almost as bad as that time I was 11 and stayed up until 5am crying and trying to communicate with Anne Frank’s ghost.\u003c/p>\n\u003cp>Suffice it to say that this particular movie palace is an important part of my life. When I first visited SF in April 2006, the hills and the vistas and the gentle people made me start considering a permanent move, but a viewing of \u003ci>The Shining\u003c/i> at the Castro sealed the deal (I had never seen it ’cause I used to be a hopeless philistine). Beyond Shelley Duvall’s \u003ca href=\"http://24.media.tumblr.com/tumblr_m7ug5f3gPO1r2bxepo1_500.gif\">spastic\u003c/a>, \u003ca href=\"http://25.media.tumblr.com/tumblr_m77jidNW2W1rxepu2o2_500.gif\">knife-flailing\u003c/a> \u003ca href=\"http://25.media.tumblr.com/tumblr_m76gjvshYa1qbdgk6o3_500.gif\">dramatics\u003c/a>, I was taken by the architecture, the murals, the organ player, and that intergalactic-looking chandelier. Since then, I’ve experienced many a \u003ci>Sound of Music\u003c/i> sing-along, taken refuge in the theater for a nap during a storm, and unexpectedly cried into my smuggled-in burrito at the end of \u003ci>Lost in Translation\u003c/i> (get over it, Sofia haters). I treat the Castro like my living room: a perfectly acceptable forum in which to sing off-key about wayward nuns or get narcoleptic or showcase \u003ca href=\"http://24.media.tumblr.com/E9BxHe8R2q3rw0ebkWTvQa2Bo1_500.jpg\">my best ugly cry\u003c/a>.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/castro2.jpg\">\u003c/p>\n\u003cp>During construction in 1922\u003cbr>source: \u003ca href=\"http://www.oscars.org/events-exhibitions/features/summer-of-silents/films.html\">oscars.org\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/c.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Pre-1937 interior shot with original chandelier that was destroyed in a fire\u003cbr>source: \u003ca href=\"http://www2.hawaii.edu/~angell/thsa/gl-levin.html\">Collection of Steve Levin\u003c/a>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/ccc.jpg\">\u003c/p>\n\u003cp>April 1948\u003cbr>source: \u003ca href=\"http://www.flickr.com/photos/78918837@N00/2939620484\">flickr\u003c/a>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And now this heaven on earth is celebrating its 90th birthday, starting this weekend! But before we get to the special events they have in store for us, let’s crack a history book and learn a thing or two about this crown jewel.\u003c/p>\n\u003cp>1. The Castro Theatre originally was located at 479 Castro Street when it opened in 1910, before moving to its rightful place at 429 Castro in 1922. The first location is now a retail store you might be familiar with by the name of Cliff’s Variety (whoa).\u003c/p>\n\u003cp>2. When the Castro Theatre we know and love opened on June 22, 1922, a silent film called \u003ci>Across the Continent\u003c/i> starring a morphine-addicted Wallace Reid was screened. As I’ve never heard a thing about that movie, I’m just going to pretend it was a Buster Keaton short.\u003c/p>\n\u003cp>3. The Castro’s architect, Timothy Pflueger, was self-taught and also designed Oakland’s Paramount Theatre, the luxurious cocktail lounge Top of the Mark, and some of the leading skyscrapers in San Francisco. Who needs college?\u003c/p>\n\u003cp>4. The Nasser brothers, sons of Lebanese immigrants, built the theatre at a cost of $300,000 and it has remained in their family to this very day!\u003c/p>\n\u003cp>5. The iconic vertical neon sign and marquee weren’t added until the late 1930s. The neon on both was restored in 2008 for the filming of Gus Van Sant’s biopic \u003ci>Milk\u003c/i>. Side note: I almost was an extra in that movie, before being deemed too skinny for the era by a casting director. How rude!\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/08/02/castro3.jpg\">\u003c/p>\n\u003cp>Now that you’re a lot smarter, you’ve earned some anniversary intel! Kicking things off tonight is Jesse Hawthorne’s fantastic \u003ca href=\"http://www.midnitesformaniacs.com/\">\u003cb>Midnites for Maniacs\u003c/b>\u003c/a> series with a “Disco 4eva” triple bill of \u003ci>Roller Boogie\u003c/i>, \u003ci>Xanadu\u003c/i>, and \u003ci>Car Wash\u003c/i> (Linda Blair and Olivia Newton-John and Richard Pryor, oh my!). On Saturday, bring your parrot umbrellas or chimney brushes for a chance to win the costume contest at the \u003ci>Mary Poppins\u003c/i> sing-along. Then, on Sunday, watch curtains become gowns and Clark Gable not give a damn at a screening of \u003ci>Gone with the Wind\u003c/i> at 2pm, as well as a 30-minute concert by David Hegarty on the Mighty Wurlitzer Organ at 7:30pm right before the (\u003ca href=\"http://www.huffingtonpost.com/2012/08/01/sight-and-sound-2012-vertigo-citizen-kane_n_1729685.html\">recently-dethroned\u003c/a>) favorite of film snobs everywhere, \u003ci>Citizen Kane\u003c/i>. Later this month, on August 11th, don’t miss \u003cb>The Poseidon Event-ure\u003c/b> with ’60s icon Carol Lynley and \u003ca href=\"http://24.media.tumblr.com/tumblr_m7l28cWYxZ1qdorwao1_1280.jpg\">a Shelley Winters look-alike contest\u003c/a>! There are countless other offerings throughout the month so do yourself a favor and \u003ca href=\"http://www.castrotheatre.com/\">check out the theatre’s calendar\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>And next time you visit the Castro Theatre, take a moment to really look around and appreciate the space, the history, and the 90 years worth of people who felt the same love we feel for this marvel of a landmark.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "Dog Days: 5 to Watch",
"headTitle": "Dog Days: 5 to Watch | KQED",
"content": "\u003cp>So close, and yet so far away. Fall is the best and busiest season for serious filmgoers, as distributors acknowledge both the return of children to school (the ritual emptying of the multiplexes) and the upcoming Oscar race (the ritual self-congratulating of egomaniacs, bullies and the occasional talented original). The perennial question is how to weather the sultry August doldrums, and bridge the gap ’til Labor Day. Here are a handful of suggestions.\u003c/p>\n\u003cp>1. The Castro celebrates its 90th anniversary the entire month with a sumptuous smorgasbord of repertory riches, including a John Huston retrospective on Tuesdays. The big kickoff unfolds this weekend, with the \u003ci>Sing-Along Mary Poppins\u003c/i> and a double bill of \u003ci>The Big Sleep\u003c/i> and \u003ci>Where Danger Lives\u003c/i> on Sat., Aug. 4 and \u003ci>Gone With the Wind\u003c/i> and \u003ci>Citizen Kane\u003c/i> on Sun., Aug. 5. For \u003ca href=\"http://www.castrotheatre.com/\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panicinstreets.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Panic in the Streets\u003c/i>\u003c/p>\n\u003cp>2. August reeks to us of imminent endings, with its lingering childhood echoes of the last free days of summer giving way to button-down shirts, long pants, a frowning teacher and fixed rows of desks. On that melancholy note, the San Francisco Film Society’s ambitious year-round exhibition venture, SFFS Cinema, ends its all-too-brief existence with the Tues., Aug. 28 double bill of Elia Kazan’s \u003ci>Panic In the Streets\u003c/i> and Steven Soderbergh’s \u003ci>Contagion\u003c/i>. The theater, in the New People building in Japantown, goes out with a flurry of great programming including the \u003ci>The Devil, Probably\u003c/i> (Aug. 3-9), a typically enigmatic and unflinching chunk of philosophy, morality and spirituality circa 1977 by the utterly unique French master Robert Bresson. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema.aspx/\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lajetee.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>La Jetée\u003c/i>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>3. Another mysterious and legendary French filmmaker, Chris Marker, died July 31, one day after he turned 91. All of his work deals with memory and history, which is to say the fragility and the preservation of civilization and dignity. (My description sounds less intellectual and ephemeral when you consider that Marker was forever marked by the murders of countless innocents during World War II.) SFMOMA shows his best-known work, \u003ci>La Jetée\u003c/i> (1963), a science fiction saga constructed (almost) entirely from still photos, with Maya Deren and Alexander Hammid’s classic 1943 short \u003ci>Meshes of the Afternoon\u003c/i> for free at noon on Tues., Aug 7 as part of the ongoing \u003cb>Cindy Sherman Selects\u003c/b> film series. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2120/\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sixteen-candles.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sixteen Candles\u003c/i>\u003c/p>\n\u003cp>4. August is the perfect month for relaxing in front of a giant movie screen outdoors under the stars (or the fog bank). Film Night in the Park does the honors, with a lineup that includes \u003ci>Sixteen Candles\u003c/i>in San Francisco’s Dolores Park (Sat., Aug. 4), \u003ci>The Artist\u003c/i> (Fri., Aug. 10) and \u003ci>Kung Fu Panda II\u003c/i> (Sat., Aug. 18) in San Anselmo and \u003ci>After the Thin Man\u003c/i> (Sat., Aug. 25) in Union Square. For \u003ca href=\"http://www.filmnight.org/schedules-by-year/2012-films/\">more information\u003c/a> visit filmnight.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brain-that-wouldnt-die.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Brain That Wouldn’t Die\u003c/i>\u003c/p>\n\u003cp>The Pacific Film Archive supplies the open-air treats for East Bay film buffs with Summer Cinema on Center Street, a trio of Saturday night hootenannies in downtown Berkeley. The theme is campy but “thoughtful” sci-fi, featuring \u003ci>The Atomic Brain\u003c/i> (Aug. 4), \u003ci>Donovan’s Brain\u003c/i> (Aug. 11) and \u003ci>The Brain That Wouldn’t Die\u003c/i> (Aug. 18). For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/summercinema/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/a-nos-amours.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Nos Amours\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>5. As a kind of gentle and inviting introduction to the fall movie season, \u003ci>S.F. Chronicle\u003c/i> critic Mick LaSalle presents “The Beauty of the Real” at the Smith Rafael Film Center in San Rafael Aug. 12-14 and at the Roxie in San Francisco Aug. 17-23. Drawing on the research he did for his new book, \u003ci>The Beauty of the Real: A Celebration of Contemporary French Actresses\u003c/i>, LaSalle has chosen to screen several films that were never released in the U.S. If Gallic leading ladies can’t chase your summertime blues, nothing can. For more information \u003ca href=\"http://roxie.com/events/details.cfm?EventID=8EF9B0DB-1143-DBB3-C66D908714688B3F&View=weeklist&linkDate=%7Bts%20%272012%2D08%2D17%2000%3A00%3A00%27%7D%20/\">visit roxie.com\u003c/a> and \u003ca href=\"http://%20http://www.cafilm.org/rfc/films/1739.html/\">visit cafilm.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>So close, and yet so far away. Fall is the best and busiest season for serious filmgoers, as distributors acknowledge both the return of children to school (the ritual emptying of the multiplexes) and the upcoming Oscar race (the ritual self-congratulating of egomaniacs, bullies and the occasional talented original). The perennial question is how to weather the sultry August doldrums, and bridge the gap ’til Labor Day. Here are a handful of suggestions.\u003c/p>\n\u003cp>1. The Castro celebrates its 90th anniversary the entire month with a sumptuous smorgasbord of repertory riches, including a John Huston retrospective on Tuesdays. The big kickoff unfolds this weekend, with the \u003ci>Sing-Along Mary Poppins\u003c/i> and a double bill of \u003ci>The Big Sleep\u003c/i> and \u003ci>Where Danger Lives\u003c/i> on Sat., Aug. 4 and \u003ci>Gone With the Wind\u003c/i> and \u003ci>Citizen Kane\u003c/i> on Sun., Aug. 5. For \u003ca href=\"http://www.castrotheatre.com/\">more information\u003c/a> visit castrotheatre.com.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/panicinstreets.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Panic in the Streets\u003c/i>\u003c/p>\n\u003cp>2. August reeks to us of imminent endings, with its lingering childhood echoes of the last free days of summer giving way to button-down shirts, long pants, a frowning teacher and fixed rows of desks. On that melancholy note, the San Francisco Film Society’s ambitious year-round exhibition venture, SFFS Cinema, ends its all-too-brief existence with the Tues., Aug. 28 double bill of Elia Kazan’s \u003ci>Panic In the Streets\u003c/i> and Steven Soderbergh’s \u003ci>Contagion\u003c/i>. The theater, in the New People building in Japantown, goes out with a flurry of great programming including the \u003ci>The Devil, Probably\u003c/i> (Aug. 3-9), a typically enigmatic and unflinching chunk of philosophy, morality and spirituality circa 1977 by the utterly unique French master Robert Bresson. For \u003ca href=\"http://www.sffs.org/Exhibition/SF-Film-Society-Cinema.aspx/\">more information\u003c/a> visit sffs.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/lajetee.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>La Jetée\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>3. Another mysterious and legendary French filmmaker, Chris Marker, died July 31, one day after he turned 91. All of his work deals with memory and history, which is to say the fragility and the preservation of civilization and dignity. (My description sounds less intellectual and ephemeral when you consider that Marker was forever marked by the murders of countless innocents during World War II.) SFMOMA shows his best-known work, \u003ci>La Jetée\u003c/i> (1963), a science fiction saga constructed (almost) entirely from still photos, with Maya Deren and Alexander Hammid’s classic 1943 short \u003ci>Meshes of the Afternoon\u003c/i> for free at noon on Tues., Aug 7 as part of the ongoing \u003cb>Cindy Sherman Selects\u003c/b> film series. For \u003ca href=\"http://www.sfmoma.org/exhib_events/events/2120/\">more information\u003c/a> visit sfmoma.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/sixteen-candles.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Sixteen Candles\u003c/i>\u003c/p>\n\u003cp>4. August is the perfect month for relaxing in front of a giant movie screen outdoors under the stars (or the fog bank). Film Night in the Park does the honors, with a lineup that includes \u003ci>Sixteen Candles\u003c/i>in San Francisco’s Dolores Park (Sat., Aug. 4), \u003ci>The Artist\u003c/i> (Fri., Aug. 10) and \u003ci>Kung Fu Panda II\u003c/i> (Sat., Aug. 18) in San Anselmo and \u003ci>After the Thin Man\u003c/i> (Sat., Aug. 25) in Union Square. For \u003ca href=\"http://www.filmnight.org/schedules-by-year/2012-films/\">more information\u003c/a> visit filmnight.org.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/brain-that-wouldnt-die.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>The Brain That Wouldn’t Die\u003c/i>\u003c/p>\n\u003cp>The Pacific Film Archive supplies the open-air treats for East Bay film buffs with Summer Cinema on Center Street, a trio of Saturday night hootenannies in downtown Berkeley. The theme is campy but “thoughtful” sci-fi, featuring \u003ci>The Atomic Brain\u003c/i> (Aug. 4), \u003ci>Donovan’s Brain\u003c/i> (Aug. 11) and \u003ci>The Brain That Wouldn’t Die\u003c/i> (Aug. 18). For \u003ca href=\"http://www.bampfa.berkeley.edu/filmseries/summercinema/\">more information\u003c/a> visit bampfa.berkeley.edu.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/a-nos-amours.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>A Nos Amours\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>5. As a kind of gentle and inviting introduction to the fall movie season, \u003ci>S.F. Chronicle\u003c/i> critic Mick LaSalle presents “The Beauty of the Real” at the Smith Rafael Film Center in San Rafael Aug. 12-14 and at the Roxie in San Francisco Aug. 17-23. Drawing on the research he did for his new book, \u003ci>The Beauty of the Real: A Celebration of Contemporary French Actresses\u003c/i>, LaSalle has chosen to screen several films that were never released in the U.S. If Gallic leading ladies can’t chase your summertime blues, nothing can. For more information \u003ca href=\"http://roxie.com/events/details.cfm?EventID=8EF9B0DB-1143-DBB3-C66D908714688B3F&View=weeklist&linkDate=%7Bts%20%272012%2D08%2D17%2000%3A00%3A00%27%7D%20/\">visit roxie.com\u003c/a> and \u003ca href=\"http://%20http://www.cafilm.org/rfc/films/1739.html/\">visit cafilm.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Tomorrow night the writer and filmmaker George Csicsery, an undersung Oakland-based stalwart of the Bay Area cinema scene, returns to the Roxie for a screening and discussion of his most recent film. And if anything can fill out a perfect double-bill with \u003ci>Sprout Wings and Fly\u003c/i>, local legend Les Blank’s half-hour documentary appreciation of Appalachian fiddler Tommy Jarrell, it has to be Csicsery’s \u003ci>Songs Along a Stony Road\u003c/i>.\u003c/p>\n\u003cp>A German native born to Hungarian parents, Csicsery came to the U.S. in 1951 and has been cranking out films according less to commercial fashion than to his own curiosities since the late 1960s. Over the years his unpretentious cultural chronicles, mostly in the documentary mode, have introduced viewers to unionized hookers, false accusers, romance writers, Black Panthers (and the cops who clashed with them), eccentric mathematicians, and many other highly authentic human figures.\u003c/p>\n\u003cp>His latest, made with co-producer Chris Teerink, spends an hour with Transylvanian ethnomusicologist Zoltán Kallós gathering music and folklore from throughout the villages and hills and misty fields of a hauntingly medieval-sounding Romania. As becomes aurally apparent, Kallós’ project is not unlike a similar one long ago undertaken by the Hungarian master Béla Bartók, whose radically proto-modern orchestral compositions surged with the vitality of Eastern European folk music.\u003c/p>\n\u003cp>Csicsery has said he intended this film partly as preservation of “a vanishing heritage,” and that much becomes poignantly clear as he and Kallós come upon people well past what we’d call retirement age — fiddlers, flutists, farmers — with faces like features of their ancient rural landscapes and music flowing through their lives as naturally and as fleetingly as breath. Singing mournful tales to themselves and each other over strenuous manual labor, sipping shots of homemade brandy with shaky hands, they seem gravely accustomed to displacement — as if at peace with an impending return to the well-toiled earth, and with being gone from tomorrow’s world.\u003c/p>\n\u003cp>“Things are better than they were in \u003ca href=\"http://en.wikipedia.org/wiki/Nicolae_Ceau%C8%99escu\">Ceausescu\u003c/a>‘s days,” Kallós says with conviction but also wistfulness; since having deposed its dictator in 1989, and opened itself to European integration, Romania obviously has not been and never will be the same. The gift of \u003ci>Songs Along a Stony Road\u003c/i> is its way of letting us hear the rhythmic difference between history’s march and a rueful, tuneful roam.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003ci>Sprout Wings and Fly\u003c/i> and \u003ci>Songs Along a Stony Road\u003c/i> screen on Thursday, July 12, 2012, with directors Les Blank and George Csicsery in person, at the Roxie in San Francisco. For \u003ca href=\"http://www.roxie.com/events/details.cfm?eventID=8F4F40C6-1143-DBB3-C6A5424C3B7DA78E\"> tickets and more information\u003c/a>, visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cp>Ever since denouncing his own consultancy on China’s National Stadium as the “fake smile” of propaganda for the 2008 Beijing Olympics, the artist Ai Weiwei has been having some problems with authority. Last year he was detained for nearly three months, then put under house arrest until just a couple of weeks ago, whereupon he wrote in London’s \u003ci>Guardian\u003c/i> that “China has not established the rule of law and if there is a power above the law there is no social justice.” He still hasn’t got his passport back.\u003c/p>\n\u003cp>Of course this only stokes Ai’s celebrity, which has a lot to do with positioning himself as an artful antagonist to injustice. At heart he’s a concepts guy, and his biggest concepts — transparency and persistence — seem very useful to the study of an ascendant China at its historic crossroads between repressive hermeticism and gluttonous freedom. Fortunately Ai has been keeping videographers on hand to record his various agitations, and a handful of the resulting documentaries screen for four consecutive Sundays this month at Yerba Buena Center for the Arts.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.net/2012/07/05/weiwei1.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Fairytale\u003c/i>, courtesy Fake Design.\u003c/p>\n\u003cp>Tracking the legacy of a tragic rampage that left six security officers dead, \u003ci>One Recluse\u003c/i> peers into a morass of highly dubious state-controlled jurisprudence. \u003ci>Disturbing the Peace\u003c/i>, and its followup, \u003ci>So Sorry\u003c/i>, involve a lawyer investigating the 2008 Sichuan earthquake, which claimed hundreds of children’s lives because their school buildings weren’t safe. The lawyer’s quest for justice drew enmity from the state, which drew Ai’s documentary interest, which drew further enmity onto him, which drew further documentary interest. The measure of his tenacity isn’t that he recorded himself getting roughed up by cops; it’s that he recorded himself returning later to endure the bureaucratic tedium of filing official complaints.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"///u.s.kqed.net/2012/07/05/weiwei2.jpg\" style=\"margin-bottom: 10px\" alt=\"\">\u003cbr>\u003ci>Fairytale\u003c/i>, courtesy Fake Design.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In these pieces, Ai’s unfortunately regular routine of being watched and brusquely confronting his watchers becomes a wry and even wistful sort of performance. Obviously he has considered how attention from a camera might be applied to both artistic and authoritarian purposes, with illuminating but also deranging consequences in either case. More broadly, he also seems eager to investigate individual responses to overwhelming group dynamics — often by gathering crowds of people into de facto art installations. For \u003ci>Fairytale\u003c/i>, Ai invited a thousand and one average Chinese citizens to visit the German hometown of the Brothers Grimm. For \u003ci>Ordos 100\u003c/i>, he convened a hundred architects from all over the world to plan a city in Mongolia. “We are not interested in just producing architecture,” Ai says early on. “We are more interested in human conceptual exchange.” With the project likened by its participants to a zoo, a listless UN meeting, and the Surrealist parlor game of Exquisite Corpse (and with Ai’s narrative framework playing out in a manner not unlike the average aspirational-contest show on today’s reality TV), it seems telling that we see a lot of money counted, but no actual buildings built.\u003c/p>\n\u003cp>Conceptually speaking, again, it’s as if he sees globalization itself as just one more authority in need of a thorough challenge. And clearly he has the appropriate personal resources to pull that off. As an artist, Ai has gone in for other big blockbusters besides the Olympics, like when he filled Tate Modern’s Turbine Hall with a hundred million porcelain sunflower seeds in 2010. But maybe more important is how he’s redeemed the allure of social networking — as something politically serious, yet rebellious. It’s exciting and interesting to follow someone on Twitter who’s on it because his own government ordered him not to be. And if his tweets are interesting, how can his documentaries not be?\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Documentaries by Ai Weiwei screen July 8, 15, 22, and 29, 2012, at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org/ai-weiwei\">tickets and more information\u003c/a>, visit ybca.org.\u003c/p>\n\n",
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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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"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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"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.",
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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.",
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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.",
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"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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"rss": "http://feeds.revealradio.org/revealpodcast"
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},
"rightnowish": {
"id": "rightnowish",
"title": "Rightnowish",
"tagline": "Art is where you find it",
"info": "Rightnowish digs into life in the Bay Area right now… ish. Journalist Pendarvis Harshaw takes us to galleries painted on the sides of liquor stores in West Oakland. We'll dance in warehouses in the Bayview, make smoothies with kids in South Berkeley, and listen to classical music in a 1984 Cutlass Supreme in Richmond. Every week, Pen talks to movers and shakers about how the Bay Area shapes what they create, and how they shape the place we call home.",
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"order": 16
},
"link": "/podcasts/rightnowish",
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