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"content": "\u003cp>Movies bequeath a kind of immortality; whatever is captured on film lives forever exactly as it was that day. We can savor Cary Grant in his prime, in \u003cb>Notorious\u003c/b> or \u003cb>North by Northwest\u003c/b>, and conveniently forget that he went the way of all flesh. It’s not as easy, though, to maintain that romantic illusion about cities, for they evolve rather than die. So when we glimpse a cityscape in an old movie, we accept that the past is gone and relinquish the childish notion that it’s preserved somewhere in a vault.\u003c/p>\n\u003cp>In his latest compilation program, \u003cb>San Francisco Top to Bottom: The City Seen by Hollywood and Home Moviemakers\u003c/b>, presented by the S.F. Museum and Historical Society at the S.F. Jewish Community Center, the dedicated local film archivist and collector Rick Prelinger compels us to deal with history on its own terms. And yet, interestingly enough, he always has one eye on the future.\u003c/p>\n\u003cp>Let’s consider, first, the panoramas shot in our town by crack (or hack) studio cameramen. Prelinger has obtained material from a number of unidentified, obscure movies from the 1930s, as well as outtakes from more recent titles that may include \u003cb>Good Neighbor Sam\u003c/b> (1964), \u003cb>Guess Who’s Coming to Dinner\u003c/b> (1967) and possibly \u003cb>The Lineup\u003c/b> (1958), which features Sutro Baths (as well as a young Eli Wallach, but we’re focused on the “sets,” remember, not the actors).\u003c/p>\n\u003cp>“We’re going to see San Francisco used as a background, because these were mostly process plates, which were used for background projection,” Prelinger says. “For a scene that takes place in a car or on a train or people sitting somewhere, film would be projected as a background. Because they were shot as background plates, they present a generic San Francisco.”\u003c/p>\n\u003cp>In the original movie, this background usually looks blurry or out of focus. In fact, it was shot with a razor-sharp focus that reveals incredible detail. What’s missing in these sequences, though, is a sense that the person behind the camera connected in any way with what he was filming.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>“I’m interested in comparing them to home movies shot by engaged visitors to the city, who stopped at a place that meant something to them,” Prelinger explains. “Maybe they inscribed themselves in the picture, or they’re present in the picture, but there’s an engagement. I’m interested in counterposing an individual, personal view against a mass-media perspective that was shown all around the world.”\u003c/p>\n\u003cp>Another of Prelinger’s goals is stripping away the narrative from the images, whether the footage is from a three-act Hollywood drama or an unknown tourist’s multi-frame snapshot of living in the moment.\u003c/p>\n\u003cp>“I’m not terribly focused on conventional story,” Prelinger declares. “I don’t feel stories are hard-wired [in human beings]. I feel stories are acculturated. I’m really interested to call attention to get people to look at the material itself, to create their own narrative from sequence to sequence.”\u003c/p>\n\u003cp>Of course, Prelinger has had a good deal more practice than you or I at watching old films, and paring away the context that was originally imposed. The way he talks about it, it sounds downright invigorating,\u003c/p>\n\u003cp>“I’m really interested in looking at unedited footage, footage that has, shall we say, evidential value,” he says. “Home movies are quite pure in that way. But purest of all are these process plates, which is nothing but a camera sticking out a window driving on Grant Ave. in Chinatown. Nothing is particularly happening. In this case, this is just documentation. This is just showing what the city looked like. There’s not much more to say about the film itself.”\u003c/p>\n\u003cp>Well, not from a storytelling or character standpoint. But, Prelinger points out, \u003cb>San Francisco Top to Bottom: The City Seen by Hollywood and Home Moviemakers\u003c/b> presents a blizzard of public spaces occupied by businesses and even edifices that are no longer there. And we have a current relationship with some of those storefronts, or corners, or vista points. Prelinger invites the audience to verbally acknowledge those connections throughout the program.\u003c/p>\n\u003cp>“I encourage people to talk, to shout identifications, to dispute somebody else’s assertion,” he says. “I want to make it interactive, to make it different every time. I ask people to be uninhibited and to use their voices.”\u003c/p>\n\u003cp>As entertaining as his programs are — the annual December \u003cb>Lost Landscapes\u003c/b> show has a rabid following — Prelinger has loftier aims than simple nostalgia. He couches his agenda in a flurry of questions.\u003c/p>\n\u003cp>“What kind of city do we want? Are we going to spend all of our time just regretting what is no longer here? Or are we going to put energy into what kind of city would we like to live in? Is every building that’s thrown down a great loss, or sometimes is it an improvement when the city changes?”\u003c/p>\n\u003cp>He takes a breath, then delivers the clincher.\u003c/p>\n\u003cp>“Let’s use the footage to get at the future,” he declares. “I kind of resist thinking that this is all about the past.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>San Francisco Top to Bottom: The City Seen by Hollywood and Home Moviemakers\u003c/b> begins at 7:30pm, Tuesday, June 14, 2011 at Kanbar Hall in the Jewish Community Center of San Francisco, 3200 California (at Presidio). For \u003ca href=\"http://www.sfhistory.org/index.php?pageid=18/\">tickets and information\u003c/a> visit sfhistory.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>“I’m interested in comparing them to home movies shot by engaged visitors to the city, who stopped at a place that meant something to them,” Prelinger explains. “Maybe they inscribed themselves in the picture, or they’re present in the picture, but there’s an engagement. I’m interested in counterposing an individual, personal view against a mass-media perspective that was shown all around the world.”\u003c/p>\n\u003cp>Another of Prelinger’s goals is stripping away the narrative from the images, whether the footage is from a three-act Hollywood drama or an unknown tourist’s multi-frame snapshot of living in the moment.\u003c/p>\n\u003cp>“I’m not terribly focused on conventional story,” Prelinger declares. “I don’t feel stories are hard-wired [in human beings]. I feel stories are acculturated. I’m really interested to call attention to get people to look at the material itself, to create their own narrative from sequence to sequence.”\u003c/p>\n\u003cp>Of course, Prelinger has had a good deal more practice than you or I at watching old films, and paring away the context that was originally imposed. The way he talks about it, it sounds downright invigorating,\u003c/p>\n\u003cp>“I’m really interested in looking at unedited footage, footage that has, shall we say, evidential value,” he says. “Home movies are quite pure in that way. But purest of all are these process plates, which is nothing but a camera sticking out a window driving on Grant Ave. in Chinatown. Nothing is particularly happening. In this case, this is just documentation. This is just showing what the city looked like. There’s not much more to say about the film itself.”\u003c/p>\n\u003cp>Well, not from a storytelling or character standpoint. But, Prelinger points out, \u003cb>San Francisco Top to Bottom: The City Seen by Hollywood and Home Moviemakers\u003c/b> presents a blizzard of public spaces occupied by businesses and even edifices that are no longer there. And we have a current relationship with some of those storefronts, or corners, or vista points. Prelinger invites the audience to verbally acknowledge those connections throughout the program.\u003c/p>\n\u003cp>“I encourage people to talk, to shout identifications, to dispute somebody else’s assertion,” he says. “I want to make it interactive, to make it different every time. I ask people to be uninhibited and to use their voices.”\u003c/p>\n\u003cp>As entertaining as his programs are — the annual December \u003cb>Lost Landscapes\u003c/b> show has a rabid following — Prelinger has loftier aims than simple nostalgia. He couches his agenda in a flurry of questions.\u003c/p>\n\u003cp>“What kind of city do we want? Are we going to spend all of our time just regretting what is no longer here? Or are we going to put energy into what kind of city would we like to live in? Is every building that’s thrown down a great loss, or sometimes is it an improvement when the city changes?”\u003c/p>\n\u003cp>He takes a breath, then delivers the clincher.\u003c/p>\n\u003cp>“Let’s use the footage to get at the future,” he declares. “I kind of resist thinking that this is all about the past.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>San Francisco Top to Bottom: The City Seen by Hollywood and Home Moviemakers\u003c/b> begins at 7:30pm, Tuesday, June 14, 2011 at Kanbar Hall in the Jewish Community Center of San Francisco, 3200 California (at Presidio). For \u003ca href=\"http://www.sfhistory.org/index.php?pageid=18/\">tickets and information\u003c/a> visit sfhistory.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If you know of Davy Rothbart at all, you probably know him as the editor of \u003ca href=\"http://www.foundmagazine.com/\">\u003ci>Found Magazine\u003c/i>\u003c/a>, a scrap book of sorts that collects scraps of other people’s lives. The magazine (and several spin-off books and live, staged incarnations) is a catalogue of notes, letters and other odd text tidbits that once were lost and now are found.\u003c/p>\n\u003cp>\u003cb>My Heart Is an Idiot\u003c/b>, a new documentary directed by David Meiklejohn, chronicles a few months in the life of Rothbart during his coast-to-coast tour to promote his magazine.\u003c/p>\n\u003cp>There’s a rich tradition to the art of the found. From Marcel Duchamp’s readymades on down, found art has been a thing for some time. Often the artist (or archeo-artist, as it were) simply puts an ironic frame around an item and recontextualizes it. Found performance repurposes its source material. For instance, verbatim theater encourages an audience to listen in a new way. (Anna Deavere Smith does this powerfully in \u003ca href=\"http://www.berkeleyrep.org/season/1011/4556.asp\">\u003cb>Let Me Down Easy\u003c/b>\u003c/a> now at Berkeley Rep.) Found comedy (Think: \u003ca href=\"http://www.getmortified.com/\">Mortified\u003c/a> or \u003ca href=\"http://www.celebrityautobiography.com/\">Celebrity Autobiography: In Their Own Words\u003c/a>) takes the accidentally hilarious and shines a spotlight on it.\u003c/p>\n\u003cp>And no doubt, Rothbart has a lot to say about this genre and his experience as the curator of cocktail napkins, telephone bills and, as he has said, anything that provides a glimpse into someone else’s life. As one who loves \u003ci>Found Magazine\u003c/i> and the notion of accidental art, I was somewhat disappointed that very little of \u003cb>My Heart Is an Idiot\u003c/b> is actually spent contemplating the process or the aesthetic.\u003c/p>\n\u003cp>Instead, Meiklejohn’s film chronicles Rothbart as a love-sick romantic. Whether in the Found van on the road or in the office (his basement) or consulting his mother who is channeling the spirit of a two thousand year old monk, Davy is obsessing about the girl he wants and the girl who wants him but he’s not sure that he wants. He’s pining, whining, crying, two-timing and supposedly longing for love.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>At times the film seems like a mockumentary; sometimes it feels like reality TV (especially when Rothbart and a girlfriend “confess” to the camera). On the road, Rothbart asks almost everyone he meets for their advice. And the advice given ranges from sensible and smart to soppy and trite. He speaks to Ira Glass (smart) and Newt Gingrich (smart, yet hypocritical). Gingrich tells Rothbart to spend a million dollars at Tiffany’s — just kidding.\u003c/p>\n\u003cp>As the film collects romantic advice from strangers and friends, I want to think that it is mirroring the process of accumulating personal tidbits that mean more en masse. But I’m not sure.\u003c/p>\n\u003cp>Meanwhile if you do enjoy projects of this ilk, check out: \u003ca href=\"http://www.postsecret.com/\">Post Secret\u003c/a>, \u003ca href=\"http://listoftheday.blogspot.com/\">List of the Day\u003c/a>, \u003ca href=\"http://www.unnecessaryquotes.com/\">“Unnecessary Quotes”\u003c/a> (I couldn’t stop myself from putting that in quotes, but seriously, if you click that link you will go to the Unnecessary Quotes site and not some other mysterious location on the world wide web — ED.), and \u003ca href=\"http://engrish.com/\">Engrish.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Heart Is an Idiot\u003c/b> plays Friday and Saturday, June 10 and 11, 2011 at the Roxie Theater in San Francisco. For \u003ca href=\"http://roxie.com/events/details.cfm?eventID=092C7091-1143-DBB3-C66A061D6E105887\">tickets and information\u003c/a> visit roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If you know of Davy Rothbart at all, you probably know him as the editor of \u003ca href=\"http://www.foundmagazine.com/\">\u003ci>Found Magazine\u003c/i>\u003c/a>, a scrap book of sorts that collects scraps of other people’s lives. The magazine (and several spin-off books and live, staged incarnations) is a catalogue of notes, letters and other odd text tidbits that once were lost and now are found.\u003c/p>\n\u003cp>\u003cb>My Heart Is an Idiot\u003c/b>, a new documentary directed by David Meiklejohn, chronicles a few months in the life of Rothbart during his coast-to-coast tour to promote his magazine.\u003c/p>\n\u003cp>There’s a rich tradition to the art of the found. From Marcel Duchamp’s readymades on down, found art has been a thing for some time. Often the artist (or archeo-artist, as it were) simply puts an ironic frame around an item and recontextualizes it. Found performance repurposes its source material. For instance, verbatim theater encourages an audience to listen in a new way. (Anna Deavere Smith does this powerfully in \u003ca href=\"http://www.berkeleyrep.org/season/1011/4556.asp\">\u003cb>Let Me Down Easy\u003c/b>\u003c/a> now at Berkeley Rep.) Found comedy (Think: \u003ca href=\"http://www.getmortified.com/\">Mortified\u003c/a> or \u003ca href=\"http://www.celebrityautobiography.com/\">Celebrity Autobiography: In Their Own Words\u003c/a>) takes the accidentally hilarious and shines a spotlight on it.\u003c/p>\n\u003cp>And no doubt, Rothbart has a lot to say about this genre and his experience as the curator of cocktail napkins, telephone bills and, as he has said, anything that provides a glimpse into someone else’s life. As one who loves \u003ci>Found Magazine\u003c/i> and the notion of accidental art, I was somewhat disappointed that very little of \u003cb>My Heart Is an Idiot\u003c/b> is actually spent contemplating the process or the aesthetic.\u003c/p>\n\u003cp>Instead, Meiklejohn’s film chronicles Rothbart as a love-sick romantic. Whether in the Found van on the road or in the office (his basement) or consulting his mother who is channeling the spirit of a two thousand year old monk, Davy is obsessing about the girl he wants and the girl who wants him but he’s not sure that he wants. He’s pining, whining, crying, two-timing and supposedly longing for love.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>At times the film seems like a mockumentary; sometimes it feels like reality TV (especially when Rothbart and a girlfriend “confess” to the camera). On the road, Rothbart asks almost everyone he meets for their advice. And the advice given ranges from sensible and smart to soppy and trite. He speaks to Ira Glass (smart) and Newt Gingrich (smart, yet hypocritical). Gingrich tells Rothbart to spend a million dollars at Tiffany’s — just kidding.\u003c/p>\n\u003cp>As the film collects romantic advice from strangers and friends, I want to think that it is mirroring the process of accumulating personal tidbits that mean more en masse. But I’m not sure.\u003c/p>\n\u003cp>Meanwhile if you do enjoy projects of this ilk, check out: \u003ca href=\"http://www.postsecret.com/\">Post Secret\u003c/a>, \u003ca href=\"http://listoftheday.blogspot.com/\">List of the Day\u003c/a>, \u003ca href=\"http://www.unnecessaryquotes.com/\">“Unnecessary Quotes”\u003c/a> (I couldn’t stop myself from putting that in quotes, but seriously, if you click that link you will go to the Unnecessary Quotes site and not some other mysterious location on the world wide web — ED.), and \u003ca href=\"http://engrish.com/\">Engrish.com\u003c/a>.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>My Heart Is an Idiot\u003c/b> plays Friday and Saturday, June 10 and 11, 2011 at the Roxie Theater in San Francisco. For \u003ca href=\"http://roxie.com/events/details.cfm?eventID=092C7091-1143-DBB3-C66A061D6E105887\">tickets and information\u003c/a> visit roxie.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If the ubiquitous rainbow flags didn’t tip you off, it’s officially the month of the gays. And with that comes Frameline, San Francisco’s 35th annual international LGBT film festival. For ten whole days, gay people become more than just sassy sidekicks or crude caricatures and take center stage as human beings with their own stories to tell.\u003c/p>\n\u003cp>Film festivals can be daunting with their countless offerings so I’ve compiled a festival guide to make it easier to find what you’re looking for.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weekend.jpg\">\u003c/p>\n\u003cp>\u003cb>MUST SEE:\u003c/b> You would be foolish to miss \u003cb>Weekend\u003c/b>, Andrew Haigh’s new film that got heaps of praise at SXSW this year. The premise is pretty basic: two guys meet in a club and have what they believe to be a one-night stand, but their chance encounter blossoms into something else entirely that neither expected. In the vein of \u003cb>Before Sunrise\u003c/b>, \u003cb>Weekend\u003c/b> is a raw, honest snapshot of two ships passing in the night. Haigh chose to shoot the story in order and stick to one take with no editing and no sets. This strategy coupled with fantastic performances by Chris New and Tom Cullen make for an authentic glimpse into the everday aspects of being gay and finding one’s place in the world. \u003cb>Weekend\u003c/b> is, hands down, my favorite film from this year’s lineup. Go see it! \u003ci>Friday, June 17, 4:15p at the Castro\u003c/i>\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cho.jpg\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>LOL-WORTHY:\u003c/b> Margaret Cho, the recipient of this year’s Frameline Award, needs no introduction. A San Francisco native and outspoken advocate for the LGBT community, Cho returns to form with her latest, \u003cb>Cho Dependent\u003c/b>, which tackles her brush with the Palins on \u003ci>Dancing with the Stars\u003c/i>, some Bonnaroo port-a-potty humor, and performances of original songs from her album. And of course there are plenty of impressions of her hilarious mother, who, upon hearing that Margaret wanted to be a comedian, replied “maybe it’s just better that you die.” After a few lackluster offerings, \u003cb>Cho Dependent\u003c/b> serves as a reminder of why you fell in love with Margaret in the first place. Highly recommended! \u003ci>Sunday, June 19, 6:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chaz.jpg\">\u003c/p>\n\u003cp>\u003cb>TRANS DOC:\u003c/b> You’ve probably already heard a lot about \u003cb>Becoming Chaz\u003c/b>, the documentary that follows Chaz Bono’s transition from Sonny and Cher’s daughter to the man he always knew he was. And with good reason: Chaz gives the cameras full access to capture his gender reassignment process, from the elation that comes after his first surgery to the toll that testosterone takes on his relationship. \u003cb>Becoming Chaz\u003c/b> is unapologetically honest and allows the viewer to get a true sense of the struggle trans people face and the bravery required of them. And yes, Cher does pop up every now and then, but the gay icon’s reaction to Chaz’s transition might surprise you. \u003ci>Thursday, June 23, 7p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liotf.jpg\">\u003c/p>\n\u003cp>\u003cb>BALLROOM ELEGANZA\u003c/b>: There are some movies that lodge themselves in your innards forever and \u003cb>Paris is Burning\u003c/b> is one of those films for me. A backstage pass to the NYC ballroom scene of the late ’80s, Jennie Livingston’s documentary preserves that era and subculture for all the gays that weren’t lucky enough to witness it firsthand. I could gush on and on, but instead I’ll tell you about a brand new movie called \u003cb>Leave It on the Floor\u003c/b>. Helmed as a mix of \u003cb>Paris Is Burning\u003c/b>, \u003cb>Rent\u003c/b>, and \u003cb>Dreamgirls\u003c/b>, this musical follows Brad as he is kicked out of his house and falls into the ballroom scene. Frank Gaston Jr., the man responsible for the infectious “Single Ladies” dance routine, choreographs the film. And the musical numbers are pretty memorable too: one takes place in a church with the gay side battling verses with their homophobic relatives across the aisle, another titled “Justin’s Gonna Call” is all about Justin Timberlake. Yes, I’m serious. \u003ci>\u003cb>Paris is Burning\u003c/b> screens on Thursday, June 23, 1:15p at the Castro. \u003cb>Leave It On the Floor\u003c/b> screens on Friday, June 24, 9:30a at the Castro.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-zombie.jpg\">\u003c/p>\n\u003cp>\u003cb>BRUCE LABRUCE\u003c/b>: If you have a thing for Bruce LaBruce, you’re in luck! This year’s festival offers two servings: \u003cb>The Advocate for Fagdom\u003c/b>, a documentary about LaBruce’s career, and his latest film \u003cb>L.A. Zombie\u003c/b> starring Francois Sagat, the French porn star with hair tattooed on his head. The former explores LaBruce’s origins, early work, and influence on queer cinema, with people like John Waters offering their perspectives. The latter follows a schizophrenic homeless man who walks around L.A. attempting to resurrect corpses through gay sex. It’s essentially an extension of LaBruce’s last film \u003cb>Otto; or Up with Dead People\u003c/b>, so, if you liked that, you’ll probably like this too. Keep your eyes peeled for a cameo from Santino Rice (\u003ci>Project Runway\u003c/i> alum and \u003ci>RuPaul’s Drag Race\u003c/i> judge). \u003ci>\u003cb>The Advocate for Fagdom\u003c/b> screens on Wednesday, June 22, 7p at the Roxie. \u003cb>L.A. Zombie\u003c/b> screens on Thursday, June 23, 9:30p at the Victoria.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hay.jpg\">\u003c/p>\n\u003cp>\u003cb>ART DOC\u003c/b>: If you’ve never heard of the visual art duo Elmgreen and Dragset, \u003cb>How Are You?\u003c/b> is a perfect introduction. Jannik Splindhoel’s documentary uses archival footage of the artists from 1995 when they were dating and living in Copenhagen to color in their artistic beginnings and then fast forwards to the present day as they work on a large scale project for the Venice Biennale. Both men not only offer great insight into their work and art in general, but do so with humor and charm. As if this isn’t enough to make a great doc, the cinematography is stylish and beyond beautiful, the perfect package for such an inspiring film. Highly recommended! \u003ci>Sunday, June 19, 6:30p at the Roxie\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spork.jpg\">\u003c/p>\n\u003cp>\u003cb>CAMPY ADOLESCENCE\u003c/b>: Middle school is universally terrible for anyone who’s a little different, so you can imagine the tribulations of Spork, a girl-identified intersexed 13 year old who lives in a trailer with her brother Spit and her taxidermied dog. Betsey Byotch and the Byotches, a troupe of teased mean girls with an ’80s fetish, bully Spork to the brink of madness. But just when Spork thinks her life will never get better, her sassy trailer neighbor Tootsie Roll comes to the rescue and introduces her to the wonders of breaking it down on the dancefloor. Campy fun with a killer soundtrack. \u003ci>Sunday, June 19, 1p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghr.jpg\">\u003c/p>\n\u003cp>\u003cb>TRANS DRAMA IN THE BRONX:\u003c/b> This year’s opening night movie is a doozy. \u003cb>Gun Hill Road\u003c/b> tells the story of a macho Latino ex con, who returns home after three years in the clink to find his wife estranged and his son, Michael, transitioning and spending more and more time as Vanessa. Needless to say, he doesn’t handle any of this very well and must come to terms with his ideas of masculinity and overcome his homophobia to keep his family together. Harmony Santana, a trans woman in real life, is truly impressive, especially considering this is her first movie role, and adds a layer of authenticity to the narrative. \u003ci>Thursday, June 16, 7p at the Castro\u003c/i>\u003c/p>\n\u003cp>Some other good-looking titles that I didn’t have time to watch are:<br /\u003cbr>\u003cb>Christopher and His Kind\u003c/b>, a biopic about Christopher Isherwood starring eye-candy Matt Smith a.k.a. the U.K.’s latest Dr. Who.\u003cbr>\u003ci>Sunday June 26, 7:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cb>Mangus!\u003c/b>, a campy and trashy humor flick about a boy whose wheelchair hinders him from playing Jesus in “Jesus Christ Spectacular,” starring Jennifer Coolidge and Heather Matarazzo.\u003cbr>\u003ci>Saturday June 25, 8:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cb>Hit So Hard\u003c/b>, a behind the scenes documentary about Patty Schemel’s time drumming for Courtney Love’s band, Hole.\u003cbr>\u003ci>Sunday June 19, 3:30p at the Castro.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Old Cats\u003c/b>, the latest black humor film from the men who produced \u003cb>The Maid\u003c/b> about what happens when an elderly couple’s coked-up lesbian daughter comes back home.\u003cbr>\u003ci>Monday June 20, 11a at the Castro and Tuesday, June 21, 7p at the Elmwood\u003c/i>\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>Frameline 35, the San Francisco International LGBT Film Festival opens Thursday, June 16 and runs through Sunday, June 26, 2011 at various Bay Area locations. For \u003ca href=\"http://www.frameline.org/festival/index.aspx\">tickets and information\u003c/a>, visit frameline.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If the ubiquitous rainbow flags didn’t tip you off, it’s officially the month of the gays. And with that comes Frameline, San Francisco’s 35th annual international LGBT film festival. For ten whole days, gay people become more than just sassy sidekicks or crude caricatures and take center stage as human beings with their own stories to tell.\u003c/p>\n\u003cp>Film festivals can be daunting with their countless offerings so I’ve compiled a festival guide to make it easier to find what you’re looking for.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/weekend.jpg\">\u003c/p>\n\u003cp>\u003cb>MUST SEE:\u003c/b> You would be foolish to miss \u003cb>Weekend\u003c/b>, Andrew Haigh’s new film that got heaps of praise at SXSW this year. The premise is pretty basic: two guys meet in a club and have what they believe to be a one-night stand, but their chance encounter blossoms into something else entirely that neither expected. In the vein of \u003cb>Before Sunrise\u003c/b>, \u003cb>Weekend\u003c/b> is a raw, honest snapshot of two ships passing in the night. Haigh chose to shoot the story in order and stick to one take with no editing and no sets. This strategy coupled with fantastic performances by Chris New and Tom Cullen make for an authentic glimpse into the everday aspects of being gay and finding one’s place in the world. \u003cb>Weekend\u003c/b> is, hands down, my favorite film from this year’s lineup. Go see it! \u003ci>Friday, June 17, 4:15p at the Castro\u003c/i>\u003c/p>\n\u003cp> \u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/cho.jpg\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>LOL-WORTHY:\u003c/b> Margaret Cho, the recipient of this year’s Frameline Award, needs no introduction. A San Francisco native and outspoken advocate for the LGBT community, Cho returns to form with her latest, \u003cb>Cho Dependent\u003c/b>, which tackles her brush with the Palins on \u003ci>Dancing with the Stars\u003c/i>, some Bonnaroo port-a-potty humor, and performances of original songs from her album. And of course there are plenty of impressions of her hilarious mother, who, upon hearing that Margaret wanted to be a comedian, replied “maybe it’s just better that you die.” After a few lackluster offerings, \u003cb>Cho Dependent\u003c/b> serves as a reminder of why you fell in love with Margaret in the first place. Highly recommended! \u003ci>Sunday, June 19, 6:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/chaz.jpg\">\u003c/p>\n\u003cp>\u003cb>TRANS DOC:\u003c/b> You’ve probably already heard a lot about \u003cb>Becoming Chaz\u003c/b>, the documentary that follows Chaz Bono’s transition from Sonny and Cher’s daughter to the man he always knew he was. And with good reason: Chaz gives the cameras full access to capture his gender reassignment process, from the elation that comes after his first surgery to the toll that testosterone takes on his relationship. \u003cb>Becoming Chaz\u003c/b> is unapologetically honest and allows the viewer to get a true sense of the struggle trans people face and the bravery required of them. And yes, Cher does pop up every now and then, but the gay icon’s reaction to Chaz’s transition might surprise you. \u003ci>Thursday, June 23, 7p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/liotf.jpg\">\u003c/p>\n\u003cp>\u003cb>BALLROOM ELEGANZA\u003c/b>: There are some movies that lodge themselves in your innards forever and \u003cb>Paris is Burning\u003c/b> is one of those films for me. A backstage pass to the NYC ballroom scene of the late ’80s, Jennie Livingston’s documentary preserves that era and subculture for all the gays that weren’t lucky enough to witness it firsthand. I could gush on and on, but instead I’ll tell you about a brand new movie called \u003cb>Leave It on the Floor\u003c/b>. Helmed as a mix of \u003cb>Paris Is Burning\u003c/b>, \u003cb>Rent\u003c/b>, and \u003cb>Dreamgirls\u003c/b>, this musical follows Brad as he is kicked out of his house and falls into the ballroom scene. Frank Gaston Jr., the man responsible for the infectious “Single Ladies” dance routine, choreographs the film. And the musical numbers are pretty memorable too: one takes place in a church with the gay side battling verses with their homophobic relatives across the aisle, another titled “Justin’s Gonna Call” is all about Justin Timberlake. Yes, I’m serious. \u003ci>\u003cb>Paris is Burning\u003c/b> screens on Thursday, June 23, 1:15p at the Castro. \u003cb>Leave It On the Floor\u003c/b> screens on Friday, June 24, 9:30a at the Castro.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/la-zombie.jpg\">\u003c/p>\n\u003cp>\u003cb>BRUCE LABRUCE\u003c/b>: If you have a thing for Bruce LaBruce, you’re in luck! This year’s festival offers two servings: \u003cb>The Advocate for Fagdom\u003c/b>, a documentary about LaBruce’s career, and his latest film \u003cb>L.A. Zombie\u003c/b> starring Francois Sagat, the French porn star with hair tattooed on his head. The former explores LaBruce’s origins, early work, and influence on queer cinema, with people like John Waters offering their perspectives. The latter follows a schizophrenic homeless man who walks around L.A. attempting to resurrect corpses through gay sex. It’s essentially an extension of LaBruce’s last film \u003cb>Otto; or Up with Dead People\u003c/b>, so, if you liked that, you’ll probably like this too. Keep your eyes peeled for a cameo from Santino Rice (\u003ci>Project Runway\u003c/i> alum and \u003ci>RuPaul’s Drag Race\u003c/i> judge). \u003ci>\u003cb>The Advocate for Fagdom\u003c/b> screens on Wednesday, June 22, 7p at the Roxie. \u003cb>L.A. Zombie\u003c/b> screens on Thursday, June 23, 9:30p at the Victoria.\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/hay.jpg\">\u003c/p>\n\u003cp>\u003cb>ART DOC\u003c/b>: If you’ve never heard of the visual art duo Elmgreen and Dragset, \u003cb>How Are You?\u003c/b> is a perfect introduction. Jannik Splindhoel’s documentary uses archival footage of the artists from 1995 when they were dating and living in Copenhagen to color in their artistic beginnings and then fast forwards to the present day as they work on a large scale project for the Venice Biennale. Both men not only offer great insight into their work and art in general, but do so with humor and charm. As if this isn’t enough to make a great doc, the cinematography is stylish and beyond beautiful, the perfect package for such an inspiring film. Highly recommended! \u003ci>Sunday, June 19, 6:30p at the Roxie\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/spork.jpg\">\u003c/p>\n\u003cp>\u003cb>CAMPY ADOLESCENCE\u003c/b>: Middle school is universally terrible for anyone who’s a little different, so you can imagine the tribulations of Spork, a girl-identified intersexed 13 year old who lives in a trailer with her brother Spit and her taxidermied dog. Betsey Byotch and the Byotches, a troupe of teased mean girls with an ’80s fetish, bully Spork to the brink of madness. But just when Spork thinks her life will never get better, her sassy trailer neighbor Tootsie Roll comes to the rescue and introduces her to the wonders of breaking it down on the dancefloor. Campy fun with a killer soundtrack. \u003ci>Sunday, June 19, 1p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/ghr.jpg\">\u003c/p>\n\u003cp>\u003cb>TRANS DRAMA IN THE BRONX:\u003c/b> This year’s opening night movie is a doozy. \u003cb>Gun Hill Road\u003c/b> tells the story of a macho Latino ex con, who returns home after three years in the clink to find his wife estranged and his son, Michael, transitioning and spending more and more time as Vanessa. Needless to say, he doesn’t handle any of this very well and must come to terms with his ideas of masculinity and overcome his homophobia to keep his family together. Harmony Santana, a trans woman in real life, is truly impressive, especially considering this is her first movie role, and adds a layer of authenticity to the narrative. \u003ci>Thursday, June 16, 7p at the Castro\u003c/i>\u003c/p>\n\u003cp>Some other good-looking titles that I didn’t have time to watch are:<br /\u003cbr>\u003cb>Christopher and His Kind\u003c/b>, a biopic about Christopher Isherwood starring eye-candy Matt Smith a.k.a. the U.K.’s latest Dr. Who.\u003cbr>\u003ci>Sunday June 26, 7:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cb>Mangus!\u003c/b>, a campy and trashy humor flick about a boy whose wheelchair hinders him from playing Jesus in “Jesus Christ Spectacular,” starring Jennifer Coolidge and Heather Matarazzo.\u003cbr>\u003ci>Saturday June 25, 8:30p at the Castro\u003c/i>\u003c/p>\n\u003cp>\u003cb>Hit So Hard\u003c/b>, a behind the scenes documentary about Patty Schemel’s time drumming for Courtney Love’s band, Hole.\u003cbr>\u003ci>Sunday June 19, 3:30p at the Castro.\u003c/i>\u003c/p>\n\u003cp>\u003cb>Old Cats\u003c/b>, the latest black humor film from the men who produced \u003cb>The Maid\u003c/b> about what happens when an elderly couple’s coked-up lesbian daughter comes back home.\u003cbr>\u003ci>Monday June 20, 11a at the Castro and Tuesday, June 21, 7p at the Elmwood\u003c/i>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Frameline 35, the San Francisco International LGBT Film Festival opens Thursday, June 16 and runs through Sunday, June 26, 2011 at various Bay Area locations. For \u003ca href=\"http://www.frameline.org/festival/index.aspx\">tickets and information\u003c/a>, visit frameline.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Fifty years after its impromptu founding by a couple of filmmakers and their pals who convened once a week at a home in Canyon, California, to watch offbeat movies and carouse, SF Cinematheque still carries a bright torch for avant-garde cinema. Its weekly shows at Yerba Buena Center for the Arts and other venues around town may sail under the radar of the vast majority of the population, but that’s not surprising in a culture that prizes narrative and drama above all else — not just in movies and reality television, but in politics, sports and life.\u003c/p>\n\u003cp>“Experimental film is an artistic movement, a film movement that exists on one side or underneath mainstream film,” explains Cinematheque artistic director Steve Polta. “It’s not film created for commercial purposes, it’s not industrial film, it’s not documentaries. It is film created by artists generally working alone, generally for personal reasons. It’s a lot like poetry’s relationship to mainstream literature.\u003c/p>\n\u003cp>“The films might be about light, they might about the experience of time, they might be a sort of gesture done for personal reasons,” Polta elaborates. “And I happen to think the personal-reasons thing is kind of important.”\u003c/p>\n\u003cp>The Crossroads festival encompasses 10 programs over four days, and already stands — in just its second year — as the most prominent showcase of avant-garde cinema on the West Coast. As an indicator of its significance, some 8 to 10 filmmakers are traveling at their own expense with their films (in addition to the 4 out-of-town guests the festival is hosting).\u003c/p>\n\u003cp>One of the honored guests is Jeanne Liotta, formerly (and famously) a Lower East Side punk who’s been making films since the ’80s. Her show (“The Sublime is Now,” Friday, May 13, 7 pm) includes the double-projection piece “One Day This May No Longer Exist” as well as the West Coast premiere of “Crosswalk,” an 18-minute film made from Super 8 home movies she shot on Good Friday on her street several years running. The bizarrely colorful cross-bearing ceremonies on display juxtapose Nyorican spirituality with the random chaos of New York City.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The seventh program, “Apparent Motion – Celebrating the Art of Projection” (Saturday, May 14 at 8:30 pm), saluting the increasingly popular practice of “live cinema,” looks to be another highlight. The East Bay’s Kenneth Atchley gets the ball rolling with a set of live video mixing, followed by a pair of leading-edge Canadian artists. Employing two projectors, Amanda Dawn Christie (who heads to the Cannes Film Festival after this show) and E. Hearte refract loops of film through lenses and crystals, all the while accompanied by live electronic music. Vancouver artist Alex MacKenzie rounds out this one-of-a-kind program with an evocative shadow-play of dissolves and superimpositions projected through a pair of hand-cranked 35mm machines.\u003c/p>\n\u003cp>If it’s genuine weirdness you crave, Polta points you to “The Chilling Montage Of Crimson Repression” (Friday, May 13 at 9 pm). Household-name film and video makers George Kuchar, Peggy Ahwesh, Luther Price and Dale Hoyt mix with younger artists in a maelstrom of squalid nightmares and decayed fantasies.\u003c/p>\n\u003cp>The Crossroads festival is designed to showcase new work by national and international avant-garde filmmakers, but a couple of programs are given over to honoring the Bay Area’s extraordinary history and tradition of experimental film. “Celebrating Robert Nelson” (Saturday, May 14 at 4:30 pm) collects several of his irreverent and wonderful shorts from the ’60s and ’70s. The notoriously shy filmmaker may or may not be in the house, and may or may not take the stage for a few words.\u003c/p>\n\u003cp>In recognition of the Cinematheque’s golden anniversary — bringing this preview full circle — the fest kicks off with “Radical Light: Cinematheque at 50” (Thursday, May 12 at 7 pm at SFMOMA). The capper to a months-long retrospective of the Bay Area experimental film scene occasioned by the Pacific Film Archive’s 2010 publication of a massive and essential tome, this vintage program features such icons as Greta Snider, Bruce Baillie, Gunvor Nelson, Scott Stark and Karen Holmes.\u003c/p>\n\u003cp>\u003c/p>\u003cp> For the novice, and even for someone who has seen a good deal of non-narrative, experimental films, a small adjustment may be necessary in order to grok works that consciously operate outside the realms of commerce and commodity.\u003c/p>\n\u003cp>“All you really have to do is be open to them,” Polta muses. “Don’t be intimidated, don’t be critical, and take them for how they affect you. Having these films in your life, and participating with them intellectually and sensually, can have a profound effect on the way you experience the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Crossroads\u003c/b> runs Thursday, May 12 through Sunday, May 15, 2011 at the Victoria Theater, 2961 16th St. (at Mission) in San Francisco. A benefit and party for SF Cinematheque will take place Thursday, May 19, 2011 at 111 Minna Gallery. For more information, visit \u003ca href=\"http://www.sfcinematheque.org/\">sfcinematheque.org\u003c/a>.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The seventh program, “Apparent Motion – Celebrating the Art of Projection” (Saturday, May 14 at 8:30 pm), saluting the increasingly popular practice of “live cinema,” looks to be another highlight. The East Bay’s Kenneth Atchley gets the ball rolling with a set of live video mixing, followed by a pair of leading-edge Canadian artists. Employing two projectors, Amanda Dawn Christie (who heads to the Cannes Film Festival after this show) and E. Hearte refract loops of film through lenses and crystals, all the while accompanied by live electronic music. Vancouver artist Alex MacKenzie rounds out this one-of-a-kind program with an evocative shadow-play of dissolves and superimpositions projected through a pair of hand-cranked 35mm machines.\u003c/p>\n\u003cp>If it’s genuine weirdness you crave, Polta points you to “The Chilling Montage Of Crimson Repression” (Friday, May 13 at 9 pm). Household-name film and video makers George Kuchar, Peggy Ahwesh, Luther Price and Dale Hoyt mix with younger artists in a maelstrom of squalid nightmares and decayed fantasies.\u003c/p>\n\u003cp>The Crossroads festival is designed to showcase new work by national and international avant-garde filmmakers, but a couple of programs are given over to honoring the Bay Area’s extraordinary history and tradition of experimental film. “Celebrating Robert Nelson” (Saturday, May 14 at 4:30 pm) collects several of his irreverent and wonderful shorts from the ’60s and ’70s. The notoriously shy filmmaker may or may not be in the house, and may or may not take the stage for a few words.\u003c/p>\n\u003cp>In recognition of the Cinematheque’s golden anniversary — bringing this preview full circle — the fest kicks off with “Radical Light: Cinematheque at 50” (Thursday, May 12 at 7 pm at SFMOMA). The capper to a months-long retrospective of the Bay Area experimental film scene occasioned by the Pacific Film Archive’s 2010 publication of a massive and essential tome, this vintage program features such icons as Greta Snider, Bruce Baillie, Gunvor Nelson, Scott Stark and Karen Holmes.\u003c/p>\n\u003cp>\u003c/p>\u003cp> For the novice, and even for someone who has seen a good deal of non-narrative, experimental films, a small adjustment may be necessary in order to grok works that consciously operate outside the realms of commerce and commodity.\u003c/p>\n\u003cp>“All you really have to do is be open to them,” Polta muses. “Don’t be intimidated, don’t be critical, and take them for how they affect you. Having these films in your life, and participating with them intellectually and sensually, can have a profound effect on the way you experience the world.”\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Crossroads\u003c/b> runs Thursday, May 12 through Sunday, May 15, 2011 at the Victoria Theater, 2961 16th St. (at Mission) in San Francisco. A benefit and party for SF Cinematheque will take place Thursday, May 19, 2011 at 111 Minna Gallery. For more information, visit \u003ca href=\"http://www.sfcinematheque.org/\">sfcinematheque.org\u003c/a>.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Few practitioners of Mid-Century Modernism are as lionized as Charles and Ray Eames, who moved to Southern California at the beginning of World War II. There, the Eameses designed a molded-plywood chair for the masses (1945), their home in Pacific Palisades (Case Study House #8, 1949) and an upscale lounge chair and ottoman manufactured by Herman Miller (1956). Today, countless examples of Eames furniture are enshrined in the Museum of Modern Art and other cultural temples, their house is a National Landmark and in 2008 the U.S. Postal Service honored the memories of the designers with their own sheet of stamps.\u003c/p>\n\u003cp>Perhaps because they practiced in L.A., the Eameses also made a number of short films, most notably \u003cb>Powers of Ten\u003c/b>, which runs through June 11, 2011, at the San Jose Institute of Contemporary Art. One of two short movies made independently of each other in 1968 and based on the same 1957 Kees Boeke book, \u003cb>Cosmic View: The Universe in 40 Jumps\u003c/b>, \u003cb>Powers of Ten\u003c/b> begins with an aerial view of a couple picnicking in Chicago. The view is one meter wide and the camera is one meter above them. Over the next few minutes, as physicist Philip Morrison narrates, every ten seconds the “camera” pulls back by a power of 10, each time taking in a field of view that’s 10 times wider than the one before.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/powers-10-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>With music by Elmer Bernstein, who scored everything from \u003cb>To Kill a Mocking Bird\u003c/b> to \u003cb>Animal House\u003c/b>, the nine-minute film has a Disney-documentary quality to it. As we zoom away from the outline of Lake Michigan, whizzing past the limits of our solar system and out beyond the galaxy, we are supposed to feel tiny, infinitesimal, less than an after-thought in the grand scheme of the universe. And yet, the film engages in a curious sort of cosmic boosterism — despite our obvious lack of impact on the birth and death of stars and the emptiness of space, we, the industrious inhabitants of little planet Earth, are portrayed as the marvelous exceptions to the cold rules of the universe. We, the film seems to say, are special despite our obvious insignificance because we are blessed with the gift of consciousness.\u003c/p>\n\u003cp>Things get no better once we reach 10 to the power of 26 and head back to Earth. As we zoom in on the hand of one of the picnickers, we now begin a dive into his cell structure at powers of magnification equal to successive negative 10s. In the film’s journey into space, incomprehensible distances and the randomness of the universe had sent our heads spinning. Inside the human body, the impossibly small scale of life’s building blocks is inversely dizzying. Yet the film’s tone remains oddly triumphant and almost self-congratulatory, as if we could possibly have anything to do with this almost divine order, beyond observing it.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/powers-10-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Forty-some years later, it will not come as news that \u003cb>Powers of Ten\u003c/b> would be improved by many powers of 10 if it was produced today — video-game designer Will Wright did that a few years ago with \u003cb>Spore\u003c/b>. No, the film’s naiveté is the bigger problem, while scale is its outright enemy — once we pull back beyond our solar system, for example, there’s simply no way to get one’s head around the enormity of sprawling space. In \u003cb>Powers of Ten\u003c/b>, the Eameses can only re-play Boeke’s numbers game, updated with what the best minds of 1968 knew about astronomy and animation. The film doesn’t even provide clues about the couple’s inspirations for their human-scaled work. Instead, the exercise seems quaint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Powers of Ten\u003c/b> runs through June 11, 2011 at the San Jose Institute of Contemporary Art. For \u003ca href=\"http://www.sjica.org/detail.html?eid=719\">more information\u003c/a> visit sjica.org, or \u003ca href=\"http://www.powersof10.com/\">watch online\u003c/a> at powersof10.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Few practitioners of Mid-Century Modernism are as lionized as Charles and Ray Eames, who moved to Southern California at the beginning of World War II. There, the Eameses designed a molded-plywood chair for the masses (1945), their home in Pacific Palisades (Case Study House #8, 1949) and an upscale lounge chair and ottoman manufactured by Herman Miller (1956). Today, countless examples of Eames furniture are enshrined in the Museum of Modern Art and other cultural temples, their house is a National Landmark and in 2008 the U.S. Postal Service honored the memories of the designers with their own sheet of stamps.\u003c/p>\n\u003cp>Perhaps because they practiced in L.A., the Eameses also made a number of short films, most notably \u003cb>Powers of Ten\u003c/b>, which runs through June 11, 2011, at the San Jose Institute of Contemporary Art. One of two short movies made independently of each other in 1968 and based on the same 1957 Kees Boeke book, \u003cb>Cosmic View: The Universe in 40 Jumps\u003c/b>, \u003cb>Powers of Ten\u003c/b> begins with an aerial view of a couple picnicking in Chicago. The view is one meter wide and the camera is one meter above them. Over the next few minutes, as physicist Philip Morrison narrates, every ten seconds the “camera” pulls back by a power of 10, each time taking in a field of view that’s 10 times wider than the one before.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/powers-10-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>With music by Elmer Bernstein, who scored everything from \u003cb>To Kill a Mocking Bird\u003c/b> to \u003cb>Animal House\u003c/b>, the nine-minute film has a Disney-documentary quality to it. As we zoom away from the outline of Lake Michigan, whizzing past the limits of our solar system and out beyond the galaxy, we are supposed to feel tiny, infinitesimal, less than an after-thought in the grand scheme of the universe. And yet, the film engages in a curious sort of cosmic boosterism — despite our obvious lack of impact on the birth and death of stars and the emptiness of space, we, the industrious inhabitants of little planet Earth, are portrayed as the marvelous exceptions to the cold rules of the universe. We, the film seems to say, are special despite our obvious insignificance because we are blessed with the gift of consciousness.\u003c/p>\n\u003cp>Things get no better once we reach 10 to the power of 26 and head back to Earth. As we zoom in on the hand of one of the picnickers, we now begin a dive into his cell structure at powers of magnification equal to successive negative 10s. In the film’s journey into space, incomprehensible distances and the randomness of the universe had sent our heads spinning. Inside the human body, the impossibly small scale of life’s building blocks is inversely dizzying. Yet the film’s tone remains oddly triumphant and almost self-congratulatory, as if we could possibly have anything to do with this almost divine order, beyond observing it.\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/powers-10-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>Forty-some years later, it will not come as news that \u003cb>Powers of Ten\u003c/b> would be improved by many powers of 10 if it was produced today — video-game designer Will Wright did that a few years ago with \u003cb>Spore\u003c/b>. No, the film’s naiveté is the bigger problem, while scale is its outright enemy — once we pull back beyond our solar system, for example, there’s simply no way to get one’s head around the enormity of sprawling space. In \u003cb>Powers of Ten\u003c/b>, the Eameses can only re-play Boeke’s numbers game, updated with what the best minds of 1968 knew about astronomy and animation. The film doesn’t even provide clues about the couple’s inspirations for their human-scaled work. Instead, the exercise seems quaint.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Powers of Ten\u003c/b> runs through June 11, 2011 at the San Jose Institute of Contemporary Art. For \u003ca href=\"http://www.sjica.org/detail.html?eid=719\">more information\u003c/a> visit sjica.org, or \u003ca href=\"http://www.powersof10.com/\">watch online\u003c/a> at powersof10.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Video may be spreading like wildfire, but there is still no better city to get out and see short films than San Francisco, and no group as boundless as Artists’ Television Access to screen a great selection of them. This week presents a chance to see some striking works from five years of their Film and Video Festival in a screening called \u003cb>Playback: 2006-2010\u003c/b> at the Roxie Cinema. While \u003cb>Playback\u003c/b> boasts national and international headliners (one of Guy Maddin’s early shorts is on the bill), it’s the locals that take the cake with films that are hip, witty, and worthy of another look.\u003c/p>\n\u003cp>Last fall BAM/PFA released “Radical Light,” a book that chronicles Bay Area video art. It’s evident that the groundbreaking work of Bruce Conner, Bruce Nauman, and Ant Farm is still resonating with Californian artists, as can be seen in the rough-hewn aesthetic that predominates in \u003cb>Playback\u003c/b> but also in the filmmakers’ high-minded, conceptual approach. Shae Green, who co-directs the festival with Isabel Fondevila, concurs: “Bay Area filmmakers give winks to the history of film here. They are more motivated by ideas than technology.”\u003c/p>\n\u003cp>Rachel Manera, a San Francisco native, challenges George Kuchar directly in \u003cb>I, A Director\u003c/b>, a parody of Kuchar’s 1977 short \u003cb>I, An Actress\u003c/b>. In the original, Kuchar continually interrupts a female acting student’s monologue, stepping into the frame and showing her how to make her body movements more explicit for the camera; Manera reverses (doubly reverses?) the role and portrays Kuchar playing the woman. Paul Clipson’s abstract, layered video \u003cb>Bump Past Cut Up through Windows\u003c/b> reflects the spirit of Brakhage during his short San Francisco tenure, only Clipson maintains a more placid air. His transitions are smooth and even-paced as we pass continually through zooming-landscapes of plants, water black as oil, and flashes of electrical lights.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/04/18/atadiaz.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ariel Diaz, “Elro.” 2009.\u003c/p>\n\u003cp>Ariel Diaz presents an enigmatic short called \u003cb>Elro\u003c/b> with rhythmic, inventive cuts and a disjunctive, creative narrative reminiscent of Jim Henson’s \u003cb>Time Piece\u003c/b>. \u003cb>Elro\u003c/b> explores a woman’s body as a robot-human hybrid, her stomach covered in painted buttons and her open mouth receiving a stream of tickertape. Nearly half of this work is built into opening and closing credits, but even they are filled with small surprises. Tommy Becker’s \u003cb>Animal, Animal\u003c/b> is similarly poetic, burying a critique of animal treatment between rapid beat-cuts of footage from a zoo, the animals caged in black and white, evoking simultaneous empathy and adoration. Becker will perform a live soundtrack to accompany the screening.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There are few narrative works, a reflection of the festival’s mission to present films that defy categorization. One such work by John Palmer features the artist performing each of four characters in a scene from \u003cb>Who’s Afraid of Virginia Woolf\u003c/b>, the four identical talking heads lining the lower screen. While the ambition is grand, Palmer’s characters blend together, and the work achieves more through subtle repetitions, as when Palmer’s lips break into the same smile in a domino effect.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/04/18/atacolburn.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Martha Colburn, “Myth Labs.” 2008.\u003c/p>\n\u003cp>Animations dot the program, including an ecstatic work from New York-based Martha Colburn that envisions the arrival of colonialists in America. Colburn’s paint-smeared caricatures rumble across a frame filled with expansive, color-filled backdrops. The sea gurgles over and lighting bolts fall from the sky, Bible-toting Puritans cascade off a rickety ship — history unfolding so fast that we become wrapped up in the disaster.\u003c/p>\n\u003cp>There is no guiding theme to \u003cb>Playback\u003c/b>; ATA favors a community-based approach to curation, and while Green and Fondevila had the final word, a dedicated audience prescreens all the festival works. But as Green points out, a screening at ATA is more than just a screening; it’s a community gathering.\u003c/p>\n\u003cp>\u003cb>Playback: 2006-2010\u003c/b> screens April 19, 2011, 7:30pm at the Roxie Cinema in San Francisco. Tickets are $10. For \u003ca href=\"http://www.festival.atasite.org/\">more information\u003c/a> visit festival.atasite.org. \u003cb>Playback\u003c/b> is sponsored by the Video Transfer Center.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Images courtesy the artists and Artists’ Television Access.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Video may be spreading like wildfire, but there is still no better city to get out and see short films than San Francisco, and no group as boundless as Artists’ Television Access to screen a great selection of them. This week presents a chance to see some striking works from five years of their Film and Video Festival in a screening called \u003cb>Playback: 2006-2010\u003c/b> at the Roxie Cinema. While \u003cb>Playback\u003c/b> boasts national and international headliners (one of Guy Maddin’s early shorts is on the bill), it’s the locals that take the cake with films that are hip, witty, and worthy of another look.\u003c/p>\n\u003cp>Last fall BAM/PFA released “Radical Light,” a book that chronicles Bay Area video art. It’s evident that the groundbreaking work of Bruce Conner, Bruce Nauman, and Ant Farm is still resonating with Californian artists, as can be seen in the rough-hewn aesthetic that predominates in \u003cb>Playback\u003c/b> but also in the filmmakers’ high-minded, conceptual approach. Shae Green, who co-directs the festival with Isabel Fondevila, concurs: “Bay Area filmmakers give winks to the history of film here. They are more motivated by ideas than technology.”\u003c/p>\n\u003cp>Rachel Manera, a San Francisco native, challenges George Kuchar directly in \u003cb>I, A Director\u003c/b>, a parody of Kuchar’s 1977 short \u003cb>I, An Actress\u003c/b>. In the original, Kuchar continually interrupts a female acting student’s monologue, stepping into the frame and showing her how to make her body movements more explicit for the camera; Manera reverses (doubly reverses?) the role and portrays Kuchar playing the woman. Paul Clipson’s abstract, layered video \u003cb>Bump Past Cut Up through Windows\u003c/b> reflects the spirit of Brakhage during his short San Francisco tenure, only Clipson maintains a more placid air. His transitions are smooth and even-paced as we pass continually through zooming-landscapes of plants, water black as oil, and flashes of electrical lights.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/04/18/atadiaz.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Ariel Diaz, “Elro.” 2009.\u003c/p>\n\u003cp>Ariel Diaz presents an enigmatic short called \u003cb>Elro\u003c/b> with rhythmic, inventive cuts and a disjunctive, creative narrative reminiscent of Jim Henson’s \u003cb>Time Piece\u003c/b>. \u003cb>Elro\u003c/b> explores a woman’s body as a robot-human hybrid, her stomach covered in painted buttons and her open mouth receiving a stream of tickertape. Nearly half of this work is built into opening and closing credits, but even they are filled with small surprises. Tommy Becker’s \u003cb>Animal, Animal\u003c/b> is similarly poetic, burying a critique of animal treatment between rapid beat-cuts of footage from a zoo, the animals caged in black and white, evoking simultaneous empathy and adoration. Becker will perform a live soundtrack to accompany the screening.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>There are few narrative works, a reflection of the festival’s mission to present films that defy categorization. One such work by John Palmer features the artist performing each of four characters in a scene from \u003cb>Who’s Afraid of Virginia Woolf\u003c/b>, the four identical talking heads lining the lower screen. While the ambition is grand, Palmer’s characters blend together, and the work achieves more through subtle repetitions, as when Palmer’s lips break into the same smile in a domino effect.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"//u.s.kqed.org/2011/04/18/atacolburn.jpg\" style=\"margin-bottom: 10px\">\u003cbr>Martha Colburn, “Myth Labs.” 2008.\u003c/p>\n\u003cp>Animations dot the program, including an ecstatic work from New York-based Martha Colburn that envisions the arrival of colonialists in America. Colburn’s paint-smeared caricatures rumble across a frame filled with expansive, color-filled backdrops. The sea gurgles over and lighting bolts fall from the sky, Bible-toting Puritans cascade off a rickety ship — history unfolding so fast that we become wrapped up in the disaster.\u003c/p>\n\u003cp>There is no guiding theme to \u003cb>Playback\u003c/b>; ATA favors a community-based approach to curation, and while Green and Fondevila had the final word, a dedicated audience prescreens all the festival works. But as Green points out, a screening at ATA is more than just a screening; it’s a community gathering.\u003c/p>\n\u003cp>\u003cb>Playback: 2006-2010\u003c/b> screens April 19, 2011, 7:30pm at the Roxie Cinema in San Francisco. Tickets are $10. For \u003ca href=\"http://www.festival.atasite.org/\">more information\u003c/a> visit festival.atasite.org. \u003cb>Playback\u003c/b> is sponsored by the Video Transfer Center.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>Images courtesy the artists and Artists’ Television Access.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Can art affect social change? This is the question put forth by Brazilian artist Vik Muniz in \u003cb>Waste Land\u003c/b>, a new film about a community art project he initiated in a “town of garbage.” The location, Jardim Gramacho, is an immense dumping area where “pickers” make a living by collecting and selling recyclable materials from the millions of tons of waste produced by Rio and its suburbs.\u003c/p>\n\u003cp>Initially, the film was hard to watch. Not because of the footage of piles and piles of trash that would make any consumer’s stomach turn, but because of the artist’s staged conversations about starting the project, which were included in the film for background. Talking to his wife, who asks about the possible dangers of taking up residence in a godforsaken trash town, the dialogue seems almost scripted. Despite the film’s uneasy start, Vik Muniz’s main objective is to make art and to somehow positively affect the garbage pickers’ lives. And he does.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=sNlwh8vT2NU&w=480&h=300]\u003c/p>\n\u003cp>The film follows the artist’s process from project conception to art auction house. He works with a handful of Jardim Gramacho’s resident pickers, whose life stories reflect a range of identities and fates, to create large-scale portraits out of trash to be photographed in his studio. His collaborators include the president of an association that fights for pickers’ rights as part of the recycling industry, two young women you wouldn’t expect to make a living digging through garbage, and an older woman who keeps her pots full of scavenged food to feed her neighbors.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wasteland-1.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>With a painter’s eye, the found-object portraits Muniz creates with the help of his new crew are incredible in detail, scale, and impact. He sells photographs of the assemblages, returning the money to the community to fund new resources and support systems for the pickers. They are people who don’t flinch as gobs of unfiltered garbage rain down on them from dump trucks. They wear neon vests but seem to show no other concern for safety, and have chosen to live off the grid out of desperation, unfortunate circumstances or, in some cases, because they enjoy it. Through Vik Muniz’s art alone, some of them are given hope, and their very marginalized community is visibly improved.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wasteland-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>I won’t deny that I watched the last fifteen minutes of the film through watery eyes. The project is moving, and Vik Muniz is an important and compassionate artist whose actions should compel others. The fact that \u003cb>Waste Land\u003c/b> left me with questions means the artist has done his job. The film offered follow-up information about its subjects, but I wanted to know more about the long-term impact of Muniz’s project and its effects on the countless other pickers not featured in the film. I also wondered about JR, another artist who recently won a prestigious \u003ca href=\"http://www.ted.com/talks/jr_s_ted_prize_wish_use_art_to_turn_the_world_inside_out.html\">Ted Prize\u003c/a> for a similar project. Does this mean that art, of any ilk, is becoming rightfully valued as a tool for global change? \u003cb>Waste Land\u003c/b> will make you believe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Waste Land\u003c/b> airs on the PBS series \u003ca href=\"http://www.pbs.org/independentlens/waste-land/\">Independent Lens\u003c/a> April 16, 2011. The program airs on KTEH April 19 at 10:30pm. Check KQED’s \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=8630\">TV schedule\u003c/a> for additional airdates and times.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>With a painter’s eye, the found-object portraits Muniz creates with the help of his new crew are incredible in detail, scale, and impact. He sells photographs of the assemblages, returning the money to the community to fund new resources and support systems for the pickers. They are people who don’t flinch as gobs of unfiltered garbage rain down on them from dump trucks. They wear neon vests but seem to show no other concern for safety, and have chosen to live off the grid out of desperation, unfortunate circumstances or, in some cases, because they enjoy it. Through Vik Muniz’s art alone, some of them are given hope, and their very marginalized community is visibly improved.\u003c/p>\n\u003cp>\u003cimg decoding=\"async\" src=\"http://a.s.kqed.net/img/arts/blog/wasteland-2.jpg\" style=\"margin-bottom: 10px\">\u003c/p>\n\u003cp>I won’t deny that I watched the last fifteen minutes of the film through watery eyes. The project is moving, and Vik Muniz is an important and compassionate artist whose actions should compel others. The fact that \u003cb>Waste Land\u003c/b> left me with questions means the artist has done his job. The film offered follow-up information about its subjects, but I wanted to know more about the long-term impact of Muniz’s project and its effects on the countless other pickers not featured in the film. I also wondered about JR, another artist who recently won a prestigious \u003ca href=\"http://www.ted.com/talks/jr_s_ted_prize_wish_use_art_to_turn_the_world_inside_out.html\">Ted Prize\u003c/a> for a similar project. Does this mean that art, of any ilk, is becoming rightfully valued as a tool for global change? \u003cb>Waste Land\u003c/b> will make you believe.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Waste Land\u003c/b> airs on the PBS series \u003ca href=\"http://www.pbs.org/independentlens/waste-land/\">Independent Lens\u003c/a> April 16, 2011. The program airs on KTEH April 19 at 10:30pm. Check KQED’s \u003ca href=\"http://www.kqed.org/tv/programs/index.jsp?pgmid=8630\">TV schedule\u003c/a> for additional airdates and times.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Who or what is Les Blank? A documentarian, but more than that. An impish, robustly bearded Pan figure, glimpsed occasionally in the forests of Marin County and at less pretentious film festivals. A national treasure. Possibly a benevolent extraterrestrial sent here long ago to gather evidence that the human species is much too interesting to be annihilated. In any case, an emotionally invested noticer of social and cultural processes, including the making and enjoyment of music, films, food, and life. Also, Thursday evening’s special guest at the Red Vic.\u003c/p>\n\u003cp>To describe Blank’s work as anthropology is not wrong, but it sounds too clinical. For that matter, calling it work at all seems to neglect its essential playfulness. The prevailing frame of mind is curious, and somehow calmly ecstatic. It’s a voice that draws you closer by speaking softly. There is real respect for viewer intelligence, a confidence that the audience will be curious too. It is likely that the audience also will be grateful.\u003c/p>\n\u003cp>Until now, it had been easy to suppose that \u003cb>Always for Pleasure\u003c/b>, Blank’s seductively hip-wiggling 1978 view of the street celebrations of New Orleans, could not be more inviting. But now we have the Red Vic’s stated plan to present the film “in glorious \u003ci>Smellaround\u003c/i>!!” It is the rare documentarian indeed whose body of work makes such a prospect seem so appealing.\u003c/p>\n\u003cp>In general, the films are so pure and direct that they become sublime and mysterious. For instance, in 1969’s \u003cb>The Blues Accordin’ to Lightnin’ Hopkins\u003c/b>, Blank had the presence of mind not just to record Hopkins describing the blues as “something that’s hard to get acquainted with, just like death,” but also somehow to present that description in an intimate, life-affirming way. With its quick glances at rural Texan late-1960s life and its periodic eruptions of musical feeling, the movie is only half an hour long, but it is emotionally definitive: Never belaboring the point, it hints at how merciless life can be — and how beautiful in spite of itself. Hence the grand simplicity of Blank’s last shot, a gliding pan across a barbed-wire fence gradually permeated with blossoms.\u003c/p>\n\u003cp>Spending an evening with these films, and with the man/myth himself, is highly encouraged. Not least because your $15 admission fee “includes rice and beans prepared with Les’s own special recipe.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>An Evening with Les Blank\u003c/b> begins at 7:30pm, Thursday, April 7, 2011, at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://www.redvicmoviehouse.com\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Who or what is Les Blank? A documentarian, but more than that. An impish, robustly bearded Pan figure, glimpsed occasionally in the forests of Marin County and at less pretentious film festivals. A national treasure. Possibly a benevolent extraterrestrial sent here long ago to gather evidence that the human species is much too interesting to be annihilated. In any case, an emotionally invested noticer of social and cultural processes, including the making and enjoyment of music, films, food, and life. Also, Thursday evening’s special guest at the Red Vic.\u003c/p>\n\u003cp>To describe Blank’s work as anthropology is not wrong, but it sounds too clinical. For that matter, calling it work at all seems to neglect its essential playfulness. The prevailing frame of mind is curious, and somehow calmly ecstatic. It’s a voice that draws you closer by speaking softly. There is real respect for viewer intelligence, a confidence that the audience will be curious too. It is likely that the audience also will be grateful.\u003c/p>\n\u003cp>Until now, it had been easy to suppose that \u003cb>Always for Pleasure\u003c/b>, Blank’s seductively hip-wiggling 1978 view of the street celebrations of New Orleans, could not be more inviting. But now we have the Red Vic’s stated plan to present the film “in glorious \u003ci>Smellaround\u003c/i>!!” It is the rare documentarian indeed whose body of work makes such a prospect seem so appealing.\u003c/p>\n\u003cp>In general, the films are so pure and direct that they become sublime and mysterious. For instance, in 1969’s \u003cb>The Blues Accordin’ to Lightnin’ Hopkins\u003c/b>, Blank had the presence of mind not just to record Hopkins describing the blues as “something that’s hard to get acquainted with, just like death,” but also somehow to present that description in an intimate, life-affirming way. With its quick glances at rural Texan late-1960s life and its periodic eruptions of musical feeling, the movie is only half an hour long, but it is emotionally definitive: Never belaboring the point, it hints at how merciless life can be — and how beautiful in spite of itself. Hence the grand simplicity of Blank’s last shot, a gliding pan across a barbed-wire fence gradually permeated with blossoms.\u003c/p>\n\u003cp>Spending an evening with these films, and with the man/myth himself, is highly encouraged. Not least because your $15 admission fee “includes rice and beans prepared with Les’s own special recipe.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>Here is a question for the ages. Are you ready? Sorry, that wasn’t the question. The question is this. Which is more mind-blowing: burying a time capsule or digging one up? Whoa.\u003c/p>\n\u003cp>On the one hand, you have the invigorating challenge of cultural encapsulation (“OK, so let’s put in an iPhone, a carabiner key chain, and… what else?!”), not to mention the giddy wicked thrill of willful environmental irresponsibility: putting something in the ground that is deliberately not biodegradable — something that’s supposed to last, to outlive us all, to just sit there, taking up space and of course time, only to be uncovered much much later merely so somebody else might look inside and say, “Ah, interesting!” On the other hand: Ah, interesting! (“Back then they had books made of paper! Weeeeeird!”) Maybe it’s not irresponsible after all, when you consider the entire, \u003ci>four-dimensional\u003c/i> environment.\u003c/p>\n\u003cp>Saturday’s Other Cinema event is said to consider, in addition to the entire four-dimensional environment, the time capsule itself, as “an expression of cultural imagination and self-portraiture.” And the right man for this job, absolutely, is homegrown exploratory documentarist Sam Green, who’s lately been taking big ideas and refining them into personal, poetically investigative live-narrated cinematic events — finding a cozy balance between the unvarnished schoolroom show-and-tell and the heady Ideas-conference keynote. His \u003cb>History of the Time Capsule\u003c/b> portends a magical reminder of how both the burying and the digging up can inspire us to contemplate The Sublime Narrative Ellipsis of It All.\u003c/p>\n\u003cp>And anyway, the burying is mostly metaphorical. It’s already plenty mind-blowing to consider that the preparers of that time capsule from the 1939 World’s Fair, planning 50 centuries ahead, probably couldn’t even imagine the lo-fi self-portrait of 1977 humanity that NASA later would blast into the cosmos via Voyager. And now, because maybe 50 centuries is not enough, and twice as many might be better, we have the San Francisco-based Long Now Foundation, combating cultural short-sightedness with the Green-piquing big idea to build a 10,000-year clock. As engineer Daniel Hillis puts it: “It ticks once a year, bongs once a century, and the cuckoo comes out every millennium.”\u003c/p>\n\u003cp>This way of thinking allows for all manner of science-fiction stuff. It brings to mind Stanley Kubrick’s famous spine-tingling match cut from a thrown bone to a gliding spacecraft in \u003cb>2001: A Space Odyssey\u003c/b>, or \u003cb>Star Trek: The Motion Picture\u003c/b>, in which San Francisco’s own United Federation of Planets HQ gets all in a tizzy when one of the Voyagers, having become nearly but not completely all-knowing, returns to Earth with aggressive existential questions still pending, like an enormous mechanical starship-obliterating chicken coming home to roost. As if it weren’t already hard enough to get your head around what’ll happen in 20 years when your grown children, wondering what made them who they are, look back through all the photos of their fetal and infant and toddler selves that you posted on facebook for the mysterious, now-forgotten then-world to evaluate. How will the view across history’s chasm look to the offspring of humankind itself?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In the end, as in the beginning, it’s really just about putting it out there: a friendly and self-revealing gesture that you can’t ever really know will be accepted. It’s poignant, this manner of communication that’s necessarily one-way. And it’s poignant that The Future is here now, just in time for thinking about it to seem like a thing of the past.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>History of the Time Capsule\u003c/b> plays at 8:30pm March 12, 2011, at Artists Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Here is a question for the ages. Are you ready? Sorry, that wasn’t the question. The question is this. Which is more mind-blowing: burying a time capsule or digging one up? Whoa.\u003c/p>\n\u003cp>On the one hand, you have the invigorating challenge of cultural encapsulation (“OK, so let’s put in an iPhone, a carabiner key chain, and… what else?!”), not to mention the giddy wicked thrill of willful environmental irresponsibility: putting something in the ground that is deliberately not biodegradable — something that’s supposed to last, to outlive us all, to just sit there, taking up space and of course time, only to be uncovered much much later merely so somebody else might look inside and say, “Ah, interesting!” On the other hand: Ah, interesting! (“Back then they had books made of paper! Weeeeeird!”) Maybe it’s not irresponsible after all, when you consider the entire, \u003ci>four-dimensional\u003c/i> environment.\u003c/p>\n\u003cp>Saturday’s Other Cinema event is said to consider, in addition to the entire four-dimensional environment, the time capsule itself, as “an expression of cultural imagination and self-portraiture.” And the right man for this job, absolutely, is homegrown exploratory documentarist Sam Green, who’s lately been taking big ideas and refining them into personal, poetically investigative live-narrated cinematic events — finding a cozy balance between the unvarnished schoolroom show-and-tell and the heady Ideas-conference keynote. His \u003cb>History of the Time Capsule\u003c/b> portends a magical reminder of how both the burying and the digging up can inspire us to contemplate The Sublime Narrative Ellipsis of It All.\u003c/p>\n\u003cp>And anyway, the burying is mostly metaphorical. It’s already plenty mind-blowing to consider that the preparers of that time capsule from the 1939 World’s Fair, planning 50 centuries ahead, probably couldn’t even imagine the lo-fi self-portrait of 1977 humanity that NASA later would blast into the cosmos via Voyager. And now, because maybe 50 centuries is not enough, and twice as many might be better, we have the San Francisco-based Long Now Foundation, combating cultural short-sightedness with the Green-piquing big idea to build a 10,000-year clock. As engineer Daniel Hillis puts it: “It ticks once a year, bongs once a century, and the cuckoo comes out every millennium.”\u003c/p>\n\u003cp>This way of thinking allows for all manner of science-fiction stuff. It brings to mind Stanley Kubrick’s famous spine-tingling match cut from a thrown bone to a gliding spacecraft in \u003cb>2001: A Space Odyssey\u003c/b>, or \u003cb>Star Trek: The Motion Picture\u003c/b>, in which San Francisco’s own United Federation of Planets HQ gets all in a tizzy when one of the Voyagers, having become nearly but not completely all-knowing, returns to Earth with aggressive existential questions still pending, like an enormous mechanical starship-obliterating chicken coming home to roost. As if it weren’t already hard enough to get your head around what’ll happen in 20 years when your grown children, wondering what made them who they are, look back through all the photos of their fetal and infant and toddler selves that you posted on facebook for the mysterious, now-forgotten then-world to evaluate. How will the view across history’s chasm look to the offspring of humankind itself?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In the end, as in the beginning, it’s really just about putting it out there: a friendly and self-revealing gesture that you can’t ever really know will be accepted. It’s poignant, this manner of communication that’s necessarily one-way. And it’s poignant that The Future is here now, just in time for thinking about it to seem like a thing of the past.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>History of the Time Capsule\u003c/b> plays at 8:30pm March 12, 2011, at Artists Television Access in San Francisco. For \u003ca href=\"http://www.othercinema.com/\">more information\u003c/a>, visit othercinema.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>The words are plain and white on a black screen: “On October 23, 1969, a band of radicals disrupted the opening night of the San Francisco International Film Festival.” The music is solemn, twitchy. A moment prior, there was a snippet of a TV news interview with a man in a suit. He looked shaken, sounded angry. He’d been spattered with something dark and viscous. Also: was that a smiling nun being hauled away by the police? Just what sort of madness is this?\u003c/p>\n\u003cp>Why, it’s \u003cb>Pie Fight ’69\u003c/b>, of course: the short historical documentary by Christian Bruno and Sam Green, in which is recounted how the Bay Area’s Grand Central Station film collective brought off what it described at the time as “a soft bomb tossed in protest at everything that restricts energy, spunk, originality and wit in American cinema.” Where but San Francisco, right?\u003c/p>\n\u003cp>You can watch it on YouTube, where “meatwadXcore” was the first to comment, noting, “this is amazing, i love living in such a great city.” Then you can spend Thursday evening at the Red Vic Movie House, where the filmmakers themselves will be present to elaborate, cinematically, on the city’s greatness.\u003c/p>\n\u003cp>[youtube http://www.youtube.com/watch?v=oM2yInYIIdE&w=480&h=390]\u003c/p>\n\u003cp>\u003cb>Cinematic San Francisco\u003c/b> is a rich topic for any multimedia event, and especially for a fundraiser to benefit the 30-year-old Red Vic, whose endangered but continued existence shows what a damn fine city this really is for the lost (and found) art of moviegoing.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>It has as much to do with the movies made here as with the unique culture of how we relate to them. The cartographers of the culture have been busy lately. For instance, Bruno’s current work-in-progress documentary, \u003cb>Strand: A Natural History of Cinema\u003c/b>, reveals how, as he once put it, “the rise of the art-film culture really begins in the Bay Area.” Logically enough, the making of Bruno’s film inspired Julie Lindow to assemble her recent book \u003cb>Left in the Dark: Portraits of San Francisco Movie Theaters\u003c/b>, which in turn inspired Rebecca Solnit to include an essential cinema-related map in her recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=40538\">\u003cb>Infinite City: A San Francisco Atlas\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Lindow and Solnit both will be part of the evening’s presentation, too, along with Ant Farm collective co-founder Chip Lord, whose short film \u003cb>Movie Map\u003c/b> amusingly plays car chase scenes from \u003cb>Vertigo\u003c/b> and \u003cb>Bullitt\u003c/b> against each other in just such a way as to imply that the characters were driving from one San Francisco moviehouse to the next.\u003c/p>\n\u003cp>Any would-be pie-throwers, meanwhile, might consider decamping for L.A. to get ready for Sunday’s Oscars. As regards current levels of energy, spunk, originality and wit, we’re all set here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cinematic San Francisco\u003c/b> fundraiser event begins with a reception at 7pm, show starts at 7:30pm, TONIGHT, Thursday, February 24, 2011, at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://www.redvicmoviehouse.com\">tickets and more information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The words are plain and white on a black screen: “On October 23, 1969, a band of radicals disrupted the opening night of the San Francisco International Film Festival.” The music is solemn, twitchy. A moment prior, there was a snippet of a TV news interview with a man in a suit. He looked shaken, sounded angry. He’d been spattered with something dark and viscous. Also: was that a smiling nun being hauled away by the police? Just what sort of madness is this?\u003c/p>\n\u003cp>Why, it’s \u003cb>Pie Fight ’69\u003c/b>, of course: the short historical documentary by Christian Bruno and Sam Green, in which is recounted how the Bay Area’s Grand Central Station film collective brought off what it described at the time as “a soft bomb tossed in protest at everything that restricts energy, spunk, originality and wit in American cinema.” Where but San Francisco, right?\u003c/p>\n\u003cp>You can watch it on YouTube, where “meatwadXcore” was the first to comment, noting, “this is amazing, i love living in such a great city.” Then you can spend Thursday evening at the Red Vic Movie House, where the filmmakers themselves will be present to elaborate, cinematically, on the city’s greatness.\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/oM2yInYIIdE'\n title='//www.youtube.com/embed/oM2yInYIIdE'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003c/p>\n\u003cp>\u003cb>Cinematic San Francisco\u003c/b> is a rich topic for any multimedia event, and especially for a fundraiser to benefit the 30-year-old Red Vic, whose endangered but continued existence shows what a damn fine city this really is for the lost (and found) art of moviegoing.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>It has as much to do with the movies made here as with the unique culture of how we relate to them. The cartographers of the culture have been busy lately. For instance, Bruno’s current work-in-progress documentary, \u003cb>Strand: A Natural History of Cinema\u003c/b>, reveals how, as he once put it, “the rise of the art-film culture really begins in the Bay Area.” Logically enough, the making of Bruno’s film inspired Julie Lindow to assemble her recent book \u003cb>Left in the Dark: Portraits of San Francisco Movie Theaters\u003c/b>, which in turn inspired Rebecca Solnit to include an essential cinema-related map in her recent \u003ca href=\"http://www.kqed.org/arts/visualarts/article.jsp?essid=40538\">\u003cb>Infinite City: A San Francisco Atlas\u003c/b>\u003c/a>.\u003c/p>\n\u003cp>Lindow and Solnit both will be part of the evening’s presentation, too, along with Ant Farm collective co-founder Chip Lord, whose short film \u003cb>Movie Map\u003c/b> amusingly plays car chase scenes from \u003cb>Vertigo\u003c/b> and \u003cb>Bullitt\u003c/b> against each other in just such a way as to imply that the characters were driving from one San Francisco moviehouse to the next.\u003c/p>\n\u003cp>Any would-be pie-throwers, meanwhile, might consider decamping for L.A. to get ready for Sunday’s Oscars. As regards current levels of energy, spunk, originality and wit, we’re all set here.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>The \u003cb>Cinematic San Francisco\u003c/b> fundraiser event begins with a reception at 7pm, show starts at 7:30pm, TONIGHT, Thursday, February 24, 2011, at the Red Vic Movie House in San Francisco. For \u003ca href=\"http://www.redvicmoviehouse.com\">tickets and more information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"title": "The Iranian Odyssey of Justine Shapiro",
"headTitle": "The Iranian Odyssey of Justine Shapiro | KQED",
"content": "\u003cp>Arriving with sweat on her forehead from a morning run, Justine Shapiro takes a seat at a Berkeley cafe to talk about the most traumatic filmmaking experience of her life. Shapiro is a veteran documentarian and travel-series TV host who has worked in more than 40 countries. Her best-known movie is \u003ci>Promises\u003c/i>, the 2001 documentary about Palestinian-Israeli children, which was nominated for an Academy Award. On television, she was a prominent host of \u003ci>Globe Trekker\u003c/i>, the series (broadcast on PBS) that takes viewers to far-off locales. For that program, Shapiro did everything from remove her clothing (to visit a nudist beach in northern Germany) to eat stinkbugs (during an episode in Mexico). Nothing compares to what Shapiro endured in Iran, where she was making a documentary, called \u003ci>Our Summer in Tehran\u003c/i>, about three different Iranian families. Iranian authorities forced Shapiro to stop filming, gave her and her son, Mateo, 48 hours to leave the country, then confiscated all the documentary’s footage — leaving Shapiro without the work she had spent three years fund-raising for and arranging.\u003c/p>\n\u003cp>http://youtu.be/maXxHZac3N4\u003c/p>\n\u003cp>“When we were told to leave Tehran, we (Shapiro and producer Marjaneh Moghimi) had to go to the Intelligence Ministry’s police, in the foreign ministry,” says Shapiro, holding a bunch of yellow flowers she found on her run as we sat at Espresso Roma in southeast Berkeley. “An official told Marjaneh, ‘She needs to be on a plane in 48 hours. If not, we’ll come get her. If she questions why she’s being told to leave, then we’ll have to go to a trial.’ It was crazy stuff.”\u003c/p>\n\u003cp>Shapiro actually had back-up footage she had stashed with an embassy in Tehran, and “I asked that embassy to use a diplomatic pouch to send the tapes, and the ambassador very much wanted to do that but they were advised not to by the home office because Iran has a habit of going through diplomatic pouches,” she says. “So when I leave Iran, everything is gone.”\u003c/p>\n\u003cfigure id=\"attachment_128658\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-5.jpg\" alt=\"Justine Shapiro\" width=\"351\" height=\"500\" class=\"size-full wp-image-128658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-5.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-5-210x300.jpg 210w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justine Shapiro\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed in 2007, \u003ci>Our Summer in Tehran\u003c/i> features Shapiro and Mateo, who was then 6, hanging out at the homes of three middle class Iranian families with young children: A religious family; a family headed by a single mother who’s an actress; and a family whose son speaks English and is named Daniel. Daniel’s parents are well-off — the father is an architect — and have many relatives who live in the West. Shapiro had been filming for six weeks when she was told to stop. The reason apparently had to do with the Iranian film crew that Shapiro was using.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Back in the United States, Shapiro worked to convince Iranian officials that they should release the footage to her. For three months, she was regularly on the phone to Iran’s Culture Ministry from her home in Berkeley. And she’d begin each conversation with diplomatic pleasantries, even though she was under tremendous stress, didn’t know what to tell her film’s funders, and at one point was admitted to a hospital with stroke-like symptoms.\u003c/p>\n\u003cp>“Every phone call (with the Culture Ministry) started with, ‘How are you? How is your family’,” Shapiro says. “I knew I could appeal to their conscience. I knew I had nothing in those tapes that was anti-Islamic or anti-government, which are the two criteria that would give them reason not to return the tapes to me. I was not being funded by the State Department, or part of a big news conglomerate. I understood that the only way I would get my tapes back was that if they understood that this (project) was just me, Justine, with my kid, that I had worked so hard to do. I asked them to watch the tapes. And that they take care of them.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-4.jpg\" alt=\"tehran-4\" width=\"500\" height=\"280\" class=\"aligncenter size-full wp-image-128660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-3.jpg\" alt=\"tehran-3\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Finally, Iran relented — with huge caveats: Shapiro could get back the footage but she’d have to come to Iran, and she’d have to edit the film there, under the nose of Iran’s Intelligence Ministry. With little choice, that’s what Shapiro did, after picking an Iranian editor, Mostafa Kherghehpoush, who has worked on many of Iran’s most acclaimed movies, including \u003ci>Leila\u003c/i>, \u003ci>Two Women\u003c/i>, and \u003ci>Turtles Can Fly\u003c/i>. Shapiro flew to Iran three times in 2008 to edit \u003ci>Our Summer in Tehran\u003c/i>, leaving Mateo behind.\u003c/p>\n\u003cp>“Each time I met with an official from Iran’s Intelligence Ministry — the same guy who had been interrogating my crew during the summer — he became my assigned official,” says Shapiro. “He’d come into the edit suite, and we’d show him cuts. He didn’t speak a word of English. Mostafa had to translate everything. He (the official) was a little perplexed. He said, ‘Your film is really boring. You need action.’ I said, ‘I know. It’s practically propaganda for you guys. I don’t know why you’re making it so difficult for me. I shouldn’t be here. I should be with my son.’ His concern was that I was going to make a dark picture of Iran. He said, ‘You can go home and cover this with voiceover and re-edit it.’ I said, ‘Of course I can. But do I look like the kind of person who would give up time with my son so I can make a dark picture of Iran? There are enough people making dark pictures of Iran. I’m doing something different. Don’t give me a reason to go home and make a bid deal of this to the press. I understand you’re doing your job, and that I’m a small pawn in this big sea of conflict.'”\u003c/p>\n\u003cp>During Shapiro’s third visit, she convinced the Intelligence Ministry official that Iran had little reason to continue confiscating the work.\u003c/p>\n\u003cp>“He looked at me and bowed his head and smiled and said, ‘It’s good. You can take it home,’ pointing to the hard drives and the box of tapes,” says Shapiro. “He said, ‘You go to airport, no problem.’ I took out my notebook and said, ‘I want your cell phone number, so when I’m at the airport and there’s a problem, I can contact you.’ He smiled and gave me his number. It’s 2 a.m. at this point. And they (the official and Mostafa Kherghehpoush) talked. And Mostafa told me, ‘The only condition is that I have to give him a copy of the film for his boss.’ So that was the end of that phase of the drama.”\u003c/p>\n\u003cp>\u003cb>Our Summer in Tehran\u003c/b> screens Thursday, February 17, 7pm at the Saul Zaentz Media Center in Berkeley. In April, the movie is scheduled to be broadcast on PBS stations around the country. This version of the documentary is not the version that Shapiro finished with Kherghehpoush. That version, which was completed after Shapiro returned to the United States (Kherghehpoush flew here twice to continuing editing it), was a more impressionistic and poetic look at Shapiro and her son’s visit to Iran. It had no narration. Shapiro subsequently re-edited the film with the help of an Iranian-American editor, and the new movie has a more straightforward approach, centered this time around Shapiro’s narration.\u003c/p>\n\u003cp>Shapiro has put many of the difficulties of making \u003ci>Our Summer in Tehran\u003c/i> behind her. For much of 2010, she and Mateo lived in Mexico, so Mateo could be close to Shapiro’s ex-husband, Mexican filmmaker Carlos Bolado Munoz, and learn more Spanish. But now, as \u003ci>Our Summer in Tehran\u003c/i> has different public screenings and is set for national broadcast, Shapiro is beginning to talk publicly about the film’s problematic back story — and all the beautiful things she encountered in Iran.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-1.jpg\" alt=\"tehran-1\" width=\"500\" height=\"312\" class=\"aligncenter size-full wp-image-128662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1-300x187.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The film shows the deep connection that Shapiro made with one mother in particular, Marjan Torabi, the wife of a doctor who works for Iran’s Revolutionary Guards. Mateo was befriended by Iranians who treated him like he was their own child. That was the original intent of the film: To show everyday Iranians doing everyday things, like hanging out with children and eating at home. The goal was to humanize Iranians — to show Americans a people who at the time she envisioned the film (the second half of George W. Bush’s administration), U.S. leaders were talking of bombing. There is still that talk. And there is still the need to show an Iran beyond the typical media template of oil, war, violent Islam, and Middle East politics. That’s what \u003cb>Our Summer in Tehran\u003c/b> does without ignoring the historic political tensions between Tehran and Washington. The events of 9/11 helped lay the foundation for \u003cb>Our Summer in Tehran\u003c/b>. So did Mateo’s birth six months before 9/11.\u003c/p>\n\u003cp>“I wanted to make a series of films about how kids were raised in different countries, and the series was provisionally titled ‘Global Moms,’ ” says Shapiro. “The first iteration of that film was ‘Mateo Meets Mohammed.’ Mateo and I were going to live with Muslim families around the world, and I wrote a very in-depth proposal and treatment for the National Endowment for the Humanities, and submitted it to other foundations. There was no interest. People thought it was impossible and dangerous. . . . As a new mother, I realized that the way I was raising Mateo said a lot about who I was and about my values, and what societal values were. I thought it was an interesting prism through which to get a sense of a culture. What are parents modeling to their kids? We hear a lot about politics, but we don’t see a lot of the day-to-day around the world.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-2.jpg\" alt=\"tehran-2\" width=\"500\" height=\"279\" class=\"aligncenter size-full wp-image-128663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2-300x167.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-6.jpg\" alt=\"tehran-6\" width=\"500\" height=\"406\" class=\"aligncenter size-full wp-image-128664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6-300x243.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>“I started to raise money for the ‘Global Moms’ project, and I thought, ‘Maybe the safest first country to choose would be China,” Shapiro continues. “It’s an important country for us to understand. But while I was researching China, I was hearing more and more in the news about there being a possibility of war with Iran. I thought, ‘We should go to Iran. That’s what we need to understand right now.’ “\u003c/p>\n\u003cp>A key scene in the film shows Shapiro revealing the fact that she’s Jewish to Marjan Torabi. It comes as the two are about to enter one of Iran’s holiest Shiite shrines, in Mashad. Friends warned Shapiro before going to Iran that she should hide her religion. Shapiro was born in South Africa, and her father lived in Israel, where he was in the military. Mahmoud Ahmadinejad, Iran’s president, and other Iranian leaders have openly professed their enmity for Israel. But these are the words that Shapiro hears immediately from Torabi: “It’s OK. No problem.”\u003c/p>\n\u003cp>\u003ci>Our Summer in Tehran\u003c/i> is full of surprising insight — into Iran, into Shapiro and Mateo. At one point, the film shows Torabi’s 11-year-old daughter, Elaheh, doing what young girls do around the world: Playing with blonde Barbies. Torabi’s daughter has her hair covered in the style of a religiously observant Iranian woman. The Barbie is uncovered, dressed in what could be called a “secular style.” This intersection of cultures, in the bedroom of a pious (and articulate) Iranian girl, is the kind of image that hasn’t really been seen in previous U.S. documentaries. And it’s why Shapiro was so astounded that the Iranian authorities had been so difficult with her. \u003c/p>\n\u003cp>“This very simple film,” says Shapiro, “was born of very extraordinary logistical machinations.”\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>Our Summer in Tehran\u003c/i> screens Thursday, February 17, 7pm at the Saul Zaentz Media Center. For \u003ca>tickets and information”\u003c/a> visit oursummerintehran.com.\u003c/p>\n\n",
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"excerpt": "The original intent of Shapiro's documentary, \u003cb>Our Summer in Tehran\u003c/b>, was to show everyday Iranians doing everyday things. When her footage was confiscated and she was given 48 hours to leave the country, the film became a bit more complicated.",
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"description": "The original intent of Shapiro's documentary, Our Summer in Tehran, was to show everyday Iranians doing everyday things. When her footage was confiscated and she was given 48 hours to leave the country, the film became a bit more complicated.",
"title": "The Iranian Odyssey of Justine Shapiro | KQED",
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"description": "Jonathan Curiel has written widely about music, film, books, art, photography and other cultural subjects. \u003ci>SF Weekly's\u003c/i> art critic, he is a former staff writer with the \u003ci>San Francisco Chronicle\u003c/i>, and has also written on the arts for \u003ca href=\"http://www.salon.com/\">Salon\u003c/a>, the \u003ci>Christian Science Monitor\u003c/i>, \u003ci>The Wire\u003c/i> (a London music magazine), \u003ci>Tablet\u003c/i> and \u003ci>GlobalPost\u003c/i>. He has researched architecture at England's Oxford University, taught music journalism at the UCLA Herb Alpert School of Music, and been a juror at the San Francisco International Film Festival.",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Arriving with sweat on her forehead from a morning run, Justine Shapiro takes a seat at a Berkeley cafe to talk about the most traumatic filmmaking experience of her life. Shapiro is a veteran documentarian and travel-series TV host who has worked in more than 40 countries. Her best-known movie is \u003ci>Promises\u003c/i>, the 2001 documentary about Palestinian-Israeli children, which was nominated for an Academy Award. On television, she was a prominent host of \u003ci>Globe Trekker\u003c/i>, the series (broadcast on PBS) that takes viewers to far-off locales. For that program, Shapiro did everything from remove her clothing (to visit a nudist beach in northern Germany) to eat stinkbugs (during an episode in Mexico). Nothing compares to what Shapiro endured in Iran, where she was making a documentary, called \u003ci>Our Summer in Tehran\u003c/i>, about three different Iranian families. Iranian authorities forced Shapiro to stop filming, gave her and her son, Mateo, 48 hours to leave the country, then confiscated all the documentary’s footage — leaving Shapiro without the work she had spent three years fund-raising for and arranging.\u003c/p>\u003c/p>\u003cp>\u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutube'>\n \u003cspan class='utils-parseShortcode-shortcodes-__youtubeShortcode__embedYoutubeInside'>\n \u003ciframe\n loading='lazy'\n class='utils-parseShortcode-shortcodes-__youtubeShortcode__youtubePlayer'\n type='text/html'\n src='//www.youtube.com/embed/maXxHZac3N4'\n title='//www.youtube.com/embed/maXxHZac3N4'\n allowfullscreen='true'\n style='border:0;'>\u003c/iframe>\n \u003c/span>\n \u003c/span>\u003c/p>\u003cp>\u003cp>“When we were told to leave Tehran, we (Shapiro and producer Marjaneh Moghimi) had to go to the Intelligence Ministry’s police, in the foreign ministry,” says Shapiro, holding a bunch of yellow flowers she found on her run as we sat at Espresso Roma in southeast Berkeley. “An official told Marjaneh, ‘She needs to be on a plane in 48 hours. If not, we’ll come get her. If she questions why she’s being told to leave, then we’ll have to go to a trial.’ It was crazy stuff.”\u003c/p>\n\u003cp>Shapiro actually had back-up footage she had stashed with an embassy in Tehran, and “I asked that embassy to use a diplomatic pouch to send the tapes, and the ambassador very much wanted to do that but they were advised not to by the home office because Iran has a habit of going through diplomatic pouches,” she says. “So when I leave Iran, everything is gone.”\u003c/p>\n\u003cfigure id=\"attachment_128658\" class=\"wp-caption alignright\" style=\"max-width: 351px\">\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-5.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-5.jpg\" alt=\"Justine Shapiro\" width=\"351\" height=\"500\" class=\"size-full wp-image-128658\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-5.jpg 351w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-5-210x300.jpg 210w\" sizes=\"(max-width: 351px) 100vw, 351px\">\u003c/a>\u003cfigcaption class=\"wp-caption-text\">Justine Shapiro\u003c/figcaption>\u003c/figure>\n\u003cp>Filmed in 2007, \u003ci>Our Summer in Tehran\u003c/i> features Shapiro and Mateo, who was then 6, hanging out at the homes of three middle class Iranian families with young children: A religious family; a family headed by a single mother who’s an actress; and a family whose son speaks English and is named Daniel. Daniel’s parents are well-off — the father is an architect — and have many relatives who live in the West. Shapiro had been filming for six weeks when she was told to stop. The reason apparently had to do with the Iranian film crew that Shapiro was using.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Back in the United States, Shapiro worked to convince Iranian officials that they should release the footage to her. For three months, she was regularly on the phone to Iran’s Culture Ministry from her home in Berkeley. And she’d begin each conversation with diplomatic pleasantries, even though she was under tremendous stress, didn’t know what to tell her film’s funders, and at one point was admitted to a hospital with stroke-like symptoms.\u003c/p>\n\u003cp>“Every phone call (with the Culture Ministry) started with, ‘How are you? How is your family’,” Shapiro says. “I knew I could appeal to their conscience. I knew I had nothing in those tapes that was anti-Islamic or anti-government, which are the two criteria that would give them reason not to return the tapes to me. I was not being funded by the State Department, or part of a big news conglomerate. I understood that the only way I would get my tapes back was that if they understood that this (project) was just me, Justine, with my kid, that I had worked so hard to do. I asked them to watch the tapes. And that they take care of them.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-4.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-4.jpg\" alt=\"tehran-4\" width=\"500\" height=\"280\" class=\"aligncenter size-full wp-image-128660\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4-400x224.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-4-300x168.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-3.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-3.jpg\" alt=\"tehran-3\" width=\"500\" height=\"333\" class=\"aligncenter size-full wp-image-128661\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3-400x266.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-3-300x199.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>Finally, Iran relented — with huge caveats: Shapiro could get back the footage but she’d have to come to Iran, and she’d have to edit the film there, under the nose of Iran’s Intelligence Ministry. With little choice, that’s what Shapiro did, after picking an Iranian editor, Mostafa Kherghehpoush, who has worked on many of Iran’s most acclaimed movies, including \u003ci>Leila\u003c/i>, \u003ci>Two Women\u003c/i>, and \u003ci>Turtles Can Fly\u003c/i>. Shapiro flew to Iran three times in 2008 to edit \u003ci>Our Summer in Tehran\u003c/i>, leaving Mateo behind.\u003c/p>\n\u003cp>“Each time I met with an official from Iran’s Intelligence Ministry — the same guy who had been interrogating my crew during the summer — he became my assigned official,” says Shapiro. “He’d come into the edit suite, and we’d show him cuts. He didn’t speak a word of English. Mostafa had to translate everything. He (the official) was a little perplexed. He said, ‘Your film is really boring. You need action.’ I said, ‘I know. It’s practically propaganda for you guys. I don’t know why you’re making it so difficult for me. I shouldn’t be here. I should be with my son.’ His concern was that I was going to make a dark picture of Iran. He said, ‘You can go home and cover this with voiceover and re-edit it.’ I said, ‘Of course I can. But do I look like the kind of person who would give up time with my son so I can make a dark picture of Iran? There are enough people making dark pictures of Iran. I’m doing something different. Don’t give me a reason to go home and make a bid deal of this to the press. I understand you’re doing your job, and that I’m a small pawn in this big sea of conflict.'”\u003c/p>\n\u003cp>During Shapiro’s third visit, she convinced the Intelligence Ministry official that Iran had little reason to continue confiscating the work.\u003c/p>\n\u003cp>“He looked at me and bowed his head and smiled and said, ‘It’s good. You can take it home,’ pointing to the hard drives and the box of tapes,” says Shapiro. “He said, ‘You go to airport, no problem.’ I took out my notebook and said, ‘I want your cell phone number, so when I’m at the airport and there’s a problem, I can contact you.’ He smiled and gave me his number. It’s 2 a.m. at this point. And they (the official and Mostafa Kherghehpoush) talked. And Mostafa told me, ‘The only condition is that I have to give him a copy of the film for his boss.’ So that was the end of that phase of the drama.”\u003c/p>\n\u003cp>\u003cb>Our Summer in Tehran\u003c/b> screens Thursday, February 17, 7pm at the Saul Zaentz Media Center in Berkeley. In April, the movie is scheduled to be broadcast on PBS stations around the country. This version of the documentary is not the version that Shapiro finished with Kherghehpoush. That version, which was completed after Shapiro returned to the United States (Kherghehpoush flew here twice to continuing editing it), was a more impressionistic and poetic look at Shapiro and her son’s visit to Iran. It had no narration. Shapiro subsequently re-edited the film with the help of an Iranian-American editor, and the new movie has a more straightforward approach, centered this time around Shapiro’s narration.\u003c/p>\n\u003cp>Shapiro has put many of the difficulties of making \u003ci>Our Summer in Tehran\u003c/i> behind her. For much of 2010, she and Mateo lived in Mexico, so Mateo could be close to Shapiro’s ex-husband, Mexican filmmaker Carlos Bolado Munoz, and learn more Spanish. But now, as \u003ci>Our Summer in Tehran\u003c/i> has different public screenings and is set for national broadcast, Shapiro is beginning to talk publicly about the film’s problematic back story — and all the beautiful things she encountered in Iran.\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-1.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-1.jpg\" alt=\"tehran-1\" width=\"500\" height=\"312\" class=\"aligncenter size-full wp-image-128662\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1-400x249.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-1-300x187.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>The film shows the deep connection that Shapiro made with one mother in particular, Marjan Torabi, the wife of a doctor who works for Iran’s Revolutionary Guards. Mateo was befriended by Iranians who treated him like he was their own child. That was the original intent of the film: To show everyday Iranians doing everyday things, like hanging out with children and eating at home. The goal was to humanize Iranians — to show Americans a people who at the time she envisioned the film (the second half of George W. Bush’s administration), U.S. leaders were talking of bombing. There is still that talk. And there is still the need to show an Iran beyond the typical media template of oil, war, violent Islam, and Middle East politics. That’s what \u003cb>Our Summer in Tehran\u003c/b> does without ignoring the historic political tensions between Tehran and Washington. The events of 9/11 helped lay the foundation for \u003cb>Our Summer in Tehran\u003c/b>. So did Mateo’s birth six months before 9/11.\u003c/p>\n\u003cp>“I wanted to make a series of films about how kids were raised in different countries, and the series was provisionally titled ‘Global Moms,’ ” says Shapiro. “The first iteration of that film was ‘Mateo Meets Mohammed.’ Mateo and I were going to live with Muslim families around the world, and I wrote a very in-depth proposal and treatment for the National Endowment for the Humanities, and submitted it to other foundations. There was no interest. People thought it was impossible and dangerous. . . . As a new mother, I realized that the way I was raising Mateo said a lot about who I was and about my values, and what societal values were. I thought it was an interesting prism through which to get a sense of a culture. What are parents modeling to their kids? We hear a lot about politics, but we don’t see a lot of the day-to-day around the world.”\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-2.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-2.jpg\" alt=\"tehran-2\" width=\"500\" height=\"279\" class=\"aligncenter size-full wp-image-128663\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2-400x223.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-2-300x167.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>\u003ca href=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-6.jpg\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"http://ww2.kqed.org/arts/wp-content/uploads/sites/2/2011/02/tehran-6.jpg\" alt=\"tehran-6\" width=\"500\" height=\"406\" class=\"aligncenter size-full wp-image-128664\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6.jpg 500w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6-400x324.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2011/02/tehran-6-300x243.jpg 300w\" sizes=\"(max-width: 500px) 100vw, 500px\">\u003c/a>\u003c/p>\n\u003cp>“I started to raise money for the ‘Global Moms’ project, and I thought, ‘Maybe the safest first country to choose would be China,” Shapiro continues. “It’s an important country for us to understand. But while I was researching China, I was hearing more and more in the news about there being a possibility of war with Iran. I thought, ‘We should go to Iran. That’s what we need to understand right now.’ “\u003c/p>\n\u003cp>A key scene in the film shows Shapiro revealing the fact that she’s Jewish to Marjan Torabi. It comes as the two are about to enter one of Iran’s holiest Shiite shrines, in Mashad. Friends warned Shapiro before going to Iran that she should hide her religion. Shapiro was born in South Africa, and her father lived in Israel, where he was in the military. Mahmoud Ahmadinejad, Iran’s president, and other Iranian leaders have openly professed their enmity for Israel. But these are the words that Shapiro hears immediately from Torabi: “It’s OK. No problem.”\u003c/p>\n\u003cp>\u003ci>Our Summer in Tehran\u003c/i> is full of surprising insight — into Iran, into Shapiro and Mateo. At one point, the film shows Torabi’s 11-year-old daughter, Elaheh, doing what young girls do around the world: Playing with blonde Barbies. Torabi’s daughter has her hair covered in the style of a religiously observant Iranian woman. The Barbie is uncovered, dressed in what could be called a “secular style.” This intersection of cultures, in the bedroom of a pious (and articulate) Iranian girl, is the kind of image that hasn’t really been seen in previous U.S. documentaries. And it’s why Shapiro was so astounded that the Iranian authorities had been so difficult with her. \u003c/p>\n\u003cp>“This very simple film,” says Shapiro, “was born of very extraordinary logistical machinations.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"info": "What kind of no sabo word is Hyphenación? For us, it’s about living within a hyphenation. Like being a third-gen Mexican-American from the Texas border now living that Bay Area Chicano life. Like Xorje! Each week we bring together a couple of hyphenated Latinos to talk all about personal life choices: family, careers, relationships, belonging … everything is on the table. ",
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"info": "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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"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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"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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"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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"radiolab": {
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"reveal": {
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},
"rightnowish": {
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"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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"info": "Science Friday is a weekly science talk show, broadcast live over public radio stations nationwide. Each week, the show focuses on science topics that are in the news and tries to bring an educated, balanced discussion to bear on the scientific issues at hand. Panels of expert guests join host Ira Flatow, a veteran science journalist, to discuss science and to take questions from listeners during the call-in portion of the program.",
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"snap-judgment": {
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"title": "Snap Judgment",
"tagline": "Real stories with killer beats",
"info": "The Snap Judgment radio show and podcast mixes real stories with killer beats to produce cinematic, dramatic radio. Snap's musical brand of storytelling dares listeners to see the world through the eyes of another. This is storytelling... with a BEAT!! Snap first aired on public radio stations nationwide in July 2010. Today, Snap Judgment airs on over 450 public radio stations and is brought to the airwaves by KQED & PRX.",
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