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"content": "\u003cp>Matt Aselton’s debut feature, \u003cb>Gigantic\u003c/b> doesn’t officially qualify as a mumblecore movie according to David Denby’s \u003ca href=\"http://www.newyorker.com/arts/critics/cinema/2009/03/16/090316crci_cinema_denby\">recent definition\u003c/a> in the \u003ci>New Yorker\u003c/i>, but it comes pretty damn close. Its main characters are young, “intermittently employed,” and fall into bed (or into the back seat) after an awkward flirtation. Brian (Paul Dano) lives in “moderately hip poverty” and isn’t particularly driven in the career department. He is only slightly articulate when describing his emotions, which range from somewhat beleaguered to slightly overwhelmed.\u003c/p>\n\u003cp>Brian is the youngest son of bohemian parents (Ed Asner and Jane Alexander). He was a surprise, coming late in the couple’s married life after their two older boys had already grown up and left the nest. His elder brothers both have successful careers, but Brian flounders, selling upscale Swedish mattresses from a stripped down warehouse in Manhattan. His life’s wish is to adopt a baby girl from China. After a family trip ferreting out psychedelic mushrooms in the woods (who does that?), Brian’s father recounts his son’s eighth birthday, which ended in disappointment after the boy received a tricked out bicycle instead of said baby. It seems Brian has wanted a Chinese daughter for as long as anyone can remember.\u003c/p>\n\u003cp>The Zooey Deschanel part — the quirky, free-spirited, impulsive, wild-but-sensitive, obviously manic, maybe even bi-polar girlfriend, Harriet (Happy) Lolly — is played by Zooey Deschanel. Brian and Happy meet after Happy’s wealthy, eccentric art collector dad, Al (John Goodman), purchases a mattress from Brian. (Al has chronic back problems, meaning Goodman performs on the floor or at least on his back during most of his time onscreen.) Happy is sent to pay the bill and make an appointment for the mattress’s delivery, and ends up falling asleep in the showroom. Thus begins a very tentative relationship between Brian and Happy, which takes flight with the two shyly coming together and (literally) charming the pants off one another.\u003c/p>\n\u003cp>Of course there are also awkward bumps and pauses. It’s fun to watch two extremely quirky actors play such oddball characters, and to view a film that drops all pretense to realism. These characters with these particular motivations exist only in a certain kind of independent film. They come together, blurt out frank and challenging statements, act and react with the off-kilter spontaneity one — at least this one — rarely finds in real life, no matter how bohemian or alternative.\u003c/p>\n\u003cp>And then there is the weird, malevolent homeless guy who is pursuing Brian. (Me thinks Brian is schizophrenic?) Why the filmmaker chose to add in this plot line is as baffling as pretty much every other element in the film. When \u003cb>Gigantic\u003c/b> had concluded, I thought of the Fitzgerald quote about the rich being “different from you and me.” Not only do these characters move through and muck up the world with the ease of privilege, they seem to be from a different universe altogether, one made completely of celluloid. Most of the actions, situations and dialogue are so obviously movie conceits, it would be easy to become annoyed and disconnect with the film altogether. Even though no one would ever behave as these people do, I ended up rooting for them anyway, which is a testament to the talented cast. Dano and Deschanel are just so damn likable. It’s hard to resist John Goodman, Ed Asner and Jane Alexander, no matter what they’re doing. Ultimately, while I didn’t buy the characters or the story for one second, there was something beguiling about the film’s gentle surrealism.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>Gigantic\u003c/b> might be mumbling something about the difference in values across the various generations represented in the film. Goodman’s and Asner’s patriarchs are clearly speaking from a different generational perspective, while Brian’s older brothers and Happy’s older sister are caught up in some kind of nineties hedonistic materialism. Seems like Brian and Happy are just looking for something to love.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Gigantic\u003c/b> opens Friday, April 10, 2009.\u003c/p>\n\n",
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"content": "\u003cp>It sure is swell to meet a precocious young American filmmaker who’s not just a navel-gazer, who’s actually traveled all over the world, gotten out of his own head, and come back with something to say besides “Hey, guess what movies I’ve loved and how cool I therefoream!” But then, ever since Oakland native writer-director Cary Joji Fukunaga’s short film \u003cb>Victoria para Chino\u003c/b> cleaned up at Sundance in ’05 and went on to win a Student Academy Award, people have been expecting more from him.\u003c/p>\n\u003cp>Like a Spanish-language thriller of imperiled Central American immigrants, for instance. \u003cb>Sin Nombre\u003c/b>, the 31-year-old filmmaker’s highly self-possessed feature debut, focuses on two teenagers — a Honduran girl (Paulina Gaitan) and a Mexican gang member(Edgar Flores) — whose paths fatefully cross on a freight train heading north toward America. Fukunaga (who is of Japanese and Swedish ancestry) recently sat down with KQED to talk about how he did it.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: So you’re from Oakland, originally. How’d you get from there to here?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Yep, I was born in Oakland, then moved up to Sonoma for high school, then I went to college in Santa Cruz, then down to L.A. after I did some traveling, then Asia for a couple years, and then when I was 24, 25, I went to film grad school at NYU. And that’s what led to \u003cb>Sin Nombre\u003c/b>, and \u003ci>that’s\u003c/i> why I’m back in the Bay Area talking to you today.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: How’d you discover the path to becoming a filmmaker?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: I knew I wanted to do filmmaking in high school, but I thought it would be too difficult. My family’s full of schoolteachers, so there’s no one in the industry. I just assumed you needed to know people to do it, and I wasn’t really sure how to go about it. Incollege I studied history, I was interested in languages, but there was nothing else I could see myself doing. There’s like three things I wanted to do in my life. One was be an architect. One was be a fighter pilot. And one was be a filmmaker. And, well, actually there was alittle stint where I wanted to be a pro snowboarder. But yeah, architecture: I used to draw house plans all the time when I was little kid. I still love it. Fighter pilot: I was taking advanced math classes, advanced physics, to go to Annapolis and do that. But my eyesstarted going bad, and I didn’t want to fly cargo planes. But then filmmaking was always there. I didn’t want to do it as an undergraduate degree. I knew I was going to try and figure out some way to do it after college.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Hence, grad school at NYU?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: You know, I applied to grad school originally because a friend of mine from Santa Cruz was also applying. I didn’t really know much about NYU, but he’s like, “Dude, it’s New York.” And for me it was like, after L.A., where do you go? Meaning, after the Bay Area,you go to L.A.; after L.A. where do you go? So I didn’t really know if I wanted to go to film school, but I didn’t really have independent money to make short films so student loans were really the only way I could do it, if I was going to make movies with good production value.And everyone in L.A. that I was working with was saying, “Just work your way up.” But I wasn’t happy being a crew person. I liked being a crew person, I liked learning craft, but you plateau really quickly in terms of what you can learn as a crew person — unless you want atechnical role. And so I decided to go to film school. I wasn’t sure really until like a month before school if I really wanted to take on that debt. I mean you could potentially walk away from NYU with a $200,000 debt. And you could just be back in the same place again. I met guys who went to AFI (American Film Institute) to be cinematographers, and shot two films at AFI and went back to being assistant cameramen again after incurring a pretty big debt. So it was a gamble.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: For sure. But your short film, Victoria para Chino, was a great success. After that, did you have a whole bunch of projects to chose from as a first feature? How did \u003cb>Sin Nombre\u003c/b> become the one that you made?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: It was a weird process. It wasn’t like I had this dream to do a socially conscious film about immigration. I made the short film in 2005 because I had read this article in the \u003ci>New York Times\u003c/i> and it just hit me on an emotional level, and I knew I could make it. I was going into my second year, where you have to make a ten-minute long film, and I wanted to do a socially conscious film for that. I just didn’t know what the subject was going to be. So when I read the \u003ca href=\"http://www.nytimes.com/2003/05/15/us/trapped-in-heat-in-texas-truck-18-people-die.html?sec=health&&n=Top/Reference/Times%20Topics/Subjects/I/Immigration%20and%20Refugees\" target=\"offsite\" rel=\"noopener\">\u003ci>New York Times\u003c/i>\u003c/a> article I was like, “That’s it. That’s the story I want to tell.” I wasn’t making it to be a calling-card film. It wasn’t like, “This is going to launch my career.” So when it got into Sundance, it was like, “Oh shit, I’d better start getting things ready.” I had some other feature scripts I was playing with in my head. But at the festival, when they asked me if I had a feature script, it was just like, “Uh…” But I said I did. The only thing I was really prepared to write on was the same subject, because I’d done so much research for the short film. So that’s why I did it.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Let’s talk about your research.\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: After Sundance when my short film played, I went down to Mexico to do real research. I went down with two friends who’d made the short with me, and the goal was to go to the shelters and the train yards and interview immigrants, and spend time in prisons and get a sense of what the gang’s role was and what part they played in this weird micro-economy — and then ultimately finish up with riding the train. And after two and a half weeks of doing that and listening to horrifying stories of the journey — violence and young girls beingraped and people being hurt and falling off the train and all kinds of different things — my friends decided they weren’t going to ride the train. In fact, just a week before we were going to, there was a derailment, and several people died. So, I decided I was going to go by myself…(laughs)…thinking that they wouldn’t let me go by myself. And the night came to jump on the train, and they were just like, “Good luck!” I was on there for about 30 hours, and almost everything I needed to see for the film was on that trip. Including our train being attacked by bandits. I later found out that one immigrant had been killed. So it was a harrowing journey and it really allowed me to tell a first-person experience of what that journey is like. And it was an interesting moment — to feel completely equalized with their experience. Because once I was with them, no one was going to bail me out. You’re impotent in that moment. You have that fear and that helplessness.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: And you felt you needed to experience that personally?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: That was important to me because…being an outsider…this is a tricky one to maneuver, because I knew I was making this as a fictional film, so inherently it’s part of anindustry, and there’s profit to be made. I didn’t want to just be taking these people’s misery and making a film out of it. I needed to know for myself that I put myself through enough risk to merit telling the story.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: OK, so, any first feature is a challenge. But this one — in another language, in multiple countries, in several potentially very dangerous situations — seems like a \u003ci>huge\u003c/i> challenge.\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Absolutely…(laughs)…it was naïve. Naïve confidence. Really, if I knew how complicated the film was going to be and how tired I’d be toward the end of the shoot, I might have done things differently. It’s amazing how you can burn your energy on a film set. I was there all the time, and by the last day of shooting — six weeks and two days of shooting — I was so exhausted that I sat down in my chair, and it was like I couldn’t move. It was a highly impacted schedule, so any shift in that can throw off the entire shoot. There’s no rain days in a schedule like that. Often times it was trying to find the elegant solution to not being able to cover the scene the way you wanted to cover it. Elegant meaning not throwing away the baby with the bathwater just because you ran out of time, and shooting any old thing. You have to find the essence of that scene: Why did that scene survive development, why is it still in the script, what is it trying to accomplish? And find a way in one or two shots to accomplish it. In a way it’s good, that kind of pace, because everyone’s just \u003ci>going\u003c/i>. There was never a moment where everyone was just sitting down waiting for something to happen. For the actors, it’s great, ’cause they get to stay basically in the moment all day long.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Some of the \u003cb>Sin Nombre\u003c/b> cast members are experienced actors and some are not. How did you integrate them? What did they learn from each other, and what did that give to the movie?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: The biggest challenge there is making sure everyone’s in the same film. Because you have some actors who coming from a telenovela background, and Edgar Flores, who plays Casper, not having any experience, and someone like Paulina, who’s only done films, and who’s very much like the child actor, very professional. Tenoch Huerta, who plays Lil’ Mago, and Luis Fernando Pena, who plays El Sol, are pretty established actors in Mexico, and really good guys. I used them a lot to be, like, team captains when we had lots of actorsaround — almost like my lieutenants in a way. So I’d be so preoccupied putting out fires, I’d tell him, all right get the guys together, get them ready, and he’d go do it. And it made sense, because he’s a leader in the film, too. I formed a really close friendship with Tenoch, so if I go to Mexico now I crash at his family’s house.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: So, film-wise, what’s next?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Something completely different. That’s all I know. Socially conscious? Maybe. Something new, definitely. I’m playing around with a musical — something more raw than the typical Broadway type of thing. And I’ve got a couple of just regular college-age unrequited love stories. And then I have a sci-fi story. All I know is that I’m just trying to do something new.\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003cb>Sin Nombre\u003c/b> opens at the Embarcadero Cinema in San Francisco and California Theatre in Berkeley on Friday, April 3, with openings in San Jose on Friday April 10 and Sacramento on Friday, April 17. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a>, visit www.landmarktheatres.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>It sure is swell to meet a precocious young American filmmaker who’s not just a navel-gazer, who’s actually traveled all over the world, gotten out of his own head, and come back with something to say besides “Hey, guess what movies I’ve loved and how cool I therefoream!” But then, ever since Oakland native writer-director Cary Joji Fukunaga’s short film \u003cb>Victoria para Chino\u003c/b> cleaned up at Sundance in ’05 and went on to win a Student Academy Award, people have been expecting more from him.\u003c/p>\n\u003cp>Like a Spanish-language thriller of imperiled Central American immigrants, for instance. \u003cb>Sin Nombre\u003c/b>, the 31-year-old filmmaker’s highly self-possessed feature debut, focuses on two teenagers — a Honduran girl (Paulina Gaitan) and a Mexican gang member(Edgar Flores) — whose paths fatefully cross on a freight train heading north toward America. Fukunaga (who is of Japanese and Swedish ancestry) recently sat down with KQED to talk about how he did it.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: So you’re from Oakland, originally. How’d you get from there to here?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Yep, I was born in Oakland, then moved up to Sonoma for high school, then I went to college in Santa Cruz, then down to L.A. after I did some traveling, then Asia for a couple years, and then when I was 24, 25, I went to film grad school at NYU. And that’s what led to \u003cb>Sin Nombre\u003c/b>, and \u003ci>that’s\u003c/i> why I’m back in the Bay Area talking to you today.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: How’d you discover the path to becoming a filmmaker?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: I knew I wanted to do filmmaking in high school, but I thought it would be too difficult. My family’s full of schoolteachers, so there’s no one in the industry. I just assumed you needed to know people to do it, and I wasn’t really sure how to go about it. Incollege I studied history, I was interested in languages, but there was nothing else I could see myself doing. There’s like three things I wanted to do in my life. One was be an architect. One was be a fighter pilot. And one was be a filmmaker. And, well, actually there was alittle stint where I wanted to be a pro snowboarder. But yeah, architecture: I used to draw house plans all the time when I was little kid. I still love it. Fighter pilot: I was taking advanced math classes, advanced physics, to go to Annapolis and do that. But my eyesstarted going bad, and I didn’t want to fly cargo planes. But then filmmaking was always there. I didn’t want to do it as an undergraduate degree. I knew I was going to try and figure out some way to do it after college.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Hence, grad school at NYU?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: You know, I applied to grad school originally because a friend of mine from Santa Cruz was also applying. I didn’t really know much about NYU, but he’s like, “Dude, it’s New York.” And for me it was like, after L.A., where do you go? Meaning, after the Bay Area,you go to L.A.; after L.A. where do you go? So I didn’t really know if I wanted to go to film school, but I didn’t really have independent money to make short films so student loans were really the only way I could do it, if I was going to make movies with good production value.And everyone in L.A. that I was working with was saying, “Just work your way up.” But I wasn’t happy being a crew person. I liked being a crew person, I liked learning craft, but you plateau really quickly in terms of what you can learn as a crew person — unless you want atechnical role. And so I decided to go to film school. I wasn’t sure really until like a month before school if I really wanted to take on that debt. I mean you could potentially walk away from NYU with a $200,000 debt. And you could just be back in the same place again. I met guys who went to AFI (American Film Institute) to be cinematographers, and shot two films at AFI and went back to being assistant cameramen again after incurring a pretty big debt. So it was a gamble.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: For sure. But your short film, Victoria para Chino, was a great success. After that, did you have a whole bunch of projects to chose from as a first feature? How did \u003cb>Sin Nombre\u003c/b> become the one that you made?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: It was a weird process. It wasn’t like I had this dream to do a socially conscious film about immigration. I made the short film in 2005 because I had read this article in the \u003ci>New York Times\u003c/i> and it just hit me on an emotional level, and I knew I could make it. I was going into my second year, where you have to make a ten-minute long film, and I wanted to do a socially conscious film for that. I just didn’t know what the subject was going to be. So when I read the \u003ca href=\"http://www.nytimes.com/2003/05/15/us/trapped-in-heat-in-texas-truck-18-people-die.html?sec=health&&n=Top/Reference/Times%20Topics/Subjects/I/Immigration%20and%20Refugees\" target=\"offsite\" rel=\"noopener\">\u003ci>New York Times\u003c/i>\u003c/a> article I was like, “That’s it. That’s the story I want to tell.” I wasn’t making it to be a calling-card film. It wasn’t like, “This is going to launch my career.” So when it got into Sundance, it was like, “Oh shit, I’d better start getting things ready.” I had some other feature scripts I was playing with in my head. But at the festival, when they asked me if I had a feature script, it was just like, “Uh…” But I said I did. The only thing I was really prepared to write on was the same subject, because I’d done so much research for the short film. So that’s why I did it.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Let’s talk about your research.\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: After Sundance when my short film played, I went down to Mexico to do real research. I went down with two friends who’d made the short with me, and the goal was to go to the shelters and the train yards and interview immigrants, and spend time in prisons and get a sense of what the gang’s role was and what part they played in this weird micro-economy — and then ultimately finish up with riding the train. And after two and a half weeks of doing that and listening to horrifying stories of the journey — violence and young girls beingraped and people being hurt and falling off the train and all kinds of different things — my friends decided they weren’t going to ride the train. In fact, just a week before we were going to, there was a derailment, and several people died. So, I decided I was going to go by myself…(laughs)…thinking that they wouldn’t let me go by myself. And the night came to jump on the train, and they were just like, “Good luck!” I was on there for about 30 hours, and almost everything I needed to see for the film was on that trip. Including our train being attacked by bandits. I later found out that one immigrant had been killed. So it was a harrowing journey and it really allowed me to tell a first-person experience of what that journey is like. And it was an interesting moment — to feel completely equalized with their experience. Because once I was with them, no one was going to bail me out. You’re impotent in that moment. You have that fear and that helplessness.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: And you felt you needed to experience that personally?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: That was important to me because…being an outsider…this is a tricky one to maneuver, because I knew I was making this as a fictional film, so inherently it’s part of anindustry, and there’s profit to be made. I didn’t want to just be taking these people’s misery and making a film out of it. I needed to know for myself that I put myself through enough risk to merit telling the story.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: OK, so, any first feature is a challenge. But this one — in another language, in multiple countries, in several potentially very dangerous situations — seems like a \u003ci>huge\u003c/i> challenge.\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Absolutely…(laughs)…it was naïve. Naïve confidence. Really, if I knew how complicated the film was going to be and how tired I’d be toward the end of the shoot, I might have done things differently. It’s amazing how you can burn your energy on a film set. I was there all the time, and by the last day of shooting — six weeks and two days of shooting — I was so exhausted that I sat down in my chair, and it was like I couldn’t move. It was a highly impacted schedule, so any shift in that can throw off the entire shoot. There’s no rain days in a schedule like that. Often times it was trying to find the elegant solution to not being able to cover the scene the way you wanted to cover it. Elegant meaning not throwing away the baby with the bathwater just because you ran out of time, and shooting any old thing. You have to find the essence of that scene: Why did that scene survive development, why is it still in the script, what is it trying to accomplish? And find a way in one or two shots to accomplish it. In a way it’s good, that kind of pace, because everyone’s just \u003ci>going\u003c/i>. There was never a moment where everyone was just sitting down waiting for something to happen. For the actors, it’s great, ’cause they get to stay basically in the moment all day long.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: Some of the \u003cb>Sin Nombre\u003c/b> cast members are experienced actors and some are not. How did you integrate them? What did they learn from each other, and what did that give to the movie?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: The biggest challenge there is making sure everyone’s in the same film. Because you have some actors who coming from a telenovela background, and Edgar Flores, who plays Casper, not having any experience, and someone like Paulina, who’s only done films, and who’s very much like the child actor, very professional. Tenoch Huerta, who plays Lil’ Mago, and Luis Fernando Pena, who plays El Sol, are pretty established actors in Mexico, and really good guys. I used them a lot to be, like, team captains when we had lots of actorsaround — almost like my lieutenants in a way. So I’d be so preoccupied putting out fires, I’d tell him, all right get the guys together, get them ready, and he’d go do it. And it made sense, because he’s a leader in the film, too. I formed a really close friendship with Tenoch, so if I go to Mexico now I crash at his family’s house.\u003c/p>\n\u003cp>\u003cb>KQED\u003c/b>: So, film-wise, what’s next?\u003c/p>\n\u003cp>\u003cb>CJF\u003c/b>: Something completely different. That’s all I know. Socially conscious? Maybe. Something new, definitely. I’m playing around with a musical — something more raw than the typical Broadway type of thing. And I’ve got a couple of just regular college-age unrequited love stories. And then I have a sci-fi story. All I know is that I’m just trying to do something new.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003cb>Sin Nombre\u003c/b> opens at the Embarcadero Cinema in San Francisco and California Theatre in Berkeley on Friday, April 3, with openings in San Jose on Friday April 10 and Sacramento on Friday, April 17. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a>, visit www.landmarktheatres.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>I’ll begin with a strong suggestion that you immerse yourself in William Kentridge’s \u003cb>Five Themes\u003c/b> now, while you have the unprecedented opportunity. Kenneth Baker’s assertion that people tend to bookmark their first experience of Kentridge’s work struck a chord; I remember mine well. During a college field trip to SFMOMA, my professor saw me glance blankly at a looping film in the gallery. Seeing that I was about to walk away, he glanced at me so sharply that I knew I’d better stay and watch it. I watched, and I didn’t understand it. But then I couldn’t stop thinking about it, and I returned to the museum many more times to see it again, dragging others along with me, trying to decipher the narrative and making sure to note African guitar legend Franco’s soundtrack, so I could listen to it later. At least I’d have the song, since I couldn’t have the art. I once saw a copy of this same film, \u003cb>Tide Table\u003c/b>, on the desk of a local video editor and entertained the idea of swiping it. I didn’t do it, so don’t judge. I’m just trying to point out that Kentridge’s work is so powerful, it has the potential to make an honest person debate thievery. Lucky for you, YouTube has expanded enormously since then, and you can see a bit of the film there. Especially nice is this \u003ca href=\"http://www.youtube.com/watch?v=Zr03c2UfIqI/\">bootleg\u003c/a> version with a live performance of Franco’s song scored by Kentridge’s frequent musical collaborator, Philip Miller.\u003c/p>\n\u003cp>But YouTube is just for out-of-towners. The rest of you need to get over to SFMOMA because \u003cb>Tide Table\u003c/b> has returned after a long break. This spring, the museum wisely let Kentridge shine in a multiple-gallery exhibition of his drawings, animated films, installations, and sculptures. A satellite Kentridge puppet Opera was staged at Project Artaud Theater in San Francisco (he’s staging another one for the NY Metropolitan Opera in 2010), and the artist lent his likeness to the sides of Muni busses everywhere. It’s the Kentridge motherload.\u003c/p>\n\u003cp>In the museum, two black-box model theaters with moving sets add theatricality and depth to the Kentridge films projected on them. Surrounded by the mini theaters and a third film, you will adjust your position on a bench in the center of the gallery to watch each one in succession. One of the stages has mechanical figures reminiscent of Indonesian shadow puppets that move through the set and participate in the film. Another film is projected onto a mirrored cylinder in the center of a circular steel table. Finally, after viewing the drawings that comprise the films, you can watch over an hour of Kentridge’s past animations, which are surely unlike any you’ve seen before. Hand drawn using a reductive process of erasing and redrawing, each frame of each film is an artwork in itself.\u003c/p>\n\u003cp>One film is spliced with real clips of violence in South Africa, clarifying the subject of much of Kentridge’s work — the struggles of post-apartheid communities. His films’ other subjects include studies for his operas, and his own artistic practice. Working in multiple media, Kentridge provokes a range of emotion, reflection, and serious contemplation about universal problems, while preserving his own voice and lightheartedness. According to Mr. Baker, Kentridge tackles his subject matter “with an ingenuity and heart found almost nowhere else in contemporary art.”\u003c/p>\n\u003cp>I’ve also bookmarked my second and third experiences seeing Kentridge’s work. In 2006 I pressed my face up to the window of a packed cafe and stood in the rain, straining to hear a simulcast of Kentridge’s lecture where he discussed brilliantly how light is represented and perceived. Last year, I sat on the floor of an L.A. museum for an hour watching one of his films projected on a blackboard. I watched it over and over, trying to soak it up completely. Who knew when I’d see another one? Don’t starve yourself like I did. Get your fill of Kentridge and catch up on the last several years of his work before he’s back with a slew of new tricks up his charcoal-smudged sleeve. Opera is a fitting avenue for Kentridge because, like opera, his productions are a “Gesamtkunstwerk” (total artwork) with multiple layers of high-quality craft, not to mention a heaping helping of metaphor, symbolism, and theatrics.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>William Kentridge: Five Themes\u003c/b> is on view as the San Francisco Museum of Modern Art through May 31, 2009.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>I’ll begin with a strong suggestion that you immerse yourself in William Kentridge’s \u003cb>Five Themes\u003c/b> now, while you have the unprecedented opportunity. Kenneth Baker’s assertion that people tend to bookmark their first experience of Kentridge’s work struck a chord; I remember mine well. During a college field trip to SFMOMA, my professor saw me glance blankly at a looping film in the gallery. Seeing that I was about to walk away, he glanced at me so sharply that I knew I’d better stay and watch it. I watched, and I didn’t understand it. But then I couldn’t stop thinking about it, and I returned to the museum many more times to see it again, dragging others along with me, trying to decipher the narrative and making sure to note African guitar legend Franco’s soundtrack, so I could listen to it later. At least I’d have the song, since I couldn’t have the art. I once saw a copy of this same film, \u003cb>Tide Table\u003c/b>, on the desk of a local video editor and entertained the idea of swiping it. I didn’t do it, so don’t judge. I’m just trying to point out that Kentridge’s work is so powerful, it has the potential to make an honest person debate thievery. Lucky for you, YouTube has expanded enormously since then, and you can see a bit of the film there. Especially nice is this \u003ca href=\"http://www.youtube.com/watch?v=Zr03c2UfIqI/\">bootleg\u003c/a> version with a live performance of Franco’s song scored by Kentridge’s frequent musical collaborator, Philip Miller.\u003c/p>\n\u003cp>But YouTube is just for out-of-towners. The rest of you need to get over to SFMOMA because \u003cb>Tide Table\u003c/b> has returned after a long break. This spring, the museum wisely let Kentridge shine in a multiple-gallery exhibition of his drawings, animated films, installations, and sculptures. A satellite Kentridge puppet Opera was staged at Project Artaud Theater in San Francisco (he’s staging another one for the NY Metropolitan Opera in 2010), and the artist lent his likeness to the sides of Muni busses everywhere. It’s the Kentridge motherload.\u003c/p>\n\u003cp>In the museum, two black-box model theaters with moving sets add theatricality and depth to the Kentridge films projected on them. Surrounded by the mini theaters and a third film, you will adjust your position on a bench in the center of the gallery to watch each one in succession. One of the stages has mechanical figures reminiscent of Indonesian shadow puppets that move through the set and participate in the film. Another film is projected onto a mirrored cylinder in the center of a circular steel table. Finally, after viewing the drawings that comprise the films, you can watch over an hour of Kentridge’s past animations, which are surely unlike any you’ve seen before. Hand drawn using a reductive process of erasing and redrawing, each frame of each film is an artwork in itself.\u003c/p>\n\u003cp>One film is spliced with real clips of violence in South Africa, clarifying the subject of much of Kentridge’s work — the struggles of post-apartheid communities. His films’ other subjects include studies for his operas, and his own artistic practice. Working in multiple media, Kentridge provokes a range of emotion, reflection, and serious contemplation about universal problems, while preserving his own voice and lightheartedness. According to Mr. Baker, Kentridge tackles his subject matter “with an ingenuity and heart found almost nowhere else in contemporary art.”\u003c/p>\n\u003cp>I’ve also bookmarked my second and third experiences seeing Kentridge’s work. In 2006 I pressed my face up to the window of a packed cafe and stood in the rain, straining to hear a simulcast of Kentridge’s lecture where he discussed brilliantly how light is represented and perceived. Last year, I sat on the floor of an L.A. museum for an hour watching one of his films projected on a blackboard. I watched it over and over, trying to soak it up completely. Who knew when I’d see another one? Don’t starve yourself like I did. Get your fill of Kentridge and catch up on the last several years of his work before he’s back with a slew of new tricks up his charcoal-smudged sleeve. Opera is a fitting avenue for Kentridge because, like opera, his productions are a “Gesamtkunstwerk” (total artwork) with multiple layers of high-quality craft, not to mention a heaping helping of metaphor, symbolism, and theatrics.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The up-and-coming British experimental filmmaker Ben Rivers knows how to draw audiences in with the familiar, then set the hook deeper with elusive enigmas of a particular loveliness. He cultivates an air of intrigue and mystery in his films, with no intention of providing answers or resolution. You can’t accuse Rivers of being calculating or clever, coy or cruel. Not when he’s providing so much droll, delicious pleasure.\u003c/p>\n\u003cp>The prolific artist visits the Bay Area for the first time this week with two distinctly different shows at venues connected by the 14 Mission bus. \u003cb>The Poetic Horror of Ben Rivers\u003c/b>, Saturday night’s program at \u003ca href=\"http://www.othercinema.com/\">Other Cinema\u003c/a>, consists (as its title suggests) of his elegant riffs on haunted spaces, dangerous places and startled gazes. (Rivers is trawling in the fine English wake of Hammer and Hitchcock, in other words, with tongue planted just as firmly in cheek.)\u003c/p>\n\u003cp>The one-minute \u003cb>We The People\u003c/b>, the most prosaic of these works, is comprised of shots of stolid, deserted streets and buildings underlain with a soundtrack of people intermittently running and yelling — fleeing some monster, perhaps, or army, or virus. This piece, as well as \u003cb>The Hyrcynium Wood\u003c/b>, a rural reverie of leafless branches and unseen atrocities, is black and white and gray all over, evoking the aged, ghostly, weather-beaten texture we associate with, say, the Shackelford Expedition footage taken nearly a century ago.\u003c/p>\n\u003cp>Rivers loves that aesthetic — and who can blame him — and employs it in three of the films in \u003cb>This Is My Land: Ben Rivers’ Portraits and Landscapes\u003c/b>, screening Sunday night at Yerba Buena Center for the Arts under the auspices of the S.F. Cinematheque. The title piece in this collection of nonfiction studies is a glancing profile of Jake Williams, an isolated, self-contained Scotsman who lives with his cat in a house in the Aberdeenshire woods. (The last section of the film, shot in the snowy middle of winter, is as beautiful as it is poignant.) In \u003cb>The Coming Race\u003c/b>, hundreds of people climb a rocky, steep hill in some unidentified but clearly bizarre ritual. Both films make eccentric use of ambient sound, imbuing everyday noises with a touch of the surreal.\u003c/p>\n\u003cp>The moviegoer who sees both programs is likely to conclude that, in Rivers’ dreamy world, real people act just as oddly as fictional characters. One possible explanation is that Rivers has a heightened appreciation for British eccentricity; another is that he’s an eccentric himself. (He lives in Brighton, not London, which tells us something.) If so, he is a most genial and generous eccentric, inviting us into the beautiful, amusing and mysterious world he sees.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Poetic Horror of Ben Rivers\u003c/b> screens Saturday, March 28, 2009 at 8:30pm at Other Cinema in San Francisco. For \u003ca href=\"http://www.othercinema.com\">information\u003c/a> visit www.othercinema.com. \u003cb>This Is My Land: Ben Rivers’ Portraits and Landscapes\u003c/b> screens Sunday, March 29, 2009 at 7:30pm at Yerba Buena Center For the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a> visit www.ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The up-and-coming British experimental filmmaker Ben Rivers knows how to draw audiences in with the familiar, then set the hook deeper with elusive enigmas of a particular loveliness. He cultivates an air of intrigue and mystery in his films, with no intention of providing answers or resolution. You can’t accuse Rivers of being calculating or clever, coy or cruel. Not when he’s providing so much droll, delicious pleasure.\u003c/p>\n\u003cp>The prolific artist visits the Bay Area for the first time this week with two distinctly different shows at venues connected by the 14 Mission bus. \u003cb>The Poetic Horror of Ben Rivers\u003c/b>, Saturday night’s program at \u003ca href=\"http://www.othercinema.com/\">Other Cinema\u003c/a>, consists (as its title suggests) of his elegant riffs on haunted spaces, dangerous places and startled gazes. (Rivers is trawling in the fine English wake of Hammer and Hitchcock, in other words, with tongue planted just as firmly in cheek.)\u003c/p>\n\u003cp>The one-minute \u003cb>We The People\u003c/b>, the most prosaic of these works, is comprised of shots of stolid, deserted streets and buildings underlain with a soundtrack of people intermittently running and yelling — fleeing some monster, perhaps, or army, or virus. This piece, as well as \u003cb>The Hyrcynium Wood\u003c/b>, a rural reverie of leafless branches and unseen atrocities, is black and white and gray all over, evoking the aged, ghostly, weather-beaten texture we associate with, say, the Shackelford Expedition footage taken nearly a century ago.\u003c/p>\n\u003cp>Rivers loves that aesthetic — and who can blame him — and employs it in three of the films in \u003cb>This Is My Land: Ben Rivers’ Portraits and Landscapes\u003c/b>, screening Sunday night at Yerba Buena Center for the Arts under the auspices of the S.F. Cinematheque. The title piece in this collection of nonfiction studies is a glancing profile of Jake Williams, an isolated, self-contained Scotsman who lives with his cat in a house in the Aberdeenshire woods. (The last section of the film, shot in the snowy middle of winter, is as beautiful as it is poignant.) In \u003cb>The Coming Race\u003c/b>, hundreds of people climb a rocky, steep hill in some unidentified but clearly bizarre ritual. Both films make eccentric use of ambient sound, imbuing everyday noises with a touch of the surreal.\u003c/p>\n\u003cp>The moviegoer who sees both programs is likely to conclude that, in Rivers’ dreamy world, real people act just as oddly as fictional characters. One possible explanation is that Rivers has a heightened appreciation for British eccentricity; another is that he’s an eccentric himself. (He lives in Brighton, not London, which tells us something.) If so, he is a most genial and generous eccentric, inviting us into the beautiful, amusing and mysterious world he sees.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>The short form used to be the Rodney Dangerfield of the film world — it couldn’t get no respect. Nowadays shorts programs are amazingly popular, a reflection less of chronic ADD than the dawning realization that no other night at the movies offers so much concentrated creativity.\u003c/p>\n\u003cp>The newest entry among the myriad touring programs (Ann Arbor, Microcinema, The Animation Show, etc.) is CineVegas programmer Mike Plante’s \u003cb>Lunchfilm: Film Before Food\u003c/b>. Like so many marvelous ideas, it began as a fluke. A filmmaker pal was short of dough, so Plante picked up the bill. The other fellow offered the standard make-good — he’d get the check next time — but Plante had a brainstorm: Pay back the “debt” by making a film for the same cost. The concept soon turned into regular commissions, now topping 50, with the programmer scratching out terms and themes over a midday bite with the designated filmmaker.\u003c/p>\n\u003cp>Shorts used to be viewed as the province of students and amateurs, the apprentices who weren’t ready for prime time (that is, features). The Lunchfilm lineup boasts several mid-career experimental and nonfiction filmmakers, so I wasn’t expecting half-baked dreck but a cascade of no-budget, handmade work akin to scrapbook art: low on materials and high on inspiration. There are a few pieces like that, notably Kelly Sears’s mysterious, moody \u003cb>Jean\u003c/b>, which revisits movie star Jean Seberg’s dismal end through newspaper-style snippets of text laid over tarot illustrations.\u003c/p>\n\u003cp>But most of the films are so ambitious and accomplished that they defy any sense of constraints, financial or otherwise. The pick of the litter might be Braden King’s intimate black-and-white \u003cb>Home Movie\u003c/b>, co-written with and starring Mimi Visser as an exhausted, devoted Swedish mother who may be facing the loss of her young sons in a custody battle. Another highlight is local filmmaker Sam Green’s wonderful and strangely moving \u003cb>Clear Glasses\u003c/b>, which amplifies the connection he made with political activist-turned-fugitive-turned teacher Mark Rudd in the course of making his Oscar-nominated documentary \u003cb>The Weather Underground\u003c/b>.\u003c/p>\n\u003cp>Another S.F. icon, George Kuchar, contributes one of his deceptively complex video travelogues, \u003cb>The Celluloid Cavalcade\u003c/b>, a seemingly random compilation that begins in Atlanta (where he was touted with a couple of shows at Emory University) and ends up flitting around more familiar environs from the S.F. Art Institute (or Art Asylum, as Kuchar refers to his teaching home in his hilariously deadpan narration) to the S.F. International Film Festival’s opening night party to a show by one-time local Martha Colburn at the New Nothing Cinema. Kuchar’s charming, generous work may seem tossed off to the uninitiated, but there’s an undercurrent of Hollywood sendup and monster-movie surrealism on the soundtrack that nudges his films into unexpected psychological territory.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The aforementioned Martha Colburn is represented by a stunning piece of cut-out animation, \u003cb>Myth Wars\u003c/b>, that conflates religion, drug addiction and colonial history into a dizzying diorama. A young filmmaker named Mike Gibisser turns in an artful split-screen, black-and-white vignette of his grandmother entitled \u003cb>Springtime Wound Motor\u003c/b>, a reference to the spring-loaded camera he employed. Bobcat Goldthwait’s \u003cb>Goldthwait Home Movies\u003c/b> went even cheaper, adding tongue-in-cheek voice-over to his family’s old films to satirize DVD commentary tracks, child stardom and sibling rivalries.\u003c/p>\n\u003cp>If it’s not already clear, \u003cb>Lunchfilm: Film before Food\u003c/b> draws on an incredible array of styles and genres, and (with only a couple of exceptions) is pure pleasure from start to finish. Jonathan Marlowe of San Francisco Cinematheque saw the program at Sundance in January and asked Plante if a touring program was in the works; it turns out the two-and-a-quarter-hour S.F. show will be the first stop. Plante will be on hand, as well as Green and Kuchar, perhaps. Show some respect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lunchfilm\u003c/b> screens Sunday, March 22, 2009 at 7:30 p.m. at Yerba Buena Center For the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a> visit www.ybca.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The short form used to be the Rodney Dangerfield of the film world — it couldn’t get no respect. Nowadays shorts programs are amazingly popular, a reflection less of chronic ADD than the dawning realization that no other night at the movies offers so much concentrated creativity.\u003c/p>\n\u003cp>The newest entry among the myriad touring programs (Ann Arbor, Microcinema, The Animation Show, etc.) is CineVegas programmer Mike Plante’s \u003cb>Lunchfilm: Film Before Food\u003c/b>. Like so many marvelous ideas, it began as a fluke. A filmmaker pal was short of dough, so Plante picked up the bill. The other fellow offered the standard make-good — he’d get the check next time — but Plante had a brainstorm: Pay back the “debt” by making a film for the same cost. The concept soon turned into regular commissions, now topping 50, with the programmer scratching out terms and themes over a midday bite with the designated filmmaker.\u003c/p>\n\u003cp>Shorts used to be viewed as the province of students and amateurs, the apprentices who weren’t ready for prime time (that is, features). The Lunchfilm lineup boasts several mid-career experimental and nonfiction filmmakers, so I wasn’t expecting half-baked dreck but a cascade of no-budget, handmade work akin to scrapbook art: low on materials and high on inspiration. There are a few pieces like that, notably Kelly Sears’s mysterious, moody \u003cb>Jean\u003c/b>, which revisits movie star Jean Seberg’s dismal end through newspaper-style snippets of text laid over tarot illustrations.\u003c/p>\n\u003cp>But most of the films are so ambitious and accomplished that they defy any sense of constraints, financial or otherwise. The pick of the litter might be Braden King’s intimate black-and-white \u003cb>Home Movie\u003c/b>, co-written with and starring Mimi Visser as an exhausted, devoted Swedish mother who may be facing the loss of her young sons in a custody battle. Another highlight is local filmmaker Sam Green’s wonderful and strangely moving \u003cb>Clear Glasses\u003c/b>, which amplifies the connection he made with political activist-turned-fugitive-turned teacher Mark Rudd in the course of making his Oscar-nominated documentary \u003cb>The Weather Underground\u003c/b>.\u003c/p>\n\u003cp>Another S.F. icon, George Kuchar, contributes one of his deceptively complex video travelogues, \u003cb>The Celluloid Cavalcade\u003c/b>, a seemingly random compilation that begins in Atlanta (where he was touted with a couple of shows at Emory University) and ends up flitting around more familiar environs from the S.F. Art Institute (or Art Asylum, as Kuchar refers to his teaching home in his hilariously deadpan narration) to the S.F. International Film Festival’s opening night party to a show by one-time local Martha Colburn at the New Nothing Cinema. Kuchar’s charming, generous work may seem tossed off to the uninitiated, but there’s an undercurrent of Hollywood sendup and monster-movie surrealism on the soundtrack that nudges his films into unexpected psychological territory.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The aforementioned Martha Colburn is represented by a stunning piece of cut-out animation, \u003cb>Myth Wars\u003c/b>, that conflates religion, drug addiction and colonial history into a dizzying diorama. A young filmmaker named Mike Gibisser turns in an artful split-screen, black-and-white vignette of his grandmother entitled \u003cb>Springtime Wound Motor\u003c/b>, a reference to the spring-loaded camera he employed. Bobcat Goldthwait’s \u003cb>Goldthwait Home Movies\u003c/b> went even cheaper, adding tongue-in-cheek voice-over to his family’s old films to satirize DVD commentary tracks, child stardom and sibling rivalries.\u003c/p>\n\u003cp>If it’s not already clear, \u003cb>Lunchfilm: Film before Food\u003c/b> draws on an incredible array of styles and genres, and (with only a couple of exceptions) is pure pleasure from start to finish. Jonathan Marlowe of San Francisco Cinematheque saw the program at Sundance in January and asked Plante if a touring program was in the works; it turns out the two-and-a-quarter-hour S.F. show will be the first stop. Plante will be on hand, as well as Green and Kuchar, perhaps. Show some respect.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Lunchfilm\u003c/b> screens Sunday, March 22, 2009 at 7:30 p.m. at Yerba Buena Center For the Arts in San Francisco. For \u003ca href=\"http://www.ybca.org\">tickets and information\u003c/a> visit www.ybca.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Bruce Conner is in your head. How did he get there? Do not be alarmed, but there has been some seepage in the collective consciousness. Can you feel it? Yes. Yes you can. That name, Bruce Conner, is familiar. How do you know that name?\u003c/p>\n\u003cp>Not to be confused with memorably coiffed Olympic decathlete and game-show habitué Bruce Jenner, nor with mild-mannered, gamma-irradiated comic book character Bruce Banner, Bruce Conner was a San Francisco countercultural artist and filmmaker who came of age in the 1950s and ’60s. And yet, it is not wrong to go rummaging through the absurd, amusing, appalling mental scrapbook of American cultural effluvia in order to track him down.\u003c/p>\n\u003cp>Conner died last fall, the newspapers say, but who knows how gone he really is? One time, many years ago, he gave notice of his own death to Who’s Who, and hosted a solo art show called \u003cb>Works by the Late Bruce Conner\u003c/b>.\u003c/p>\n\u003cp>More to the point of this discussion, though, are Conner’s brilliantly inventive, highly kinetic and variously agitating films, which similarly imply an establishment-rattling trickster who could be very serious too. In 1958, he made a movie called \u003cb>A Movie\u003c/b>. “My intent was to make an anti-movie,” he later said. Later still, the San Francisco Chronicle described \u003cb>A Movie\u003c/b> as “a sort of paean to human failure.” For its maker, this lushly scored, sublimely funny yet also somehow dread-inducing 12-minute collage of found footage became definitive.\u003c/p>\n\u003cp>Conner’s ironic selectivity and poetically intelligent editing became a way of feeding the pop-culture machine back to itself. It also became widely influential. “Do I like being tagged as the father of music videos?” he once said. “I would demand a DNA test.” He was clever and creatively surly that way. (At least one of his sculptural artworks was directly inspired by his annoyance with a San Francisco museum’s way of displaying another.) Other subjects of Conner’s deftly cinematic social critiques include high-profile sex crimes, the Kennedy assassination, materialism, and pop art. “I get impassioned and that’s not cool and cool was what pop art was all about,” he said.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>There is a time and a place to see Conner’s films. The time is now. The place is not on DVD, because Conner films on DVD are rare, nor online, because, as an attorney for the Conner Family Trust once put it in a polite cease-and-desist notice, “Bruce was adamant that his films not be shown or seen on-line.” So, given that the time is now, that leaves only one place: the \u003cb>Crossroads\u003c/b>.\u003c/p>\n\u003cp>Not to be confused with The Crossroads Trading Company chain of clothing stores, which specializes in “recycled fashion,” nor with the 1990 box set of music by Eric Clapton, which alludes to the mythically diabolical 1930s Delta blues musician Robert Johnson, \u003cb>Crossroads\u003c/b> is, in fact, a two-day presentation of Conner’s films, mounted by the San Francisco Cinematheque and beginning tonight.\u003c/p>\n\u003cp>It’s also the title of one Conner films, a mesmerizing 1977 rhapsody on the H-Bomb obliteration of Bikini Atoll. If you can’t fathom what could be so damned rhapsodic about nuclear doom, or, to your own horror, you can fathom it perfectly well, \u003cb>Crossroads\u003c/b>, both the film and the event, is for you.\u003c/p>\n\u003cp>Bear in mind, too, that Conner’s cultural significance is so wide-ranging that one evening’s worth of his work will be introduced by an exceptional local essayist whose subjects include urbanism, the landscape of the American West and the invention of motion pictures (Rebecca Solnit); and the other will be handled by a local punk-drummer-cum-indie-movie producer (Henry S. Rosenthal).\u003c/p>\n\u003cp>Bruce Conner is already in your head. You might as well let him into your eyes and ears.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Crossroads: The Films of Bruce Conner\u003c/b> screens at 7:30 p.m. Wednesday, March 18, 2009, at the Yerba Buena Center for the Arts in San Francisco and 7:00 p.m., Thursday, March 19 at SFMOMA. For \u003ca href=\"http://www.sfcinematheque.org\"> tickets and information\u003c/a>, visit www.sfcinematheque.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Bruce Conner is in your head. How did he get there? Do not be alarmed, but there has been some seepage in the collective consciousness. Can you feel it? Yes. Yes you can. That name, Bruce Conner, is familiar. How do you know that name?\u003c/p>\n\u003cp>Not to be confused with memorably coiffed Olympic decathlete and game-show habitué Bruce Jenner, nor with mild-mannered, gamma-irradiated comic book character Bruce Banner, Bruce Conner was a San Francisco countercultural artist and filmmaker who came of age in the 1950s and ’60s. And yet, it is not wrong to go rummaging through the absurd, amusing, appalling mental scrapbook of American cultural effluvia in order to track him down.\u003c/p>\n\u003cp>Conner died last fall, the newspapers say, but who knows how gone he really is? One time, many years ago, he gave notice of his own death to Who’s Who, and hosted a solo art show called \u003cb>Works by the Late Bruce Conner\u003c/b>.\u003c/p>\n\u003cp>More to the point of this discussion, though, are Conner’s brilliantly inventive, highly kinetic and variously agitating films, which similarly imply an establishment-rattling trickster who could be very serious too. In 1958, he made a movie called \u003cb>A Movie\u003c/b>. “My intent was to make an anti-movie,” he later said. Later still, the San Francisco Chronicle described \u003cb>A Movie\u003c/b> as “a sort of paean to human failure.” For its maker, this lushly scored, sublimely funny yet also somehow dread-inducing 12-minute collage of found footage became definitive.\u003c/p>\n\u003cp>Conner’s ironic selectivity and poetically intelligent editing became a way of feeding the pop-culture machine back to itself. It also became widely influential. “Do I like being tagged as the father of music videos?” he once said. “I would demand a DNA test.” He was clever and creatively surly that way. (At least one of his sculptural artworks was directly inspired by his annoyance with a San Francisco museum’s way of displaying another.) Other subjects of Conner’s deftly cinematic social critiques include high-profile sex crimes, the Kennedy assassination, materialism, and pop art. “I get impassioned and that’s not cool and cool was what pop art was all about,” he said.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cp>For now, never mind trying to comprehend the enormous, diverse, ambitious and satisfying whole of the 27th annual San Francisco International Asian American Film Festival. It’s too much. The mind reels. Focus instead, if only for just this brief moment, on Japanese experimental multimedia artist Takahiko Iimura, who will grace the fest with a two-part overview of his work and with himself in person for both parts.\u003c/p>\n\u003cp>Observe, then, Iimura’s expansion from social criticism into formal criticism, and then into a personal synthesis thereof, and then into something else. Tease out his debt to Parisian surrealists of the ’20s, and New York avant-gardists of the ’60s, and of course the whole multi-millennial heap of Japanese history. Look for the coy eroticism, the mathematical interrogation of cinematic time, the swaying or studying camera, the pattern-making cuts. Reflect upon how curious it was, in the pre-internet epoch, that experimental aesthetic memes manifested themselves in different parts of the world simultaneously.\u003c/p>\n\u003cp>OK, you might once in a while think: I get it. I see what this is. So we’re in for 19 more minutes of this, are we? And, indeed, we are. But sooner or later, at some point within that span, if you can hang with it, things will change. Not on the screen, necessarily (although, yes, there too), but in your mind.\u003c/p>\n\u003cp>Or just soak it all in, and argue with friends afterward over which were the funny parts and which the frustrating parts, but agree on having been moved by the same parts.\u003c/p>\n\u003cp>Iimura’s movies — and yes, we can call them movies, because they \u003ci>will\u003c/i> move you, and because some are film and some are video — seem to ask: What \u003ci>is\u003c/i> this medium? What a weird thing to make art from. What is it doing to us when we make it, and when we watch it?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>So thank goodness Iimura is not just another stolid theorist with a camera. What he is is a careful, playful considerer of perception. And, of course, a perceptive one.\u003c/p>\n\u003cp>This is an artist whose methods have included poking literal holes in educational filmstrips, hand-writing the Kojiki, also known as “the oldest story in Japan,” in white calligraphic characters on black film leader and letting that be a movie unto itself, and making videos with grad-student-stoking titles like \u003cb>John Cage performs James Joyce\u003c/b>.\u003c/p>\n\u003cp>But he also has titles as rigorously minimal as \u003cb>A Chair\u003c/b> and as fanciful as \u003cb>A Dance Party in the Kingdom of Lilliput No. 1\u003c/b>, each of which will in fact be screened on Saturday afternoon, with eight other short subjects. Then there will be six more on Sunday. Not to mention the whole huge rest of SFIAAFF. \u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Observer Observed: Film/Video Works by Takahiko Iimura\u003c/b> is a two-day event. \u003cb>Program One: ’60s Experiments & Early Conceptual Videos\u003c/b> begins at 3 p.m. Saturday, March 14, 2009, at the Sundance Kabuki Cinemas in San Francisco, followed by a 5 p.m. reception in the Hotel Kabuki. \u003cb>Program Two: On Time in Film\u003c/b> begins at 7:30 p.m. Sunday, March 15, 2009, at the Yerba Buena Center for the Arts in San Francisco. For \u003ca href=\"http://www.asianamericanmedia.org\">tickets and information\u003c/a> visit asianamericanmedia.org.\u003c/p>\n\n",
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"content": "\u003cp>You may call them your personal belongings — clothes, books, posters, toys, bric-à-brac, you name it — but are they really that personal? Do you know who’s behind the scenes at the sock factory or who pressed the print on your favorite t-shirt? If not, it’s time you meet your maker and watch \u003cb>Handmade Nation\u003c/b> — Faythe Levine’s new documentary about the DIY art, craft and design community. The film effectively captures the passion behind those who embrace the pioneer spirit and treat craft as not just a novelty, but as a lifestyle.\u003c/p>\n\u003cp>The way \u003cb>Handmade Nation\u003c/b> is filmed reflects the subject matter. Some shaky cinematography, a few zoom-happy sequences and blown-out shots give it a DIY feel. Although it may not always be pretty (albeit an endearing stop-motion title sequence) or cinematic, it has a homemade look that works and doesn’t interfere with the commentary. 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It’s become more of a social networking event than strictly a cash-in-hand shopping experience.\u003c/p>\n\u003cp>One of the best moments in the film comes from a group based out of Houston, Texas called Knitta. They organize late night public art missions, but instead of spray paint they’re armed with knitted works that they affix to stop signs, buildings, trees, or whatever they feel like. Just imagine grown women jumping out of a car in the middle of the night and climbing on each other’s shoulders to attach a colorful hand-knitted sleeve to a lamp post. They defend against charges of vandalism, rebranding what they do as “FUNdalism,” non-destructive acts of imagination.\u003c/p>\n\u003cp>In addition to featuring crafters from around the country and some “how-to” instruction on making a latch-hook rug or flame working a glass bead, \u003cb>Handmade Nation\u003c/b> discusses some of the key philosophies behind the indie craft community: from the purists who use only sustainable, eco-friendly materials to the punks who steer clear from the mall mentality in favor of self-sufficiency. Levine brings enough people to the table to get a variety of perspectives on what can be defined as “craft,” and its potential impact on society’s buying habits.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Today’s consumer climate makes it difficult to find goods that are original, have flair, or are handmade, for that matter. We’re swimming in cheap junk and regularly spoon-fed products that are mass-produced and marketed towards target groups. 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And it also creates a deeper connection between you and your “stuff,” to know you have original work made with care by a human being.\u003c/p>\n\u003cp>Only time will tell whether this recent movement will hit a glass ceiling or continue to inspire more to get crafty. \u003cb>Handmade Nation\u003c/b> proves that even if it’s a fad, supporting indie crafts is still a win-win situation. It has encouraged people to cultivate real, tangible skills that may not be completely marketable, but are none-the-less rewarding.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Handmade Nation\u003c/b> is playing at the \u003ca href=\"http://www.mezzaninesf.com\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on Wednesday, March 11, 2009. Doors open at 7:00pm, show starts at 7:30 pm. Tickets are $8 for SFFS members and $12 for non-members. Following the screening, there will be a discussion with Lisa Congdon, owner of retailer Rare Device, Derek Fagerstrom, co-owner of The Curiosity Shoppe, Natalie Zee Drieu, senior editor of Craft magazine, and Stephanie Syjuco, fine artist and professor.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>You may call them your personal belongings — clothes, books, posters, toys, bric-à-brac, you name it — but are they really that personal? Do you know who’s behind the scenes at the sock factory or who pressed the print on your favorite t-shirt? If not, it’s time you meet your maker and watch \u003cb>Handmade Nation\u003c/b> — Faythe Levine’s new documentary about the DIY art, craft and design community. The film effectively captures the passion behind those who embrace the pioneer spirit and treat craft as not just a novelty, but as a lifestyle.\u003c/p>\n\u003cp>The way \u003cb>Handmade Nation\u003c/b> is filmed reflects the subject matter. Some shaky cinematography, a few zoom-happy sequences and blown-out shots give it a DIY feel. Although it may not always be pretty (albeit an endearing stop-motion title sequence) or cinematic, it has a homemade look that works and doesn’t interfere with the commentary. If Gus Hutwit’s 2007 documentary \u003cb>Helvetica\u003c/b> — a stunning portrait of the most ubiquitous font in the world — used the same type of loose camera work, it would have been a deal-breaker. But \u003cb>Handmade Nation\u003c/b>, which is similar to \u003cb>Helvetica\u003c/b> in its approach, assumes a quirkiness that allows for some technical slack.\u003c/p>\n\u003cp>Levine stitches the film together with 80 interviews in 15 cities, introducing individuals and companies who are in the vanguard of the indie craft movement. The undeniable rise of craft culture can be seen firsthand by the launch of the DIY television network or from big names like Todd Oldham and Amy Sedaris contributing their own work to craft books. Events such as the Renegade Craft Fair in Chicago, as shown in the film, are far from your typical country craft fairs and are attracting a new breed of young creatives who are eager to shake up the status quo of consumer goods. It’s become more of a social networking event than strictly a cash-in-hand shopping experience.\u003c/p>\n\u003cp>One of the best moments in the film comes from a group based out of Houston, Texas called Knitta. They organize late night public art missions, but instead of spray paint they’re armed with knitted works that they affix to stop signs, buildings, trees, or whatever they feel like. Just imagine grown women jumping out of a car in the middle of the night and climbing on each other’s shoulders to attach a colorful hand-knitted sleeve to a lamp post. They defend against charges of vandalism, rebranding what they do as “FUNdalism,” non-destructive acts of imagination.\u003c/p>\n\u003cp>In addition to featuring crafters from around the country and some “how-to” instruction on making a latch-hook rug or flame working a glass bead, \u003cb>Handmade Nation\u003c/b> discusses some of the key philosophies behind the indie craft community: from the purists who use only sustainable, eco-friendly materials to the punks who steer clear from the mall mentality in favor of self-sufficiency. Levine brings enough people to the table to get a variety of perspectives on what can be defined as “craft,” and its potential impact on society’s buying habits.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Today’s consumer climate makes it difficult to find goods that are original, have flair, or are handmade, for that matter. We’re swimming in cheap junk and regularly spoon-fed products that are mass-produced and marketed towards target groups. Michael Jordan has had his Hanes on millions of people but I doubt any of them got to shake his hand after buying that white tee. \u003cb>Handmade Nation\u003c/b> does well with addressing the issue of uniformity from the small business standpoint, where supply can be limited but sincerely coveted. The founders of San Francisco’s Little Otsu, a boutique paper goods and crafts store, explain how they never thought to consider themselves crafters but knew they wanted to showcase handmade goods in a store setting. As interest in the manufactured stuff dwindles, they’re more than happy to cater to those who appreciate craftsmanship and ingenuity.\u003c/p>\n\u003cp>There’s something empowering about buying handcrafted, one-of-a kind goods directly from the makers. You know your dollars are going towards a worthy cause instead of padding some big wig’s wallet. And it also creates a deeper connection between you and your “stuff,” to know you have original work made with care by a human being.\u003c/p>\n\u003cp>Only time will tell whether this recent movement will hit a glass ceiling or continue to inspire more to get crafty. \u003cb>Handmade Nation\u003c/b> proves that even if it’s a fad, supporting indie crafts is still a win-win situation. It has encouraged people to cultivate real, tangible skills that may not be completely marketable, but are none-the-less rewarding.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Handmade Nation\u003c/b> is playing at the \u003ca href=\"http://www.mezzaninesf.com\" target=\"offsite\" rel=\"noopener\">Mezzanine\u003c/a> on Wednesday, March 11, 2009. Doors open at 7:00pm, show starts at 7:30 pm. Tickets are $8 for SFFS members and $12 for non-members. Following the screening, there will be a discussion with Lisa Congdon, owner of retailer Rare Device, Derek Fagerstrom, co-owner of The Curiosity Shoppe, Natalie Zee Drieu, senior editor of Craft magazine, and Stephanie Syjuco, fine artist and professor.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Last night at a party, Micah (Wyatt Cenac) and Jo (Tracey Heggins) hooked up. Now it’s the morning after, and it’s awkward. She’s guarded, a little chilly, but he seems easy to like. He talks her into a cup of coffee. Then they share a cab. Then she bolts. But she’s left her wallet behind. He decides to track her down.\u003c/p>\n\u003cp>It turns out that she has a boyfriend, who’s out of town.\u003cbr>“Is he white?”\u003cbr>“Does it matter?”\u003cbr>“Yes and no.”\u003c/p>\n\u003cp>In an earlier conversation, it came out that Jo doesn’t pay rent. The boyfriend is the reason why. She guesses right that Micah is a little righteous. Underneath his open disposition, there is woundedness, anger, despair. And underneath her stricken conscience, there is affinity and real attraction.\u003c/p>\n\u003cp>These are the stakes in \u003cb>Medicine for Melancholy\u003c/b>, local writer-director Barry Jenkins’ breezily quotidian and much-buzzed-about feature debut. And although it’s designed as one of those movies in which nothing really happens, because things happening would ruin it, stakes do get raised. Jenkins has it in mind to build a courtship around how it feels to be a minority in a gentrifying city. But not just any minority, and not just any city.\u003c/p>\n\u003cp>San Francisco is a character in \u003cb>Medicine for Melancholy\u003c/b>, but not in a way it has been in movies before. There were a few rules going in. No trolley cars, no Golden Gate Bridge, no Fisherman’s Wharf. There are landmarks, of sorts, like the Knockout and Rainbow Grocery. But they’re landmarks for hipsters, not for tourists. The movie even has a set piece, as its characters flow through the city’s streets on the requisite fixed-gear bikes. The problem, as Micah eventually blurts in drunken desperation, is that “everything about being indie is all tied to not being black.”\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>In other words, it’s still a place of easy and obvious charm, of beauty and romance, but not an easy place for the black 7 percent of its population to live. And while \u003cb>Medicine for Melancholy\u003c/b> certainly is the first film to dramatize these ideas, the question of whether it’s an entirely successful dramatization may have to remain open. The actors do their best to lighten the starch in their sometimes stiffly Socratic conversation, and Jenkins often offsets it with buoyantly rhythmic swirls of motion and music. Yet, in the same way that there always seems to be a guitar handy for Micah or Jo to pick up and use to underline the movie’s affably arty tone, there also seems to be a fair housing meeting handy for them to witness in order for Jenkins to underline its theme. Inserting footage of this real event as a deliberate, knowingly didactic narrative interruption is a bold move, but is that knowingness enough of a dramatic solution? Discuss.\u003c/p>\n\u003cp>Maybe what matters most is that the tone of \u003cb>Medicine for Melancholy\u003c/b>‘s voice is so appealingly original — and yet there is a chorus with which it harmonizes quite nicely. Consider the late Bay Area filmmaker Marlon Riggs’ final project, 1994’s \u003ca href=\"http://www.greencine.com/webCatalog?id=280381\">\u003cb>Black is…Black Ain’t\u003c/b>\u003c/a>, another inquiry into individual and collective identity which had every right to be shrilly argumentative but instead came off as beautifully disarming. “We’ve got to start talking about the ways in which we hurt each other,” Riggs said in that film. And that’s just what Barry Jenkins is doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Medicine for Melancholy\u003c/b> opens Friday, March 6, 2009, at the Embarcadero Center Cinema in San Francisco. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a> visit http://www.landmarktheathres.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Last night at a party, Micah (Wyatt Cenac) and Jo (Tracey Heggins) hooked up. Now it’s the morning after, and it’s awkward. She’s guarded, a little chilly, but he seems easy to like. He talks her into a cup of coffee. Then they share a cab. Then she bolts. But she’s left her wallet behind. He decides to track her down.\u003c/p>\n\u003cp>It turns out that she has a boyfriend, who’s out of town.\u003cbr>“Is he white?”\u003cbr>“Does it matter?”\u003cbr>“Yes and no.”\u003c/p>\n\u003cp>In an earlier conversation, it came out that Jo doesn’t pay rent. The boyfriend is the reason why. She guesses right that Micah is a little righteous. Underneath his open disposition, there is woundedness, anger, despair. And underneath her stricken conscience, there is affinity and real attraction.\u003c/p>\n\u003cp>These are the stakes in \u003cb>Medicine for Melancholy\u003c/b>, local writer-director Barry Jenkins’ breezily quotidian and much-buzzed-about feature debut. And although it’s designed as one of those movies in which nothing really happens, because things happening would ruin it, stakes do get raised. Jenkins has it in mind to build a courtship around how it feels to be a minority in a gentrifying city. But not just any minority, and not just any city.\u003c/p>\n\u003cp>San Francisco is a character in \u003cb>Medicine for Melancholy\u003c/b>, but not in a way it has been in movies before. There were a few rules going in. No trolley cars, no Golden Gate Bridge, no Fisherman’s Wharf. There are landmarks, of sorts, like the Knockout and Rainbow Grocery. But they’re landmarks for hipsters, not for tourists. The movie even has a set piece, as its characters flow through the city’s streets on the requisite fixed-gear bikes. The problem, as Micah eventually blurts in drunken desperation, is that “everything about being indie is all tied to not being black.”\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>In other words, it’s still a place of easy and obvious charm, of beauty and romance, but not an easy place for the black 7 percent of its population to live. And while \u003cb>Medicine for Melancholy\u003c/b> certainly is the first film to dramatize these ideas, the question of whether it’s an entirely successful dramatization may have to remain open. The actors do their best to lighten the starch in their sometimes stiffly Socratic conversation, and Jenkins often offsets it with buoyantly rhythmic swirls of motion and music. Yet, in the same way that there always seems to be a guitar handy for Micah or Jo to pick up and use to underline the movie’s affably arty tone, there also seems to be a fair housing meeting handy for them to witness in order for Jenkins to underline its theme. Inserting footage of this real event as a deliberate, knowingly didactic narrative interruption is a bold move, but is that knowingness enough of a dramatic solution? Discuss.\u003c/p>\n\u003cp>Maybe what matters most is that the tone of \u003cb>Medicine for Melancholy\u003c/b>‘s voice is so appealingly original — and yet there is a chorus with which it harmonizes quite nicely. Consider the late Bay Area filmmaker Marlon Riggs’ final project, 1994’s \u003ca href=\"http://www.greencine.com/webCatalog?id=280381\">\u003cb>Black is…Black Ain’t\u003c/b>\u003c/a>, another inquiry into individual and collective identity which had every right to be shrilly argumentative but instead came off as beautifully disarming. “We’ve got to start talking about the ways in which we hurt each other,” Riggs said in that film. And that’s just what Barry Jenkins is doing.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Medicine for Melancholy\u003c/b> opens Friday, March 6, 2009, at the Embarcadero Center Cinema in San Francisco. For \u003ca href=\"http://www.landmarktheatres.com\">tickets and information\u003c/a> visit http://www.landmarktheathres.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"headTitle": "Shadows at Alcatraz: The Black Rock | KQED",
"content": "\u003cp>Kevin Epps’s selective snapshot of the African-American experience at Alcatraz, \u003cb>The Black Rock\u003c/b>, pushes through the fog of history in search of shards of contemporary relevance. When it finds them, the one-hour documentary comes into wrenching, pinpoint focus. Most of the time, however, the film comprises a riveting but thematically blurred collection of recollections.\u003c/p>\n\u003cp>Depending on your perspective, I saw \u003cb>The Black Rock\u003c/b> under ideal or awful circumstances. Epps, who emerged on the scene with a bang in 2002 with \u003cb>Straight Outta Hunters Point\u003c/b>, ferried a boatload of backers, friends and sponsors to Alcatraz on a dank Tuesday night two weeks ago for the premiere. After a mood-setting, ranger-led tour of the prison, we gathered in the dining room to watch the film.\u003c/p>\n\u003cp>Alcatraz ceased operating as a penitentiary in 1963 (after just 29 years housing the most incorrigible inmates in the federal system), but sitting in the chilly darkness I felt most of that distance evaporating. (My notes are unusable scribblings, though, a consequence of wearing gloves.) At the same time, this wasn’t the best venue for assessing the work, as only the folks in the front row had an unobstructed view of the screen.\u003c/p>\n\u003cp>\u003cb>The Black Rock\u003c/b> juxtaposes interviews with surviving inmates and guards of various races — a necessity, I suppose, given the scarcity of people around with first-hand knowledge of Alcatraz as a prison, but one that dilutes the film’s stated emphasis on black prisoners — with segments on three special cases: Harlem gangster Ellsworth “Bumpy” Johnson, Depression-era counterfeiter Robert Lipscomb and William “Ty” Martin, the only black member of a famous, failed 1939 escape attempt.\u003c/p>\n\u003cp>Johnson is a colorful character, no doubt about it, and it’s intriguing to hear that he was a moderating influence on the other prisoners during his years on the Rock. But the most compelling figure is Lipscomb, who was given 25 years in 1929 for passing a couple of hundred dollars worth of fake bills. “Prison became a university for him,” somebody recalls in \u003cb>The Black Rock\u003c/b>, and Lipscomb was so learned and determined that he challenged the prison’s continued segregation policy after the Supreme Court’s decision in Brown v. Board of Education. He got no satisfaction, only a reputation as a troublemaker who years later was sent to a mental institution.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>Lipscomb’s fascinating story vividly provides the clearest evidence of the film’s thesis that black prisoners were treated worse than whites. There’s no question that racism was a part of daily life. But \u003cb>The Black Rock\u003c/b> doesn’t persuasively make the case that Alcatraz was a tougher place for black inmates, or that their experiences were appreciably different.\u003c/p>\n\u003cp>Likewise, in his introduction Epps cited the disproportionate number of black males currently incarcerated in the U.S. as one of his motivations for making the documentary. Perfectly understandable and perfectly valid, but the film fails to establish a strong connection between Alcatraz’s slender though iconic place in history and contemporary realities and injustices. Had it done so, \u003cb>The Black Rock\u003c/b> would be essential viewing, instead of a gripping diversion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Black Rock\u003c/b> screens Friday, February 27 through Thursday, March 5, 2009 at 7:30 p.m. at the Red Vic Movie House, Haight St., 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>Kevin Epps’s selective snapshot of the African-American experience at Alcatraz, \u003cb>The Black Rock\u003c/b>, pushes through the fog of history in search of shards of contemporary relevance. When it finds them, the one-hour documentary comes into wrenching, pinpoint focus. Most of the time, however, the film comprises a riveting but thematically blurred collection of recollections.\u003c/p>\n\u003cp>Depending on your perspective, I saw \u003cb>The Black Rock\u003c/b> under ideal or awful circumstances. Epps, who emerged on the scene with a bang in 2002 with \u003cb>Straight Outta Hunters Point\u003c/b>, ferried a boatload of backers, friends and sponsors to Alcatraz on a dank Tuesday night two weeks ago for the premiere. After a mood-setting, ranger-led tour of the prison, we gathered in the dining room to watch the film.\u003c/p>\n\u003cp>Alcatraz ceased operating as a penitentiary in 1963 (after just 29 years housing the most incorrigible inmates in the federal system), but sitting in the chilly darkness I felt most of that distance evaporating. (My notes are unusable scribblings, though, a consequence of wearing gloves.) At the same time, this wasn’t the best venue for assessing the work, as only the folks in the front row had an unobstructed view of the screen.\u003c/p>\n\u003cp>\u003cb>The Black Rock\u003c/b> juxtaposes interviews with surviving inmates and guards of various races — a necessity, I suppose, given the scarcity of people around with first-hand knowledge of Alcatraz as a prison, but one that dilutes the film’s stated emphasis on black prisoners — with segments on three special cases: Harlem gangster Ellsworth “Bumpy” Johnson, Depression-era counterfeiter Robert Lipscomb and William “Ty” Martin, the only black member of a famous, failed 1939 escape attempt.\u003c/p>\n\u003cp>Johnson is a colorful character, no doubt about it, and it’s intriguing to hear that he was a moderating influence on the other prisoners during his years on the Rock. But the most compelling figure is Lipscomb, who was given 25 years in 1929 for passing a couple of hundred dollars worth of fake bills. “Prison became a university for him,” somebody recalls in \u003cb>The Black Rock\u003c/b>, and Lipscomb was so learned and determined that he challenged the prison’s continued segregation policy after the Supreme Court’s decision in Brown v. Board of Education. He got no satisfaction, only a reputation as a troublemaker who years later was sent to a mental institution.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>Lipscomb’s fascinating story vividly provides the clearest evidence of the film’s thesis that black prisoners were treated worse than whites. There’s no question that racism was a part of daily life. But \u003cb>The Black Rock\u003c/b> doesn’t persuasively make the case that Alcatraz was a tougher place for black inmates, or that their experiences were appreciably different.\u003c/p>\n\u003cp>Likewise, in his introduction Epps cited the disproportionate number of black males currently incarcerated in the U.S. as one of his motivations for making the documentary. Perfectly understandable and perfectly valid, but the film fails to establish a strong connection between Alcatraz’s slender though iconic place in history and contemporary realities and injustices. Had it done so, \u003cb>The Black Rock\u003c/b> would be essential viewing, instead of a gripping diversion.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Black Rock\u003c/b> screens Friday, February 27 through Thursday, March 5, 2009 at 7:30 p.m. at the Red Vic Movie House, Haight St., in San Francisco. For \u003ca href=\"http://www.redvicmoviehouse.com\">tickets and information\u003c/a> visit redvicmoviehouse.com.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>If this year’s Academy Awards taught us anything, it’s that Americans will always appreciate creative moviemaking professionals who speak English but are not American.\u003c/p>\n\u003cp>Consider how many of such people worked on the recent crop of Oscar-nominated films, from \u003cb>Slumdog Millionaire\u003c/b> to \u003cb>The Reader\u003c/b> to \u003cb>The Dark Knight\u003c/b> to \u003cb>The Duchess\u003c/b> to \u003cb>Happy-Go-Lucky\u003c/b> to \u003cb>In Bruges\u003c/b>. Even the particularly American stories — \u003cb>Revolutionary Road\u003c/b>, \u003cb>The Curious Case of Benjamin Button\u003c/b>, \u003cb>Frost/Nixon\u003c/b> — were chock full of Brits, and the quintessentially American awards program itself was hosted by an Australian.\u003c/p>\n\u003cp>Maybe it’s because we find their accents seductive. Or, especially as in cases when they conceal their accents, maybe it’s because they remain foreign and exotic yet still gracious enough to not make us read subtitles.\u003c/p>\n\u003cp>Anyway, none of the movies mentioned above are playing in the inaugural \u003cb>Mostly British Film Series\u003c/b>, a co-presentation of the San Francisco Neighborhood Theater Foundation and the California Film Institute, but who cares, because quite a few promising and similarly credentialed others are.\u003c/p>\n\u003cp>Having culled eight days worth of heartwarmers, crowd pleasers and challengers from selections of the Toronto, Edinburgh and Sydney film festivals, the new series’ organizers have arranged for several auspicious Bay Area premieres. They are mostly British, the thinking goes, so we know we can count on them.\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The talent roster of reliably familiar class acts includes Michael Caine in \u003cb>Is There Anybody There?\u003c/b> as an old magician who befriends a boy in a retirement home; Toni Collette as a beleaguered matriarch in \u003cb>The Black Balloon\u003c/b>, a drama about a family with a highly challenging autistic son; Brenda Fricker and Robert Carlyle in \u003cb>Stone of Destiny\u003c/b>, a Scottish heist-caper comedy; and Colin Firth and Kristin Scott Thomas in \u003cb>Easy Virtue\u003c/b>, an adaptation of the Noel Coward play.\u003c/p>\n\u003cp>Speaking of dependables, \u003cb>Mostly British\u003c/b> obviously isn’t afraid to reach back in time a little, to Christopher Nolan’s feature debut, the neo-noir \u003cb>Following\u003c/b>, from 1998, or even to the Powell-Pressburger romance classic \u003cb>I Know Where I’m Going!\u003c/b>, from 1945 — not to mention 1969’s \u003cb>Age of Consent\u003c/b>, Michael Powell’s final film and Helen Mirren’s first as star. And if some of these don’t sound quite stiff-upper-lip enough, try \u003cb>Hunger\u003c/b>, one of the most artfully brutal films you will ever see, if you dare, about the final weeks of IRA hunger striker Bobby Sands.\u003c/p>\n\u003cp>Maybe the take-home message of \u003cb>Mostly British\u003c/b> is this: Cor blimey, there’s a lot of bloomin’ movies in the English-speaking world. If we know what’s good for us, we’d best not miss out on them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Mostly British Film Series\u003c/b> runs from February 26 through March 5, 2009, at the Vogue Theatre in San Francisco and the Rafael Film Center in San Rafael. For \u003ca href=\"www.voguesf.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit voguesf.com and cafilm.org.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>If this year’s Academy Awards taught us anything, it’s that Americans will always appreciate creative moviemaking professionals who speak English but are not American.\u003c/p>\n\u003cp>Consider how many of such people worked on the recent crop of Oscar-nominated films, from \u003cb>Slumdog Millionaire\u003c/b> to \u003cb>The Reader\u003c/b> to \u003cb>The Dark Knight\u003c/b> to \u003cb>The Duchess\u003c/b> to \u003cb>Happy-Go-Lucky\u003c/b> to \u003cb>In Bruges\u003c/b>. Even the particularly American stories — \u003cb>Revolutionary Road\u003c/b>, \u003cb>The Curious Case of Benjamin Button\u003c/b>, \u003cb>Frost/Nixon\u003c/b> — were chock full of Brits, and the quintessentially American awards program itself was hosted by an Australian.\u003c/p>\n\u003cp>Maybe it’s because we find their accents seductive. Or, especially as in cases when they conceal their accents, maybe it’s because they remain foreign and exotic yet still gracious enough to not make us read subtitles.\u003c/p>\n\u003cp>Anyway, none of the movies mentioned above are playing in the inaugural \u003cb>Mostly British Film Series\u003c/b>, a co-presentation of the San Francisco Neighborhood Theater Foundation and the California Film Institute, but who cares, because quite a few promising and similarly credentialed others are.\u003c/p>\n\u003cp>Having culled eight days worth of heartwarmers, crowd pleasers and challengers from selections of the Toronto, Edinburgh and Sydney film festivals, the new series’ organizers have arranged for several auspicious Bay Area premieres. They are mostly British, the thinking goes, so we know we can count on them.\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The talent roster of reliably familiar class acts includes Michael Caine in \u003cb>Is There Anybody There?\u003c/b> as an old magician who befriends a boy in a retirement home; Toni Collette as a beleaguered matriarch in \u003cb>The Black Balloon\u003c/b>, a drama about a family with a highly challenging autistic son; Brenda Fricker and Robert Carlyle in \u003cb>Stone of Destiny\u003c/b>, a Scottish heist-caper comedy; and Colin Firth and Kristin Scott Thomas in \u003cb>Easy Virtue\u003c/b>, an adaptation of the Noel Coward play.\u003c/p>\n\u003cp>Speaking of dependables, \u003cb>Mostly British\u003c/b> obviously isn’t afraid to reach back in time a little, to Christopher Nolan’s feature debut, the neo-noir \u003cb>Following\u003c/b>, from 1998, or even to the Powell-Pressburger romance classic \u003cb>I Know Where I’m Going!\u003c/b>, from 1945 — not to mention 1969’s \u003cb>Age of Consent\u003c/b>, Michael Powell’s final film and Helen Mirren’s first as star. And if some of these don’t sound quite stiff-upper-lip enough, try \u003cb>Hunger\u003c/b>, one of the most artfully brutal films you will ever see, if you dare, about the final weeks of IRA hunger striker Bobby Sands.\u003c/p>\n\u003cp>Maybe the take-home message of \u003cb>Mostly British\u003c/b> is this: Cor blimey, there’s a lot of bloomin’ movies in the English-speaking world. If we know what’s good for us, we’d best not miss out on them.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>The Mostly British Film Series\u003c/b> runs from February 26 through March 5, 2009, at the Vogue Theatre in San Francisco and the Rafael Film Center in San Rafael. For \u003ca href=\"www.voguesf.com\" target=\"offsite\" rel=\"noopener\">tickets and information\u003c/a>, visit voguesf.com and cafilm.org.\u003c/p>\n\n\u003c/div>\u003c/p>",
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"content": "\u003cp>Stacy Peralta’s new documentary may be about gangland L.A. in particular, but it matters here too. Not just because typically left-leaning Bay Area viewers pride themselves on the sort of humane (if sometimes under-critical) receptivity that is Peralta’s moviemaking m.o., but because, well, to live in a place where a cop just shot a black man in the back is to sit squarely within the \u003cb>Crips and Bloods\u003c/b> target audience.\u003c/p>\n\u003cp>Having established his documentary career with presumably “safer” and more personally familiar young-male subcultures — of skating and surfing, respectively — in \u003cb>Dogtown and Z Boys\u003c/b> and \u003cb>Riding Giants\u003c/b>, Peralta has to get points here for bravery and ambition. The use of archival blood-in-the-streets footage in his propulsive, stylishly edited overture shows that he understands not only how elemental thug-life imagery is to our pop-culture vernacular but also how messed up that is; along with head-shaking wonderment, there’s the sense of how much more grim footage there is where this came from.\u003c/p>\n\u003cp>Maybe \u003cb>Made in America\u003c/b> runs the risk of implying that the gang history of Los Angeles is the whole black history of Los Angeles. It’s not, of course, but the point of urgent inquiry is well taken: Just a few miles from Rodeo Drive, as the film makes arrestingly clear both verbally and visually, a perpetually smoldering civil war has been going on for decades and already has claimed some 15,000 American lives.\u003c/p>\n\u003cp>To figure out why, Peralta talks to gangbangers past and present, among other observers, and gathers several memorable if loosely-sketched portraits of men accustomed to wearing their sorrow, rage and resignation under necessary masks of hardness, if less accustomed to being listened to when asked about their lives.\u003c/p>\n\u003cp>There’s also a flamboyant take on the standard-issue filmstrip history lesson, demonstrating that the area has no shortage of socially oppressive circumstances, like the geographic segregation of unfair housing, systemic racist police brutality, sudden postwar de-industrialization and economic stagnation, the crack epidemic, and an unequivocally dysfunctional criminal justice system. (“That’s the new cotton field right there,” as one person puts it, “the pen.”) For the young men who were born into this hopelessness a generation ago, only to see prominent black leaders — not to mention their own fathers — slain, incarcerated or otherwise made absent, what other future could there be?\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The complexity of this subject being beyond Peralta’s understanding is only partially a limitation. Perceptive observation from talking-head academics can’t quite substitute for real and rigorously sustained critical thinking, any more than it can pass for testimony from direct experience. But because Peralta’s outside observers tend to extract cause-and-effect analysis from external forces, it’s especially striking to hear insiders claim a kind of personal responsibility themselves — not with macho boasting but with palpable regret. They talk openly about letting their own communities and families and future generations down. Is it a perverse manifestation of institutionally reinforced self-hatred, or a corner-turning point of insight? Peralta doesn’t dig in on that point, but he has scored even by presenting it.\u003c/p>\n\u003cp>Peralta’s jaunty technique sneaks in some powerful micro-scale moments, too: “You cannot whoop us,” someone says, as a grimly familiar newsreel shot of a cop clubbing a man to the ground gets played backwards — as if the recipient of the beating had leapt to his feet and magnetically repelled the policeman’s club. \u003cb>Made in America\u003c/b> won’t go so far as to suggest that the legacy of bloodshed between Crips and Bloods can simply be reversed, but it wants us to learn, for real, how to make sure mutual annihilation simply is not an option.\u003c/p>\n\u003cp>\u003c/p>\n\u003cp>\u003cb>Crips and Bloods: Made in America\u003c/b>opens February 20, 2009, at the Roxie Theatre in San Francisco. For \u003ca href=\"http://www.roxie.com\">tickets and information\u003c/a> visit www.roxie.com.\u003c/p>\n\n",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>Stacy Peralta’s new documentary may be about gangland L.A. in particular, but it matters here too. Not just because typically left-leaning Bay Area viewers pride themselves on the sort of humane (if sometimes under-critical) receptivity that is Peralta’s moviemaking m.o., but because, well, to live in a place where a cop just shot a black man in the back is to sit squarely within the \u003cb>Crips and Bloods\u003c/b> target audience.\u003c/p>\n\u003cp>Having established his documentary career with presumably “safer” and more personally familiar young-male subcultures — of skating and surfing, respectively — in \u003cb>Dogtown and Z Boys\u003c/b> and \u003cb>Riding Giants\u003c/b>, Peralta has to get points here for bravery and ambition. The use of archival blood-in-the-streets footage in his propulsive, stylishly edited overture shows that he understands not only how elemental thug-life imagery is to our pop-culture vernacular but also how messed up that is; along with head-shaking wonderment, there’s the sense of how much more grim footage there is where this came from.\u003c/p>\n\u003cp>Maybe \u003cb>Made in America\u003c/b> runs the risk of implying that the gang history of Los Angeles is the whole black history of Los Angeles. It’s not, of course, but the point of urgent inquiry is well taken: Just a few miles from Rodeo Drive, as the film makes arrestingly clear both verbally and visually, a perpetually smoldering civil war has been going on for decades and already has claimed some 15,000 American lives.\u003c/p>\n\u003cp>To figure out why, Peralta talks to gangbangers past and present, among other observers, and gathers several memorable if loosely-sketched portraits of men accustomed to wearing their sorrow, rage and resignation under necessary masks of hardness, if less accustomed to being listened to when asked about their lives.\u003c/p>\n\u003cp>There’s also a flamboyant take on the standard-issue filmstrip history lesson, demonstrating that the area has no shortage of socially oppressive circumstances, like the geographic segregation of unfair housing, systemic racist police brutality, sudden postwar de-industrialization and economic stagnation, the crack epidemic, and an unequivocally dysfunctional criminal justice system. (“That’s the new cotton field right there,” as one person puts it, “the pen.”) For the young men who were born into this hopelessness a generation ago, only to see prominent black leaders — not to mention their own fathers — slain, incarcerated or otherwise made absent, what other future could there be?\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"tagline": "The flip side of gentrification, told through one town",
"info": "Gentrification is changing cities across America, forcing people from neighborhoods they have long called home. Call them the displaced. Now those priced out of the Bay Area are looking for a better life in an unlikely place. American Suburb follows this migration to one California town along the Delta, 45 miles from San Francisco. But is this once sleepy suburb ready for them?",
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"order": 19
},
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?mt=2&id=1287748328",
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"rss": "https://ww2.kqed.org/news/series/american-suburb-podcast/feed/podcast",
"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkMzMDExODgxNjA5"
}
},
"baycurious": {
"id": "baycurious",
"title": "Bay Curious",
"tagline": "Exploring the Bay Area, one question at a time",
"info": "KQED’s new podcast, Bay Curious, gets to the bottom of the mysteries — both profound and peculiar — that give the Bay Area its unique identity. And we’ll do it with your help! You ask the questions. You decide what Bay Curious investigates. And you join us on the journey to find the answers.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Bay-Curious-Podcast-Tile-703x703-1.jpg",
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"order": 3
},
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}
},
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"info": "The day's top stories from BBC News compiled twice daily in the week, once at weekends.",
"airtime": "MON-FRI 9pm-10pm, TUE-FRI 1am-2am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/BBC-World-Service-Podcast-Tile-360x360-1.jpg",
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"source": "BBC World Service"
},
"link": "/radio/program/bbc-world-service",
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"rss": "https://podcasts.files.bbci.co.uk/p02nq0gn.rss"
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},
"californiareport": {
"id": "californiareport",
"title": "The California Report",
"tagline": "California, day by day",
"info": "KQED’s statewide radio news program providing daily coverage of issues, trends and public policy decisions.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-California-Report-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/californiareport",
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"source": "kqed",
"order": 8
},
"link": "/californiareport",
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}
},
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"id": "californiareportmagazine",
"title": "The California Report Magazine",
"tagline": "Your state, your stories",
"info": "Every week, The California Report Magazine takes you on a road trip for the ears: to visit the places and meet the people who make California unique. The in-depth storytelling podcast from the California Report.",
"airtime": "FRI 4:30pm-5pm, 6:30pm-7pm, 11pm-11:30pm",
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"order": 10
},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM3NjkwNjk1OTAz",
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},
"city-arts": {
"id": "city-arts",
"title": "City Arts & Lectures",
"info": "A one-hour radio program to hear celebrated writers, artists and thinkers address contemporary ideas and values, often discussing the creative process. Please note: tapes or transcripts are not available",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/cityartsandlecture-300x300.jpg",
"officialWebsiteLink": "https://www.cityarts.net/",
"airtime": "SUN 1pm-2pm, TUE 10pm, WED 1am",
"meta": {
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"source": "City Arts & Lectures"
},
"link": "https://www.cityarts.net",
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"tuneIn": "https://tunein.com/radio/City-Arts-and-Lectures-p692/",
"rss": "https://www.cityarts.net/feed/"
}
},
"closealltabs": {
"id": "closealltabs",
"title": "Close All Tabs",
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"info": "Close All Tabs breaks down how digital culture shapes our world through thoughtful insights and irreverent humor.",
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"order": 1
},
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"code-switch-life-kit": {
"id": "code-switch-life-kit",
"title": "Code Switch / Life Kit",
"info": "\u003cem>Code Switch\u003c/em>, which listeners will hear in the first part of the hour, has fearless and much-needed conversations about race. Hosted by journalists of color, the show tackles the subject of race head-on, exploring how it impacts every part of society — from politics and pop culture to history, sports and more.\u003cbr />\u003cbr />\u003cem>Life Kit\u003c/em>, which will be in the second part of the hour, guides you through spaces and feelings no one prepares you for — from finances to mental health, from workplace microaggressions to imposter syndrome, from relationships to parenting. The show features experts with real world experience and shares their knowledge. Because everyone needs a little help being human.\u003cbr />\u003cbr />\u003ca href=\"https://www.npr.org/podcasts/510312/codeswitch\">\u003cem>Code Switch\u003c/em> offical site and podcast\u003c/a>\u003cbr />\u003ca href=\"https://www.npr.org/lifekit\">\u003cem>Life Kit\u003c/em> offical site and podcast\u003c/a>\u003cbr />",
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"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Code-Switch-Life-Kit-Podcast-Tile-360x360-1.jpg",
"meta": {
"site": "radio",
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},
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly93d3cubnByLm9yZy9yc3MvcG9kY2FzdC5waHA_aWQ9NTEwMzEy",
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},
"commonwealth-club": {
"id": "commonwealth-club",
"title": "Commonwealth Club of California Podcast",
"info": "The Commonwealth Club of California is the nation's oldest and largest public affairs forum. As a non-partisan forum, The Club brings to the public airwaves diverse viewpoints on important topics. The Club's weekly radio broadcast - the oldest in the U.S., dating back to 1924 - is carried across the nation on public radio stations and is now podcasting. Our website archive features audio of our recent programs, as well as selected speeches from our long and distinguished history. This podcast feed is usually updated twice a week and is always un-edited.",
"airtime": "THU 10pm, FRI 1am",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Commonwealth-Club-Podcast-Tile-360x360-1.jpg",
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"meta": {
"site": "news",
"source": "Commonwealth Club of California"
},
"link": "/radio/program/commonwealth-club",
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"apple": "https://itunes.apple.com/us/podcast/commonwealth-club-of-california-podcast/id976334034?mt=2",
"google": "https://podcasts.google.com/feed/aHR0cDovL3d3dy5jb21tb253ZWFsdGhjbHViLm9yZy9hdWRpby9wb2RjYXN0L3dlZWtseS54bWw",
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}
},
"forum": {
"id": "forum",
"title": "Forum",
"tagline": "The conversation starts here",
"info": "KQED’s live call-in program discussing local, state, national and international issues, as well as in-depth interviews.",
"airtime": "MON-FRI 9am-11am, 10pm-11pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Forum-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED Forum with Mina Kim and Alexis Madrigal",
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"meta": {
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"source": "kqed",
"order": 9
},
"link": "/forum",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM5NTU3MzgxNjMz",
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},
"freakonomics-radio": {
"id": "freakonomics-radio",
"title": "Freakonomics Radio",
"info": "Freakonomics Radio is a one-hour award-winning podcast and public-radio project hosted by Stephen Dubner, with co-author Steve Levitt as a regular guest. It is produced in partnership with WNYC.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/freakonomicsRadio.png",
"officialWebsiteLink": "http://freakonomics.com/",
"airtime": "SUN 1am-2am, SAT 3pm-4pm",
"meta": {
"site": "radio",
"source": "WNYC"
},
"link": "/radio/program/freakonomics-radio",
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"tuneIn": "https://tunein.com/podcasts/WNYC-Podcasts/Freakonomics-Radio-p272293/",
"rss": "https://feeds.feedburner.com/freakonomicsradio"
}
},
"fresh-air": {
"id": "fresh-air",
"title": "Fresh Air",
"info": "Hosted by Terry Gross, \u003cem>Fresh Air from WHYY\u003c/em> is the Peabody Award-winning weekday magazine of contemporary arts and issues. One of public radio's most popular programs, Fresh Air features intimate conversations with today's biggest luminaries.",
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"title": "Here & Now",
"info": "A live production of NPR and WBUR Boston, in collaboration with stations across the country, Here & Now reflects the fluid world of news as it's happening in the middle of the day, with timely, in-depth news, interviews and conversation. Hosted by Robin Young, Jeremy Hobson and Tonya Mosley.",
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},
"hidden-brain": {
"id": "hidden-brain",
"title": "Hidden Brain",
"info": "Shankar Vedantam uses science and storytelling to reveal the unconscious patterns that drive human behavior, shape our choices and direct our relationships.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/05/hiddenbrain.jpg",
"officialWebsiteLink": "https://www.npr.org/series/423302056/hidden-brain",
"airtime": "SUN 7pm-8pm",
"meta": {
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"source": "NPR"
},
"link": "/radio/program/hidden-brain",
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"how-i-built-this": {
"id": "how-i-built-this",
"title": "How I Built This with Guy Raz",
"info": "Guy Raz dives into the stories behind some of the world's best known companies. How I Built This weaves a narrative journey about innovators, entrepreneurs and idealists—and the movements they built.",
"imageSrc": "https://ww2.kqed.org/news/wp-content/uploads/sites/10/2018/05/howIBuiltThis.png",
"officialWebsiteLink": "https://www.npr.org/podcasts/510313/how-i-built-this",
"airtime": "SUN 7:30pm-8pm",
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"link": "/radio/program/how-i-built-this",
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"hyphenacion": {
"id": "hyphenacion",
"title": "Hyphenación",
"tagline": "Where conversation and cultura meet",
"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. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/03/Hyphenacion_FinalAssets_PodcastTile.png",
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"order": 15
},
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},
"jerrybrown": {
"id": "jerrybrown",
"title": "The Political Mind of Jerry Brown",
"tagline": "Lessons from a lifetime in politics",
"info": "The Political Mind of Jerry Brown brings listeners the wisdom of the former Governor, Mayor, and presidential candidate. Scott Shafer interviewed Brown for more than 40 hours, covering the former governor's life and half-century in the political game – and Brown has some lessons he'd like to share. ",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/The-Political-Mind-of-Jerry-Brown-Podcast-Tile-703x703-1.jpg",
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"order": 18
},
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}
},
"latino-usa": {
"id": "latino-usa",
"title": "Latino USA",
"airtime": "MON 1am-2am, SUN 6pm-7pm",
"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/latinoUsa.jpg",
"officialWebsiteLink": "http://latinousa.org/",
"meta": {
"site": "news",
"source": "npr"
},
"link": "/radio/program/latino-usa",
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"apple": "https://itunes.apple.com/WebObjects/MZStore.woa/wa/viewPodcast?s=143441&mt=2&id=79681317&at=11l79Y&ct=nprdirectory",
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"rss": "https://feeds.npr.org/510016/podcast.xml"
}
},
"marketplace": {
"id": "marketplace",
"title": "Marketplace",
"info": "Our flagship program, helmed by Kai Ryssdal, examines what the day in money delivered, through stories, conversations, newsworthy numbers and more. Updated Monday through Friday at about 3:30 p.m. PT.",
"airtime": "MON-FRI 4pm-4:30pm, MON-WED 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Marketplace-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
"site": "news",
"source": "American Public Media"
},
"link": "/radio/program/marketplace",
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"rss": "https://feeds.publicradio.org/public_feeds/marketplace-pm/rss/rss"
}
},
"masters-of-scale": {
"id": "masters-of-scale",
"title": "Masters of Scale",
"info": "Masters of Scale is an original podcast in which LinkedIn co-founder and Greylock Partner Reid Hoffman sets out to describe and prove theories that explain how great entrepreneurs take their companies from zero to a gazillion in ingenious fashion.",
"airtime": "Every other Wednesday June 12 through October 16 at 8pm (repeats Thursdays at 2am)",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Masters-of-Scale-Podcast-Tile-360x360-1.jpg",
"officialWebsiteLink": "https://mastersofscale.com/",
"meta": {
"site": "radio",
"source": "WaitWhat"
},
"link": "/radio/program/masters-of-scale",
"subscribe": {
"apple": "http://mastersofscale.app.link/",
"rss": "https://rss.art19.com/masters-of-scale"
}
},
"mindshift": {
"id": "mindshift",
"title": "MindShift",
"tagline": "A podcast about the future of learning and how we raise our kids",
"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>",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Mindshift-Podcast-Tile-703x703-1.jpg",
"imageAlt": "KQED MindShift: How We Will Learn",
"officialWebsiteLink": "/mindshift/",
"meta": {
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"source": "kqed",
"order": 12
},
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