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"title": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS",
"headTitle": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS | KQED",
"content": "\u003cp>The numbers out of CROSSROADS, San Francisco Cinematheque’s annual festival of experimental film and video, are ever daunting: more than 80 works made by 72 artists showing across three busy days at SFMOMA. If that crush isn’t enough to make you cry uncle, this year’s festival expands to include two sidebar programs keyed to museum exhibitions (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13833294/rene-magritte-the-fifth-season-sfmoma\" rel=\"noopener\" target=\"_blank\">René Magritte: The Fifth Season\u003c/a>\u003c/em> and \u003cem>The Train: RFK’s Last Journey\u003c/em>). As always, curator Steve Polta ministers to the Bay Area’s history as a bastion of expanded cinema, with local luminary Kerry Laitala’s \u003cem>Astro Trilogy\u003c/em> (2017) and Simon Liu’s quad-projection \u003cem>Highview\u003c/em> (2017) as good bets for photochemical thrills. Below are several more highlights to help navigate the weekend: \u003c/p>\n\u003ch2>Antoinette Zwirchmayr, ‘House and Universe,’ 2015\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-1-staring-sun-sunstones-bloom/\" rel=\"noopener\" target=\"_blank\">Program 1: staring at the sun: sunstones bloom\u003c/a>\u003cbr>\nFriday, June 8, 7pm\u003c/b>\u003c/p>\n\u003cp>One of three silent pieces showing at CROSSROADS by this Austrian filmmaker, \u003cem>House and Universe\u003c/em> is especially spellbinding. A dry landscape of brush and rock is recast as a still life of a coiled nude and open fan. The dreaming figure continues to appear in subsequent shots, always nestled in odd sections of the frame—hidden in plain sight. The film’s strong dreamlike quality finally owes as much to Zwirchmayr’s vivid cinematography as to the archetypal objects being pictured. \u003c/p>\n\u003cfigure id=\"attachment_13834301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg\" alt=\"Still from Sylvia Schedelbauer's 'Wishing Well,' 2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13834301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sylvia Schedelbauer’s ‘Wishing Well,’ 2018. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sylvia Schedelbauer, ‘Wishing Well,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-2-inside-ones-self-or-out-there-world/\" rel=\"noopener\" target=\"_blank\">Program 2: inside one’s self or out there in the world…\u003c/a>\u003cbr>\nFriday, June 8, 9:15pm\u003c/b>\u003c/p>\n\u003cp>The flicker effect driving Sylvia Schedelbauer’s latest wonder demands the conditions of a darkened cinema, and so I hesitate to comment having only previewed it at home. Nevertheless, I’m amazed that Schedelbauer attempts to reconcile the flicker, long seen as the \u003cem>ne plus ultra\u003c/em> of materialist cinema, with the narrative imagination. Perhaps it’s the forest setting or the recurring figure of a boy, but the film powerfully evokes the childhood feeling of \u003cem>falling\u003c/em> into a story. I cannot fathom Schedelbauer’s skill in organizing so many competing flows of visual information such that they just edge comprehension, but suffice to say that she’s fashioned an immersive environment to rival the most extravagant IMAX fare. \u003c/p>\n\u003ch2>Ephraim Asili, ‘Fluid Frontiers,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>[ad fullwidth]\u003c/p>\n\u003cp>The fifth installment of Ephraim Asili’s \u003cem>Diaspora Suite\u003c/em>, a wonderful series of films traveling the edges and echoes of the African diaspora, \u003cem>Fluid Frontiers\u003c/em> takes place on the border of Detroit and Windsor. Landscape shots set to Margaret Walker’s stirring reading of her poem, “Harriet Tubman,” are interposed with single takes of black residents reading poetry from original broadsides published by Broadside Press in the early 1970s (landmarks of the Black Arts Movement). These latter recitals double as portraits, and in this sense the long pause that Asili allows to elapse between the end of the poem and the end of the shot is just as telling as the text. I’m sometimes wary about films that withhold basic contextual information about settings and sources, but \u003cem>Fluid Frontiers\u003c/em> is precisely about the difficulty—and necessity—of connecting the dots between the present moment and its many histories. \u003c/p>\n\u003cfigure id=\"attachment_13834298\" class=\"wp-caption aligncenter\" style=\"max-width: 1437px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pancoran.jpg\" alt=\"Still from Dianna Barrie and Richard Tuohy's 'Pancoran,' 2017.\" width=\"1437\" height=\"971\" class=\"size-full wp-image-13834298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1200x811.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-520x351.jpg 520w\" sizes=\"(max-width: 1437px) 100vw, 1437px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dianna Barrie and Richard Tuohy’s ‘Pancoran,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dianna Barrie and Richard Tuohy, ‘Pancoran,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>One of several impressive formal experiments staged by this Australian duo at CROSSROADS, \u003cem>Pancoran\u003c/em> is worth singling out for the way it marries form and content. Using an optical printer, the filmmakers matte multiple images of Jakarta’s gridlock into vertical and horizontal bands, creating a composite image alternately suggesting window blinds, latticework, and a Sol LeWitt grid. The rhythmic patterning of these strips absorbs the jolts of urban life into a playful score, making music from noise and a film that’s fun to watch. \u003c/p>\n\u003cfigure id=\"attachment_13834296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg\" alt=\"Still from Kevin Jerom Everson and Claudrena N. Harold's 'How Can I Ever Be Late,' 2017.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-13834296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kevin Jerom Everson and Claudrena N. Harold’s ‘How Can I Ever Be Late,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Jerome Everson and Claudrena N. Harold, ‘How Can I Ever Be Late,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>A utopian dream masquerading as biopic b-roll, Everson and Harold’s sketch pays homage to Sly and the Family Stone’s easygoing charm. The scene pictured is a homecoming, with two women waiting to pick up the rest of the group. Their reunion exudes a repose rarely granted to black characters in any kind of film, all the more affecting here for unfolding without dialogue. A lounging cover of “If You Want Me to Stay” splits the difference between promise and demand: “When you see me again / I hope that you have been / The kind of person you really are now.” \u003c/p>\n\u003ch2>Talena Sanders, ‘Reasonable Watchfulness,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-4-lines-are-drawn/\" rel=\"noopener\" target=\"_blank\">Program 4: lines are drawn\u003c/a>\u003cbr>\nSaturday, June 9, 1:45pm\u003c/b>\u003c/p>\n\u003cp>From the road sign that supplies its title card onwards, \u003cem>Reasonable Watchfulness\u003c/em> travels light. The catch comes in the obvious care with which its diaristic scraps and found footage are articulated in the montage, such that all these loose ends are imbued with a sense of restless tenderness (or is it tender restlessness?). Sanders’ footage is shot by day, but her soundtrack is of the night. An evening’s insect orchestra snaps into autobiographical focus when her recording is interrupted by a sweet but stilted goodnight. Meanwhile, we watch the Pacific surf slamming silently into rocks. The image is overcome by light, the soundtrack with life, and the heart holds someplace between. \u003c/p>\n\u003cfigure id=\"attachment_13834297\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg\" alt=\"Still from Michael Robinson's 'Onward Lossless Follows,' 2017.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13834297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Robinson’s ‘Onward Lossless Follows,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Michael Robinson, ‘Onward Lossless Follows,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>Michael Robinson does postmodern appropriation with such brio that it’s easy to forget he’s also a first-rate fabulist. \u003cem>Onward Lossless Follows\u003c/em>’ source material is redolent of afternoon television and too many clicks on the internet—but rendered and assembled in such a way as to assume the explicatory power of myth. The centerpiece is a PSA spot warning against accepting rides from strangers. Robinson grabs at the weird ambiguities and excesses of this clip—its queerness—to offer an alternative reading in which the cautionary tale is a cover story. The abduction scenario is a fine metaphor for Robinson’s own filmmaking style, which entreats our imaginative involvement while demanding that we go without a guide. David Lynch fanatics would do well to check out this ominous yet strangely hopeful communiqué from the new weird America. \u003c/p>\n\u003cfigure id=\"attachment_13834300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg\" alt=\"Still from Jonathan Schwartz, 'The Crack-Up,' 2017.\" width=\"1200\" height=\"887\" class=\"size-full wp-image-13834300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1020x754.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Schwartz, ‘The Crack-Up,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jonathan Schwartz, ‘The Crack-Up,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>The F. Scott Fitzgerald essay that gives Jonathan Schwartz’s film its name uses a first-person narration to calmly examine that selfsame person going to pieces. Schwartz’s \u003cem>Crack-Up\u003c/em> is less personal but if anything more direct in its clarified expressions of vulnerability and mortality. The Fitzgerald text, read aloud by a woman, is placed alongside Iceland’s cutting beauty; the tombstone of another Schwartz; a microphone assailed by wind; and, also on the soundtrack, a man struggling to speak and eventually offering his unguarded rendition of Donovan’s “Catch the Wind.” The ice floes put me in the mind of a shipwreck, but the associative links between the above-mentioned elements make the film’s structure seem just that: a structure, a shelter, a way of taking cover. \u003cem>The Crack-Up\u003c/em> opens itself to difficulty while at the same time suggesting a sense of refuge, holding fast to Fitzgerald’s notion of intelligence as “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>[ad floatright]\u003c/p>\n\u003cp>\u003ci>CROSSROADS 2018 plays at the San Francisco Museum of Modern Art, June 7–10. \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n",
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"excerpt": "The festival of avant-garde and experimental film returns to SFMOMA with a stacked schedule; we provide some suggestions for which way to turn.",
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"description": "The festival of avant-garde and experimental film returns to SFMOMA with a stacked schedule; we provide some suggestions for which way to turn.",
"title": "Our Top 8 Experimental Film Picks at This Year’s CROSSROADS | KQED",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003cp>The numbers out of CROSSROADS, San Francisco Cinematheque’s annual festival of experimental film and video, are ever daunting: more than 80 works made by 72 artists showing across three busy days at SFMOMA. If that crush isn’t enough to make you cry uncle, this year’s festival expands to include two sidebar programs keyed to museum exhibitions (\u003cem>\u003ca href=\"https://www.kqed.org/arts/13833294/rene-magritte-the-fifth-season-sfmoma\" rel=\"noopener\" target=\"_blank\">René Magritte: The Fifth Season\u003c/a>\u003c/em> and \u003cem>The Train: RFK’s Last Journey\u003c/em>). As always, curator Steve Polta ministers to the Bay Area’s history as a bastion of expanded cinema, with local luminary Kerry Laitala’s \u003cem>Astro Trilogy\u003c/em> (2017) and Simon Liu’s quad-projection \u003cem>Highview\u003c/em> (2017) as good bets for photochemical thrills. Below are several more highlights to help navigate the weekend: \u003c/p>\n\u003ch2>Antoinette Zwirchmayr, ‘House and Universe,’ 2015\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-1-staring-sun-sunstones-bloom/\" rel=\"noopener\" target=\"_blank\">Program 1: staring at the sun: sunstones bloom\u003c/a>\u003cbr>\nFriday, June 8, 7pm\u003c/b>\u003c/p>\n\u003cp>One of three silent pieces showing at CROSSROADS by this Austrian filmmaker, \u003cem>House and Universe\u003c/em> is especially spellbinding. A dry landscape of brush and rock is recast as a still life of a coiled nude and open fan. The dreaming figure continues to appear in subsequent shots, always nestled in odd sections of the frame—hidden in plain sight. The film’s strong dreamlike quality finally owes as much to Zwirchmayr’s vivid cinematography as to the archetypal objects being pictured. \u003c/p>\n\u003cfigure id=\"attachment_13834301\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg\" alt=\"Still from Sylvia Schedelbauer's 'Wishing Well,' 2018.\" width=\"1200\" height=\"675\" class=\"size-full wp-image-13834301\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/WishingWell_Still-1_1200-520x293.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Sylvia Schedelbauer’s ‘Wishing Well,’ 2018. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Sylvia Schedelbauer, ‘Wishing Well,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-2-inside-ones-self-or-out-there-world/\" rel=\"noopener\" target=\"_blank\">Program 2: inside one’s self or out there in the world…\u003c/a>\u003cbr>\nFriday, June 8, 9:15pm\u003c/b>\u003c/p>\n\u003cp>The flicker effect driving Sylvia Schedelbauer’s latest wonder demands the conditions of a darkened cinema, and so I hesitate to comment having only previewed it at home. Nevertheless, I’m amazed that Schedelbauer attempts to reconcile the flicker, long seen as the \u003cem>ne plus ultra\u003c/em> of materialist cinema, with the narrative imagination. Perhaps it’s the forest setting or the recurring figure of a boy, but the film powerfully evokes the childhood feeling of \u003cem>falling\u003c/em> into a story. I cannot fathom Schedelbauer’s skill in organizing so many competing flows of visual information such that they just edge comprehension, but suffice to say that she’s fashioned an immersive environment to rival the most extravagant IMAX fare. \u003c/p>\n\u003ch2>Ephraim Asili, ‘Fluid Frontiers,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>The fifth installment of Ephraim Asili’s \u003cem>Diaspora Suite\u003c/em>, a wonderful series of films traveling the edges and echoes of the African diaspora, \u003cem>Fluid Frontiers\u003c/em> takes place on the border of Detroit and Windsor. Landscape shots set to Margaret Walker’s stirring reading of her poem, “Harriet Tubman,” are interposed with single takes of black residents reading poetry from original broadsides published by Broadside Press in the early 1970s (landmarks of the Black Arts Movement). These latter recitals double as portraits, and in this sense the long pause that Asili allows to elapse between the end of the poem and the end of the shot is just as telling as the text. I’m sometimes wary about films that withhold basic contextual information about settings and sources, but \u003cem>Fluid Frontiers\u003c/em> is precisely about the difficulty—and necessity—of connecting the dots between the present moment and its many histories. \u003c/p>\n\u003cfigure id=\"attachment_13834298\" class=\"wp-caption aligncenter\" style=\"max-width: 1437px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/pancoran.jpg\" alt=\"Still from Dianna Barrie and Richard Tuohy's 'Pancoran,' 2017.\" width=\"1437\" height=\"971\" class=\"size-full wp-image-13834298\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran.jpg 1437w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-160x108.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-800x541.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-768x519.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1020x689.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1200x811.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-1180x797.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-960x649.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-240x162.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-375x253.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/pancoran-520x351.jpg 520w\" sizes=\"(max-width: 1437px) 100vw, 1437px\">\u003cfigcaption class=\"wp-caption-text\">Still from Dianna Barrie and Richard Tuohy’s ‘Pancoran,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Dianna Barrie and Richard Tuohy, ‘Pancoran,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>One of several impressive formal experiments staged by this Australian duo at CROSSROADS, \u003cem>Pancoran\u003c/em> is worth singling out for the way it marries form and content. Using an optical printer, the filmmakers matte multiple images of Jakarta’s gridlock into vertical and horizontal bands, creating a composite image alternately suggesting window blinds, latticework, and a Sol LeWitt grid. The rhythmic patterning of these strips absorbs the jolts of urban life into a playful score, making music from noise and a film that’s fun to watch. \u003c/p>\n\u003cfigure id=\"attachment_13834296\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg\" alt=\"Still from Kevin Jerom Everson and Claudrena N. Harold's 'How Can I Ever Be Late,' 2017.\" width=\"1200\" height=\"895\" class=\"size-full wp-image-13834296\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-160x119.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-800x597.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-768x573.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1020x761.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-1180x880.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-960x716.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-240x179.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-375x280.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/how-can-i-ever-be-late-still-1_1200-520x388.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Kevin Jerom Everson and Claudrena N. Harold’s ‘How Can I Ever Be Late,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Kevin Jerome Everson and Claudrena N. Harold, ‘How Can I Ever Be Late,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-3-fluid-frontiers-aint-gonna-rain-no-more/\" rel=\"noopener\" target=\"_blank\">Program 3: fluid frontiers (ain’t gonna rain no more)\u003c/a>\u003cbr>\nSaturday, June 9, 12pm\u003c/b>\u003c/p>\n\u003cp>A utopian dream masquerading as biopic b-roll, Everson and Harold’s sketch pays homage to Sly and the Family Stone’s easygoing charm. The scene pictured is a homecoming, with two women waiting to pick up the rest of the group. Their reunion exudes a repose rarely granted to black characters in any kind of film, all the more affecting here for unfolding without dialogue. A lounging cover of “If You Want Me to Stay” splits the difference between promise and demand: “When you see me again / I hope that you have been / The kind of person you really are now.” \u003c/p>\n\u003ch2>Talena Sanders, ‘Reasonable Watchfulness,’ 2018\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-4-lines-are-drawn/\" rel=\"noopener\" target=\"_blank\">Program 4: lines are drawn\u003c/a>\u003cbr>\nSaturday, June 9, 1:45pm\u003c/b>\u003c/p>\n\u003cp>From the road sign that supplies its title card onwards, \u003cem>Reasonable Watchfulness\u003c/em> travels light. The catch comes in the obvious care with which its diaristic scraps and found footage are articulated in the montage, such that all these loose ends are imbued with a sense of restless tenderness (or is it tender restlessness?). Sanders’ footage is shot by day, but her soundtrack is of the night. An evening’s insect orchestra snaps into autobiographical focus when her recording is interrupted by a sweet but stilted goodnight. Meanwhile, we watch the Pacific surf slamming silently into rocks. The image is overcome by light, the soundtrack with life, and the heart holds someplace between. \u003c/p>\n\u003cfigure id=\"attachment_13834297\" class=\"wp-caption aligncenter\" style=\"max-width: 1920px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg\" alt=\"Still from Michael Robinson's 'Onward Lossless Follows,' 2017.\" width=\"1920\" height=\"1080\" class=\"size-full wp-image-13834297\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows.jpg 1920w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-160x90.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-800x450.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-768x432.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1020x574.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1200x675.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-1180x664.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-960x540.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-240x135.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-375x211.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/Onward-Lossless-Follows-520x293.jpg 520w\" sizes=\"(max-width: 1920px) 100vw, 1920px\">\u003cfigcaption class=\"wp-caption-text\">Still from Michael Robinson’s ‘Onward Lossless Follows,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Michael Robinson, ‘Onward Lossless Follows,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>Michael Robinson does postmodern appropriation with such brio that it’s easy to forget he’s also a first-rate fabulist. \u003cem>Onward Lossless Follows\u003c/em>’ source material is redolent of afternoon television and too many clicks on the internet—but rendered and assembled in such a way as to assume the explicatory power of myth. The centerpiece is a PSA spot warning against accepting rides from strangers. Robinson grabs at the weird ambiguities and excesses of this clip—its queerness—to offer an alternative reading in which the cautionary tale is a cover story. The abduction scenario is a fine metaphor for Robinson’s own filmmaking style, which entreats our imaginative involvement while demanding that we go without a guide. David Lynch fanatics would do well to check out this ominous yet strangely hopeful communiqué from the new weird America. \u003c/p>\n\u003cfigure id=\"attachment_13834300\" class=\"wp-caption aligncenter\" style=\"max-width: 1200px\">\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg\" alt=\"Still from Jonathan Schwartz, 'The Crack-Up,' 2017.\" width=\"1200\" height=\"887\" class=\"size-full wp-image-13834300\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200.jpg 1200w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-160x118.jpg 160w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-800x591.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-768x568.jpg 768w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1020x754.jpg 1020w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-1180x872.jpg 1180w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-960x710.jpg 960w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-240x177.jpg 240w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-375x277.jpg 375w, https://cdn.kqed.org/wp-content/uploads/sites/2/2018/06/The-Crack-Up-flower_1200-520x384.jpg 520w\" sizes=\"(max-width: 1200px) 100vw, 1200px\">\u003cfigcaption class=\"wp-caption-text\">Still from Jonathan Schwartz, ‘The Crack-Up,’ 2017. \u003ccite>(Courtesy of San Francisco Cinematheque)\u003c/cite>\u003c/figcaption>\u003c/figure>\n\u003ch2>Jonathan Schwartz, ‘The Crack-Up,’ 2017\u003c/h2>\n\u003cp>\u003cb>Part of \u003ca href=\"https://www.sfmoma.org/event/program-8-no-other-universe-has-its-ways/\" rel=\"noopener\" target=\"_blank\">Program 8: no other (the universe has its ways)\u003c/a>\u003cbr>\nSunday, June 10, 2:15pm\u003c/b>\u003c/p>\n\u003cp>The F. Scott Fitzgerald essay that gives Jonathan Schwartz’s film its name uses a first-person narration to calmly examine that selfsame person going to pieces. Schwartz’s \u003cem>Crack-Up\u003c/em> is less personal but if anything more direct in its clarified expressions of vulnerability and mortality. The Fitzgerald text, read aloud by a woman, is placed alongside Iceland’s cutting beauty; the tombstone of another Schwartz; a microphone assailed by wind; and, also on the soundtrack, a man struggling to speak and eventually offering his unguarded rendition of Donovan’s “Catch the Wind.” The ice floes put me in the mind of a shipwreck, but the associative links between the above-mentioned elements make the film’s structure seem just that: a structure, a shelter, a way of taking cover. \u003cem>The Crack-Up\u003c/em> opens itself to difficulty while at the same time suggesting a sense of refuge, holding fast to Fitzgerald’s notion of intelligence as “the ability to hold two opposed ideas in the mind at the same time, and still retain the ability to function.”\u003c/p>\n\u003cp>\u003cimg loading=\"lazy\" decoding=\"async\" src=\"https://ww2.kqed.org/arts/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg\" alt=\"\" width=\"800\" height=\"78\" class=\"aligncenter size-full wp-image-12127869\" srcset=\"https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_.jpg 800w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-400x39.jpg 400w, https://cdn.kqed.org/wp-content/uploads/sites/2/2016/09/Q.Logo_.Break_-768x75.jpg 768w\" sizes=\"(max-width: 800px) 100vw, 800px\">\u003c/p>\n\u003cp>\u003c/p>\u003c/div>",
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"content": "\u003cdiv class=\"post-body\">\u003cp>\u003c/p>\n\u003cp>\u003ci>CROSSROADS 2018 plays at the San Francisco Museum of Modern Art, June 7–10. \u003ca href=\"https://www.sfmoma.org/event/series/crossroads-2018/\" rel=\"noopener\" target=\"_blank\">Details here\u003c/a>.\u003c/i>\u003c/p>\n\n\u003c/div>\u003c/p>",
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"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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"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.",
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"id": "fresh-air",
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"hidden-brain": {
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"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.",
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"airtime": "SUN 7:30pm-8pm",
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"hyphenacion": {
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"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. ",
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"jerrybrown": {
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"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. ",
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"order": 18
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},
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"title": "Latino USA",
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"info": "Latino USA, the radio journal of news and culture, is the only national, English-language radio program produced from a Latino perspective.",
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},
"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",
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"officialWebsiteLink": "https://www.marketplace.org/",
"meta": {
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"source": "American Public Media"
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"masters-of-scale": {
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"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)",
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"rss": "https://rss.art19.com/masters-of-scale"
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},
"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>",
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"officialWebsiteLink": "/mindshift/",
"meta": {
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"order": 12
},
"link": "/podcasts/mindshift",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5tZWdhcGhvbmUuZm0vS1FJTkM1NzY0NjAwNDI5",
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},
"morning-edition": {
"id": "morning-edition",
"title": "Morning Edition",
"info": "\u003cem>Morning Edition\u003c/em> takes listeners around the country and the world with multi-faceted stories and commentaries every weekday. Hosts Steve Inskeep, David Greene and Rachel Martin bring you the latest breaking news and features to prepare you for the day.",
"airtime": "MON-FRI 3am-9am",
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"onourwatch": {
"id": "onourwatch",
"title": "On Our Watch",
"tagline": "Deeply-reported investigative journalism",
"info": "For decades, the process for how police police themselves has been inconsistent – if not opaque. In some states, like California, these proceedings were completely hidden. After a new police transparency law unsealed scores of internal affairs files, our reporters set out to examine these cases and the shadow world of police discipline. On Our Watch brings listeners into the rooms where officers are questioned and witnesses are interrogated to find out who this system is really protecting. Is it the officers, or the public they've sworn to serve?",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/On-Our-Watch-Podcast-Tile-703x703-1.jpg",
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"officialWebsiteLink": "/podcasts/onourwatch",
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"order": 11
},
"link": "/podcasts/onourwatch",
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"google": "https://podcasts.google.com/feed/aHR0cHM6Ly9mZWVkcy5ucHIub3JnLzUxMDM2MC9wb2RjYXN0LnhtbD9zYz1nb29nbGVwb2RjYXN0cw",
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},
"on-the-media": {
"id": "on-the-media",
"title": "On The Media",
"info": "Our weekly podcast explores how the media 'sausage' is made, casts an incisive eye on fluctuations in the marketplace of ideas, and examines threats to the freedom of information and expression in America and abroad. For one hour a week, the show tries to lift the veil from the process of \"making media,\" especially news media, because it's through that lens that we see the world and the world sees us",
"airtime": "SUN 2pm-3pm, MON 12am-1am",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/onTheMedia.png",
"officialWebsiteLink": "https://www.wnycstudios.org/shows/otm",
"meta": {
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},
"link": "/radio/program/on-the-media",
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"apple": "https://itunes.apple.com/us/podcast/on-the-media/id73330715?mt=2",
"tuneIn": "https://tunein.com/radio/On-the-Media-p69/",
"rss": "http://feeds.wnyc.org/onthemedia"
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},
"pbs-newshour": {
"id": "pbs-newshour",
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"info": "Analysis, background reports and updates from the PBS NewsHour putting today's news in context.",
"airtime": "MON-FRI 3pm-4pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/PBS-News-Hour-Podcast-Tile-360x360-1.jpg",
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},
"link": "/radio/program/pbs-newshour",
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"apple": "https://itunes.apple.com/us/podcast/pbs-newshour-full-show/id394432287?mt=2",
"tuneIn": "https://tunein.com/radio/PBS-NewsHour---Full-Show-p425698/",
"rss": "https://www.pbs.org/newshour/feeds/rss/podcasts/show"
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},
"perspectives": {
"id": "perspectives",
"title": "Perspectives",
"tagline": "KQED's series of daily listener commentaries since 1991",
"info": "KQED's series of daily listener commentaries since 1991.",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2025/01/Perspectives_Tile_Final.jpg",
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"officialWebsiteLink": "/perspectives/",
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"order": 14
},
"link": "/perspectives",
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"planet-money": {
"id": "planet-money",
"title": "Planet Money",
"info": "The economy explained. Imagine you could call up a friend and say, Meet me at the bar and tell me what's going on with the economy. Now imagine that's actually a fun evening.",
"airtime": "SUN 3pm-4pm",
"imageSrc": "https://ww2.kqed.org/radio/wp-content/uploads/sites/50/2018/04/planetmoney.jpg",
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"meta": {
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},
"link": "/radio/program/planet-money",
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"apple": "https://itunes.apple.com/us/podcast/planet-money/id290783428?mt=2",
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},
"politicalbreakdown": {
"id": "politicalbreakdown",
"title": "Political Breakdown",
"tagline": "Politics from a personal perspective",
"info": "Political Breakdown is a new series that explores the political intersection of California and the nation. Each week hosts Scott Shafer and Marisa Lagos are joined with a new special guest to unpack politics -- with personality — and offer an insider’s glimpse at how politics happens.",
"airtime": "THU 6:30pm-7pm",
"imageSrc": "https://cdn.kqed.org/wp-content/uploads/2024/04/Political-Breakdown-2024-Podcast-Tile-703x703-1.jpg",
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