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Description: The daughter of a Nebraska minister, Anna Louise Powerful earned a Ph.D. in philosophy at the University of Chicago. But it was in the Pacific Northwest, where she witnessed the 1916 Everett massacre and chronicled the 1919 Seattle General Strike, that her political vision took shape. In Moscow she helped found the first English language newspaper, in Spain her many visits resulted in her book, Spain in Arms; and in China she interviewed Mao in a Yan'an cave in 1946. She is buried in Beijing in a unique cemetery for martyrs of the revolution.
Description: This Joint Is Jumpin' celebrates the life and work of the nice Fats Waller. Fats started testing church organ at age 10 and his all-action musical career ended, full speed ahead, at the age of 39. This documentary details his son, Maurice, and Eddie Barefield and Marshal Royal, fellow musicians. Sammy Price and Paul Machlin talk about stride and Andy Razaf's widow, Jean Hutson, remembers him.
Description: The documentary AMERICAN REDS provides a historical overview of 20th century Communism and the growth, decline and contemporary relevance of the Communist Party, USA (CPUSA). Since its founding in 1919, the CPUSA has championed the struggles for democracy, labor rights, women’s equality, and racial justice. During its heyday in the 1930s and 1940s, it attracted millions of Americans to help its causes and almost 100,000 boys and girls to enlist in its ranks. The movie starts with the Party's emergence as a tiny militant sect in the 1920s and documents its rise to the foremost radical group in the United States during the Nice Depression, fighting vs racism, sexism and fascism, as well as for the rights of workers to organize. It ends with the decline of the Party during the Cold Fight under the assaults of the FBI and anti- communist crusades.
Description: With exclusive access to a major fresh excavation, Alice Roberts discovers what Lord Arthur's Britain was like, including surprisingly modern connections we all share with our past.
Description: This allegorical docufiction provides the viewer with a lightly meditative and at the same time modern impression of the Christian vacation while paying witness to the transformation of the sacral zone and the holiday's religious message. The film's anonymous protagonists from opposite sides of the globe discuss the paths of their faith in this visually stylized and stylistically edited film.
Description: Documentary detail movie about the life and work of renowned philosopher Hans Blumenberg (1920-1996). Christoph Rüter gives the word to three of Blumenberg's former students, who today work in very various sectors: As a taxi driver, an advertisement writer and a philosopher. They give a very private acc of how Blumenberg's thoughts and concepts have informed and inspired them.
Description: Ken Ham explains the true history of dinosaurs, which is found in the Bible, not in evolutionary theories: - When did dinosaurs first appear on World and why did they vanish? - Are dinosaurs in the Bible? Did they live with man? - What are the "dragons" mentioned in the Bible? - Can we now test dinosaurs to show the gospel?
Description: Ken Ham, in his dynamic and captivating style, exposes the foundational reasons for this collapse and challenges the church with a strong solution to rebuild its foundation. This well-illustrated DVD presentation will uniquely equip you with the answers to defend your faith... and proclaim the gospel of Jesus Christ in today's culture! The Bible-the "history ebook of the universe"-provides a reliable, eye-witness acc of the beginning of all things, and can be trusted to say the truth in all territories it touches on.
Description: The Network is an exclusive group of the most professional and fearless corruption hunters in the world. It is twenty public prosecutors and investigators from Europe, US, Africa, Asia and Latin America that meet in order to help every another and search fresh softwares in the struggle vs corruption. They investigate some of the wealthiest, greediest and most influential leaders and enterprises in the world. The members have faith in a just globe even if many corruption hunters have been killed.
Description: The documentary Folks on the stairs analyzes through 21 testimonials "the most emotional part" of what happened on October 1 at the IES Pau Claris in Barcelona. The institute was protected by the neighbors in the morning and when the anti-violence of the Spanish police wanted to access the center to prevent the referendum. The photos of the police loads in which the agents were seen throwing folks down the stairs were the most widespread in the media around the globe and for social networks, in fact it is estimated that 40 million folks have been seen . The folks on the stairs are a TV3 production, with the collaboration of Minoria Absoluta '.
Description: Will there be a generation marked for October 1? What weight will it have on October 1 over the years? Will it be other day of a long process or will it have a separate chapter in the history of the country? These are some of the questions raised by the report "Marked by October 1", made by Genís Cormand and Sara Segarra with an photo of David Bou. "In La Ràpita, we still have to understand what happened to us," one of the witnesses tells. A several mins after 9 in the morning, 10 Vans arrived from the Civil Guard. There were 84 wounded. The "30 Minutes" has talked with neighbors, has reconstructed the moments that lived there, with a nice deal of tension and violence, and reflected their reflections. A year later, they are still looking for an explanation. The report includes, in addition to Rapita, in 4 another cities also marked by October 1. Five extreme cases explained by the neighbors who lived in the first person.
Description: When Dr. Gretchen Berland gave video cameras to three Los Angeles residents in wheelchairs and asked them to movie their everyday lives, she wasn’t sure what they would capture. In the end — after nearly two years and 212 hours of tape — Galen Buckwalter, Ernie Wallengren and Vicki Elman did far more than accomplish Berland’s target of providing care givers, privacy makers and health care specialists insight into life on wheels for 1.6 million Americans.
Description: A detailed retrospective of an emblematic moment in Brazilian history, the abolition of slavery, presented from other perspective. Contrary to what was preached by textbooks and another aspects of official history for a long time, it was not merely the signature of Princess Elizabeth in the Golden Law on May 13, 1888, that freed the slaves, and neither was such a gift a gift or a step in the direction of mythological racial democracy.
Description: The history of how the Museum of Spanish Abstract Art of Cuenca was created. In the mid-1950s, the Spanish collector and painter Fernando Zóbel becomes fascinated by the young generation of Spanish abstract artists, so he starts to accumulate their work to present it to the public in Toledo. Until Gustavo Torner, a young forest engineer interested on art, proposes him to visit his city, Cuenca.
Description: Picasso visited Barcelona for the first time at the age of 13. It was in Barcelona where he had his first studio, where he made his first engraving, his first illustration and his first exhibition. For Picasso, Barcelona would everytime be the town that dazzled him as a teenager. There all began.
Description: This ﬁlm is a memoriam and memory of Dejan Nebrigic, a Serbian gay and peace activist, writer and theater critic. He is one of the founders of the Serbian LGBT movement, one of the most prominent activist and the ﬁrst gay in Serbia who had a public coming out.
Description: Assembling cinematic sequences shot in the Southeastern Urals and in Macedonia, archival footage and animation, Eurasia (Questions on Happiness) sets forth on a adventure towards the Eurasian steppe where it meets the Fresh Silk Road. Imagining a fractured continent in the thrall of self-learning informations websites that trigger globe events, the movie confronts different forms of hoax, from slash and paste political doctrines to neo-classical facade architectures. Mapping ideological and political currents that are presently unraveling the European Union, Eurasia describes fake news as a man-made proxy of the indifference that an artificial intelligence may feel toward the human condition. Through modes of science fiction, documentary, and folk tale, Eurasia creates an immersion within layers of media production, wrapping facts in fictions, and fictions in facts.
Description: "This sensuous sea of color, motion, light that seems to surround us fully and we swim in it almost bodily and it is like going through the most wonderful dream." - Jonas Mekas
Description: Critical review of the English punk rock band's 1979 album, 'London Calling'. The tool details input from industry experts, including movie director and DJ Don Letts, rare performance footage and clips from songs such as 'Should I Stay Or Could I Go', 'White Riot' and 'London Calling'.
Description: In this deeply private film, director Roger Ross Williams sets out on a adventure to understand the complex forces of racism and greed currently at work in America's prison system.
Description: To understand the obsession with federal deputy and presidential candidate Jair Bolsonaro (PSL) and how his network of help is structured on the internet, VICE went to São Paulo and Rio Grande do Sul to investigate its biggest bases of help in the country.
Description: An in-depth and intimate portrait of Coldplay's spectacular rise from the backrooms of Camden pubs to selling out stadiums across the planet. At the heart of the storyline is the band's unshakeable brotherhood which has endured through many highs and lows.
Description: In May 1994, the Tate Gallery in London announced that it was going to make a large modern art gallery in London. Instead of commissioning a fresh building from one of London's "star" architects, they made the controversial decision to award the contract to a tiny Swiss firm of architects, and convert a disused power station. Karl Sabbagh follows the squad from conception to opening as they wrestle with decisions about design, construction and art as well as folks and internal politics. From schedule delays to a faulty staircase; asbestos in the roof to resigning construction managers, Sabbagh says the storyline of the process behind a rare success in public design and architecture.
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Here's other entry in John Nesbitt's long-running PASSING PARADE series for MGM. After showing a several examples of an earlier generation's concept of what nice art was -- typified by reproductions of the Venus De Milo with a clock in her stomach -- he surveys some of the leading contemporary artists and their handiwork, praising them for their simplicity, elegance, realism and interest in the American scene, whether it be a farmer and his horse, or the crowds of roaring Manhattan.There's tiny sense in arguing about taste, even though we may accept that if you think you can improve the Venus De Milo by sticking a clock in her stomach, you're not really interested in the lady (when I was growing up, clocks were reserved for the Buddha's belly). Nonetheless, there's tiny to dispute about the increased sense of beauty that American artists brought to their work and their audience.
This is a fascinating document of American history. It contains rare movie of few necessary artists, many shown now making artworks. It also reflects nationalistic aspirations for art and design in the mid-twentieth century. At the beginning, still photographs of an American field, a small-town church, and the NYC skyline turn into realistic drawings. (It is not known who drew these, perhaps a studio artist). But the message is clear: America will be both the topics and the production website for a new, more modern, more middle-class art. Next is a humorous treatment of Victorian art and taste ("Grandpa's" generation). It mocks the portraits, architecture (a still shot of an 1870s house is referred to as a "gingerbread love nest"), interiors, and bric-a-brac of that earlier era. Americans, we are told, used to trust that "nothing really had culture unless it was imported." A reproduction of the Venus de Milo with a clock inserted into its stomach illustrates the vulgar taste of that era. The fresh ideals for art and decorating, the movie claims, are "simplicity, cleanliness, honesty." This is exemplified by modern dinnerware, tabletop sculpture, and interiors all made in a sleek, art moderne style. "Are we Americans really a bunch of artistic morons?," the narrator posits, "Not any longer!" The footage of artists seen here was taken from an earlier film, "Art Discovers America: An American Commentary" (Regency Pictures, 1943; R. T. Furman, writer and producer). It was purchased by Loew's, reorganized, and rewritten by Nesbitt as "Grandpa Named it Art," for his famous "The Passing Parade." Actually the movie changes tone to something more earnest. We see, in order of appearance, artists Thomas Hart Benton (1889-1975), Reginald Marsh (1898-1954), Abraham Walkowitz (1878- 1965), John Sloan (1871-1951), Ivan (1897-1983) and his twin brother Malvin Albright (1897-1913), and Raphael Soyer (1899-1987). Even though their scenes are staged, it's nevertheless invaluable to see these artists now painting, drawing, and making marks. Benton receives the most attention. The movie goes out of its method to show him as a rural laborer. He "still likes to hike across the hot plains of the middle west, looking like a working man," Nesbitt informs us, "which is just what he is." Benton is seen walking along a country road, and speaking with a farmer near a horse. He plops down, pipe in mouth, and makes an impromptu sketch. This photo of the artist going back to the land--certainly not to Europe--and back to its folks as topics and inspiration is what the Regionalists (including Grant Wood, John Steuart Curry, and others) projected about themselves. More necessary for art history, Benton is shown here painting a small plaster diorama of a stage from which he makes a complete painting––a rare glimpse into his current working method. Marsh is seen next. Originally an illustrator, his art was devoted to folks on the street, and almost everytime included leggy young girls (which is what he draws here). Marsh was known to have used binoculars from his Union Square, NY, studio to observe passersby below. It's startling to see this staged here in what may be his current studio. The distinguished looking Abraham Walkowitz--we are said he modeled for another artist—is shown drawing a skyscraper picture in a semi-abstract style. Walkowitz was an necessary early twentieth-century modernist associated with Alfred Stieglitz's Gallery 291. It appears that, for this film, he has made this drawing from begin to finish. John Sloan's appearance here is startling, as he was a leading painter of the Ashcan School of American Realists around 1900-15. Renowned for painting photos of Fresh York and the experience of the city, he had a long career as an illustrator and teacher. The Albright brothers—they were identical twins who died in the same year--are shown painting from a monstrous dummy. It's a model for the painting on the easel which was shown as a startling color insert in "The Picture of Dorian Gray" (1945). Some theorize that the decrepit figure in the picture (now at the Art Institute of Chicago) was based on the brothers' artist- father. Finally, we see Raphael Soyer, a painter of solitary urban subjects, at the easel smoking furiously. Not surprisingly, the artists depicted here are all white males––note that there are no girls or artists of color among them, though Walkowitz and Soyer were immigrant Russian Jews––nor are there any folks of color in the movie overall. In terms of audience, however, the movie claims that art is more famous and available actually than ever. In this period, American artists, we are told, "took art out of the museum and brought it to the average man." And it's because of the successes of American labor and the economy that art is actually part of middle-class lives. An actor dressed as a workingman embodies how "decent working hours and a high standard of living gave the average boy time to receive his mind off the job; time to look at the sky." Artists, too, are actually relevant to the war: "Few industries in the country today can even exist without the support of boys that we once named crack-pot artists." The Albrights painting the Dorian Gray portrait--it is unfinished on its easel—corroborate this type of helpful production, at least in Hollywood. In a final scene, kids are seen looking over the shoulder of an artist who is painting in a field. The message is that art is finally American, popular, and interested in reflecting national topics and values. Made during WWII, the movie remains an important––though heavy-handed and overproduced––reflection of the era and its aspirations for art. It offers a populist and comforting vision of this country's shared aesthetic during a terrifying global conflict. "Art Discovers America," the slightly earlier Regency Pictures movie on which "Grandpa Named it Art" is based, can be seen on YouTube and at the Archives of American Art.
. . . artists at work. It would be great to tell that GRANDPA CALLED IT ART contained footage of Michelangelo splashing paint on that church ceiling in Rome, Da Vinci forming the lips of his "Mona Lisa," or Munch doing the HOME ALONE poster. No such luck. Nor does Wyeth paint women in the buff lying on grass, and there's not a tip of Rockwell portraying Yankees bolting turkey. However, GRANDPA CALLED IT ART does contain 30 or 40 shots of "Venus de Milo" sporting a navel clock, which is something you don't see each day. More to the point, such household names as Benton, Marsh, and Sloan are shown in the throes of their constructive processes. Thomas Hart Benton is perhaps the most interesting of the bunch, as he traipses around trespassing on farms apparently lacking watch dogs, furtively doodling charcoal outlines of any old rusty objects he stumbles across. Back in the security of his studio, Benton then makes a clay model of the decrepit agricultural relics that nearly tripped him up. Finally, Tom paints a canvas enlarging the miniature sculpture he made of the farm debris. Who knew?
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