Battle for Brooklyn
Battle for Brooklyn is a 2011 documentary that follows the stories of a Brooklyn neighborhood as the residents fight to save their homes from being destroyed by an impending real estate project. The film attempts to show the unjust outcomes that are possible when moneyed interests partner up with government entities to outweigh the rights of citizens. Set in the years between 2003 and 2011, the story follows graphic designer Daniel Goldstein, the last defiantly remaining homeowner in his building, as he battles Bruce Ratner's Forest City real estate company and their plans to complete the Atlantic Yards Project in the Prospect Heights neighborhood of Brooklyn; the massive building project – according to the filmmakers, the densest real estate development in U. S. history – required the procurement of 22 acres of land, would bring a sports complex to house the New Jersey Nets along with 16 high-rise buildings to the heart of Brooklyn. Tasked with filling the behemoth 22 acre complex was architect Frank Gehry, who NPR calls "American architecture's prince of wasted space".
The film documents that the land was obtained by the developers through various means including the controversial declaration of the buildings in the area as "blighted", the utilization of eminent domain to seize land from businesses and homeowners in the proposed project area. Director Michael Galinsky explained that it was their intention to create an immersive experience devoid of excessive commentary by "talking heads" in order to allow the viewer some latitude to experience the events of the film for themselves; the result of this immersive experience after 7 years of filming can be seen as a character study of Daniel Goldstein – in the background of the story of the formation of Develop Don't Destroy Brooklyn and the fight against the development, through the course of the filming, experiences personal triumphs and great sadness, including the death of his mother, the breakup with his fiancée, the formation of a new relationship, the birth of his child. The film documents his "evolution from a bewildered property owner to sophisticated spokesman and property rights activist."The formation of the community activism group Develop Don't Destroy Brooklyn with the help of NYC Councilmember Letitia James helped bring Goldstein's cause into the public eye gaining the support of Brooklyn-based actors like Steve Buscemi, Rosie Perez and John Turturro, conservative columnist George Will.
The film, shortlisted for an Academy Award in 2012 for the 84th Academy Awards, was produced and directed by Michael Galinsky and Suki Hawley. Hawley and Galinsky began production in 2003. Galinsky started shooting the same afternoon; the film's importance extends beyond Goldstein's fight against the abuse of eminent domain, Galinsky describes the film as being "really about the people retaking narratives from the media, faltering... in these situations." The film received its initial financing from the New York-based non-profit Moving Picture Institute. In a 2011 interview, Galinsky described the events that led to the start of filming: I saw an article in the paper that said, "A development project is coming to Brooklyn. Hooray!" I thought, "This seems a little bit weird." I knew the area. It seemed. It's in the middle of neighborhoods. My daughter went to daycare a block from there. So, when I saw a flyer saying, "stop the project," I picked it up, called the number on the flyer, the woman who answered was Patti Hagan, who I could tell right away was an interesting character.
So I started shooting that afternoon. That was eight years ago. On April 30, 2011, Battle for Brooklyn premiered in Toronto at the HotDocs Film Festival. Andrew O'Hehir of Salon says of the film's appeal, "No doubt "Battle for Brooklyn" will be of most interest to New Yorkers, to people who live or work in the city's most populous borough, but the film's basic situation — local residents and community activists vs. the development schemes of major politicians and big business — is an archetypal element of urban life, one that can be found in any city, large or small, from Maine to California."S. James Snyder of Time Out New York writes, "Nothing propels a documentary like injustice, Michael Galinsky and Suki Hawley's infuriating chronicle of an outer-borough David-versus-Goliath saga plays like a marathon of inequity."Gary Goldstein of the Los Angeles Times said that although the film is "not even-handed, the movie proves a deft look at a reluctant crusader and how financial sway and political override can so trump the power of the average citizen."
2011 Best Documentary & Best Film – Brooklyn Film Festival New York Times Critics' Pick 2011 Chicago Underground Film Festival 2011 Rooftop Films Summer Series 2011 Brooklyn Film Festival 2011 HotDocs Battle for Brooklyn Official Site Don’t Destroy–Develop Brooklyn website
A cinematheque is a small motion-picture theater that specializes in important, avant-garde, or art-house films. Part of a university or private archive, a cinematheque may have only one screen, but larger ones have multiple screens. In 1935 Henri Langlois and Georges Franju founded a film club to show old films from which originated the Cinémathèque Française in 1936; the idea to archive old films was by no means self-evident at the time. Langlois was able to save many films. In 1933, the British Film Institute was founded in London. In 1938 Henri Storck, André Thirifays and Pierre Vermeylen founded the Cinémathèque Royale de Belgique in Belgium. In 1938, the International Federation of Film Archives was founded in Paris. North AmericaCanadaCinémathèque québécoise in Montreal Pacific Cinémathèque in Vancouver TIFF Cinematheque in Toronto Cinematheque Waterloo in Waterloo Winnipeg Film Group's Cinematheque in WinnipegUnited StatesThe Screen at Santa Fe University of Art and Design American Cinematheque in Los Angeles New Beverly Cinema in Los Angeles San Francisco Cinematheque in San Francisco Gene Siskel Film Center in Chicago Cleveland Cinematheque in Cleveland University of Virginia Cinematheque in Charlottesville Cinematheque at University of Wisconsin–MadisonMexicoCineteca Nacional in Mexico City Filmoteca de la UNAM in Mexico CitySouth AmericaCinemateca Uruguaya in Montevideo, Uruguay Cinemateca Nacional de Venezuela in Caracas, Venezuela Cinemateca Brasileira in São Paulo, Brazil Sinematek Indonesia in Jakarta, Indonesia Broadway Cinematheque in Hong Kong China Film Archive in Beijing, China Korean Film Archive in Seoul, South Korea Seoul Art Cinema in Seoul, South Korea Cinematheque Busan in Busan, South Korea Asian Film Archive in Singapore Hanoi Cinematheque in Hanoi, Vietnam Jerusalem Cinematheque in Jerusalem, Israel Tel Aviv Cinematheque in Tel Aviv, Israel Haifa Cinematheque in Haifa, Israel Herzliya Cinematheque in Herzliya, Israel Holon Cinematheque in Holon, Israel Sderot Cinematheque in Sderot, Israel Rosh Pina Cinematheque in Rosh Pinna, Israel Tehran Cinematheque in Tehran, Iran Pardis Gholhak Cinematheque in Tehran, Iran Australian Cinémathèque in the Queensland Gallery of Modern Art, Queensland Melbourne Cinematheque in Melbourne, Victoria Adelaide Cinémathèque in the Mercury Cinema, South Australia Cinémathèque royale de Belgique in Brussels, Belgium Cinémathèque de la Ville de Luxembourg in Luxembourg City, Luxembourg Bulgarian National Film Archive in Sofia, Bulgaria Cinémathèque Française in Paris, France Cinémathèque suisse in Lausanne, Switzerland Slovenska kinoteka in Ljubljana, Slovenia Deutsche Kinemathek in Berlin, Germany Cineteca di Bologna in Bologna, Italy Cinemateca Portuguesa in Lisbon, Portugal Arhiva Nationala de Filme - Cinemateca in Bucharest, Romania Yugoslav Film Archive in Belgrade, Serbia Filmoteca Española in Madrid, Spain Cinemateket in Stockholm, Sweden Cinemateket in Oslo, Norway Cinemateket in Trondheim, Norway Cinemateket in Copenhagen, Denmark British Film Institute in London, UK National Science and Media Museum in Bradford, UK Národní filmový archiv in Prague, Czech Republic Filmoteca de Catalunya in Barcelona, Spain Cinémathèque Méliès - Les Amis de Georges Méliès in Paris, France Lists of film archives International Federation of Film Archives - Official Website Pacific Cinémathèque - Official Website Cinematheque Ontario - Official Website Cinematheque Waterloo - Official Website Winnipeg Film Group's Cinematheque - Official Website Korean Film Archive - Official Website Australian Cinémathèque - Official Website Swedish Cinematheque - Official Website Slovenian Cinematheque - Official Website
Gene Siskel Film Center
"The Film Center" redirects here. Not to be confused with the Film Center Building in New York CityThe Gene Siskel Film Center The Film Center of the School of the Art Institute of Chicago and referred to as The Film Center or The Gene Siskel, is the cinematheque attached to The School of the Art Institute of Chicago, it is named after popular film critic Gene Siskel. Along with Doc Films at the University of Chicago and the Block Museum of Northwestern University, the Film Center is one of Chicago's key revival houses, hosts at least one major retrospective per month. Unlike Doc or Block, the Film Center serves as a venue for first runs of foreign and independent films and is not student-run. Amongst other things, this means the Film Center maintains a year-round staff and does not cease operation when The School of the Art Institute closes for semester breaks; the Film Center averages 1,500 screenings a year. The Film Center was founded as The Film Center of the School of the Art Institute of Chicago in 1972.
It moved to its current location, 164 N State St. in the Chicago Loop neighborhood of Chicago, in June 2001. The current location is directly across the street from the Chicago Theatre and directly south of the ABC Building, where Siskel & Ebert and successor series Ebert & Roeper recorded weekly from 1996 until 2008, its current facilities, which consist of two theaters capable of projecting most formats, are considered state-of-the-art. Official Website
Usama Alshaibi is an Iraqi-American independent filmmaker and visual artist. Starting in early 2004, Alshaibi worked on a documentary on his homeland, its current situation, titled Nice Bombs; the documentary is Alshaibi's first official release and was produced by Alshaibi's wife, fellow filmmaker Kristie Alshaibi, executive produced by Studs Terkel. The documentary was funded in part by the Playboy Foundation, it premiered at the 2006 Chicago Underground Film Festival where it won the Best Documentary Feature award and had Studs Terkel and Christie Hefner introduce the screening. Nice Bombs had a theatrical release in 2007, a broadcast premiere on the Sundance Channel in March 2008 and was released on DVD on October 2009. Usama Alshaibi is interviewed in fellow Chicagoan Studs Terkel's book Hope Dies Last. Alshaibi is the director of two narrative feature-length films and Muhammad and Jane, more than fifty short films, he has produced and directed numerous music videos for a variety of musicians, including Mahjongg and Bobby Conn.
Alshaibi was the founder and Director of the Z Film Festival and his short films have toured with author Jack Sargeant's underground film programs. Several of his short films, including The Amateurs, are available on the DVD Solar Anus Cinema. American Arab Profane Nice Bombs Muhammad and Jane Soak My Third Painting Spoiled Signal Cross Over Dream of Samarra Convulsion Expulsion The Amateurs Allahu Akbar The Foreigner Dance Habibi Dance Tell The Police The Truth by Mahjongg King for a Day by Bobby Conn Hold My Scissors by Magic is Küntmaster Stabbed in the Face by Panicsville Angels by Bobby Conn Iraqi art List of Iraqi artists Usama Alshaibi on IMDb Usama Alshaibi Official Website From Iraq to Iowa, Chicago Reader article Usama Alshaibi interviewed in Studs Terkel's "Hope Dies Last"
Alex Ross Perry
Alex Ross Perry is an American film director and actor. Perry was born to a Jewish family in 1984 and raised in Bryn Mawr, where he worked on a local television news program during high school. After graduating, he moved to New York City to attend NYU, he graduated from NYU's film program in 2006. From 2005 to 2007, Perry worked at the East Village-based video store Kim's Video, where he met many of the cast and crew members who would work on his films, including director of photography Sean Price Williams, he was influenced by Philip Roth, Vincent Gallo, Jerry Lewis, Thomas Pynchon. Perry's first feature, premiered in 2009. Made on a budget of $15,000 and shot on 16mm film stock, the film is an absurdist comedy inspired by Thomas Pynchon's novel Gravity's Rainbow; the film was released theatrically in 2011. Perry's second feature, The Color Wheel, premiered at festivals in 2011; the film, a dark screwball comedy influenced by the work of Philip Roth, was co-written by Perry with Carlen Altman. The film was named the best undistributed film of 2011 by the Indiewire and Village Voice polls, placed 12th in a similar poll conducted by Film Comment.
It was released theatrically on May 18, 2012. Perry's next film, a comedy titled Listen Up Philip, premiered at the Sundance Film Festival in 2014. In 2015, Perry's fourth directorial effort Queen of Earth, which stars Elisabeth Moss, Katherine Waterston, Patrick Fugit, Kentucker Audley, Kate Lyn Sheil, it had its world premiere at the Berlin Film Festival on February 7, 2015. and was released in a limited release and through video on demand on August 26, 2015. In April 2015, Disney hired Perry to write a live-action adaptation of the Winnie the Pooh franchise, with the resulting Christopher Robin released to theaters in August 2018, he optioned Don DeLillo's The Names for a feature adaptation. In 2017 he directed the music video for Aly & AJ's single "Take Me". In 2016, after nine years of dating, Perry married visual artist Anna Bak-Kvapil. Perry is a vegan. Alex Ross Perry on IMDb
A B movie or B film is a low-budget commercial motion picture, not an arthouse film. In its original usage, during the Golden Age of Hollywood, the term more identified films intended for distribution as the less-publicized bottom half of a double feature. Although the U. S. production of movies intended as second features ceased by the end of the 1950s, the term B movie continues to be used in its broader sense to this day. In its post-Golden Age usage, there is ambiguity on both sides of the definition: on the one hand, the primary interest of many inexpensive exploitation films is prurient. In either usage, most B movies represent a particular genre—the Western was a Golden Age B movie staple, while low-budget science-fiction and horror films became more popular in the 1950s. Early B movies were part of series in which the star played the same character. Always shorter than the top-billed films they were paired with, many had running times of 70 minutes or less; the term connoted a general perception that B movies were inferior to the more lavishly budgeted headliners.
Latter-day B movies still sometimes inspire multiple sequels. As the average running time of top-of-the-line films increased, so did that of B pictures. In its current usage, the term has somewhat contradictory connotations: it may signal an opinion that a certain movie is a genre film with minimal artistic ambitions or a lively, energetic film uninhibited by the constraints imposed on more expensive projects and unburdened by the conventions of putatively "serious" independent film; the term is now used loosely to refer to some higher-budgeted, mainstream films with exploitation-style content in genres traditionally associated with the B movie. From their beginnings to the present day, B movies have provided opportunities both for those coming up in the profession and others whose careers are waning. Celebrated filmmakers such as Anthony Mann and Jonathan Demme learned their craft in B movies, they are where actors such as John Wayne and Jack Nicholson first became established, they have provided work for former A movie actors, such as Vincent Price and Karen Black.
Some actors, such as Bela Lugosi, Eddie Constantine, Bruce Campbell and Pam Grier, worked in B movies for most of their careers. The term B actor is sometimes used to refer to a performer who finds work or in B pictures. In 1927–28, at the end of the silent era, the production cost of an average feature from a major Hollywood studio ranged from $190,000 at Fox to $275,000 at Metro-Goldwyn-Mayer; that average reflected both "specials" that might cost as much as $1 million and films made for around $50,000. These cheaper films allowed the studios to derive maximum value from facilities and contracted staff in between a studio's more important productions, while breaking in new personnel. Studios in the minor leagues of the industry, such as Columbia Pictures and Film Booking Offices of America, focused on those sorts of cheap productions, their movies, with short running times, targeted theaters that had to economize on rental and operating costs small-town and urban neighborhood venues, or "nabes".
Smaller production houses, known as Poverty Row studios, made films whose costs might run as low as $3,000, seeking a profit through whatever bookings they could pick up in the gaps left by the larger concerns. With the widespread arrival of sound film in American theaters in 1929, many independent exhibitors began dropping the then-dominant presentation model, which involved live acts and a broad variety of shorts before a single featured film. A new programming scheme developed that would soon become standard practice: a newsreel, a short and/or serial, a cartoon, followed by a double feature; the second feature, which screened before the main event, cost the exhibitor less per minute than the equivalent running time in shorts. The majors' "clearance" rules favoring their affiliated theaters prevented the independents' timely access to top-quality films; the additional movie gave the program "balance"—the practice of pairing different sorts of features suggested to potential customers that they could count on something of interest no matter what was on the bill.
The low-budget picture of the 1920s thus evolved into the second feature, the B movie, of Hollywood's Golden Age. The major studios, at first resistant to the double feature, soon adapted. All established B units to provide films for the expanding second-feature market. Block booking became standard practice: to get access to a studio's attractive A pictures, many theaters were obliged to rent the company's entire output for a season. With the B films rented at a flat fee, rates could be set guaranteeing the profitability of every B movie; the parallel practice of blind bidding freed the majors from worrying about their Bs' quality—even when booking in less than seasonal blocks, exhibitors had to buy most pictures sight unseen. The five largest studios—Metro-Goldwyn-Mayer, Paramount Pictures, Fox Film Corporation, Warner Bros. and RKO Radio Pictures —also belonged to companies with sizable theater chains, further securing the bottom line. Poverty Row studios, from modest outfits like Mascot Pictures, Tiffany Pictures, Sono Art-World Wide Pictures down to shoestring operations, made B movies, ot
School of the Art Institute of Chicago
The School of the Art Institute of Chicago is one of America's largest accredited independent schools of art and design. It is located in the Loop in Illinois; the school is associated with the museum of the same name, "The Art Institute of Chicago" or "Chicago Art Institute" refers to either entity. Providing degrees at the undergraduate and graduate levels, SAIC has been recognized by U. S. News & World Report as one of the top graduate art programs in the nation, as well as by Columbia University's National Arts Journalism survey as the most influential art school in the United States. Tracing its history to an art students' cooperative founded in 1866, which grew into the museum and school, SAIC has been accredited since 1936 by the Higher Learning Commission, by the National Association of Schools of Art and Design since 1944, by the Association of Independent Colleges of Art and Design since its founding in 1991. Additionally it is accredited by the National Architectural Accrediting Board.
Its downtown Chicago campus consists of seven buildings located in the immediate vicinity of the AIC building. SAIC is in an equal partnership with the AIC and share many administrative resources such as design and human resources; the campus, located in the Loop, comprises chiefly three buildings: the Michigan, the Sharp, the Columbus. SAIC owns additional buildings throughout Chicago that are used as student galleries or investments; the institute has its roots in the 1866 founding of the Chicago Academy of Design, which local artists established in rented rooms on Clark Street. It was financed by member dues and patron donations. Four years the school moved into its own Adams Street building, destroyed in the Great Chicago Fire of 1871; because of the school's financial and managerial problems after this loss, business leaders in 1878 formed a board of trustees and founded the Chicago Academy of Fine Arts. They expanded its mission beyond education and exhibitions to include collecting. In 1882, the academy was renamed the Art Institute of Chicago.
The banker Charles L. Hutchinson served as its elected president until his death in 1924. Walter E. Massey served as president from 2010–July 2016; the current president is Elissa Tenny the school's provost. SAIC offers classes in technology. SAIC serves as a resource for issues related to the position and importance of the arts in society. SAIC offers an interdisciplinary Low-Residency MFA for students wishing to study the fine arts and/or writing; as of fall 2018, the student enrollment at SAIC is demographically classified as follows:Total Enrollment: 3,640 Undergraduate students: 2,895 Graduate students: 745 Sex: Female: 74.3% Male: 25.7% International and ethnic origin: International students: 33% United States students: 67%, further subdivided as follows: White: 32.6% Hispanic: 10.4% Asian or Pacific Islander: 8.9% African American: 3.3% American Indian: 0.2% Multiethnic: 2.8% Not Specified: 8.4% Geographic distribution of United States students: Midwest: 41.2% Northeast: 16.5% West: 19.4% South: 22.8% Founded in 1868, the Visiting Artists Program is one of the oldest public programs of the School of the Art Institute of Chicago.
Formalized in 1951 by Flora Mayer Witkowsky's endowment of a supporting fund, the Visiting Artists Program hosts public presentations by artists and scholars each year in lectures, symposia and screenings. It is an eclectic program that showcases artists' working in all media, including sound, performance, poetry and independent film. Recent visiting artists have included Catherine Opie, Andi Zeisler, Aaron Koblin, Jean Shin, Sam Lipsyte, Ben Marcus, Marilyn Minter, Pearl Fryar, Tehching Hsieh, Homi K. Bhabha, Bill Fontana, Wolfgang Laib, Suzanne Lee, Amar Kanwar among others. Additionally, the Distinguished Alumni Series brings alumni back to the community to present their work and reflect on how their experiences at SAIC have shaped them. Recent alumni speakers include Tania Bruguera, Jenni Sorkin, Kori Newkirk, Maria Martinez-Cañas, Saya Woolfalk, Jun Nguyen-Hatsushiba, Sanford Biggers to name a few. Sullivan Galleries- Located to the 7th floor of the Sullivan Center at 33 S. State Street.
With shows and projects led by faculty or student curators, it is a teaching gallery that engages the exhibition process as a pedagogical model and mode of research. SITE Galleries - Founded in 1994, SITE, once known as the Student Union Galleries, is a student-run organization at the School of the Art Institute of Chicago for the exhibition of student work; the two central tenets of the galleries are to build relationships between different departments and stakeholders throughout the institution and strengthen our role as a teaching gallery within and beyond SAIC. This is accomplished first through providing a consistent space for undergraduate and graduate directors to organize and generate exhibitions that realize the vision of student artists. Furthermore, with strategic programming, SITE supports these exhibitions and engages evolving currents and discourses in our communities; the student-led structure p