On the other hand, my father loved technology, and he not only acquired a wire recorder (short-lived predecessor of the tape recorder) shortly after World War II, but also a 16-millimeter movie camera and projector. Thus, while commercial films remained taboo, we happily watched home movies in our darkened living room.
My life at the movies, from Quo Vadis to Rhapsody in August and far beyond, took directions I could hardly have foreseen in 1951. Nevertheless, as citizen, historian, and ordinary consumer of American popular culture, I have been shaped by more films than I can possibly remember. My minister grandfather, already in his forties when D. W. Griffith released Birth of a Nation in 1915, never saw a commercial movie in his long life. (He died in 1971, just short of his hundredth birthday.) Nevertheless, to his credit, he never criticized the different choices I made on that matter, as on many others.
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The best thing you can say about My All American is that it's historically accurate. Freddie Steinmark is everything the book and movie says he is, and most likely more. I don't think that there's a single person on record with anything bad to say about him. He really did have to have his leg amputated due to bone cancer. He actually did partially inspire Nixon to start the War on Cancer. The entire film just wreaks of something being thrown together without much care to presentation. There is a way to do these types of movies. We saw it with Unbroken, the film about Louis Zamperini. Schindler's List is the best movie I'll never watch ever again because of the way it depicted the Holocaust. Remember the Titans is the golden standard for how to make a feel-good sports movie. My All American falls short, and it's definitely not because of the source material it draws from.
Dr. Michael J. Jordan, Vice President for Service to the Armed Forces & International Services at the Red Cross, joins TCM host Dave Karger for a heartfelt discussion about the scenes depicted in the movies, as well as the services offered by the Red Cross to military members and their families. Dr. Jordan, who is a Marine veteran and Gold Star father, shares his own experiences during wartime and the importance of taking care of one another in times of need. The decorated combat veteran, who deployed to both Operation Iraqi Freedom and Operation Desert Storm, speaks candidly about the effects of trauma and the importance of finding ways to bring a touch of home to those serving far away from their loved ones.
The report also evaluated the actors who filled the 133 speaking roles held by Native characters across the sample. Of those 133 roles, 99 characters were played by Native actors. After accounting for actors who worked more than once across the time frame, there were only 64 Native actors who worked on the most popular movies over the past 16 years. A mere 19 of those actors were women. The majority of both men and women worked only once across the 16-year sample.
ACA reminds camps that a public performance license is required when movies, TV programs, and other content intended for personal, private use only, is shown at camp. Since 1986, the Motion Picture Licensing Corporation (MPLC) has issued the Umbrella License, a simple and affordable way to show movies at your camp with the assurance of comprehensive copyright compliance.
According to the U.S. Copyright Act, Title 17 of the United States Code, the public exhibition of copyrighted motion pictures and other audiovisual programs that are intended for personal, private use only, via any legal format, including but not limited to DVDs, streaming, and downloads, is illegal without a public performance license. Simply put, showing movies in public requires a public performance license. This requirement applies equally to for-profit and nonprofit organizations. Civil penalties for unauthorized exhibitions start at $750 for each inadvertent infringement and go as high as $150,000 for each egregious violation.
ACA has partnered with MPLC to make camp movie night simple, affordable, and legal. If you currently show movies or plan to this season, please be sure to complete the Umbrella License Application, and return it to MPLC. Upon receipt, your Certificate of License will be sent via US Mail and you can immediately begin showing movies!
Results: 22 films, beginning with The Snake Pit and ending with Requiem for a Dream, portraying or making reference to ECT were made between 1948 and 2000. 20 (91%) of these movies were obtained and viewed.
I got involved with Doc Films at University of Chicago, where they have a space for community members to pitch series. That was where I really got my hands dirty. People started seeing that I had a lot to offer with these programs. I also got involved with a theatre company called Facility Theatre. The theater had just found the space and I suggested that this would be a great space to show movies. That space gave me the opportunity to play around and do many different kinds of programming. The films I was finding were not of the best quality, because it had to be in fair use, but everyone had a great time.
"I will say this movie has the greatest amount of queer visibility for Asians," she said, adding that "of all the movies that we're discussing today, [it] does the most explicit job of declaring authenticity for Asians and intra-Asian across ethnicities."
Chronicles three indigenous Native american communities and the lands they struggle to protect: the Lakota of the Great Plains, the Hopi of the Four Corners area and the Wintu of northern California. Directed by Christopher McLeod.
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