From Netribution Contributed by Suchandrika Chakrabarti | Thursday, 13 September 2007 |
| The festival will open with the UK premiere of David Cronenberg's Eastern Promises, starring Naomi Watts and Viggo Mortensen, and set amongst a notorious organised crime family in London. The closing night gala on 1st November will feature the UK premiere of Wes Anderson's The Darjeeling Limited. The film follows three American brothers, played by Owen Wilson, Jason Schwartzman and Adrien Brody, on a trip across India. The festival will be hosting 7 World, 29 European and 128 UK premieres. The Audiences can also see work from debut feature directors including: Céline Sciamma (Water Lilies), Rodrigo Plá (Zona), Shivajee Chandrabhushan (Frozen) and Marjane Satrapi & Vincent Paronnaud (Persepolis). British filmmaking talent is represented by Penny Woolcock (Exodus), Garth Jennings (Son of Rambow: A Home Movie), Nick Broomfield (Battle for Haditha), Asif Kapadia (Far North), Richard Attenborough (Closing the Ring) as well as by newcomers Simon Welsford (Jetsam) and Joanna Hogg (Unrelated), and a selection of documentaries and shorts.
To contact the author: suchandrika@gmail.com | |
Thursday, September 13, 2007
London Film Festival 2007 programme announced
The 51st London Film Festival, which begins on 17th October, announced its lineup today. 
London: Angel Film Festival begins 15th September
From Netribution Contributed by Suchandrika Chakrabarti |
| The films will be screened in 4 different locations around Islington over the weekends of 15th/16th and 23rd/24th September. One of the founders' aims for the festival is "to create a relaxed and informal viewing place where art and beer meet," so, unsurprisingly, all the screenings take place in pubs. 65 films have been chosen out of 600 submissions, all coming in at under 25 minutes. All showings are free and open to the public. For more information, see the Angel Film Festival site. For a glimpse of last year's programme, look here, and here's the festival blog.
To contact the author: suchandrika@gmail.com |
Wednesday, September 05, 2007
This Is England released on DVD
From Netribution
Suchandrika Chakrabarti
Shane Meadows' This Is England, set in early 80s northern England among skinheads and National Front members, was released on DVD on Monday 3rd September.
It won the UK FIlm Talent Award at the 2006 London Film Festival, as well as the British Independent Film Award for Best Independent Film.
The film's pitch-perfect rendition of an 80s northern town, along with its candid look at the politics and attitudes of the time, make it a riveting watch.
For the rest, see Netribution
To contact the author: suchandrika@gmail.com
Israel: Haifa Film Festival to show "A Mighty Heart," starring Angelina Jolie
From Netribution
Suchandrika Chakrabarti
The 23rd Haifa International Film Festival will be held 27th September - 4th October 2007, and is to close with A Mighty Heart, starring Angelina Jolie and Dan Futterman.
The film is an adaptation of Mariane Pearl's book, A Mighty Heart. It is a memoir of her journalist husband's kidnap and murder in Pakistan while investigating the case of a shoe bomber, Richard Reid.
The film premiered at the Cannes Film Festival earlier this year to good reviews. Mrs Pearl's book was adapted for the screen by the film's director Michael Winterbottom (24 Hour Party People, Wonderland), and the film was produced by Brad Pitt.
Daniel Pearl, a reporter for US newspaper the Wall Street Journal, was kidnapped on his way to an interview in Karachi, Pakistan in January 2002. After nine days of detention, he was murdered. The act was filmed and the video released.
Click here for the A Mighty Heart trailer.
Other films being shown at the Haifa festival include Désengagement, starring Juliette Binoche, which will open the festival. This political drama looks at Israel's 2005 retreat from the occupied Gaza Strip. Binoche's character travels to Israel to find the daughter she gave up 20 years before, and becomes caught up in the West Bank turmoil .
To contact the author: suchandrika@gmail.com
Tuesday, January 09, 2007
Camden Celebrates National Tree Week
Lucy McNulty
Christmas came early for Camden’s trees last week, as Camden Council celebrated National Tree Week.
Pupils from five primary schools across the borough adorned trees in Waterlow Park with colourful artwork as part of National Tree Week, which runs from November 22nd to December 3rd and marks the start of the winter planting season.
The vibrant tree decorations formed part of a year long education project run by Camden Council and Lauderdale House that teaches children about the beauty and value of trees.
Councillor Flick Rea, Executive Member for Sport and Culture, said: “Like Parks and open spaces, trees are a vital part of the urban landscape, helping make Camden a better place to live, work and visit.”
She added: “They are not only beautiful, they are valuable in many other ways, from improving the quality of our lives to moderating the climate, providing habitats for wildlife and a great way for children to learn about the environment.”
The artwork will be on display throughout Waterlow Park until December 15.
Christmas came early for Camden’s trees last week, as Camden Council celebrated National Tree Week.
Pupils from five primary schools across the borough adorned trees in Waterlow Park with colourful artwork as part of National Tree Week, which runs from November 22nd to December 3rd and marks the start of the winter planting season.
The vibrant tree decorations formed part of a year long education project run by Camden Council and Lauderdale House that teaches children about the beauty and value of trees.
Councillor Flick Rea, Executive Member for Sport and Culture, said: “Like Parks and open spaces, trees are a vital part of the urban landscape, helping make Camden a better place to live, work and visit.”
She added: “They are not only beautiful, they are valuable in many other ways, from improving the quality of our lives to moderating the climate, providing habitats for wildlife and a great way for children to learn about the environment.”
The artwork will be on display throughout Waterlow Park until December 15.
Islington Council Campaigning for Fairer Parking Charges
Lucy McNulty
High parking fines could become a thing of the past for Islington residents, as Islington Council campaigns to get fairer parking charges introduced in the borough.
Islington currently has a set fixed charge of £100 for all offences (this drops to £50 if paid within 14 days), in accordance with London Councils which sets the rate of penalty charges in all London boroughs.
Believing this system to be unfair Islington Council has begun lobbying London Councils to agree a more common sense approach that sets parking charges at different levels for different offences.
Councillor Lucy Watt, Islington Council's Executive Member for the Environment, said: “The council has listened to residents' views on parking, and we agree that a more proportionate approach is needed. We want to see a system that sets different levels of parking fines rather than having one fixed rate.”
She added: “I believe, for instance, that there's a common sense difference between going over time on a 'pay and display' bay and dangerous parking on a zig zag line outside a school. That's why the council has lobbied London Councils to reduce the penalty for less serious parking offences. I know residents will agree with me.”
High parking fines could become a thing of the past for Islington residents, as Islington Council campaigns to get fairer parking charges introduced in the borough.
Islington currently has a set fixed charge of £100 for all offences (this drops to £50 if paid within 14 days), in accordance with London Councils which sets the rate of penalty charges in all London boroughs.
Believing this system to be unfair Islington Council has begun lobbying London Councils to agree a more common sense approach that sets parking charges at different levels for different offences.
Councillor Lucy Watt, Islington Council's Executive Member for the Environment, said: “The council has listened to residents' views on parking, and we agree that a more proportionate approach is needed. We want to see a system that sets different levels of parking fines rather than having one fixed rate.”
She added: “I believe, for instance, that there's a common sense difference between going over time on a 'pay and display' bay and dangerous parking on a zig zag line outside a school. That's why the council has lobbied London Councils to reduce the penalty for less serious parking offences. I know residents will agree with me.”
Kingston Composer Remembered
Lucy McNulty
The composer, choirmaster and academic, Dr. John Kelsall died suddenly from stomach cancer, aged 39, on November 4th 1986. This year his musical scores were performed at a commemorative event for the first time since his death 20 years ago.
Born in Nottingham in 1947, he was educated at Aberdeen and Glasgow Universities and received his PhD in 1975. In 1977 he joined the staff at the music centre at Kingston Polytechnic (now University) where he remained until his death. His close friend and colleague, John Bate, remembers him as “a very fine musician, an inspiring conductor, a good teacher and a very good colleague with a witty, warm personality.”
In October 1986, just two years after marrying his second wife, Carolyn, Dr. Kelsall was diagnosed with a particularly aggressive form of stomach cancer. Within a month the cancer had killed him. Mr Bate recalls: “When he died a light went out in the music department that never came back. Students were crying for weeks afterwards. I don’t think we ever got over losing him.”
Perhaps his greatest achievement at the music school was founding the Kingston Polytechnic Chamber Choir in the late 70s, which still functions as a choir today. Throughout his time at the school Kelsall composed countless manuscripts for this choir.
It was discovering these manuscripts abandoned in a storeroom that inspired Kingston graduate and musical director Benjamin Costello to organise an evening in his memory to mark the 20th anniversary of his death. Mr Costello said: “It was such good music, and had been completely forgotten. I wanted to see it performed so I decided to do something about it”.
The John Kelsall Retrospective took place this Saturday at Kelsall’s local church, St Andrew’s in Surbiton. A choir almost entirely made up of singers from the original Chamber Choir came from all over the UK and Europe to perform works by Kelsall himself.
For more information on John Kelsall visit www.johnkelsall.com
The composer, choirmaster and academic, Dr. John Kelsall died suddenly from stomach cancer, aged 39, on November 4th 1986. This year his musical scores were performed at a commemorative event for the first time since his death 20 years ago.
Born in Nottingham in 1947, he was educated at Aberdeen and Glasgow Universities and received his PhD in 1975. In 1977 he joined the staff at the music centre at Kingston Polytechnic (now University) where he remained until his death. His close friend and colleague, John Bate, remembers him as “a very fine musician, an inspiring conductor, a good teacher and a very good colleague with a witty, warm personality.”
In October 1986, just two years after marrying his second wife, Carolyn, Dr. Kelsall was diagnosed with a particularly aggressive form of stomach cancer. Within a month the cancer had killed him. Mr Bate recalls: “When he died a light went out in the music department that never came back. Students were crying for weeks afterwards. I don’t think we ever got over losing him.”
Perhaps his greatest achievement at the music school was founding the Kingston Polytechnic Chamber Choir in the late 70s, which still functions as a choir today. Throughout his time at the school Kelsall composed countless manuscripts for this choir.
It was discovering these manuscripts abandoned in a storeroom that inspired Kingston graduate and musical director Benjamin Costello to organise an evening in his memory to mark the 20th anniversary of his death. Mr Costello said: “It was such good music, and had been completely forgotten. I wanted to see it performed so I decided to do something about it”.
The John Kelsall Retrospective took place this Saturday at Kelsall’s local church, St Andrew’s in Surbiton. A choir almost entirely made up of singers from the original Chamber Choir came from all over the UK and Europe to perform works by Kelsall himself.
For more information on John Kelsall visit www.johnkelsall.com
Kingston Delivery Office Wins Award
Lucy McNulty
Proving that some good things come in large packages Kingston’s Royal Mail Delivery Office has beaten over 1400 delivery offices nationwide to become the Best Large Delivery Office in the country for November and December 2006.
The delivery office in Villiers Road, Kingston underwent extensive assessment into the quality of its services and delivery performances to secure the title. Assessments were carried out by the independent research company, Research International, which was commissioned by Royal Mail to send out over 100,000 letters to delivery offices across the country. Letters were then monitored to determine performance.
The Villiers Road office achieved an impressive 96.3% annual average during assessment, significantly over the 91.5% target set by Royal Mail.
Delivery office manager Chas Basra credited the team’s success on strong teamwork and the professionalism of employees and managers. He said: “This is a huge office and we deal with a massive amount of mail every day, but the team here is always up for the challenge and do a superb job on quality and service.”
He added: “Working closely with the union and employees, setting high-standards, and creating an atmosphere where people can enjoy their job, have all been crucial in improving our performance and taking us to the number one spot. Now the challenge is to keep it.”
Proving that some good things come in large packages Kingston’s Royal Mail Delivery Office has beaten over 1400 delivery offices nationwide to become the Best Large Delivery Office in the country for November and December 2006.
The delivery office in Villiers Road, Kingston underwent extensive assessment into the quality of its services and delivery performances to secure the title. Assessments were carried out by the independent research company, Research International, which was commissioned by Royal Mail to send out over 100,000 letters to delivery offices across the country. Letters were then monitored to determine performance.
The Villiers Road office achieved an impressive 96.3% annual average during assessment, significantly over the 91.5% target set by Royal Mail.
Delivery office manager Chas Basra credited the team’s success on strong teamwork and the professionalism of employees and managers. He said: “This is a huge office and we deal with a massive amount of mail every day, but the team here is always up for the challenge and do a superb job on quality and service.”
He added: “Working closely with the union and employees, setting high-standards, and creating an atmosphere where people can enjoy their job, have all been crucial in improving our performance and taking us to the number one spot. Now the challenge is to keep it.”
National Knitting Week Comes to Kingston
Lucy McNulty
Knitters of all ages descended on John Lewis Kingston this week to knit blankets for charity, as part of a series of events organised by the department store to celebrate National Knitting Week.
Customers and staff were invited to join expert knitters in the Haberdashery department to knit blankets for Born too Soon, a charity which supports the care of premature babies and their families at the Neonatal Unit at Kingston Hospital.
As most traditional blankets are too large to be used with premature babies knitters were encouraged to knit small squares which were then sewn up to make tiny baby blankets perfect for use with premature babies within incubators.
Leslie Metcalf, a manager in the Haberdashery department said: ‘We are thrilled to be able to offer something so essential to such a great cause.’ And it would seem as if this was a sentiment echoed by the many who participated in the event as staff member Wendy said: ‘It is hard to know how many blankets we will end up with because so many people have taken wool home to knit extra squares for us.’
For more information on Born Too Soon or to make a donation visit www.borntoosoon.org.uk.
Knitters of all ages descended on John Lewis Kingston this week to knit blankets for charity, as part of a series of events organised by the department store to celebrate National Knitting Week.
Customers and staff were invited to join expert knitters in the Haberdashery department to knit blankets for Born too Soon, a charity which supports the care of premature babies and their families at the Neonatal Unit at Kingston Hospital.
As most traditional blankets are too large to be used with premature babies knitters were encouraged to knit small squares which were then sewn up to make tiny baby blankets perfect for use with premature babies within incubators.
Leslie Metcalf, a manager in the Haberdashery department said: ‘We are thrilled to be able to offer something so essential to such a great cause.’ And it would seem as if this was a sentiment echoed by the many who participated in the event as staff member Wendy said: ‘It is hard to know how many blankets we will end up with because so many people have taken wool home to knit extra squares for us.’
For more information on Born Too Soon or to make a donation visit www.borntoosoon.org.uk.
Aspiring Photographer Plans to Picture Kingston
Lucy McNulty
A pupil at Kingston’s Tiffin School is planning to photograph 76 local men and 76 local women of 76 different ages as part of a project which, if successful, will document the great diversity, in age and ethnicity, which exists within the Kingston community.
Aspiring photographer, Tristan Bejawn, 17, plans to picture Kingston residents from the age of 1 to 76 years of age, the average life span of a British man, in a project which will go towards his A-Level Art course.
Mr Bejawn said of the venture: “I would like the end product to act as a social commentary on Kingston, with the photos displaying as many different backgrounds as possible. However I have had a lot of trouble finding people of all different ages and backgrounds to photograph.”
Speaking of the motivation behind the project, he said: “I have encountered a lot of hostility towards my generation over the years and witnessed disgusting acts of racism in the area. It is my hope that the portraits in the project will go some way to removing prejudice and showing that in reality we are all very similar.”
The final project will be displayed at the front entrance to Tiffin School from June 2007.
A pupil at Kingston’s Tiffin School is planning to photograph 76 local men and 76 local women of 76 different ages as part of a project which, if successful, will document the great diversity, in age and ethnicity, which exists within the Kingston community.
Aspiring photographer, Tristan Bejawn, 17, plans to picture Kingston residents from the age of 1 to 76 years of age, the average life span of a British man, in a project which will go towards his A-Level Art course.
Mr Bejawn said of the venture: “I would like the end product to act as a social commentary on Kingston, with the photos displaying as many different backgrounds as possible. However I have had a lot of trouble finding people of all different ages and backgrounds to photograph.”
Speaking of the motivation behind the project, he said: “I have encountered a lot of hostility towards my generation over the years and witnessed disgusting acts of racism in the area. It is my hope that the portraits in the project will go some way to removing prejudice and showing that in reality we are all very similar.”
The final project will be displayed at the front entrance to Tiffin School from June 2007.
Monday, January 08, 2007
Just Shut up & Sing
Suchandrika Chakrabarti
Death threats have a way of focusing the mind. Just imagine this: you receive a letter stating that you “will be shot dead Sunday, July 6, in Dallas, Texas.” What would your reaction be?
Natalie Maines does not run off screaming. Instead, the lead singer of American country band, the Dixie Chicks, goes straight to the suspect’s photograph. "He's kind of cute," she reckons. Nervous laughter fills the room. "No seriously, he's a good-looking guy." True to form, she takes to the stage in her home state, albeit with a heavily increased security team. The Dixie Chicks have grown used to the animosity of what was once their core fan base.
Admit it. You had never heard of them until this onstage comment at the Shepherd’s Bush Empire in 2003 gave them notoriety: “Just so you know, I’m ashamed the president of the United States is from Texas.” Maines said it, and all three of them have had to deal with the fall-out over the years since. This has included, in no particular order: radio boycotts, fans publicly burning their CDs and – worst of all – a long-running feud with country singer, Toby Keith, who was looking to share some of the profits of their bad publicity.
On the subject of publicity, Barbara Kopple and Cecilia Peck’s documentary gives an instructive view of the music industry, where politics are less important than sales and image. The Chicks’ manager, Steve Renshaw, is an old hand at the public relations game, and his scheming is impossible to fault: “Won’t be great if we can get the fans burning CDs and banning you from radio?” When these things duly occur, they do indeed bring the Chicks to greater international recognition. They even reflect on the fact that perhaps Maines’ remark has been more of a blessing than a curse – in the long term.
Still, Renshaw’s belief that the whole thing will be over “in three days, tops,” is very far of the mark. Carrying on the record company’s task of rehabilitating the Chicks’ image is another major concern of the film. In the aftermath of the comment, Maines is shown in meetings with managers and music executives, never managing to look suitably contrite, although she does express her support for her country’s army while they remain in Iraq.
The management try to extract promises to not criticise the president any more from her. They have some success. Nevertheless, this does not stop Maines later looking straight at the camera and pronouncing him a “dumbfuck.” All he had ever said was, “The Dixie Chicks are free to say what they want.” Perhaps. Their fans don’t agree.
In fact, their PR company has very little faith in the Chicks’ fans. During a photoshoot for the cover of Entertainment Weekly magazine, in which the Chicks stamp themselves with some of the insults that they have received (including the rather inventive ‘Dixie Sluts’ and ‘Saddam’s Angels’), their publicist, Cindi Berger confesses, "You're giving the American people too much credit.... They're not that smart."
Still, if these parts of the film play well to non-American audiences and those cynical about the music industry, other scenes are clearly attempting to reinstate the Chicks’ reputation as good old-fashioned family gals.
To tempt back alienated country fans, there are many moments of the Chicks backstage with their husbands and small children. Emily Robison, who is the relaxed, earth mother foil to Maines’ new political firebrand persona, says that she only goes on tour because she knows that her family can come with her. The trauma of Emily and her sister/bandmate Martie Maguire’s IVF treatment is also shown in great detail, as well as the happy outcome, including Emily’s newborn twins blinking at the lens.
Events such as this sometimes feel a bit too personal, and slow the main narrative down, but the intent is obvious. The Chicks still stand for the same domestic values as ever, so, original fans, you have nothing to fear.
The overarching political element of the documentary is what really drives the narrative, and makes its release very well-timed. The shifting reactions to Maines’ comment shown in the film highlight Bush’s declining popularity. In Kopple’s words: “It’s hard to imagine, in the wake of the Democratic takeover of Congress, the resignation of Donald Rumsfeld and the rejection of the Bush agenda,” that Maines’ anti-Bush sentiment could have had such an impact back then. Shut Up & Sing certainly does not shy away from looking at what has changed, as it vindicates Maines’ stance in 2003.
In early 2003, the Chicks were the number one in the American charts and in the hearts of American country fans. As they admit themselves, the anti-Bush statement sounded worse coming from them because of their perception both within and outside their fanbase. As Maines put it at the Toronto film festival earlier this year, “Jennifer Aniston said that he is a fucking idiot. Y’all didn’t think she was that smart, did ya? She’s very smart.”
The technique of shuttling back and forth between 2003 and 2006 footage is a neat way of showing how public opinion has changed, particularly as Maines returns to the scene of the crime and repeats the joke in 2006 – knowing full well that the climate has changed. So, rather than the shocked faces of American news anchors in 2003, the latest footage shows the Republicans losing in popularity polls. By sticking to real-life news clips, Kopple and Peck show how the Chicks controversy becomes drowned out by the proliferation of anti-war headlines.
This is not the first time that the Oscar-winning Barbara Kopple has tackled incendiary issues on film. Her two awards were for Harlan County USA (1976) and American Dream (1990), both of which, like Shut Up & Sing, involve real people and what happens to their lives when the political intrudes. The making of Harlan County involved the 26-year-old Kopple moving to Kentucky for four years, in order to cover the coal miner’s strike. Working on a much smaller scale than with Shut Up & Sing, the documentary reports on the frequently violent clashes between the workers and the corporation that wants to exploit them.
In American Dream, meatpacking workers strike, with life-altering results. As with Shut Up & Sing, the story is fleshed out with interviews, contemporary news clips and fly-on-the-wall observation. Unlike the Chicks, however, the protagonists of Harlan County and American Dream are not cushioned by fame, and are taking bigger risks in putting their careers on the line.
Kopple justifies taking the Dixie Chicks on as a subject because she feels that the fortunes of their past few years have been the inverse of the Bush administration. “It's not only a story about the transformation of these three incredible women and musicians, but also a story of a nation in transformation,” she claims. Maines’ anti-Bush outbursts must also have proved irresistible for a director who has often told the story of the ordinary people challenging the establishment.
Kopple adds that the film’s trajectory shows that there is hope for America as well as for the band: “We have gone through so much over the past three years - from feeling helpless and ignored in the rush to war, to feeling disdain and despair for the polarised political climate, to now feeling like we might finally be on the right track again.” Consequently, the distributors, The Weinstein Company, timed the film’s release to coincide with this year’s elections.
A noticeable increase in political filmmaking has characterised the last few years. The form has varied, from re-enactions of specific events, such as in Munich and United 93; to fictional films heavy with political messages such as Fast Food Nation and Paradise Now; and finally, to investigative documentaries that analyse trade, such as Wal-Mart: The High Cost of Low Price, and Black Gold, which looks at the plight of African coffee farmers.
With Shut Up & Sing, however, the camera is firmly trained upon the public too. From the ex-fans who suggest that Maines should be “strapped to a bomb” and dropped into the war zone, to the foreign audiences who suddenly develop affection for the Dixie Chicks, the film is as concerned with those reading and watching the news, as well as those making it.
Some of the most angered fans, such as those who told the band to “keep playing your music… keep your mouths shut,” will probably not be taking the Chicks back into their arms again. In fact, perhaps very few of the viewers will feel the need to rush out for a copy of their latest album.
Still, Shut Up & Sing proves to be an edifying look at the changing nature of American politics over the last few years, as well as at the media’s power to bolster or alter opinion. Kopple is overstating it when she says, “In a way, Natalie was the first casualty of the Iraq war,” because of the terrible press that ensued. Nevertheless, the fact remains that adverts for the film are still banned from a number of American channels, including NBC, whose reason is that it is “disparaging to the President.”
Despite the optimism of Shut Up & Sing, there is still some way to go. After all, the film begins eighteen months after the start of the Iraq war, but the end of the latter is still not in sight.
Death threats have a way of focusing the mind. Just imagine this: you receive a letter stating that you “will be shot dead Sunday, July 6, in Dallas, Texas.” What would your reaction be?
Natalie Maines does not run off screaming. Instead, the lead singer of American country band, the Dixie Chicks, goes straight to the suspect’s photograph. "He's kind of cute," she reckons. Nervous laughter fills the room. "No seriously, he's a good-looking guy." True to form, she takes to the stage in her home state, albeit with a heavily increased security team. The Dixie Chicks have grown used to the animosity of what was once their core fan base.
Admit it. You had never heard of them until this onstage comment at the Shepherd’s Bush Empire in 2003 gave them notoriety: “Just so you know, I’m ashamed the president of the United States is from Texas.” Maines said it, and all three of them have had to deal with the fall-out over the years since. This has included, in no particular order: radio boycotts, fans publicly burning their CDs and – worst of all – a long-running feud with country singer, Toby Keith, who was looking to share some of the profits of their bad publicity.
On the subject of publicity, Barbara Kopple and Cecilia Peck’s documentary gives an instructive view of the music industry, where politics are less important than sales and image. The Chicks’ manager, Steve Renshaw, is an old hand at the public relations game, and his scheming is impossible to fault: “Won’t be great if we can get the fans burning CDs and banning you from radio?” When these things duly occur, they do indeed bring the Chicks to greater international recognition. They even reflect on the fact that perhaps Maines’ remark has been more of a blessing than a curse – in the long term.
Still, Renshaw’s belief that the whole thing will be over “in three days, tops,” is very far of the mark. Carrying on the record company’s task of rehabilitating the Chicks’ image is another major concern of the film. In the aftermath of the comment, Maines is shown in meetings with managers and music executives, never managing to look suitably contrite, although she does express her support for her country’s army while they remain in Iraq.
The management try to extract promises to not criticise the president any more from her. They have some success. Nevertheless, this does not stop Maines later looking straight at the camera and pronouncing him a “dumbfuck.” All he had ever said was, “The Dixie Chicks are free to say what they want.” Perhaps. Their fans don’t agree.
In fact, their PR company has very little faith in the Chicks’ fans. During a photoshoot for the cover of Entertainment Weekly magazine, in which the Chicks stamp themselves with some of the insults that they have received (including the rather inventive ‘Dixie Sluts’ and ‘Saddam’s Angels’), their publicist, Cindi Berger confesses, "You're giving the American people too much credit.... They're not that smart."
Still, if these parts of the film play well to non-American audiences and those cynical about the music industry, other scenes are clearly attempting to reinstate the Chicks’ reputation as good old-fashioned family gals.
To tempt back alienated country fans, there are many moments of the Chicks backstage with their husbands and small children. Emily Robison, who is the relaxed, earth mother foil to Maines’ new political firebrand persona, says that she only goes on tour because she knows that her family can come with her. The trauma of Emily and her sister/bandmate Martie Maguire’s IVF treatment is also shown in great detail, as well as the happy outcome, including Emily’s newborn twins blinking at the lens.
Events such as this sometimes feel a bit too personal, and slow the main narrative down, but the intent is obvious. The Chicks still stand for the same domestic values as ever, so, original fans, you have nothing to fear.
The overarching political element of the documentary is what really drives the narrative, and makes its release very well-timed. The shifting reactions to Maines’ comment shown in the film highlight Bush’s declining popularity. In Kopple’s words: “It’s hard to imagine, in the wake of the Democratic takeover of Congress, the resignation of Donald Rumsfeld and the rejection of the Bush agenda,” that Maines’ anti-Bush sentiment could have had such an impact back then. Shut Up & Sing certainly does not shy away from looking at what has changed, as it vindicates Maines’ stance in 2003.
In early 2003, the Chicks were the number one in the American charts and in the hearts of American country fans. As they admit themselves, the anti-Bush statement sounded worse coming from them because of their perception both within and outside their fanbase. As Maines put it at the Toronto film festival earlier this year, “Jennifer Aniston said that he is a fucking idiot. Y’all didn’t think she was that smart, did ya? She’s very smart.”
The technique of shuttling back and forth between 2003 and 2006 footage is a neat way of showing how public opinion has changed, particularly as Maines returns to the scene of the crime and repeats the joke in 2006 – knowing full well that the climate has changed. So, rather than the shocked faces of American news anchors in 2003, the latest footage shows the Republicans losing in popularity polls. By sticking to real-life news clips, Kopple and Peck show how the Chicks controversy becomes drowned out by the proliferation of anti-war headlines.
This is not the first time that the Oscar-winning Barbara Kopple has tackled incendiary issues on film. Her two awards were for Harlan County USA (1976) and American Dream (1990), both of which, like Shut Up & Sing, involve real people and what happens to their lives when the political intrudes. The making of Harlan County involved the 26-year-old Kopple moving to Kentucky for four years, in order to cover the coal miner’s strike. Working on a much smaller scale than with Shut Up & Sing, the documentary reports on the frequently violent clashes between the workers and the corporation that wants to exploit them.
In American Dream, meatpacking workers strike, with life-altering results. As with Shut Up & Sing, the story is fleshed out with interviews, contemporary news clips and fly-on-the-wall observation. Unlike the Chicks, however, the protagonists of Harlan County and American Dream are not cushioned by fame, and are taking bigger risks in putting their careers on the line.
Kopple justifies taking the Dixie Chicks on as a subject because she feels that the fortunes of their past few years have been the inverse of the Bush administration. “It's not only a story about the transformation of these three incredible women and musicians, but also a story of a nation in transformation,” she claims. Maines’ anti-Bush outbursts must also have proved irresistible for a director who has often told the story of the ordinary people challenging the establishment.
Kopple adds that the film’s trajectory shows that there is hope for America as well as for the band: “We have gone through so much over the past three years - from feeling helpless and ignored in the rush to war, to feeling disdain and despair for the polarised political climate, to now feeling like we might finally be on the right track again.” Consequently, the distributors, The Weinstein Company, timed the film’s release to coincide with this year’s elections.
A noticeable increase in political filmmaking has characterised the last few years. The form has varied, from re-enactions of specific events, such as in Munich and United 93; to fictional films heavy with political messages such as Fast Food Nation and Paradise Now; and finally, to investigative documentaries that analyse trade, such as Wal-Mart: The High Cost of Low Price, and Black Gold, which looks at the plight of African coffee farmers.
With Shut Up & Sing, however, the camera is firmly trained upon the public too. From the ex-fans who suggest that Maines should be “strapped to a bomb” and dropped into the war zone, to the foreign audiences who suddenly develop affection for the Dixie Chicks, the film is as concerned with those reading and watching the news, as well as those making it.
Some of the most angered fans, such as those who told the band to “keep playing your music… keep your mouths shut,” will probably not be taking the Chicks back into their arms again. In fact, perhaps very few of the viewers will feel the need to rush out for a copy of their latest album.
Still, Shut Up & Sing proves to be an edifying look at the changing nature of American politics over the last few years, as well as at the media’s power to bolster or alter opinion. Kopple is overstating it when she says, “In a way, Natalie was the first casualty of the Iraq war,” because of the terrible press that ensued. Nevertheless, the fact remains that adverts for the film are still banned from a number of American channels, including NBC, whose reason is that it is “disparaging to the President.”
Despite the optimism of Shut Up & Sing, there is still some way to go. After all, the film begins eighteen months after the start of the Iraq war, but the end of the latter is still not in sight.
Media Magazine Celebrates 2nd Issue
Suchandrika Chakrabarti
Media Directions, a magazine for those looking to get into the competitive film and television industry, celebrates its second issue on Tuesday, December 5. The occasion will be marked with a film screening and networking event in Soho.
Films by the winners of Media Direction’s recent female filmmaker competition will be shown.
Highlights of the night will include The Undertaker, a satire by Swedish director Annaleena Piel Linna, which has also been shown at Cannes, as well as a British short film, Cake, and a documentary based on the experiences of a New York taxi driver, Tales of New York.
The magazine was founded in January this year by English, Film and TV graduate, Sabrina Ferro, of Kenilworth, Warwickshire, to help young film and TV makers to gain exposure.
The idea came to her while struggling through several unpaid work placements after graduating from Aberystwyth in 2005.
She said: “While college and university provide a safe environment in which to nurture, inform and develop students’ talents, it can be a daunting and frustrating experience when trying to find the same kind of support and recognition after you graduate.”
The magazine has been praised by industry insiders. Director of FILM Birmingham, Suzie Ralph, said: “Media Directions provides a bridge between established and emerging talent.”
The first issue of the Sony-sponsored publication included articles by recruiters for BBC Engineering and Candela Media Recruitment, as well as an interview with the producer of Footballer’s Wives, Cameron Roach, plus advice on finding TV work experience.
Editor of film and media website Netribution, James MacGregor, said: “Sabrina Ferro’s magazine is a useful weapon for today’s graduates campaigning their way into the media industries.”
The contents of the second issue will remain under wraps until Tuesday evening.
For more information, go to the Media Directions website.
Media Directions, a magazine for those looking to get into the competitive film and television industry, celebrates its second issue on Tuesday, December 5. The occasion will be marked with a film screening and networking event in Soho.
Films by the winners of Media Direction’s recent female filmmaker competition will be shown.
Highlights of the night will include The Undertaker, a satire by Swedish director Annaleena Piel Linna, which has also been shown at Cannes, as well as a British short film, Cake, and a documentary based on the experiences of a New York taxi driver, Tales of New York.
The magazine was founded in January this year by English, Film and TV graduate, Sabrina Ferro, of Kenilworth, Warwickshire, to help young film and TV makers to gain exposure.
The idea came to her while struggling through several unpaid work placements after graduating from Aberystwyth in 2005.
She said: “While college and university provide a safe environment in which to nurture, inform and develop students’ talents, it can be a daunting and frustrating experience when trying to find the same kind of support and recognition after you graduate.”
The magazine has been praised by industry insiders. Director of FILM Birmingham, Suzie Ralph, said: “Media Directions provides a bridge between established and emerging talent.”
The first issue of the Sony-sponsored publication included articles by recruiters for BBC Engineering and Candela Media Recruitment, as well as an interview with the producer of Footballer’s Wives, Cameron Roach, plus advice on finding TV work experience.
Editor of film and media website Netribution, James MacGregor, said: “Sabrina Ferro’s magazine is a useful weapon for today’s graduates campaigning their way into the media industries.”
The contents of the second issue will remain under wraps until Tuesday evening.
For more information, go to the Media Directions website.
Islington Council launches disability scheme
Suchandrika Chakrabarti
Today (December 4 2006) sees the launch of Islington’s first Disability Equality Scheme, writes Suchandrika Chakrabarti. It aims to improve quality of life for those with disabilities in the borough.
Strategies include a sign language DVD on council tax to inform deaf residents; a review of access to disabled parking spaces; and further training to help council staff deal with disabled issues.
A recent survey of disabled Londoners showed high levels of discrimination and exclusion.
For instance, 50 per cent of respondents to recent survey had been victims of disability-related bullying or harassment.
Additionally, it was found that 24% of disabled people aged 16-24 had no qualifications at all compared to 13% of non-disabled people of the same age.
The survey also showed that people with learning difficulties are 58 times more likely to die before age 50 than other citizens.
A spokesperson for Disability Action in Islington said: “We welcome this new initiative targeted at raising awareness of the problems that the disabled community face.”
There are an estimated 28,000 disabled people living in Islington, meaning that 16 per cent of all residents define themselves as having a disability.
Today (December 4 2006) sees the launch of Islington’s first Disability Equality Scheme, writes Suchandrika Chakrabarti. It aims to improve quality of life for those with disabilities in the borough.
Strategies include a sign language DVD on council tax to inform deaf residents; a review of access to disabled parking spaces; and further training to help council staff deal with disabled issues.
A recent survey of disabled Londoners showed high levels of discrimination and exclusion.
For instance, 50 per cent of respondents to recent survey had been victims of disability-related bullying or harassment.
Additionally, it was found that 24% of disabled people aged 16-24 had no qualifications at all compared to 13% of non-disabled people of the same age.
The survey also showed that people with learning difficulties are 58 times more likely to die before age 50 than other citizens.
A spokesperson for Disability Action in Islington said: “We welcome this new initiative targeted at raising awareness of the problems that the disabled community face.”
There are an estimated 28,000 disabled people living in Islington, meaning that 16 per cent of all residents define themselves as having a disability.
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