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stacy writes "Michael Moore is ok with users pirating his new movie and is not going to oppose the distribution of the film via the internet, so says
The Sunday Herald."
"I donâ€™t agree with the copyright laws and I donâ€™t have a problem with people downloading the movie and sharing it with people as long as theyâ€™re not trying to make a profit off my labour. I would oppose that," he said.
I'm not as sure about that as R.L. Fridley is, but I think his idea not to show propaganda films from either the left or the right is on target.
If it is political propaganda, and I do think it is simply that and not by any strech of the imagination a documentary, the parties should arrange for its showing."
GregS* writes "A petition is out to get 20th Century Fox to change the name of their new movie 'I, Robot' back to its original 'Hardwired'. Apparently the movie came first, the Asimov references came second for marketing purposes. Everyone complains that movies butcher books but when the message is a complete 180 of the original then people feel the need to act.
Background article here."
Fang-Face writes "Following up the non-library story of interest that is Michael Moore's film: Stuart Klawans, of The Nation, had his review of Fahrenheit 9/11 posted to Alternet.org. All will not like it, of course, but there is one anamolous factor in the controversy Klawans notes:
For clarity's sake, then, let's start with the politics: the film's bill of particulars against Bush, and also against the Democratic leadership, which in Moore's view has colluded most shamefully in the misrule the world now suffers. [...] Moore's antagonists, being Republican, won't go so easy on him. Their attacks will no doubt include the charge that his film is Democratic Party propaganda. You should understand from the preceding the flimsiness of this accusation --
Moore apparently didn't criticize Bush alone, he bashed the whole government and the part played by the Democrats. "
Anonymous Patron writes:
The recent trend of books being adapted for the screen is making America stupid. More stupid than it already is. It's a phenomenon with a tag line (sung to the tune of "Amazing Grace"): "I once was worldly, but now I'm ignorant," or "I once was literate, but now wouldn't pick up a novel and read it if I was being forced by a pitchfork-wielding Truman Capote." Basically, this trend is making the stories that first appeared in books-many of them award-winning-too easily accessible. Our society is all about convenience. Why go to the book store and choose one based on its pretty cover (admit it, we all do) when you can go to Cinemark and watch the same book acted out for you, in a comfortable two-hour timeframe?"
The rest of the story
clearly indicates that this "study" is really more of a case history.
Reuters is reporting that Michael Moore was informed over a year ago that it would not release his inflammatory, anti-Bush movie "Farenheit 911." A Disney spokesperson has called Moore's announcement a "PR stunt" designed to coincide with the movie's debut at the Cannes film festival. Disney chief Michael Eisner also denies the assertion made by the Moore camp that the film is being withheld over fear of Disney losing tax incentives in Florida. Moore has not responded to Disneys response.
Here's another story about Moore shopping for a new distributor.
Bob Cox points us to this article
"Sponsored by the University of North Carolina at Chapel Hill, this enormous repository earns high marks for both content and design.
There's a search engine, of course, where image hunters can enter the words "New York" and quickly find 97 videos, including an 1897 race at Sheepshead Bay from the Edison films catalog, and a 12-minute exploration of the colorful counterculture of Greenwich Village on one Sunday morning in 1960.
Back on the home page, there are categories that make browsing the archive a channel surfer's dream come true."
Michelangelo Antonioni's "Blowup," just out on DVD, is a touchstone of 1960's cinema culture. Released in 1966 to critical and popular acclaim, the enigmatic movie follows a cynical photographer (David Hemmings) as he moves among the pampered rich and the heedless young of swinging London. When he shoots a series of pictures of a tryst between Vanessa Redgrave and her lover in the park, he finds that he may have photographed a murder. The Times asked two film critics of different generations, Stuart Klawans, of The Nation, and his younger colleague Nathan Lee, of The New York Sun, to discuss the movie then and now.
NYTimes Has The Story
InfoWhale writes "Rory Litwin has posted an interesting article, stating that the database has replaced books and the cinema as the narrative form for our age.
He finishes with a great summation - " More importantly, Vertov is able to achieve something which new media designers still have to learn - how to merge database and narrative merge into a new form." As a media librarian for 25 years, I have been a leading proponet for "visual literacy." As I have written, librarians, and everyone else, live in an age that is even more controlled by images than computers. Library zoopraxographers rejoice! Here at