Directed by American Gabriela Cowperthwaite (Blackfish, 2013) and scripted by Nick Shafir, I.S.S. defies tropes so plentiful in Cold War (and contemporary) fiction and film.
The film expresses the broadly felt suspicion in the population—at that time and even more so today—that there is something sinister and rotten in the American state.
With over 15,000 protesting outside the final Saturday evening, the 68th annual event was held under a regime of censorship, intimidation and police repression.
The socially intriguing and historically authentic film was an opportunity for the director to reveal his attitude towards American capitalism during the Great Depression.
The series is a slap in the face of contemporary cultural backwardness and degradation, and for that alone, writer/director Steven Zaillian deserves credit.
Trevor Griffiths, who died last week aged 88, was one of the outstanding radical dramatists of the last 50 years.
Their overriding message is that the critical experience of class struggle in post-war Britain was essentially a tragic misunderstanding. However heroic and self-sacrificing the miners’ actions over their year-long strike, the escalation was regrettable, and moderation could have ensured the industry’s managed decline.
Creator/director Christopher Storer based the film’s setting on a childhood friend’s restaurant, Mr. Beef, in Chicago’s River North neighborhood.
Directed by American Gabriela Cowperthwaite (Blackfish, 2013) and scripted by Nick Shafir, I.S.S. defies tropes so plentiful in Cold War (and contemporary) fiction and film.
The film expresses the broadly felt suspicion in the population—at that time and even more so today—that there is something sinister and rotten in the American state.
The socially intriguing and historically authentic film was an opportunity for the director to reveal his attitude towards American capitalism during the Great Depression.
As a US Navy ensign prepares to meet his fate, two older sailors try to give the young victim of the system a taste of the life he will be losing out on.
With over 15,000 protesting outside the final Saturday evening, the 68th annual event was held under a regime of censorship, intimidation and police repression.
“Hind’s Hall” gives expression to the mass opposition that has formed to the United States-sponsored genocide underway in Gaza, it takes several well-aimed shots at those politically responsible, in Israel and the U.S.
In the banning of Russian dancer Maria Khoreva and Korean Kimin Kim, a right-wing mob has effectively been allowed to hijack proceedings of one of New York City’s premier cultural institutions on the basis of anti-Russian hysteria.
Exposing the alleged racism of the opera and its creators—George and Ira Gershwin and Dubose Heyward—has become a preoccupation of the postmodernist proponents of “critical race theory” and related obsessions with gender, sexual preference and other aspects of personal identity.
Zeineddine’s stories concern immigrants who escaped the civil war in Lebanon (1975-90) and their children, who are negotiating their own escapes.
Perhaps half the pieces are coming-of-age stories, that lyrical standby now usually written in a gritty but still rhapsodic voice.
David Marr’s Killing for Country documents many mass killings of indigenous people but falsely blames the entire population, not the ruling class and Australian capitalism.
The documentary follows the writer from his boyhood in the 1930s through his service during World War II and throughout his tumultuous literary, journalistic and personal life.
One of his most accomplished works is Omar, a 2013 film about a young Palestinian baker (Adam Bakri) who becomes involved in complex political and moral matters.
“I strongly denounce state-sponsored witch-hunt and prosecution against artists and activists who have come forward against Israel’s genocide.”
Department of Defense interventions into American entertainment media is to “get people acclimated to the presence of military personnel, military bases, military operations, and weapons… normalizing the presence of the military in almost every aspect of life.”
The WSWS recently spoke to filmmaker Nadav Lapid, director of Ahed’s Knee, on a video call.
