Podcasts about dw griffith

Dan and Brian continue "debut month" with a survey of debut shorts from five important film minds: DW Griffith's "The Adventures of Dollie," Steven Spielberg's "Amblin,'" Quentin Tarantino's "Resevoir Dogs," Jim Henson's "Time Piece," and... our very own Brian Terrill's "Undead Presidents: No Damnation Without Representation." Join as they discuss the careers of each of these creators and their sometimes-auspicious-sometimes-not beginnings. Dan's movie reviews: http://thegoodsreviews.com/ Subscribe, join the Discord, and find us on Letterboxd: http://thegoodsfilmpodcast.com/

In this episode, cinematographer Steve Gainer, ASC, ASK talks about his work as curator of the ASC's historic camera collection, which include a wide variety of noteworthy filmmaking tools, from the very first mass-produced motion picture camera to the first digital-cinema units.

Quizá no te suene el nombre de nuestro protagonista de hoy, pero ¿qué cara se te queda si te digo que su película fue la responsable directa del auge del Ku Klux Klan en EEUU a principios del siglo XX? El racismo y el supremacismo blanco beben directamente de la controvertida película que D. W. Griffith dirigió en 1915. Conoce todos los secretos de esta oscura historia con catastróficas consecuencias en el episodio de hoy…Si quieres ampliar información, te dejo aquí un listado con las películas mencionadas:

Summer encore! Christina's interview with director Sam Feder who joined us to talk about his critically acclaimed documentary 'DISCLOSURE: Trans Lives on Screen', watch it on Netflix! The doc looks at transgender representations in film, television and media through interviews with trans actors, artists and activists including Laverne Cox, Lilly Wachowski, Yance Ford, Jen Richards and Chaz Bono. A history filled with with stereotypes, tropes, heartbreak, bravery, and progress. Sam Feder talks to Christina about trans representation through Hollywood history (from DW Griffith, to Ace Ventura, The Crying Game, to Pose) , working with an almost all trans crew, the paradox of visibility, his thoughts on J.K Rowlings' anti trans sentiments and how she should really see Disclosure and so much more. Listen now! Learn more about your ad choices. Visit megaphone.fm/adchoices

The end of the 1910s goes out with a wild crop of films! Felix the Cat debuts, Lev Kuleshov invents reality TV, DW Griffith demands to be taken seriously, Mary Pickford starts a child labor protest, Abel Gance makes questionable statements about WW1, and Ernest Lubitsch makes a sex robot comedy. You can watch along with our video version of the episode here on Youtube! You can check out our Instagram, Twitter, and other social media crap here: http://linktr.ee/1w1y And you can watch and form your own opinions from our 1919 Films Discussed playlist right here!   -- One Week, One Reel -- Feline Follies The Kuleshov Effect   -- Our Feature Presentation -- Broken Blossoms Daddy Long Legs J'Accuse The Doll   See you next year!

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)  Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature.   The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/   Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev. Thank you to Powerbleeder for the theme song "Future Mind" listen here! Other songs in this episode: Tango- music from Four Horsemen of the Apocalypse

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)      Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature.   The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/   Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev. Thank you to Powerbleeder for the theme song "Future Mind" listen here! Other songs in this episode: Diamonds are a Girl's Best Friend- Marilyn Monroe Ten Cents a Dance- Ruth Etting

This time, we stack a bunch of chairs on top of each other to discuss the sins of the Impact Zone, the lineage of the WWF Light Heavyweight Title, and DW Griffith busting Lillian Gish open hardway.    Buy the shirts! The Super Porky shirt! The Rough & Ready shirt! The Wrestling Is Gross logo shirt! All drawn by my wonderful wife, who decided to no longer listen to the show!   Leave us a review on Apple Podcasts, follow us on Twitter, and send us an email at wrestlingisgross@gmail.com and tell us something really weird. Brian Christopher vs. TAKA Michinoku (WWF, 12/7/97) Shinya Hashimoto vs. Victor Zangiev (NJPW, 4/24/89) Mayumi Ozaki vs. Mima Shimoda (OZ Academy, 2/28/99) Perro Aguayo, Jr. vs. Myzteziz (AAA, 2/8/15) Chris Harris vs. James Storm (TNA, 5/13/07)

100 episodes. Could you ever have believed it? Could you ever have wanted it? To celebrate, we're going deep into the life and work of the patron saint of Los Angeles and L.A. Meekly: Mary Pickford. We'll cover her life (11:46), United Artists (49:24) and Pickfair (1:28:03). Plus we get sappy thanking all you smelly fans. This episode brought to you by the Hometown History podcast found anywhere you get podcasts. And by Q for Quinn. Use promo code LAMEEKLY for 15% off today.

Rudolph Valentino nee Rodolfo Alfonso Raffaello Pierre Filiberto Guglielmi di Valentina d'Antonguella (1895 - 1926)    Top 5: The Eagle The Sheik/Son of the Sheik Cobra Blood and Sand Moran of the Lady Letty Movies watched:   Patria (1917) - Fragments only exist; He shows up briefly in the background of a nightclub in episode 2. Movie stars Irene Castle.   A Society Sensation (1918 short) - romantic male lead opposite the star Carmel Myers. Star power is evident already. But the movie is fragmented and not funny, except for Zazu Pitts. Skip it unless you are a Rudi completist.   All Night (1918) - This silly bedroom farce is actually funny once it gets going. Rudi is just as funny as he is romantic.   The Married Virgin (1918) - Rudi's sneer is the best thing about this drama where he plays a manipulative, conniving nobleman. The revelation in this film is Kathleen Kirkham. She must have supplied her own costumes because she presents a parade of beautiful clothes that even pop in scratchy black and white. Kirkham is quite marvelous. She started her own production company but like so many women in early Hollywood was trampled under the boot heels of misogyny.   The Delicious Little Devil (1919) - a new blu-ray was released in 2021. A real delight if you like silliness. Mae Murray is the star and she is full-on, full-blown slapstick. This is the first film where Rudi is featured with some close-ups and a solid amount of screen time. He plays his romantic role with a sprightly lightness and admirable attention to character detail. And he engages in some punch-ups and door smashing.   Eyes of Youth (1920) - Clunky and excruciatingly boring with a paucity of Rudi. But he so impressed June Mathis that she got him his break out part in 4 Horsemen   Stolen Moments (1920) - Skip the first ⅔ and get to the hand-kissing lollapalooza. Rudi's 15 minutes or so are the only portion worth watching.   The Wonderful Chance (1920) - barely 3 minutes existing on YouTube. But worth watching. Rudi plays a believable Hollywood style gangster sporting a fake moustache. Was filming this movie in NYC when he got the part of Julio in Four Horsemen.    Four Horsemen of the Apocalypse (1921) - Often credited as the film where Rudolph was discovered by the public. It was his first collaboration with June Mathis, who claims to have discovered him. Valentino had been making his way up the chain to bigger parts since the beginning of his film career but Mathis certainly spring-loaded his ascent with this co-starring role. But it's function was really more of a beta test for the movie that really shot Rudi to fame - The Sheik.    Rex Ingram was not much of an editor/director and this film suffers for it. Yes, it was intended as an epic about a European family torn apart by WWI. But it is too long, lacks style, and has too little Rudi. Its great value is the showcase it offers for Rudi's dancing and his sensuality - something the American was gasping for. The gaucho/whip dance sequence is in during the 1st third of the film. Don't fail to see what captured the hearts and libidos of filmgoers the world over.   Uncharted Seas (1921) - Lost film produced by Alla Nazimova that looks awesome in the stills that remain. You can see a nice compilation set to music here: https://www.youtube.com/watch?v=ASNeXq7pHbU. He met future wife Natasha Rambova on this film set.   The Conquering Power (1921) - A turgid adaptation filmed by Rex Ingram of Honore de Balzac's short story Eugenie Graudet. Turgid except for Rudi. This is where you can see his skillful depiction of a character through small gestures and thoughtful acting choices. Most of his acting is pretty modern and authentic. Plus he wears spats and a monocle.   Camille (1921) - The film is dominated by Alla Nazimova displaying her grandeur rather than the emotional life of Camille. Rudi does his best but he is hardly in it. The whole thing is stiff and only for the Rudi completists. During this film Rudi and Natasha Rambova started an affair and ended up moving in together.   The Sheik (1921)   Moran of Lady Letty (1922) - Nice piratical thriller. Rudi engages in lots of fisticuffs and action.    Beyond the Rocks (1922) - Until 2003, this was a lost film. A copy was found in The Netherlands when a collector (hoarder) died and his collection of 2,000 silent films in rusty old cans made its way to the Filmmuseum. It was the Dutch version of the film entitled Golden Chains, with all the credits and intertitles in Dutch. It has been restored and a version with English intertitles is available.   Well, thank goodness! Beyond the Rocks is a little gem. In it, Rudi stars opposite Gloria Swanson, both of them at the peak of their beauty and at the apex of their stardom. They have stellar romantic chemistry as lovers kept apart by the heroine's scruples about betraying her unattractive much older, yet decent, husband. Swanson's presence is commanding and lovely. Rudi is winsome and manly. There are only 2 hand kisses but I relished them both.   The story, adapted from an Elinor Glynn novel, is simple. There is a meet-cute, talisman of their love (in this case a narcissus blossom), the barrier (marriage vows), ultimate sacrifice, and happy ending. All the elements we see reused and recombined endlessly. In 1922, was it still fresh? For me, it doesn't matter because the movie made me sigh even a hundred years later. Blood and Sand (1922) - This is Rudi's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natash Rambova.   Blood and Sand (1922) - This is Rudolph Valentino's last movie before he walked away from his contract with Famous Players-Lasky (Paramount Pictures). Blood and Sand was a huge hit and put him at the pinnacle of international stardom. But like so many actors after him, he resented the lack of control over his own career and that his salary was not commensurate with his value. So he became the first star to try to break the stranglehold of the Hollywood moguls over his life and work, as James Cagney, Bette Davis, and Olivia deHavilland did in the 1930's and 40's. While his case was being settled, he became the spokesperson for Mineralava beauty products and toured the country dancing with his wife, Natasha Rambova.   Blood and Sand contains his most varied performance. He's athletic, arrogant, jaunty, impish, tender, nonplussed, and best of all supremely passionate as a poor, working-class lad who becomes the greatest bullfighter in all of Spain. His passion for fighting the bulls is equal only to his love for his pretty, but boring wife (Lila Lee) and to his lust for the mercurial, smoky-eyed, hip-swaying Vamp, played by the redoubtable Nita Naldi.   Valentino's acting is timeless. This timelessness comes from the inner stillness he brings to every motion, look, and gesture. This stillness is most evident in the love scenes, where he emits a magnetic force that is thrilling even today. His power of attention and grounded characterization would translate to modern screens - after a few updates.   On the other hand, Naldi is pure time-old theatricality. Her Vamp (the silent film version of the femme fatale) is as hot-blooded as she is cold-hearted. Her debauchery, carelessness with the hearts of men, and gleeful depravity reach an apex when she sinks her teeth into Valentino. She really perks up the the proceedings.   Carlos Saura's Carmen (1983) would be a great double feature. The Young Rajah (1922) - The only memorable aspect of this movie about the heir to an Indian throne are the costumes designed for Rudi by his wife Natasha Rambova. Rambova really knows how to design clothes to highlight her husband's attributes. Rudi can really wear a turban! Unfortunately, this film is only partially intact and the best costume of all exists only in a still photograph. You can see it here: https://m.imdb.com/name/nm0884388/mediaviewer/rm2996167680/ Monsieur Beaucaire (1924) - Rudi's 1st movie after his contract dispute with Famous Player-Lasky. It is also the 1st picture where he and his wife had creative control. The critics panned it and rightly so. The film is very poorly directed and requires as much reading as a novel. The long, numerous intertitles are interspersed with scenes of people talking a great deal. There is a witty sword duel and a couple fights that enliven the dullness. But ultimately, the only thing to watch this for is shirtless Rudi in a powdered wig. Chef's kiss!   The Eagle (1925) - The Eagle is one Valentino's top 5 films and one of my top 20 silent films. It succeeds so well because the film does not rely solely on Rudolph Valentino's charisma and talent to carry it. The film is directed by Clarence Brown, one of the great, and little known, early directors. Though Brown is not as well-remembered as innovators like DW Griffith or Cecil B DeMille, he was a gifted, clear-eyed director who helmed such films as Greta Garbo's first talkie, Anna Christie.   The Eagle takes off at a run and doesn't look back until the final frame.  The intertitles are kept to a minimum and Brown tells the delightful story, based on a novel by Alexander Pushkin, clearly with gestures, expressions, and editing. He uses the close-up extensively and effectively to convey the interplay of characters' motivations and intentions.    Valentino, a young Cossack, is on the run from the ire of Catherine the Great, who has marked him for death out of vindictive pique for her spurned sexual advances. Valentino's impoverished nobleman becomes the Robin Hood-like Black Eagle, wearing one of the coolest masks ever. In the course of his adventures, he falls for the virginal Vilma Banky, who is the daughter of his arch-enemy.    Delights abound when the Eagle disguises himself as a French tutor to infiltrate his enemy's abode, ala Zorro - the effete dandy hiding the rapier wit and the slashing blade of The Black Eagle. The film serves up Valentino's world-class hand kissing, several dashing costumes, complete with majestic hats, impish humor, derring-do, and love eternal.   Matching Valentino's expansive on-screen talents is Louise Dresser (not to be confused with Louise Dressler) playing Catherine the Great. Dresser is a middle-aged beauty who the daffy Black Eagle was foolish to reject in favor of the tepid Vilma Banky, who has a name for the ages but is merely pretty and competent as compared to Dresser's commanding womanhood.   Gary Cooper makes an early screen appearance as an uncredited masked Cossack.   It would be interesting to watch The Eagle with The Adventures of Robin Hood (1935). This Errol Flynn vehicle seems to have scenes inspired by The Eagle such as the forest scene where The Black Eagle captures his lady love.   Cobra (1925) - Oh my, Rudi's penultimate film. We are nearing the end. This is a top-notch vehicle for Rudi's signature louche, elegant wolf who turns into a solid gold mensch.   Son of the Sheik (1925) Rudolph Valentino's final film, released only 2 weeks after his death at the age of 31 of peritonitis. He suffered the same fate as Harry Houdini another icon of the early 20th century, who also died of peritonitis 5 weeks later. They are a visible reminder of the days when otherwise healthy people died from simple infections.   Valentino died on cusp of the talkie revolution. Could he have made it through the approaching upheaval with his Italian accent, in the same way Greta Garbo did with her Swedish accent? Or would he have succumbed to the new technology the way his contemporary John "The Great Lover" Gilbert did? I think his talent and intelligence would have seen him through. But am less certain if he had the financial acumen to ultimately survive the whirlwind of this life. In a nutshell, Valentino had no concept of fiscal responsibility. And it was catching up to him.    The estate he left, by various reports, had no money or owed money. Valentino said, "I have everything—and I have nothing. It's all too terribly fast for me. A man should control his life. Mine is controlling me.” He passed away before he fell; and, perhaps, that is a blessing.   His last film is a great film. He plays a double role as both The Sheik and Son of the Sheik. For such early cinematic days, the technology and make-up convincingly show father and son interacting in the same shot.    The heat initially generated by The Sheik in 1922, flares and sizzles in this sequel. The story is better. The cinematography is better. And the female is better. The ethereal Vilma Banky (her real name) is cast as the kidnapped beauty in this love/hate/love story, while the object of desire in The Sheik, Agnes Ayers, plays Son of the Sheik's mother. Despite her function as the McGuffin of love, Banky manages to make us believe that she is a person and that the trials that the vengeful Son of TS put her through have impact, which is another element that makes this even better and more thrilling than the original.   Son of TS is vengeful because he believes that Banky's dancing girl betrayed him to bandits, who tortured him in a rather sadomasochistic way - arms tied above his head, bare-chested whipping, and nipple pinching. Whoa! But she didn't. She is innocent. A comedy of errors, if you will, but more hot than humorous. This movie is a febrile stew of hinted at sexual deviation and violence. It's like wrestling with sweat-soaked sheets during a fever dream.   Valentino did not want to do this sequel but he gave it his all, nonetheless. He brought back authentic Arab dress from his travels and used them in the film. He worked manfully without showing the pain he was suffering from stomach ulcers. Pola Negri, whom he was dating, said he would double over from the pain.   Even though he was not there to see it, Son of the Sheik was a massive hit and pushed his stardom into the stratosphere.    Ken Russell did a good, though at times surreal, biopic - Valentino (1977) - starring the ballet legend Rudolph Nureyev.

Sixth podcast in the series on Race and Racism, theme of BoI charity’s event The Academy, held online in late 2020. In this episode we feature the talk ‘The Birth of a Nation’. ‘The Birth of a Nation’, the controversial  film by DW Griffith from 1915 is renowned for its racist portrayal of black people and celebration of the Klu Klux Klan. More than a century after its release it continues to excite huge controversy. But how has the interpretation and imputed meaning of the film shifted and changed over that period.   Lecturer: Kunle Olulode, director, Voice4Change England; former creative director, Rebop Productions; member, African Odyssey programming board, BFI THE ACADEMY ONLINE II: RACE AND RACISM The Academy II was a half day online event via zoom that took place in November 2020.  To view the full programme and some suggested background reading to the talks, please visit  https://theboi.co.uk/the-academy-online-ii-race-and-racism For this lecture on civil rights, we you may wish to read:- ‘No place for the real Hollywood story’ by Kunle Olulode, Index on Censorship, 12 October 2015 https://bit.ly/2NTtORG ‘D.W. Griffith's the Birth of a Nation: A History of the Most Controversial Motion Picture of All Time’ by Melvyn Stokes; Oxford University Press (2008) https://amzn.to/2NwFDxg   THE ACADEMY In the context of today’s instrumental approaches to knowledge, The Academy summer school is a modest attempt to demonstrate the value of scholarship, and of the worth of the university as a place of free enquiry dedicated to the pursuit of truth. DONATING TO THE BOI CHARITY The BOI charity is committed to continuing to host discussion and debates throughout this period when society is restricted by measures to tackle coronavirus. In order to realise events such as the Academy Online, none of our staff are furloughed and instead remain working. If you can, then please consider a donation, small or large. Visit: https://theboi.co.uk/donate IDEAS MATTER PODCAST Ideas Matter is a podcast that takes the most important issues of our times and explores the ideas and intellectual trends that have shaped where we are today. You can subscribe and listen to Ideas Matter on iTunes, Podbean, Spotify or SoundCloud. For full details of all episodes, visit the podcast page on our website Keep up-to-date with Ideas Matter and all the initiatives organised by the Battle of Ideas charity by following us on Twitter (@theboi_uk) and on Facebook (battleofideas).

Well now DW Griffith is beginning to "show his power level" as modern day people of his ilk call it, beginning his fascination with the Civil War. We also have some startlingly mature camera work in the Max Linder films and confident, emotionally complex, and deep storytelling in the Danish debut of Asta Nielsen, The Abyss! (unrelated to James Cameron). You can watch along with our video version of the episode here on Youtube!You can check out our Instagram, Twitter and other social media crap here: http://linktr.ee/1w1yAnd you can watch and form your own opinions from our 1910 Films Discussed playlist right here! --- DW Griffith’s Civil War Films ---In the Border StatesThe FugitiveThe House with Closed Shutters --- Various Other Americana And Also Frankenstein ---The Unchanging SeaRamonaWhite Fawn’s DevotionFrankenstein --- Max Linder Films Being Casually Excellent ---Max Takes a BathMax’s Film Debut --- Danish Erotic Melodramas ---The AbyssThe White Slave Trade --- Potpourri ---Police in the Year 2000Aerial SubmarineThe Birth of a FlowerThe Wonderful Wizard of Oz Cris’s Favorite: The AbyssGlen’s Favorite: Aerial Submarine The F. Percy Smith Articlehttps://www.atlasobscura.com/articles/f-percy-smith-nature-films See you next year!

Warning: This episode discusses adult themes. Disclaimer: The views expressed do not reflect the policy of Baobulb.org. Wesley Pepper talks to visual artist Iyaba Ibo Mandigo. Hailing from Saint Johns, Antigua Iyaba is a prolific artist and activist. Deeply rooted in the continent, the pan-africanist describes himself as a Storyteller/Painter/Poet/Writer/Artist/Playwright/Fashion Designer/Teacher. Taken from Facebook Social Media Links:Facebook Twitter Insta Ayaba Art What do you think of this episode? Importantly, Wesley set up this podcast as a platform. To talk art, processes and the politics of art and activism. For more podcasts, head over to our website. Or view this episode in your favourite app. Special thanks to Chris Morrow 4 for the theme music.

How are you guaranteed to make a quality film, your first time out? Is it luck or is it knowledge of the rules of film making? Crazy Dee takes you through a course of study. The topics are on the move with ObservationTFR Show: Making good films is more than just picking up a camera. Not only do you need to know sound image angles, you have to know the rules of film making; as established as what DW Griffith depicted in 'The Birth of A Nation' (1915), which features the long established techniques of telling a story through film. What are the basics and what are the advanced techniques DW couldn't have dreamed of...? Crazy Dee gives you a brief look at his howto series available for rent on Vimeo onDemand. Let's discuss, the phones lines are open @ 213.943.3358.

Nick, Jana, and Dylan discuss the great, and problematic, work and life of DW Griffith and just how stunningly incredible Lillian Gish is. Like, seriously, can anyone act like Lillian Gish can? All this wraped up into a discussion on this week's Ebert Great Movie Broken Blossoms.

Abrimos esta edição com mucho mucho amor: o astrólogo mais carismático de toda a América ganha um doc divertido e carinhoso na Netflix, LIGUE DJÁ: O LENDÁRIO WALTER MERCADO (7:45). Também na Netflix, REVELAÇÃO, belo doc sobre a história das trans no cinema e na TV americana, de DW Griffith a Meninos não choram (12:30). Na Amazon, um sci-fi poderoso, A VASTIDÃO DA NOITE (23:14). GODFATHER OF HARLEM, série que mistura Scorsese e Spike Lee, na Fox Premium (35:50). No Varilux, o drama trabalhista EM GUERRA (38:58). E duas homenagens: ENNIO MORRICONE, o maior compositor de todos os tempos (0:00); e relembrando Leonardo Villar, O PAGADOR DE PROMESSAS no Now (18:37).

Director Sam Feder joins us to talk about his critically acclaimed documentary 'DISCLOSURE: Trans Lives on Screen', streaming now on Netflix! The doc looks at transgender representations in film, television and media through interviews with trans actors, artists and activists including Laverne Cox, Lilly Wachowski, Yance Ford, Jen Richards and Chaz Bono. A history filled with with stereotypes, tropes, heartbreak, bravery, and progress Sam Feder talks to Christina about trans representation through Hollywood history (from DW Griffith, to Ace Ventura, The Crying Game, to Pose) , working with an almost all trans crew, the paradox of visibility, his thoughts on J.K Rowlings' anti trans sentiments and how she should really see Disclosure and so much more. Listen now!

This is the first episode in a series titled "Rebels, Reconstruction and Revisionism: The Confederate Lost Cause and the American Civil War Through Cinema" where Brian, Thurman and Julie explore the "Lost Cause Myth" and its prevalence in cinema over the years. In this episode we discuss the 1939 film "Gone with the Wind," as well as DW Griffith's controversial "Birth of A Nation"

Those little tags that are illegal to throw away. Early Los Angeles. DW Griffith. 

Marking the centenary of Charlie Chaplin's first directorial feature film, the CinePunked squad discuss the production of The Kid, and the joys of silent cinema.

Antoinette Carroll (Graphic designer, entrepreneur, and founder and CEO of Creative Reaction Lab) and BGSU graphic design lecturer Amy Fiedler discuss the importance of individuals taking action to solve problems affecting their communities, specifically in regards to training and challenging Black and Latinx youth to become leaders designing healthy and racially equitable communities.  Transcript: Introduction: From Bowling Green State University and the Institute for the Study of Culture and Society, this is BG Ideas. Intro Song Lyrics: I'm going to show you this with a wonderful experiment. Jolie Sheffer: Welcome to the BG Ideas podcast, a collaboration between the Institute for the Study of Culture and Society and the School of Media and Communication at Bowling Green State University. I'm Jolie Sheffer, associate professor of English and American cultural studies and the director of ICS. Jolie Sheffer: Today, we are joined by Antoinette Carroll and Amy Fiddler. Antoinette is a graphic designer, entrepreneur and the founder and CEO of Creative Reaction Lab, a nonprofit youth led social impact collaborative. Her work focuses on designing more just and equitable communities and organizations. Amy is a lecturer in graphic design here at BGSU. Thanks for taking the time to be here with me today. Antoinette Carroll: No problem. I'm excited to be here. Jolie Sheffer: Antoinette, can you start by telling us how you came to found the Creative Reaction Lab in St. Louis? What led you to do this kind of work? Antoinette Carroll: So Creative Reaction Lab was founded in response to [inaudible 00:01:05] Ferguson, with myself being a former Ferguson resident, as well as a former head of communications at a diverse inclusion nonprofit and I was really interested in how do we convene community members to actually come up with their own interventions to address issues around race and other issues around division within our city. Antoinette Carroll: And so, Creative Reaction Lab actually originally started as a 24 hour challenge. There was no intention for it to be a business. I technically had a full time job with a paycheck, but when I actually brought people together, which were activists, designers, technologists, and they came up with their own interventions, actually five and all were activated in St. Louis within a year. I started to see that there was actually some power in what we were doing and how we were starting to shift the conversation from just a simple dialogue to how do we have dialogue and action at the same time. Antoinette Carroll: Fast forward to where we are now. We no longer do 24 hour challenges, but we still have creative problem solving, design, community voice central to the work that we do and understand that community members are the best ones to come up with the interventions to address the problems impacting them because they actually are closest to the approaches that will help them. They understand it more deeply to really create that systemic change that we truly need for a community growth. Jolie Sheffer: Great. And Amy, how did you come to be interested in design for social good? Amy Fiddler: I think design for social good is something that I've always had an opportunity to work in that space because being a part of academia, you have an opportunity to do projects on the side or bring them into the classroom can have a positive impact, but what is really important is finding the right ways to do that so that you're not swooping in as this authority figure. Amy Fiddler: And so, bringing Antoinette in and learning and researching more on those themes really helps us understand how to do that better. Jolie Sheffer: And what do you both think is so important and relatively new about using graphic design design to encourage social justice and community engagement? Antoinette Carroll: For me, it's not necessarily something that's new. It's honestly a deficiency I think we've had in our sector for awhile, is that we actually have not considered what is the power of our industry and what we've already shaped, whether as graphic designers, whether as other technically trained designers such as architects or fashion designers or interior designers, and we really shape the culture and society and how we engage with spaces and how do we interact with each other and the fact that we really haven't had that a reflective moment as an industry I think has been a large problem that our organization is somewhat tried to also help overcome. Antoinette Carroll: And also, with the power of graphic design or design itself, it really is understanding that design is all about addressing complexity. Design is all about navigating ambiguous situations and really creating something out of nothing. And when you think about the fabric of society that we're continually walking with them, and if you go back to traditional designs such as built space, imagine if we are able to engage with the buildings such as the one we're in today or the house in which we're living in, or even engage with people through logos and posters, them having built awareness around topics. What does it look like to have design really focus on social justice? What does it look like to have design actually become more intentional around addressing inequalities and inequities? Especially considering that it has been a foundation and a fabric of our country and in our world for awhile, we just maybe didn't call it design. We called it being inventors or we call it now being innovators, but design is central to all of that. Amy Fiddler: And at its worst, design is contributing to the negativity. And so, or it has the capacity to do that at a grand scale. And so many designers don't want to be a part of that and are actively working to shift things the other way or to help that pendulum move into that way. So I think this kind of work has always been there but now it's becoming more acceptable and companies are embracing it, but not always in an authentic way because it can't just be a buzzword that companies do socially good or do design for good in order to kind of check that box off. But I think there are a lot of people who want to find meaning and fulfillment in their work. Antoinette Carroll: And I think that awareness is key. Like how do they understand their design power? Because as you stated, design actually does contribute to a lot of the negative things that we have and if we don't understand the power that we actually hold, then we also don't take responsibility for it. And it really is around having the best intention or be more ego centric driven. I'm just going to be honest here. We tend to think about self opposed to thinking about how does it actually affect an entire community and how it could potentially retraumatize the community. Antoinette Carroll: If we actually reflect on it and say, well, actually I can redesign a better society and therefore I have a responsibility and therefore I can have co-ownership, then we really start to see that shift that we want, but it has to start with self first. And I personally think, and even when I look at the education system, when I look at a lot of the narratives were shaped, we don't focus enough on self. We focus on the outputs and not really focus on what do we have to do to really think about the role we play before we can even get to the outputs and outcomes to actually create this better society. Jolie Sheffer: So that leads to kind of my next question, which is what does good design mean to you in the broadest sense? Antoinette Carroll: I'm happy you added the question to you because if you talked to some graphic designers, good designers, great typography, wonderful current, great alignment, everything else. And don't get me wrong, I love a good aligned piece. However, for me, good design is really is where, again, I go back to what's the actual impact of what I'm creating and also thinking about when do I put myself in a center and create with the community and when do I take a step back? Antoinette Carroll: A good design is making sure that it's more than just form but also function and how does it actually work to in some cases, and I would argue we need to have more of this, actually make the lives of historically under invested communities better opposed to the lives of people that most of the time already have influence, have privilege, have power, make their lives better. How do we make things more just and really think about fairness in the approach of our work and understanding that the way it physically look isn't necessarily the key thing, but how is it actually changing my life. Jolie Sheffer: Can you explain for our audience what is equity centered community design? Antoinette Carroll: In 2017, Creative Reaction Lab pioneered a new form of creative problem solving called equity center community design. And for us, it was building upon the human centered design and design thinking methodology, but understanding that it wasn't enough to just think about how do we brainstorm or iterate? How do we make, how do we prototype all the things we love to talk about, but also what is the role of history and healing within a space? What is the role of power dynamics? How do we think about actually co-creating a team where people with different experience and expertise, whether it's academic, professional or living expertise, or actually at the table as a diverse co-creators and decision makers. And also, what does the role of personal identity within a space and how do you build around humility to actually become empathetic. Antoinette Carroll: So we created it to distinctly look at issues of inequity. That being said, inequities are everywhere and underneath everything. Jolie Sheffer: And so what you've created is a model that you now can use to train other people into more equitable problem solving. Is that an accurate restatement? How would you put that? Antoinette Carroll: We want people to have that mindset shift that is not necessarily in the future. They're saying, okay, right now I'm going through the humility and empathy module, but they actually are thinking about how am I showing up in this space? What are my biases? What are my blind spots? And knowing that I have to continually reflect on this and make sure I'm not perpetuating save your complexity or creating more trauma in the work that I'm doing. Antoinette Carroll: And at our organization, we are trying to mobilize a new type of leader that we're working with called equity designers and design allies. And it really is being central thinking about the role of people in equity and being embedded in a community. Of course, having good design practice of iterating, making and testing, but also how do we think about the lived experiences that we have and the proximity that we have to the inequities and also how, on another note, how to reflect on maybe the proximity we don't have and how do we actually leverage our power and access on behalf of the people that have that proximity. Antoinette Carroll: And again, thinking about, I keep going back to power in this conversation, but thinking about how are we either sharing power or accepting power to really create change. Jolie Sheffer: Your work connects you with people from different parts of a community, from business and health, media, education. So how do you help those participants learn to speak a common language? How do you find common ground even around definitions such as design, equity and access? Antoinette Carroll: We always start all of our work with language setting and we believe that language setting is central to any community centered work that you want to do. And what we usually say is that if you can't actually cocreate language together, then how are you going to cocreate interventions together? Because I personally believe people don't pay attention enough to language barriers that we have. Most of the time when they discuss language, they discuss it as if we're talking about certain dialects, but language is on how we define certain terms that has been dictated based on the experiences that we've had in our lives. Antoinette Carroll: I've seen people define diversity differently because they've had different experiences with are. They've never understood what other people were meaning when they said diversity, and that's why I'm that person that someone, when a group says or a business says we're trying to have more diversity, I always say of what kind, because I need to know what you're referring to. Antoinette Carroll: There'll be times when people ask me questions and I will ask them to define certain terms in their questions because I want to know what you actually are asking of me. And we need to have those reflective moments and I think that should be at the beginning of any work that you do, whether it's in your professional setting or on a personal setting. And many times from what I've seen, we can't even move past the point of language because we don't take time to dedicate ourselves to actually co-creating that language. And once that happens, then we're able to really shift to them the meaty pieces. Antoinette Carroll: But again, it goes back to the piece of how do we build relationships as product. If you cocreate language together, imagine the relationships that you're building in that process before you even get to the maybe systemic challenges you're trying to address. Jolie Sheffer: Amy, how do you apply some of the principles of equity centered community design in your own design practice and in your classes? Amy Fiddler: I think this is a really challenging question because I still feel very new at this process and certain things are maybe more intuitive, but there's so much learning that needs to happen. And I think if you look at the framework of designing the classroom setting for students, trying to create a space where people are comfortable to take those risks is really important and something that's important to me based on working with challenges in my own life with my child and extrapolating those same challenges to students. Amy Fiddler: Let me rephrase this. So we're rolling back just a little bit. Jolie Sheffer: Yeah, you can start over. Amy Fiddler: I just want to enter that from a slightly different point. So in the classroom, when I think about trying to create a space for students, education is supposed to be an opportunity for people to have difficult conversations and learn from different viewpoints, but I find it really difficult because I don't want to misstep or create a space that isn't safe for someone. And so a lens for me that is an easy entry point is neuro diversity because my son is a neuro diverse child and so I have experience in parenting a child living with ADHD. So that gives me a framework to speak from a topic that is safer for me to then open up more difficult conversations. Amy Fiddler: But I am still very much at the beginning of this work and so I am eagerly trying to learn so that I can help teach and demonstrate and build these opportunities for students who are hungry for this knowledge because they all want to make a huge impact and they don't have the tools yet often either or if they do, it's a great opportunity for them to share that. Amy Fiddler: A lot of the classes that I have an opportunity to teach are collaborative based, sometimes community building or community based projects or within the client based sphere. But the biggest thing is trying to figure out are we doing any more harm than good and trying to navigate that. Jolie Sheffer: One of the, I mean, this really makes me think about the issues of equity at a place like Bowling Green State University, which is a predominantly white institution and historically graphic design has been a predominantly white field. So what are some of the challenges to and this work that you do going into fortune 500 companies, also predominantly white sites. So how do you ensure participation and voice from a diverse group of stakeholders without tokenizing the few people that often do sit in those sites, whether it's the classroom or the board room or wherever that might be. Antoinette Carroll: It is very much a challenge, to be honest, because most of the time they're not even in the room, which is part of the problem. And some of the work we've started to do at Creative Reaction Lab is how do we even have people within a space reflect on why they are not in a room and what is their power and how and why do they have access versus others. Antoinette Carroll: And there was some clients that originally wanted to hire us because, I want to add in a caveat. When I stated earlier that I fired clients, it was more graphic design clients. So we do have clients at Creative Reaction Lab and some of our clients have previously asked us to come in and really engage with their on the ground staff or people was doing community based work and we actually challenged them to first look at how do we internally try to integrate ETCD with in your organizational staff, including executive leadership. Antoinette Carroll: And it required them to really reflect and we actually had two distinct clients that was open to it and we went through some of that process with them because it wasn't enough just to touch on the people that have the interest or that was already on the ground, but who's the decision makers? And most of the time it's not the people on the ground, that's the decision makers. Antoinette Carroll: But we really take the approach that everyone needs to have this reflective moment of understanding there, as I like to say, design power, of having a reflective moment of what does bias and prejudice show up? How does it show up for them and how do they navigate around that? But then we're also very transparent in saying that this journey is ongoing. It didn't start, at least hopefully, with Creative Reaction Lab's efforts and it hopefully doesn't end with Creative Reaction Lab efforts. Antoinette Carroll: But knowing that as we continue to go on in life, we may go into different positions. These moments should still be happening and still kind of reflecting upon that. I always tell people that I hope that when I reach 70 and 80 years old, if I get there, that I am still being challenged and I'm still learning. But that's the state and where we need to get people. Institutions are still, at the end of the day, made a people and we need to look at it that way and not say, Oh, we're just going to work with Walmart or Target, but we're going to work with the people that are actually running Walmart and Target and understand that their effect is actually a ripple, not only in their institution but within other communities in which they're working. Antoinette Carroll: And if we look at individuals first, then that institutional change start to happen and we've seen some of that from the cocreation that's happened within, but the journey is a uphill one, but those internal agitators are kind of helping make that happen. Jolie Sheffer: One of the most admirable things about hearing you speak this way is how willing you are to meet people where they are and work from that point. Can you talk about, at least I'm curious, but can you talk about what the outcomes are if you don't? Antoinette Carroll: I laughed because part of my own journey was reflecting on the fact that I was part of the problem. I was a first or is a first generation college student, but then I realized once I was able to gain access, I went back to my community and had expectations on them that was unfair. And it took me a while to really reflect on reality that I was a product of self and culture hate because I was taught to be a product of that. Antoinette Carroll: And when I had the moment of reflection and that continual reflection on how to unpack all of that, it made me understand that everyone else is going through the same thing and it wasn't just me, but we all are dealing with a lot of these biases and these fears that has impacted how we respond to others. Antoinette Carroll: And so in my case, I'm always very vulnerable and open of my own flaws on my own journey, how I'm continually learning and I've that it actually has helped others do the same thing. And if you don't really come in with this open mindset, you're going to have an expectation that probably would never be met. You're going to have unhealthy tension within the room. I believe in tension. I believe in descent. I will call out someone in a minute, but call out with love and also in calling out, tell them and reflect on how I have gone through some of this myself and not necessarily try to dictate that they should be where I am, but again stating that we are all moving through our lives and that we are all going to have those reflective moments that maybe happen five, 10 years down the line. It doesn't always happen immediately and that's okay. Jolie Sheffer: And part of what you're talking about is as in ECCD, this iterative process that never really ends. It's not like you get to the point where you've achieved equity or you've achieved maximum wokeness, right? But it is an endless cycle. Antoinette Carroll: I do love a good woke though. Jolie Sheffer: Well, you're earrings, I want to say, Antoinette has these fabulous earrings on that say stay woke, but I think even that phrasing is about you're not, it's not like get woke and then you're done. It's staying woke. Right? That it is a constant thing that you're always learning to be more sensitive, more inclusive, more aware of what has yet to be achieved rather than seeking, great, now I've covered my bases, now it's good enough, now I'm done. Antoinette Carroll: Yeah. And you see that a lot in diversity and inclusion trainings where people go through and they're like, okay, we've done it. We've checked the box. Or you see it in a lot of diversity efforts, which I look at is more quota efforts. Okay. We have people of color, we have people with different ability status, check the box. But that is not going to change anything. And one of the things I also found is that while we're all on this journey of trying to stay in a state of constant challenging and learning and really just addressing our own biases, even when we get in this state, we even could sometimes fall back into the majority narratives. We can fall back into the state of status quo because we were all raised in that. It's easy to be within that space and even, you know, the people that are the most "woke" or working towards equity, we also can perpetuate some of the problems and we can even go through what I like to call oppression Olympics. And there's a few people in this space, we call it oppression Olympics. Antoinette Carroll: Whereas for me, I'm one of those individuals to understand that my flaws will not go away all the time, and that I want people to challenge that. I even tried to build it into our organization. I built it into my family, which my husband hates because I'm always like, let's reflect, but it really is me trying to be as equitable as I can in understanding that we haven't had that society. And so, it is around experimentation and failing and learning, but just constantly challenging ourselves and making sure that we understand that the journey doesn't end. There is no state of perfection in this work. Jolie Sheffer: Why do you think, Oh, sorry. Let me take that back. Why is it so important for both you and Amy to work with youth and college students? Can you talk about what you think the younger generations bring that might be a little bit different or distinctive about their approach to design or community engagement? Amy Fiddler: Well, youth are optimists. I think even though younger people, whether it's K through 12 or college students, even though they may have lived through some difficult circumstances, I think that they haven't entirely been beaten down by life yet or they're open to learning. They're still in school. Education is about learning and questioning versus trying to start these processes later on in a career where you really have to change the mindset and change the entire approach. Amy Fiddler: If you can be working in this way with youth and students, it becomes a natural part of their education and process, so it's just an extension of the way you should or can do the work versus completely having to change everything. I just feel like students are really receptive. Antoinette Carroll: I also feel like young people are probably more woke than adults, if I'm going to be honest. It's when we continually put our standards and our beliefs, that I believe is a cycle, on them, that they start to lose that innate creativity, that innate ability to challenge. Every parent would tell the story of the child that continually ask why. And it's always funny when you sit and reflect on those moments because you have to ask yourself, why am I so bothered with a child asking why? Why do I view it as disrespect? And was that something that was taught to me because I asked why too much. Antoinette Carroll: Also a young people, to be very honest, they have been the ones that actually have changed society majority of the time. Like when you actually sit and reflect, whether it's been changed for good or bad, it usually was young people behind it. Antoinette Carroll: I mean, technology has pretty much changed society and social media and those were all young people. There are young people that maybe didn't have access to power to some of the people in the technology space, but they were the ones that's on the ground, movement building, as it relates to same sex marriage, black lives matter, you know, higher wages. The young people are willing to challenge the status quo and I believe our job as adults is to remember the inner young person that's there with us and continually support and amplify opposed to becoming a barrier and blocking. Antoinette Carroll: And the last thing I would add to that is that if you really want to think about how do we design equitable outcomes and futures, this work is generations, centuries long. So I personally believe the greatest ROI is working with young people because they have a longer time to challenge it than to wait until someone's a "mayor" or in a position of a director role where they have had literally decades of pounding and conformity put upon them and then all of a sudden they expect him to shift and then say, Oh, I'm going to build equity. Antoinette Carroll: With a young person, if you are able to unpack that earlier for them, imagine a ripple effect of that. Imagine the systemic change that actually could happen, not only from them being outside of the "traditional systems," but then by the time they get into those position of traditional power, because I think they have power now, but traditional power, what does that shift look like? And I'm excited to see that because I think that's where the power will be. Jolie Sheffer: Great. We're going to take a quick break. Thank you for listening to the BG Ideas podcast. Speaker 1: If you are passionate about BG Ideas, consider sponsoring this program. To have your name or organization mentioned here, please contact us at ics@bgsu.edu. Jolie Sheffer: Antoinette and Amy, we have some students in the studio who have some questions for you. Morgan Gale: My name is Morgan Gale. I'm currently a senior here in the graphic design program and I'm actually really interested in doing similar kind of work to you, specifically in the LGBTQ and disability communities, because those are where I have lived experience. And I'd like to hear more about your experience between like graduating from college and starting the Creative Reaction Lab, like how do you get from here to where you are right now? Antoinette Carroll: So honestly, I have no idea how I got, 100%, to this place. But I remember when I graduated from college, I always had this idea that I was going to work in advertising and marketing and I technically did for seven years. I worked in different institutions such as corporate and agency and ultimately I realized that my love was the nonprofit space. My love was the social impact space. Antoinette Carroll: And when I decided to work at a diversity inclusion organization as head of communications, I started to actually unpack my own biases and understand things that I didn't know and also started to on my own lived experiences and how somehow I was already preparing for that position and then subsequently preparing for Creative Reaction Lab. I just didn't know what it would look like. Antoinette Carroll: And the case in point, when I was in college, I was part of the black leadership organizing council. I was actually co founder of that and vice chair. I was president of associated black collegians. I did work around hurricane Katrina at the university level. I was a student Senator and even when I worked in agency, I participated in the, I don't remember the name of the week, but it was where you live on a $1.50 a day to bring awareness on extreme poverty around the world. And so, I always had these moments, but it wasn't until working at Diversity Awareness Partnership and then subsequently Creative Reaction Lab that I was able to see the package together. Antoinette Carroll: And so, I learned through this experience that even though when I started college, I had this plan. I mean, I knew what I was going to do. I used to write it out. It was very bizarre and weird, but I was like, I'm going to get a PhD in biotechnology. I want to study the human genome. And now I sometimes say I just went from study humanity at a micro level to the macro level. I started to realize that we just need to accept where the journey of our life take us and we also just need to make sure we develop guiding a guiding purpose and a guiding mission that will help us in that. Antoinette Carroll: And when I started to be more reflective on my purpose and my mission, that's when everything started to come together, opposed to just trying to fulfill someone else's mission. I had to really think about what was my and how does that align with all the work that I was doing, with other organizations, and then subsequently, how does that align with now with Creative Reaction Lab. Speaker 7: So would you say that we're in a point in time with design, especially where a lot of times I guess you look throughout history, the ideas of that, you know, societies look inward to themselves and they branch back outward and go back inwards. It seems like now with the design field, we're at a point where we're going back outwards and starting to focus more, like you said, on the macro level instead of looking more towards inwards. Speaker 7: Would you say that's probably a current trend right now or that's a pretty kind of good direction that we're following? And would you say that, you know, possibly, who knows how many years, we'll probably go back to more being an individualist, in the sense that there's a lot of preference towards individuality versus maybe a collective sense. Antoinette Carroll: I personally think we need both and so I don't think it's necessarily the right path if we only focus on hours and no focus on inward and some of it we can look at the role of the individual and understanding self and looking at the role of the collective and what we can mobilize and do. But then even when I look at the design industry, Creative Reaction Lab is my way of looking at things outward and looking at the macro social inequities that we are dealing with. Antoinette Carroll: But then my work with AIG, as the founding chair of the diverse inclusion task force and as the co founder and co director of Design Plus Diversity LLC, which is a conference and a fellowship and a podcast, that is us looking inward, and saying what are we doing as a sector? How do we address pipeline challenges? How do we address access from within the traditional design industry? Antoinette Carroll: And so, I believe that you need both for that change to really happen. And to me it also makes me subsequently think about when people say are we having a top down approach or a bottom up? And I always ask the question of why are we not having them meet in the middle? And I think whether we're talking about design or we're talking about business or we're talking about education, we need to have this constant flow and push and pull of both for that change and that shift and that transformation to happen because that requires descent to happen in both cases. But if we don't do that, then I personally believe we're only addressing part of the problem and not necessarily looking at how do we build a more inclusive kind of equation overall. Jolie Sheffer: We have our own controversy here on campus right now that the, one of the theaters on campus has been named or has long been named after Lillian Gish who was BGSU alumna and also the star of DW Griffith's racist KKK propaganda film, the Birth of the Nation. Jolie Sheffer: And so, and there was, and so quite recently, student and faculty and various groups have come together to protest this and to say that that naming and now there's a big sign and sort of a rededication of this theater in her honor, that it really provokes a sense of insecurity and a lack of safety for students, staff, faculty, visitors, particularly those who are black because of this history. Jolie Sheffer: And we're in a kind of a reckoning period, where the university president has convened a task force to really look into this and figure out what to do. As an equity centered community designer, how would you go about approaching this problem? Antoinette Carroll: This is one where I'm going to have to bring my bias out of this, even though it's hard for me to do, because it makes me, I equate it to kind of Confederate monuments and you have people that have debates on one, should we take them down? But then there's even an internal debate on when they take them down, should they destroy them or should they keep them in museums and have dialogue and discussions around it. Antoinette Carroll: And the National African American Museum of History and Culture, I think is a great example of where they even kept those things that may be hurtful for some of us, but for us to have a dialogue, a discussion and learn from. And I wonder with Gish, I think you said her name was, with this situation is it one where we really start to reflect on what is another way to really have a dialogue around this and discuss her relationship with the university that doesn't necessarily give her a platform that may create more trauma for communities. Antoinette Carroll: And you know, part of me is like rename it, but the other side of it is even with the renaming, how do we actually provide history and insight on this? Because there's many people that's not even aware of the Birth of a Nation video and what that actually meant on black culture and how that actually affected the stereotypes of the angry black person and how we're violent and how that has perpetuated for decades after that. Many people aren't aware of it. Antoinette Carroll: And so, some people may look and say, well, she was an actress. She, you know, did great things and that doesn't take away from her history. And some people say she was a product of her time. Right? But then the other end is saying she can be a product of our time, but how do we also acknowledged that that time, the time prior and the time that have followed, have still put people of color in harm's way and had led to decrease life expectancy and the challenge that we continually have because of that. Antoinette Carroll: So as equity designer, I of course will want to bring different groups together to have a dialogue. And also part of me wants to reference a colleague of mine project called Paper Monuments where they started to think about, okay, if we remove the Confederate monuments, what image should we put up in this place? And how do we actually make that process equitable and inclusive? And I wonder if that there's something from that that could be brought into this of, okay, if we rename it, how do we make this an educational moment? What do we put in its place and how do we make sure that generations from now when people come back and look at it, it's not just a name on a wall, but people understand what the community has done collectively to really move beyond that situation. Jolie Sheffer: Antoinette and Amy, I'd like to thank you very much on behalf of ICS. We've had a great time talking today. If you're interested in learning more about Antoinette or the Creative Reaction Lab, visit their website at www.creativereactionlab.com. Our producers for this podcasts are Chris Cavera, Marco Mendoza and Jake Sidell. Special thanks to the College of Arts and Sciences, the Ethnic Cultural Arts Program, the School of Media and Communication, the division of graphic design in the School of Art, and the BGSU AIGA student chapter.  

The first mini-sode of "But That's Another Story,” Unremembered Hollywood’s look at the stories that don’t quite make the main episode. Our first tangentially-related tale is the story of the human/primate brawl that nearly derailed Lillian Gish's birthday party. Unremembered Hollywood was created, written, and produced by Charlie Fonville with original music by Jonathan Dinerstein. Starring Annie Savage as Abby Larson, with Christine Weatherup as Lillian Gish, Mark Gagliardi as Rudolph Valentino, Seth Morris as Roscoe “Fatty” Arbuckle, Zipporah Cardozo as Norma Talmadge, and Justin Wright Neufeld as DW Griffith and Bernard Keller.

In our premiere episode, noted Hollywood historian Abby Larson tells the story of Irving Stansel, the first President of Hollywood. As the picture business transformed from sideshow attraction to dominant cultural force, the moguls of Tinseltown often found themselves in aggressive disagreements that often ended in bloodshed. Rather than kill each other over the latest scripts to hit the town, those early power players named a man named Irving Stansel to settle all disputes and to keep the peace. It was a noble experiment, but everyone involved got a lot more than they bargained for. Starring Annie Savage as Abby Larson, with Hal Lublin as Irving Stansel and Announcer #1, Jeremy Carter as Jack Warner and Policy Holder #2, John Ennis as Carl Laemmle and Leland Cornwall IV, Kara Luiz as Mary Pickford, Martin Olson as Douglas Fairbanks and Mortimer Effington III, Megan Gogerty as Frances Marion and Ethel Pomeroy, Mike Rock as William Fox and Policy Holder #3, Christopher Z. Gordon as Adolf Zukor, Judson Jones as Fred Thomson and Goon, Fred Cross as New York Times Reporter, Announcer #2, and Interviewer, Justin Wright Neufeld as DW Griffith and Policy Holder #1, J.T. Arbogast as Announcer #3Special Guests: Christopher Gordon, Fred Cross, Hal Lublin, Jeremy Carter, John Ennis, J.T. Arbogast, Judson Jones, Justin Neufeld, Kara Luiz, Martin Olson, Megan Gogerty, and Mike Rock.Support Unremembered Hollywood

We are continuing with our jaunt down memory lane with our Dead Hollywood Series. Today we are sharing stories of the ghosts of the Knickerbocker Hotel, the Magic Castle and the Hollywood Forever Cemetery. Join the #DickSquad to talk about the life of DW Griffith and the ghosts of Elvis Presley (allegedly), Irene Gibbons, Virginia Rappe, Rudolph Valentino (maybe) and the story of the Larson boys and their clubhouse for magicians. We highly recommend you check out the podcasts promoted on this episode. You can find more information on the Nerdy Bitches Podcast at http://www.nerdybitches.com and the Crime Crazy Podcast at https://crimecrazy.podbean.com/ For those of you interested in watching “The Birth of a Nation” the 1915 film by DW Griffith, as promise we are providing the link. But before you head there we feel the need to remind you that this film is very racists #TriggerWarning. You can find it here https://www.youtube.com/watch?v=I3kmVgQHIEY If you enjoy this episode, please rate and review us on your favourite app. And if that's not enough you can join us on Patreon at the Lady Dicks. You can connect with the Lady Dicks on Instagram and Twitter @theladydicks. This episode was voiced by Nikki K., Andrea C. & Tae H., “the Lady Dicks.” And was researched, written, edited and produced by Tae H. Our music was licenced through Audio Jungle and is aptly titled "Pink Panther 2." For any questions, comments or inquiries you can send an email to stories@theladydicks.com. Merchandise: https://www.threadless.com/discover/s/theladydicks/womens Nikki's Store: https://society6.com/ndkidesign?fbclid=IwAR2AULRfhgANf5hlZ82GPtJwP4kWtTOzoZFV1jsPB4I71emQl9xaxwFKcO0 Support this podcast

Episode 48: The Ghosts of Hollywood Jay walks us through the ghosts of Hollywood. It’s time to sit back, drink booze, and be haunted by our friends from the Silver Screen! This story contains: 1. The Hollywood Sign. (Peg Entwhistle throws herself off the icon in 1932!) 2. Knickerbocker Hotel. (You can see the ghosts of Rudolph Valentino and DW Griffith here!) 3. The Comedy Store. (This used to be a mob run joint – and oh, the basement is haunted AF!) 4. Pantages Theatre. (You can see “Hamilton” there --- and, the ghost of Howard Hughes!) 5. The Hotel Cecil, Griffith Park, and the Wonderland Home. (There are almost as many ghosts in Hollywood as there are people!) Sweet Dreams XOXOZzzz.

It was on the list. We rolled it. It is racist. Let's just get through this.

A revival of Once in a Lifetime, the 1930s comedy about the movie industry at the beginning of the talkies. A new film with the title "Birth of a Nation" cannot escape the obvious associations with the 1915 DW Griffith silent film of the same name which portrayed The Ku Klux Klan in a heroic light. This production has been dogged by controversy for completely different reasons. Alice In Space by Gillian Beer looks at Lewis Carroll's classic and resets it in the context of its time to shine a fresh reinvigorating light on the work There's an exhibition about Mathematics at London's Science Museum, looking at how it shapes our world BBC2 presents a two part series about Walt Disney - his life and legacy Tom Sutcliffe's guests are Meg Rosoff, Jacqueline Springer and David Benedict. The producer is Oliver Jones.

New film The Birth of a Nation takes the title from DW Griffith's 1915 silent film but not much else. Directed by and starring Nate Parker, it tells the true story of an 1831 slave rebellion in Virginia. Ashley Clarke reviews.Poet Ruth Padel discusses her latest book Tidings, a narrative Christmas poem about a little girl, a homeless man and a fox. It takes the reader all around the world, from St Pancras churchyard in London to Bethlehem, Australia and New York. Joan Eardley's painting career lasted only 15 years but, at the Scottish National Gallery of Modern Art in Edinburgh, her work gets more requests than Picasso. The gallery's curator Patrick Elliott discusses a new exhibition of her work alongside composer Helen Grime, whose composition Snow is inspired by Eardley's paintings. In the spring of 1995, actor Mark Lockyer was playing Mercutio in Romeo and Juliet for the Royal Shakespeare Company when he was overcome with anxiety, fear and paranoia. It was the start of a bipolar attack. Now he has turned that experience into a one man show called Living With The Lights On at the Young Vic in London.Presenter: Kirsty Lang Producer: Angie Nehring.

Welcome to the Black Star podcast, part of the BFI's Black Star season, a UK nationwide series of screenings and events celebrating the power, range and versatility of black performers. Over six weekly episodes we'll be looking at the black film-makers who helped define their era of cinema. This week it's the story of one of the first black film directors, the prototype movie mogul who vied with DW Griffith to control the conversation about race in America in the early 20th century. His name? Oscar Micheaux. This episode of Black Star includes a clip from Selma, directed by Ava DuVernay, produced by Pathé, Plan B Entertainment, Cloud Eight Films and released in 2014.It also includes a clip from the 2016 Oscars telecast. Directed by Glenn Weiss, produced by David Hill and Reginald Hudlin and broadcast in 2016.And it includes music from the BFI's centenary edition of The Birth of a Nation. Released in 2015. See acast.com/privacy for privacy and opt-out information.

First, Jack and Andrew take a look back at this summer of movies for 2016... and why it was so thoroughly mediocre and forgettable (and we also quote and mention an article written by Jessica Ritchey, "Hollywood Gave Up on You", which you can read at the link below. Then, Jack and Andrew talk about the movies they've seen in the three weeks(!) since the past full three-part episode, and the movies stretch from the new releases from Werner Herzog and Laika animation studios (the makers of Coraline and Paranorman), to the beginning of feature epics with D.W. Griffith's films from 1915 and 1916. Also, more Star Trek and Wes Anderson! Get ready to dig in to a full course meal of cinema that involves plenty of wages - some of those by the makers of Ben-Hur! Movies discussed (starts 21:40 in): 1) DANCIN' IT'S ON! (2015) 2) WAR ROOM (2015) 3) THE BIRTH OF A NATION (1915) 4) INTOLERANCE (1916) 5) KUBO AND THE TWO STRINGS (2016) 6) SAUSAGE PARTY (2016) 7) STAR TREK: FIRST CONTACT (1996) 8) THE LIFE AQUATIC WITH STEVE ZISSOU (2004) 9) THE MORTAL INSTRUMENTS: CITY OF BONES (2013) 10) LO AND BEHOLD: REVERIES OF THE CONNECTED WORLD (2016) http://www.rogerebert.com/balder-and-dash/hollywood-gave-up-on-you-the-summer-movies-of-2016 wagesofcinema@gmail.com

Moose Lodge, Babylon System, The Two babylon by Alexander Hislop, The Saints, Bohemian Grove, Intolerance by DW Griffith, The Net, Stuart Brand, Futurological Congress, Marshall McLuhan, Television, House of Cards, Breaking Bad, National Geographic magazine, The experience Makers, Weaponization of Information, Consumerism, Johns Favorite: Radio 316, Kissinger's Ice Delivery Boy, Culture is directed, Alan Watt, I Dream of Genie, Evolution Theory. Selected Reading: Information as a Weapon hoaxbusterscall.com