Blog posts tagged with Civil Rights
December 7As the Docs Program undertakes visual work on behalf of lifers incarcerated for decades because they are ineligible for parole, we confront a ban on photographing and filming in prisons. Prison Portraits may be useful in providing not only a way to deal with the ban, but also an argument why it is wrong.
Collective Trauma, Transitional Justice and Two Documentaries about Philadelphia’s Confrontation with MOVEJuly 3As “Let the Fire Burn” (2013) and “The Bombing of Osage Avenue” (1987) show in very different ways, May 13, 1985 was a traumatic day in the history of police/citizen relations in Philadelphia. Its legacy is reflected in contemporary controversies over race relations in America.
March 28A federal judge refused to dismiss the lawsuit by an activist who was arrested while filming protests in 2011. Now the filmmaker and her legal team will have a chance to investigate the city’s training policies regarding the First Amendment and handling the media.
“A Civil Remedy” Backstory: How Law Professor Kate Nace Day Came to Make a Documentary Short about Domestic Sex TraffickingJuly 17After analyzing numerous documentaries about sex trafficking, Law Professor Emerita Kate Nace Day decided to make one that focuses on a vision of civil justice for survivors.
June 24The Reporters Committee for Freedom of the Press is launching a new campaign to reach out to documentary filmmakers.
November 10The late Harry Reicher, Adjunct Professor at Penn Law, made extensive use of visual material in teaching Holocaust Studies in the Law. His talk at the Shoah Foundation explains how and why.
“The Memphis 13” is not only a powerful and thought-provoking short documentary; it also illustrates the potential contributions of visual legal scholarship.
Sometimes legal research generates a good topic for a student-made visual legal advocacy video. It did in the case of “Nowhere to Run: Giving Philly’s Urban Youth a Place to Play.”
May 27Lawyers play a supporting role in protecting and assisting protesters who interact with digital visual technology. The lawyers may be practicing criminal law, civil liberties, or international human rights.
How does a documentary filmmaker whose focus is the history of black people’s struggle for equality satisfy the conflicting demands of an audience that lived the history and an audience that needs to learn it?
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