This year marks the 60th anniversary of the landmark U.S. Supreme Court decision in Brown v. Board of Education.
In declaring that “separate educational facilities are inherently unequal,” the Brown decision became a pivotal
event in the ongoing struggle for racial desegregation and civil rights in the United States. To mark this anniversary,
this series showcases two documentaries that chronicle the immediate and enduring impact of the Brown decision
on American society. The series is sponsored by the IU Maurer School of Law, the Center for Law, Society
& Culture, the Center for Research on Race & Ethnicity in Society, the Maurer student chapters of the American
Constitution Society and the Black Law Student Association, and IU Cinema. Screenings are free, but ticketed.
Julian Bond is scheduled to be present at the October 16th screening of Eyes on the Prize.
Beginning with his pivotal role in the civil rights movement, Julian Bond—an expert on
diversity in the law—has always been on the cutting edge of social change and leadership.
As an eyewitness of watershed moments of the civil rights movement, the first
black U.S. vice presidential nominee and former chairman of the NAACP, Julian Bond
delivers powerful speeches on the centuries-long struggle of African Americans for
equality, diversity in the shaping of laws, and civil rights moving into the future, as well
as keynotes on African American’s impact on music, national affairs, and leadership.
Computing technologies have become
pervasive in contemporary society.
Critical reflection on the relationship
between society and technology, with
an eye towards the social meaning and
consequences of emerging computer
technologies, is therefore as necessary
as it is timely.
This series reflects on
the social aspects of computerization,
including the role of computing technology
in social and organizational change,
the personal and societal uses and effects
of information and communication
technologies, and the influence of social
values and practices on the organization
and design of information technologies.
The film series is supported by IU’s Rob
Kling Center for Social Informatics,
School of Informatics and Computing,
Cyberinfrastructure for Network Science
Center, and IU Cinema. Screenings are
free, but ticketed.
Tickets for all screenings are $3.
Kevin Kline has seamlessly transitioned
between the worlds of theatre and film
and has earned equal distinction in both.
He has been the recipient of numerous
awards, including an Academy Award® for
his iconic role in A Fish Called Wanda and
two Tony® awards. He was also the first
American actor to receive the Sir John
Gielgud Golden Quill Award, was honored
with the Lucille Lortel Award for Lifetime
Achievement, and in 2004 was inducted
into the Theatre Hall of Fame. Along with
being a Juilliard graduate, Kline is an
alumnus of Indiana University.
Tickets for available beginning Tuesday, August 26 at 10:00am.
From the transnational dimensions of narco-corridos to
the material expression of symbolic power in the form of
extravagant mausoleums, Natalia Almada offers unique
and intimate portrayals of cultural phenomena stemming
from the Mexican drug trade. Departing from the
experience of common people, these films shed light on
the complex interrelations between violence, immigration,
the economy, and cultural production.
As well as
receiving the 2009 Sundance Documentary Directing
Award, Almada has received the MacArthur, Guggenheim,
USA Artists, Alpert and MacDowell fellowships.
She graduated with a masters in fine arts in photography
from the Rhode Island School of Design and currently
lives in Mexico City. Natalia Almada is scheduled to be
present at all events.
Screenings are free, but ticketed.
Sponsored by the Department of Spanish and Portuguese,
College Arts and Humanities Institute, Latino Studies Program,
Department of Communication and Culture, Department of
American Studies, Center for Latin American and Caribbean
Studies, Film and Media Studies, and IU Cinema.
The spirit of collaboration and the desire to uncover hidden stories mark Afro-Cuban director Gloria Rolando’s approach to filmmaking. Rolando’s documentaries are unequivocally Cuban and are also inextricably linked to the country’s African diasporic roots. As a founding member of the film collective Imágenes del Caribe, Rolando’s practice exemplifies the independent filmmaking spirit: “None of my projects has had a budget: they begin with a borrowed camera, or a little money to rent equipment, but always with a clear idea of the story I want to tell.” The series is sponsored by La Casa, Center for Latin American and Caribbean Studies, Black Film Center/Archive, Cultural Studies Program, CUBAmistad, Film and Media Studies, Departments of Gender Studies, History, Spanish and Portuguese, and IU Cinema. Gloria Rolando is scheduled to be present at all events. Screenings are free, but ticketed.
Recently named one of Filmmaker Magazine’s 25 New Faces of Independent Film, Josephine Decker just premiered her first two narrative features at the Berlinale Forum 2014. Along with directing, she says that she is fortunate to be collaborating with artists she admires. She has recently starred in Brigitta Wagner’s Rosehill, Stephen Cone’s Black Box, Joe Swanberg’s Uncle Kent and Art History, Joe Swanberg and Adam Wingard’s Autoerotic, and Onur Tukel’s Richard’s Wedding. Josephine raises awareness about environmental issues through her performance art.
Richard Brody of The New Yorker stated that, “The most original independent filmmaker to surface in the past few years is
Josephine Decker.” Josephine Decker is scheduled to be present at all events. Tickets for all screenings are $3.
The Southeast Asian Film Series is a new addition to the IU Cinema family. For its inaugural run this semester,
the series line-up features two outstanding documentaries that explore how ordinary people in Myanmar and
Cambodia navigate the complex political terrains of their respective nations, as they attempt to seek freedom
of expression in an authoritarian society and deal with lingering memories of violence. This series is sponsored
by the Southeast Asian Studies Program and IU Cinema.
Most of the attention in Polish cinema goes to the greats of the older generations (Wajda, Skolimowski,
Kieślowski, Holland) or to the bold, flashy cinema of younger directors like Wojciech Smarzowski and
Władysław Pasikowski. The Polish Interiors film series presents the work of a generation of filmmakers
who came of age during the communist period, but whose directing careers took off in the post-communist
Poland of the 1990s. In the period of transition in the 1990s, when most Polish filmmakers
were torn between populist and commercial demands and desire to fulfill one’s artistic vision, these
directors turned to close examination of social problems and tight portraits of individuals. Their unique
visual styles established them as the main voices of post-communist authorial cinema. This series is
sponsored by the Polish Studies Center and co-sponsored by Russian and East European Institute and
the Department of Slavic and East European Languages and Cultures.
Steve James’ debut film Hoop Dreams won every major critics award in 1994 as well as a Peabody and Robert F. Kennedy Journalism Award in 1995. The film earned him the Directors Guild of America Award as “Best New Filmmaker” and Roger Ebert wrote “A film like Hoop Dreams is what the movies are for. It takes us, shakes us, and makes us think in new ways about the world around us. It gives us the impression of having touched life itself …” His past 20 years of filmmaking and 17 films have earned him numerous festival awards, critical acclaim, an Academy Award® nomination, distribution and a loyal audience, as he has continued to document life itself. All screenings are $3.
Steve James is scheduled to be present at noted events.