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Laura Poitras Collection [DVD]

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A lot of people think, Oh, the Snowden story is a great story that any journalist would want to get ahold of. But it didn’t feel that way then. I was seriously scared So while we continue to advocate for better access to harm reduction and policy changes that prioritise the wellbeing– rather than the criminalisation – of our communities, so too must we call for justice. She says the whistleblower Chelsea Manning would be a more suitable person to compare Snowden with. What is the most annoying thing about Snowden? “He can lecture. He can get a little bit talky, if you watch some of his public appearances, but that’s not something that pissed me off.” Poitras . . . gives emotional resonance to an aspect of foreign policy that can otherwise seem as abstract and remote as drone warfare itself." The tale of the opioid crisis as told by “All the Beauty and the Bloodshed” is often raw and uncompromising. Even in the wake of the 2022 opioid settlement, the director remains vigilant.

As journalists, we have an obligation to protect sources. Internally, I made these same arguments and didn’t believe that the organization was capable of accountability. I certainly hoped that they would do an independent review. It would have been an appropriate response to my speaking out. I had tried what I could internally. You may also opt to downgrade to Standard Digital, a robust journalistic offering that fulfils many user’s needs. Compare Standard and Premium Digital here. Citizenfour' Director Laura Poitras Sues Over "Kafkaesque" Airport Screening". The Hollywood Reporter. July 13, 2015 . Retrieved July 14, 2015. Laura Poitras Receives Segal Prize". Film at Lincoln Center. March 30, 2011 . Retrieved November 14, 2021. Later that evening, Poitras sits in a low-lit Japanese restaurant in SoHo, sipping a green-tea mojito and mulling over all that’s happened in the last two years. “To be quite honest, I don’t think I’ve taken the time to take a breath,” she says. She seems a bit stunned, like a diver who’s only just surfaced. “In retrospect, a lot of people think, Oh, the Snowden story is a great story that any journalist would want to get ahold of,” she says. “But it didn’t feel that way then. I was seriously scared.”Suicide & Crisis Lifeline: Call or text 988. The Lifeline provides 24/7, free and confidential support for people in distress, prevention and crisis resources for you and your loved ones, and best practices for professionals in the United States. It is hard to watch Risk and not compare it with Citizenfour. In fact, for a long time Poitras thought they were going to be one and the same film. Assange and Snowden seem such different men, I say. “I don’t feel it’s my job to judge and compare them – but, yes, they have different motivations. Certainly, my feelings that come through in the film are much more conflicted.” Is there a moral purity to what Snowden did? “People would ask me when I was releasing the film: Is he a hero? People are defined by their actions, and he did something deeply heroic. And I think it was selfless. He knew the consequences could be the end of his freedom or the end of his life.” The filmmakers created a safety net. “Nan and I could speak really freely,” said Poitras. “And she would have an opportunity later before it would be shared with anyone wider to see if there was anything that went too far. And when we had a cut, before we showed even Diane, nobody saw anything until Nan could have the opportunity to hear. There wasn’t really anything that she asked us to remove from the film.”

Harris Jr, Roy J. (2015). Pulitzer's Gold: A Century of Public Service Journalism. Columbia University Press. The medium marks a shift for her: Poitras's ability to use her reporting to tell striking stories is taking on a new shape.” Perquè vam crear una gran intimitat a les entrevistes. No hi havia ningú més a l’habitació i vaig crear una xarxa de seguretat perquè ningú més les escoltés fins a tenir un muntatge acabat, com si fossin documents secrets, perquè el contingut era profundament personal. I la Nan va confiar en mi perquè respectava el meu treball. Però, així i tot, era un gran risc per a ella obrir-se i confiar-me totes les seves intimitats i el seu treball. Així que vaig mirar de ser molt respectuosa. It is this scene that led to Poitras and Assange’s falling out. She promised him she would show him the film when it was ready. And shortly before an early version of Risk premiered at Cannes, he did see it – and blew a gasket. “His lawyers demanded we took this scene out, and another one where he talks about the investigation and the women involved. We didn’t, and then he sent a text saying the film is a threat to his freedom and he is forced to treat it accordingly.” What right did he have to make that demand? “He had no right. He had no editorial control over the film.” Poitras, Laura (September 20, 2016). "Field of Vision Is Moving". The Intercept . Retrieved January 12, 2017.Nico Walker’s searing debut novel was adapted with mixed results into a film starring Tom Holland. Choose the book. Walker writes the gripping tale of a US Army veteran who returned from Iraq, developed an addiction — and became a bank robber to fund it. A work of warts-and-all autofiction, Walker wrote “Cherry” while in prison for robbing banks. Foreman, Alison (September 10, 2022). " 'All the Beauty and the Bloodshed' wins Golden Lion at Venice: All the Winners". Deadline . Retrieved September 10, 2022. Poitras co-directed, produced, and shot her documentary, Flag Wars (2003), about gentrification in Columbus, Ohio. It received a Peabody Award, Best Documentary at both the 2003 South by Southwest (SXSW) film festival and the Seattle Lesbian & Gay Film Festival, and the Filmmaker Award at the Full Frame Documentary Film Festival. The film launched the 2003 season of the PBS TV series POV. It was nominated for a 2004 Independent Spirit Award and a 2004 Emmy Award. [25] Poitras's other early films include O' Say Can You See... (2003) and Exact Fantasy (1995). [25]

Snowden filmmaker Laura Poitras: 'Facebook is a gift to intelligence agencies' ". Washington Post. October 23, 2014. There’s a risk or danger with interviews where people have their narrative and they just sort of repeat it,” Poitras said. “I was trying to get away from the script.” But for now, she is focusing on the release of Risk. After Assange complained about the film, Poitras took it away, spent a year re-editing it – and returned with a film that was tougher on him. Was that her response to his intimidation; a form of revenge? Again, she exhales loudly and pauses. “I don’t make vengeful films, but I do have to make films that are honest.”She filmed, edited, and produced Channel 4's alternative to the Royal Christmas Message by Queen Elizabeth II in 2013, the " Alternative Christmas Message", featuring Edward Snowden. [47] [48] Dorfman, Zach; Naylor, Sean D.; Isikoff, Michael (September 26, 2021). "Kidnapping, assassination and a London shoot-out: Inside the CIA's secret war plans against WikiLeaks". Yahoo! News . Retrieved September 26, 2021. Allowing a known criminal enterprise to continue to operate is the absurd result of a justice system that is rotten to its core. Biennale Cinema 2022 | All the Beauty and the Bloodshed". La Biennale di Venezia. July 20, 2022 . Retrieved August 30, 2022. Goldin is best known for her pioneering, taboo-busting photography slideshow series “The Ballad of Sexual Dependency.” Featuring the artist, her friends and countercultural figures of 1970s and ’80s New York, it’s a masterclass in curation that continues to evolve to this day. A slide goes in, a slide goes out; new images are pushed together, new harmonies and juxtapositions formed. The sequence evolves, and with it, the story she tells.

His complaints - while living well - and while limited to living in only 1 fancy embassy- bldg seemed petulant and childish, as he refused to admit responsibility to eliciting the 'unexpected unwanted consequences' to his work . His own actions affected many political people, who still want to censor and punish any 'whistle-blowers', including but not just Assange. I come from a filmmaking tradition where I'm using the camera—it's my lens to express the filmmaking I do. In the same way that a writer uses their language, for me it's the images that tell the story ... the camera is my tool for documenting things, so I stay mostly behind it." [63] It happened right after Thanksgiving and I was in the middle of drafting an op-ed for the New York Times about the Espionage Act and Julian Assange. I was planning to publish it in December, so I felt this would have been distracting as these communities are crisscrossed. I just didn’t want to have two public statements out there. What I wanted to say about Julian Assange was really important and I didn’t want to take any attention off that. So I started writing my statement and then I made the decision not to release before the holidays. And then … well, you know. The beginning of the year has had other news with higher priorities.Wikileaks has emerged as a very influential media platform source and as a threat to those who prefer their secrets kept away from the many people the actions do affect, kill, and distort . Many lives may have been/ are still changed from their exposures, as noted even in the most recent / now current events. D'Addario, Daniel (February 22, 2015). "Citizenfour Wins Best Documentary at the Oscars". Time . Retrieved February 22, 2015. Researchers found bits of Goldin’s past that even she hadn’t seen, like rare 8mm film from Provincetown, Massachusetts, featuring the cult director John Waters and his muses, the actors Cookie Mueller and Divine, queer icons who were among Goldin’s friends. Poitras presented Goldin with the footage when they spoke. In their first interview, which Poitras describes as “really emotionally intense,” the artist talked about being sent to foster care. “I was so deeply moved by how she spoke about her life,” said Poitras. “She was very raw and very unfiltered.”

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