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Yes, Ma'am

Filmed in the stately mansions of New Orleans, Yes, Ma'am shows the role of the black domestic workers in keeping up the gracious lifestyle so closely associated with the old South. On the surface there is a harmonious relationship between employer and employee, but probe a little deeper and grievances emerge. The maids often feel cut off from their own children as they take care of other people's youngsters. The work is physically hard and they are poorly compensated. They have not had an effective labor organization.

Yes, Ma'am

NR 1982
When You Wore a Tulip and I Wore a Big Red Rose

In the early 1980s, documentary filmmaker Stephen Schaller was instrumental in the rediscovery and restoration of The Lumberjack (1914), the oldest surviving film made in Wisconsin, and produced by a group of itinerant filmmakers who traveled from town to town making "local talent" pictures. Schaller's lovely and sometimes deeply emotional, 63-minute journal/essay film offers a look at the making of the Wausau, Wisconsin classic, including interviews with the one surviving cast member and the relatives of others who appeared in the movie.

When You Wore a Tulip and I Wore a Big Red Rose

NR 1983
On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972

A video documentary combining exhibition footage of the Situationist International exhibitions with film footage of the 1968 Paris student uprising, and graffiti and slogans based on the ideas of Guy Debord (one of the foremost spokesmen of the Situationist International movement). Also includes commentary by leading art critics Greil Marcus, Thomas Levine, and artists Malcolm Mac Laren and Jamie Reid. Branka Bogdanov, Director and producer.

On the Passage of a few People through a Rather Brief Moment in Time: The Situationist International 1956-1972

NR 1989
Irgendwas wird schon hängenbleiben

The great Brokdorf demonstration 28.02.1981. “The media do not miss an opportunity to set the waves of mind in motion: The battle for Brokdorf! Despite the ban on demonstrations: 100,000 people in Brokdorf. All criminals? Our film is an examination of television reporting and its consequences. We, a group of nuclear power plant opponents, made this film because we got angry. The anger when looking at the television screen, where the coverage turns the world upside down; the anti-nuclear power plant movement is defamed and criminalized; - Dissidents are dismissed as utopians, Stone Agers, enemies of the state and perpetrators of violence. What drives the responsible editors, the “makers” to this kind of reporting?

Irgendwas wird schon hängenbleiben

NR 1981