Organizing for Healthcare Justice in California Campaign for a Healthy California’s 3rd Annual Summer Conference The Campaign for a Healthy California is a coalition of organizations committed to winning single-payer healthcare in the Golden State. Join our annual summer conference to learn how you can help build a statewide grassroots movement for a just, sustainable [...]
Randy Shaw: While conservatives love bashing “Hollywood liberals,” Sunday night’s Oscar telecast showed how little this description applies. From Kathryn Bigelow’s promoting George W. Bush’s argument that the U.S. invaded Iraq to protect Americans, to the disproportionate acclaim given to films exalting the military, to the exclusion of Michael Moore’sCapitalism, A Love Story from the documentary nominees, Hollywood now largely avoids any hint of progressive social analysis.
Ed Rampell: The good news is that Capitalism, A Love Story is another Michael Moore instant classic, and in his considerable, 20-year-long oeuvre – which spurred revitalization of the documentary as an art form, as well as an entertainment medium — is second in quality and power only to his 2004 masterpiece, Fahrenheit 9/11.
Ed Rampell: The 2009 Progie Award winners include: Michael Moore’s anti-corporate documentary Capitalism, A Love Story; the Palestinian immigrant drama Amreeka; the German urban guerrilla feature The Baader-Meinhoff Complex; the psychic military unit satire The Men Who Stare At Goats and British director Ken Loach, all completely overlooked by this year’s Oscars.
Randy Shaw: As someone who thinks Hill’s work could convince the uncommitted and deserves the widest possible audience, I wish he had directly confronted — through interviews, for example — those who oppose the policies that work in Europe but are still not in place in the United States. For example, it would have been helpful for Republican and Democratic Party political leaders to explain why our nation follows the lead of Papua New Guinea in still not offering paid maternity leave.
I don’t need a phone survey or Internet poll to know that the audience was wild about Moore’s film: the audience was often so overcome with laughter, applause and sheer excitement that it often broke into massive applause, with nobody complaining about the drowning out of dialogue due to the clapping.