PUB: Student Poetry Prize « Sarabande Books

Sarabande Books will be accepting entries for its 2011 Flo Gault Student Poetry Competition October 1 through October 30. Please follow the submission guidelines provided below:

•    Full-time undergraduate Kentucky college students only

 
•    Submit no more than three poems, each typed on 8 1/2” x 11” paper

 
•    Put your name, address, phone, and e-mail address on each poem


•    Include a copy of your student ID


•    Include a SASE for notification of winner


Mail to:
Flo Gault Student Poetry Competition
Sarabande Books
2234 Dundee Road, Suite 200
Louisville, KY 40205

The first prize winner will receive $500, a letterpress broadside of the winning poem, and publication on the Sarabande website.

Second and third prize winners will receive $200 and $100, respectively.

via sarabandebooks.org

 

PUB: Poetry Writing Contest

 

$500 GRAND PRIZE!

 The rewards are publication in Children’s Writer,
cash prizes, winners’ certificates, and valuable
training in disciplined writing.

 If you like writing for children and contests, read on . . .

We constantly hear from editors that the vast majority of the manuscripts they receive are rejected because they were not written to the editor’s specifications. Few editors will consider a story or article that does not meet their specs—precisely.

Writing contests also have exact specifications. That’s why we encourage writers—all writers, new ones and old pros too—to enter contests. They’re excellent professional training experiences and, if you win, they can get you published and pay healthy prize money.

The winners in this contest will be published in Children’s Writer, the monthly newsletter that goes to almost 1,300 children’s book and magazine editors in North America. Along with the winning pieces, we’ll publish an article about the top-ranked entries and their authors. There are also cash prizes. The cash prizes alone are a lot of good reasons to write a piece and enter.

Current Contest: Poetry

The contest is for a single poem, collection of poems, or verse story for children of any age, to 300 words. Entries may be serious or humorous, and take any poetic form. Winners will be selected based on quality of verse—including rhythm, meter, word choice, wordplay, imagery, and the use of other poetic devices (rhyme, alliteration, assonance, or others). Above all, the winning entries will have appeal for young readers.


Entries must be received by October 31, 2011. Current subscribers to Children’s Writer enter free. All others pay an entry fee of $15, which includes an 8-month subscription. Winners will be announced in the March 2012 issue. Prizes: $500 for first place plus publication in Children’s Writer, $250 for second place, and $100 for third, fourth, and fifth places.

Now warm up your computer and write a $500-winning poem or verse story!

The contest rules are important. Please read them carefully.

Obtain Official Entry Form or make online submission
You may submit your entry either online, using our safe and secure entry page, or by regular mail. If you choose to submit online, you'll need to complete your manuscript and save it to a file on your computer.

If you need to pay a reading fee you will be directed to the payment section first.

Children's Writer Subscribers (online submission):
To submit a free entry online, you will need your Children's Writer account number, which is located in our email to you or on your Children's Writer mailing label in the name/address block. For subscribers who are students, it is the same as your student number. Please Click Here to continue. 

You will be directed to the Free Entry section.

Non-subscribers (online submission):
If you do not subscribe to Children's Writer, your online entry is welcome. Please click here to continue.

You will be directed to the section requiring the payment of a $15 reading fee.

For Mail-in Entries:
To submit manuscript entries through the mail, please click here to obtain an entry form.

via thechildrenswriter.com

 

PUB: Short Story, Genre,  Poetry, Flash and Memoir Competitions

Short Story Competition 2011

£100 first prize

Quality book publication for shortlisted entries

Rules and Conditions

  • The competition is open to anyone over 16.
  • The first prize is £100. The best entries will be published, and their authors will receive one complimentary copy of the anthology. 10-20 will be included, depending on length and quality. All winners will be offered further copies at a reduced price.
  • Closing date October 31st2011 Winners will be notified in January 2012.
  • Entry fee £5 per story up to 4000 words. £10 for over 4000. Maximum 8000 words.
  • Stories must be the work of the entrant, previously unpublished, and not simultaneously entered for other competitions.
  • The judges’ decision is final. No discussion will be entered into.
  • Entries are not returnable and cannot be acknowledged without SAE marked for that purpose.
  • Copyright remains with the author although Earlyworks Press reserves the right to publish winning entries in a competition anthology in 2012.  
  • Submission of work will be taken as acceptance of rules and conditions.  

Entry options postal:

  • Send paper copy to Earlyworks Press, Creative Media Centre, 45 Robertson Street, Hastings Sussex TN34 1HL
  • Payment in pounds sterling. POs or cheques payable to Kay Green.
  • Paper entries must be titled and typed/clearly written on one side of A4 paper. Each entry must have a cover-sheet attached, marked ES2011, giving title(s) of story(s), author’s name, address, and/or telephone number/email address. Please say where you heard about this competition.

Or email:

  • Email entries accepted if you have no access to UK post or cheques but please send in the body of an email. We don't open attachments from people we don't know. Please choose the £5 or £10 Pay button then use the 'click here' email address below to send your story. Don't forget to include your contact details and Paypal transaction number in the email. 

 

Email entries

 

£5 per story up to 4000 words       

 

 

£10 per story up to 8000 words   

 

Please  click here to email your entry

via earlyworkspress.co.uk

 

INTERVIEW + VIDEO: “Adebisi” Speaks on the Mystique of the Black British Actor in America « Clutch Magazine

“Adebisi” Speaks

on the Mystique

of the Black British Actor

in America

Thursday Oct 20, 2011 – by

I must admit, my vital signs may have spiked a bit as I laid my eyes upon Urban Daily’s post that asks what makes Black British Actors as so dang (delectable) popular. Idris Elba (uh, duh), Colin Salmon, Adrian Lester, Chiwetel Ejiofor, newcomer John Boyega – these are just a handful of Black actors from the other side of the pond whose immense talent and rare debonair have folks in the US, and beyond, taking notice.

Adewale Akinnuoye-Agbaje, the Multi-lingual, London-born actor best known for his tour-de-force portrayal of Adebisi in HBO’s groundbreaking series, Oz, shares his two cents on Black British Thespian appeal. While promoting his latest film, The Thing – a prequel to the sci-fi classic by the same name – Adewale also expresses his desire to bring another character to life from the Marvel universe, “The Black Panther.”

 


Source

via clutchmagonline.com

 

ECONOMICS: Poverty Increases in Post-Katrina New Orleans > Loop21

Getty Images

POVERTY INCREASES IN

POST-KATRINA

NEW ORLEANS

For black children under five, poverty rate is 65%

2010 Census figures are showing disturbing poverty rates in New Orleans -- black poverty is over twice that of white poverty in the city five years after Katrina, and the poverty rate for children under five years old is 65% compared to 1% for white children the same age, according to analysis from Tulane University's Southern Institute for Education and Research.

Dr. Lance Hill, executive director of the Southern Institute, says that this means Katrina recovery dollars have not been benefitting some of the poorest members of New Orleans society.

Writes Hill in his blog:

"With all the triumphal rhetoric of New Orleans as a city rising from the dead, the Census Bureau data offers the harsh truth that that some have risen while others have fallen.  We act at our own peril if we ignore these troubling developments; the problems of education and youth crime and violence cannot be solved as long as local blacks are unfairly deprived the economic benefits of the recovery and the recovery jobs for rebuilding the city."

The figures used for this analysis came from the Census' American Community Survey data based on a poll of 2,500 people. The survey showed that one in four adults in the city now live in poverty while 42% of children overall do, based off income reported for the last 12 months.

via loop21.com

 

__________________________


 

Poverty Skyrockets

 

in New Orleans:

 

65% of Black Children

 

Under Age of Five

 

Living In Poverty

 

Guest Blog:                                                                                                                                                        October 17, 2011

On September 22 the Census Bureau released information from their 2010 annual American Community Survey based on a poll of 2,500 people in New Orleans.  Not surprisingly, the report was ignored by the local mainstream media since it speaks volumes about the inequality of the Katrina recovery.  Despite the billions in post-Katrina federal dollars for building schools, streets and bridges, and homes, the New Orleans poverty rate has actually increased back to the highest level since 1999.  The survey revealed that 27% of New Orleans adults now live in poverty and 42% of children.  

This recent development reverses the temporary decline in poverty rates reported in 2007 and 2008 surveys when the poverty rate was nearly cut in half compared to pre-Katrina numbers.   Those early declines in poverty were probably the result of large numbers of low-income African Americans who could not afford to return or lacked housing and employment.  The new spike in poverty, despite the increase in overall education levels in the city, may signal that blacks are not sharing equally in the employment benefits of recovery dollars.  Indeed, the city may be creating a new generation of chronically unemployed poor who were previously part of the low-wage working poor.

When President George Bush waived the prevailing wage provisions of the Davis-Bacon Act following Katrina, he provided employers with a financial incentive to hire low-wage outside temporary workers.  State contracts to rebuild storm-damaged schools have provided little employment for black storm victims.  The new rise in poverty can be attributed in part to the exclusion of local blacks from recovery jobs, including rebuilding school facilities and school operations.  It is self-defeating to attempt to solve the long-term public education problems while children and their parents are pushed deeper into poverty by education agency employment and contracting policies.

Separating out the numbers by race shows a profound and growing racial inequality.  While the overall adult poverty rate is 27%, black poverty is nearly double the white poverty rate:  34% compared to 14%.  The child poverty rate of black children under five years old is an appalling 65% compared to less than 1% for whites. The Census Bureau data indicate that there are 9,649 black children under the age of five living in poverty in New Orleans in contrast to only 203 white children.

But what is truly stunningly is that the survey indicates that that while there are several thousand African American males ages 12 to 15 years old living in poverty, the survey could not find a single white male in the same age bracket in poverty.

With all the triumphal rhetoric of New Orleans as a city rising from the dead, the Census Bureau data offers the harsh truth that that some have risen while others have fallen.  We act at our own peril if we ignore these troubling developments; the problems of education and youth crime and violence cannot be solved as long as local blacks are unfairly deprived the economic benefits of the recovery and the recovery jobs for rebuilding the city.

Sources:  Racial breakout data from U.S. Census Bureau, American Community Survey 2010 1-year Estimates (Fact Finder files); for general non-racial 1999 and 2007 data, Greater New Orleans Community Data Center which used Census Bureau reports,Numbers Talk Newsletter September 26, 2011.  For spread-sheets of poverty by race in 2010, see  http://bitly.com/nWi1Rh for black percentages andhttp://bitly.com/nM9NZH for white percentages.  For GNODC report seehttp://bitly.com/oiN39S

Lance Hill, Ph.D.
Executive Director
Southern Institute for Education and Research
Tulane University

 


 

The Deception of the "Lottery"

 

at Lycee Francais and

 

Audubon Schools

 

The Misuse of

 

Charter Schools - Part II

 

Research on Reforms, Inc.
October 2011                                                                                                                

Dr. Barbara Ferguson and Karran Harper Royal

Charter schools are tuition-free, independently-operated public schools that admit students based on a lottery if more apply than can be accommodated. However, the lottery is skewed at Lycee Francais de la Nouvelle-Orleans Charter School and Audubon Charter School, each located in uptown New Orleans. Lycee Francais’ pre-kindergarten children, whose parents pay $4,570 tuition, are able to re-enroll into the tuition-free kindergarten, skipping any lottery. At Audubon, children whose parents pay $9,050 for a private pre-kindergarten, enter Tier 1 of the lottery and enroll first into the tuition-free kindergarten. Charter schools are to be open and accessible to all children. Skewing the lottery in favor of children whose parents are able to pay for pre-kindergarten is a misuse of the charter school concept.

To read the entire article, please go to:http://ResearchOnReforms.org/html/documents/DeceptionoftheLottery.pdf

 

 

 

 

INTERVIEW + VIDEO: Al Sharpton Extended Interview - The Daily Show with Jon Stewart - 10/19/11 > Comedy Central

REV. AL SHARPTON
The Daily Show with Jon Stewart

Wednesday October 19, 2011

Exclusive - Al Sharpton Extended Interview Pt. 1

In this unedited, extended interview, Reverend Al Sharpton discusses how the Occupy Wall Street movement has changed America's political conversation.

 

<div style="background-color:#000000;width:520px;"><div style="padding:4px;"><p style="text-align:left;background-color:#FFFFFF;padding:4px;margin-top:4px;margin-bottom:0px;font-family:Arial, Helvetica, sans-serif;font-size:12px;"><b>The Daily Show with Jon Stewart</b><br/>Get More: Daily Show Full Episodes,Political Humor & Satire Blog,The Daily Show on Facebook</p></div></div>

via thedailyshow.com

 

WAR: He's A Badddd Man- Who's Gonna Be Next To Die?

Thursday, October 20, 2011

"This marks the end

of a long and painful chapter

for the people of Libya .."

 

Damn O man, can you find another A-merry-can hater to kill? [Graphic Warning on this link!] I bet terrorist and despots all over the world thought that when the black Socialist took over the United States it would be one big party. Not! That Obama is not to be f&^%$d with. Must be a Chicago thing. Now if he could just grow some and get tough on some of the political terrorist in this country.

All of you folks heading to an occupy [fill in the blank] better be careful. Folks are watching you and they are taking names.

"A public radio host was fired on Thursday after the conservative political site The Daily Caller exposed her role as a spokeswoman for "October 2011," the faction of Occupy Wall Street movement occupying Washington's Freedom Plaza.

Lisa Simeone, the host of the nationally syndicated "World of Opera" show, and former weekend host of "All Things Considered," is a freelancer working for WDAV, NPR's Davidson, N.C., affiliate, where "World of Opera" originates. She also was the host for the weekly D.C. show "Soundprint" on NPR's WAMU affiliate.

Simeone confirmed on Thursday that she had been fired from the "Soundprint" show; NPR is "in conversations" about her role as both "World of Opera" host and Occupy D.C. protester.

"We recently learned of World of Opera host Lisa Simeone's participation in an Occupy D.C. group," NPR communications SVP Dana Davis Rehm wrote in a memo to affiliates. "We're in conversations with WDAV about how they intend to handle this. We of course take this issue very seriously."

 
Those conversations could result in Simone's firing from that show, too. On Thursday, Rehm added: "We fully respect that the management of WDAV is solely responsible for the decision making around Lisa's participation in Occupy DC and her freelance role with WDAV's program."

 
On Wednesday, Simeone wrote in an email to the Baltimore Sun that she didn't understand what the fuss was all about:

I find it puzzling that NPR objects to my exercising my rights as an American citizen -- the right to free speech, the right to peaceable assembly -- on my own time in my own life.

I'm not an NPR employee. I'm a freelancer. NPR doesn't pay me. I'm also not a news reporter. I don't cover politics. I've never brought a whiff of my political activities into the work I've done for NPR World of Opera. What is NPR afraid I'll do -- insert a seditious comment into a synopsis of Madame Butterfly?

This sudden concern with my political activities is also surprising in light of the fact that Mara Liaason reports on politics for NPR yet appears as a commentator on Fox TV, Scott Simon hosts an NPR news show yet writes political op-eds for national newspapers, Cokie Roberts reports on politics for NPR yet accepts large speaking fees from businesses. Does NPR also send out "Communications Alerts" about their activities?


Ms. Simeone, didn't you know that all political activities aren't created equal? [Article]

I will be heading out of the country for a few days. I will try to blog, but I am not sure if I will be able to.

Holla at you soon. That's if they let me me back into A-merry-ca. :)

via field-negro.blogspot.com

 __________________________

 

Simeone (NPR)


NPR host’s involvement in

Occupy D.C. leads to her firing

from another show

 

By Dylan Stableford

Senior Media Reporter

A public radio host was fired on Thursday after the conservative political site The Daily Caller exposed her role as a spokeswoman for "October 2011," the faction of Occupy Wall Street movement occupying Washington's Freedom Plaza. 

Lisa Simeone, the host of the nationally syndicated "World of Opera" show, and former weekend host of "All Things Considered," is a freelancer working for WDAV, NPR's Davidson, N.C., affiliate, where "World of Opera" originates. She also was the host for the weekly D.C. show "Soundprint" on NPR's WAMU affiliate.

Simeone confirmed on Thursday that she had been fired from the "Soundprint" show; NPR is "in conversations" about her role as both "World of Opera" host and Occupy D.C. protester.

"We recently learned of World of Opera host Lisa Simeone's participation in an Occupy D.C. group," NPR communications SVP Dana Davis Rehm wrote in a memo to affiliates. "We're in conversations with WDAV about how they intend to handle this. We of course take this issue very seriously."

Those conversations could result in Simone's firing from that show, too.  On Thursday, Rehm added: "We fully respect that the management of WDAV is solely responsible for the decision making around Lisa's participation in Occupy DC and her freelance role with WDAV's program."

On Wednesday, Simeone wrote in an email to the Baltimore Sun that she didn't understand what the fuss was all about: 

I find it puzzling that NPR objects to my exercising my rights as an American citizen -- the right to free speech, the right to peaceable assembly -- on my own time in my own life.

I'm not an NPR employee. I'm a freelancer. NPR doesn't pay me. I'm also not a news reporter. I don't cover politics. I've never brought a whiff of my political activities into the work I've done for NPR World of Opera.  What is NPR afraid I'll do -- insert a seditious comment into a synopsis of Madame Butterfly?

This sudden concern with my political activities is also surprising in light of the fact that Mara Liaason reports on politics for NPR yet appears as a commentator on Fox TV, Scott Simon hosts an NPR news show yet writes political op-eds for national newspapers, Cokie Roberts reports on politics for NPR yet accepts large speaking fees from businesses.  Does NPR also send out "Communications Alerts" about their activities?

The concern is not entirely sudden. Last year, the radio network former political correspondent Juan Williams for confessing on Fox News's "O'Reilly Factor" that he felt apprehensive when he would see Islamic passengers in airports. Williams' ouster eventually led to the resignation of NPR chief Vivian Schiller's, and a black eye for its image. And earlier this year, conservative media prankster James O'Keefe captured an NPR fundraising executive on video making disparaging remarks about Republicans and the tea party movement to two conservative activists posing as Islamic donors. In the wake of both embarrassing episodes, NPR executives have tried to more vigilantly monitor the PR damage from its talent participating in partisan activities.

In the Simeone case, NPR insists that it doesn't matter that the host's main coverage area has virtually nothing to do with national politics or the economic scene.  "A journalist is always attached to journalism," WAMU News Director Jim Asendio told Roll Call.

It's also true that Simeone's role at the network isn't simply limited to opera coverage. According toher bio on NPR.org, Simeone has "developed a loyal following for her unusual mix of programming--classical, folk and jazz, along with provocative reports, interviews and call-in shows on everything from anthropology and neuroscience to philosophy to media criticism."

And, as Poynter's Julie Moos noted, this is not Simeone's first stint as an activist. In 1994, Simeonehelped organize demonstrations outside a Baltimore courthouse to protest violence against women.

UPDATE: WDAV, the radio station that produces "World of Opera," has released a statement saying Simeone  remain as host:

Ms. Simeone's activities outside of this job are not in violation of any of WDAV's employee codes and have had no effect on her job performance at WDAV. Ms. Simeone remains the host of World of Opera.

>via: http://news.yahoo.com/blogs/cutline/npr-host-involvement-occupy-d-c-leads-her...

 

 

VIDEO: FUTURESTATES : Tia & Marco By Annie J. Howell

TIA & MARCO

GO HERE TO VIEW MOVIE

SYNOPSIS

The year is 2025. All U.S. citizens in good health are now required to serve one year in a government job, placed by lottery in to schools, soup kitchens, highways and borders.
 
Tia Moran is six months pregnant and finishing her year as a patrol officer on the U.S.-Mexico border. Her service has taken its toll: After months of grueling work, she no longer empathizes with those who make it over the wall. “English-only” laws have prohibited government employees from learning or speaking Spanish, and far fewer Mexicans speak English, contributing to an intensified environment on the border. Tia is simply relieved that she can now return to New York City where she and her boyfriend will prepare for the birth of their son.
 
On her last night in Arizona, Tia discovers Mexican teen Marco — cunning, charming, and speaking perfect English — hiding in her house. Waiting overnight for Border Patrol to pick him up, she is forced to consider her loyalties to closed systems as well as her own humanity. At once a cautionary tale and a story of hope, Tia and Marco investigates the complexities of immigration through one personal interaction.

GENESIS

In September 2008, I was participating in IFP in New York, a weeklong conference of sorts for independent filmmakers, when I met with Richard Saiz of ITVS. He told me about how he conceived of the FUTURESTATES; he was interested in stories set in the future, but not in the Kubrick sense — really, more in the spirit of The Twilight Zone. You know, social issues gone awry: weird scenarios, not necessarily weird alien creatures. Okay, I can handle that, I thought — never ever having taken on any writing outside of small character-driven dramas … or dramedies (really hate that word). So, I set out to write a border story. 

I’ve been interested in the Mexican-American border and all of its complexities, mostly because I’m a native Arizonan. The issue is everywhere if you grow up there. Most of the service workforce is Mexican, and whether or not one is legal is simply never discussed. I have memories of my mom talking about kids in her third-grade class in our town, and how their parents were coping, having come to the U.S. to seek a better life but finding significant obstacles here. The churches in our town would take in people no matter their circumstance, and I remember being impressed by this compassion — sheltering and educating people who for the most part simply wanted to work, educate their children, and find a way out of poverty.

As I grew older, and eventually relocated to New York City, the issue changed according to the region, but some of the elements remained the same. Upon seeing the excellent documentaryFarmingville (2004, Carlos Sandoval, Catherine Tambini), I was amazed at how similar some of the problems were; fears on Long Island resembled fears in Arizona: people feeling migrant day laborers on Long Island or construction workers in Arizona might threaten their safety, take a job, or simply change the visual landscape of their lives. In Arizona, the issue had escalated over the years to the point where a rogue sheriff was making illegal raids on local businesses and encouraging profiling in traffic stops, looking for “illegals.”

What I wanted to do with this piece was to get at the way in which small interactions can hold tremendous power toward understanding, even in the most helpless scenarios. In some debates, the human face has been erased from the immigration issue. If we can work toward legislation that is both compassionate toward the human realities and also addresses the economic dependence our society has developed on this workforce — as opposed to throwing a fence around the problem to assuage abstract fears — we’ll be heading in the right direction.

— Annie J. Howell, Director

MAKING OF

We edited Tia and Marco in a tidy suite on the campus of Ohio University, where I am currently an assistant professor of film. It was mid-October and the leaves were drifting steadily down. OU is a pristine campus, complete with requisite architecture and herds of undergrads in flip-flops, despite the weather. Our minds, however, were in Arizona, a climate significantly hotter and a landscape as foreign as the moon. Greg Sirota and I were grappling with exactly how to craft this relationship between an obstinate, determined border guard and her mysterious captive, Marco — a charismatic, irreverent “illegal” from the south.

Okay, so how to do this? We wanted our audience to believe that a connection between these two parties was possible, and more importantly, believable. Why would a border guard even communicate with the kid who broke in to her house? On the night before she’s to leave for her home in New York City to have a baby? Isn’t it easier to just ignore this kid and get through waiting for him to be picked up?

In the script, I had the moment of connection coming early, when Tia feels guilty enough to feed Marco. They had a whole conversation about her name, Tia, which means “aunt” in Spanish — and Marco teases her that she really must know Spanish if she knows this word. (In the futuristic premise of the film, government employees are prohibited from speaking Spanish.) In the edit, this was far too much too soon. She’d just locked him up a few hours ago! We found the solution in cutting most of the dialogue in the scene. Instead, simply, Marco asks this border guard to tell him her name. This was supposed to introduce the entire scene. Instead, that’s it. No more talking. Eating was enough. 

On the set, it was actor Enrique Ochoa’s idea for the line: “So, what’s your name?” At the time, I thought, no — I’ll never use that — too earnest. But let’s do it anyway. It ended up being perfect, on its own, as the point of the entire scene. It was just enough to crack open the door so that Tia later actually considers for a wild moment that she can risk it all for this stranger. I’m grateful we were able to shorten this key scene to make this story point possible, and grateful to Enrique for coming up with that line.

— Annie J. Howell, Director

CAST & CREDITS

Filmmaker Bios

Annie J. Howell
Director

Howell has written and directed short films that have played internationally on the film festival circuit, including at SXSW, Newport, Full Frame, and Clermont-Ferrand. Her work has aired on the Sundance Channel, PBS, and the Independent Film Channel. Her screenwriting work, in development with New York production companies such as Locomotive Films (producers Lucy Barzun Donnelly and Joshua Astrachan), has been the recipient of a 2005 Nantucket Screenwriters’s Colony fellowship and the Grand Prize Award at IFP’s 2008 Independent Film Week. Her web series, sparks-series.com, will appear soon on Sundancechannel.com, where she also blogs about film and storytelling. Annie earned an MFA at NYU’s Graduate Program in Film and is currently Assistant Professor of Film at Ohio University. She has also taught at Duke University and at The New School, where she was the founding director of the Graduate Certificate in Documentary Media Studies.

 

Dane C. Reiley
Producer

Reiley has built a resume as a freelance producer that includes commercial work for clients such as FlipCam and Capcom, award-winning short films, and a variety of long form productions for Comedy Central, PBS, and Warner Bros among others. Recently, Dane co-founded LOOSEWORLD, a production company that combines innovative production services with a conceptual, creative community project designed to cultivate the arts through creation and appreciation. The company is currently producing a wide range of work, from music videos for artists like WALE and Devendra Banhart, to series development for Comedy Central on their recent pilot, The Fuzz, with creative partner Waverly Films. While studying for his BFA at the renowned Kanbar Institute of Film & Television at New York University, Dane produced the film Clubscene, which received the esteemed honor of being named a finalist for a Wassermann, an award once bestowed on such fellow NYU alumni as Spike Lee, Ang Lee, and Nancy Savoca. Additionally, Dane works seasonally as an events producer for the Tribeca Film Festival coordinating filmmaker and industry events and after-parties.

 

Cast Bios

Susan Kelechi Watson — “Tia”

Watson hails from Brooklyn, NY, but currently finds her time split between the East and West coasts for appearances on hit crime dramas such as NCIS, Law & Order, and Numb3rs. Susan would like to thank Annie Howell for giving her such a complex and satisfying character, as well as her family for their constant support.

 

Enrique Ochoa — “Marco”

A native of Mesa, Arizona, Enrique Ochoa has been acting since the age of seven. For the past nine years, he’s worked with Dani’s Agency in Tempe to build his reel while attending school full time. Enrique is very close with his family in Mexico and visits them regularly. Enrique plans to pursue acting professionally into adulthood. He wishes to thank his parents and siblings for their support.

via futurestates.tv

 

VIDEO: “The Undocumented” Documentary by Marco Williams > Shadow and Act

Kickstarter Campaign

and Trailer:

“The Undocumented”

Documentary 

 by Marco Williams

From Marco Williams, the filmmaker of TV documentaries such as Banished: How Whites Drove Blacks Out of Town in America, I Sit Where I Want: The Legacy of Brown v. Board of Education and MLK Boulevard, comes The Undocumented, a documentary about Mexican immigrants perishing as they attempt crossing the border through the Arizona desert, and how it directly relates to the United States Immigration Law. The Documentary has raised $22,721 out of $75,000 with 18 days left. Check out the Kickstarter campaign page HERE for more information and to support the film.

From the Kickstarter page:

The Undocumented, is a documentary I am making which exposes the little known consequence of current United States immigration policy—the annual recovery of dead bodies and skeletal remains of those who attempt to cross into the United States through the Sonora desert.  The film documents border patrol agents who fight to prevent migrant deaths, medical investigators and the Mexican consulate who work to identify dead border crossers, and Mexican families who struggle to accept the loss of a family member.

Unlike other documentaries, my film does not engage in a passive dialogue. Those depicted in the film don’t merely talk about migrant deaths; they are immersed in it. They patrol the desert. They wheel body after body in and out of a refrigerated storage room.  They look for clues to an identity. They speak to distressed family members.  They relay sobering news of a loved ones death.

Migrant deaths along the United States – Mexico border since 2001 exceed US troop deaths in Afghanistan over the same period of time. Yet the issue remains largely invisible, the topic muted or silent.  This silence is absolutely “an accomplice to injustice” for the more than 2000 men, women, and children who have died along Arizona’s border in the last ten years.

I have a long track record of producing social documentary films that address injustice and contribute to a national dialogue about the issues that define us and shape our American identity. The Undocumented continues this commitment.  Rather than advocate a solution to the problem of illegal immigration, the film aims to facilitate dialogue by presenting the unique experiences of the men and women who confront migrant deaths regularly.

Check out the trailers below.

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Vanessa Martinez posted

via blogs.indiewire.com