Losers and Winners - Icarus Filmsmisc.icarusfilms.com/pdf/global07.pdf · 2nd, 2000 at the Yanacocha goldmine in the Peruvian Andes, 151 kilograms of liquid mercury spilled over a

1First Run/Icarus Films

Two worlds collide when 400Chinese workers arrive in the

Ruhr Valley of Germany, where they are met bythe last 30 employees of the Kaiserstuhl cokefactory (the “shutdown managers”).

A state-of-the-art facility built at a cost of over650 million Euros in 1992, the Kaiserstuhlcoke factory closed only eight years later,when the cost of importing coke becamecheaper than manufacturing it.

Filmmakers Ulrike Franke and Michael Loekenwatch as, for the next year-and-a-half, theChinese work sixty-hour weeks, often underdangerous conditions, to literally take the giantfactory apart, piece-by-piece, and ship it backto China.

In the process LOSERS AND WINNER catchesglimpses of the Germans’ concerns for rulesand safety even as they watch their livelihoodand life’s work disappear around them. For theirpart, the chinese resent the condescension theyfeel and criticize the lazy work habits of the “old foreigners.”

More broadlyLOSERS ANDWINNERS makespalpable some ofthe ironies andambiguitiesinherent in global-ization. Whatdoes it mean when jobs and the “economicmiracle” that made them possible leave onecountry, while in the Middle Kingdom newvisions come and go with each passing day?

“A haunting, calm and precisely observed film on globalization and its effects; a work that makes both sides comprehensible andstimulates thought.”—Kino-Zeit

Best International Feature, 2007 Hot Docs Canadian InternationalDocumentary Festival

Film Critics Award, 2007 ChicagoInternational Documentary Festival

Gold Remi Award, 2007 Worldfest Independent Film Festival

96 minutes | color | 2007 Sale//DVD: $398 | Order #GL7-01

Films, Videos & DVDs on

Losers and Winners A Film by Ulrike Franke & Michael Loeken

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In 1998 Lee Geun Hyuk, with hiswife and infant daughter, left Seoul

for Korea’s South Chungcheong Province tobegin a new life in farming. Lee believesstrongly in the importance of traditional farmingmethods, and the need to organize amovement to protest the government’s newfree-trade policies in agriculture.

For the next year Kwon Woo-jung lived with theLee family to film BACK TO THE SOIL, anintimate chronicle of the family’s experiences: aportrait of personal travails and change at theintersection of political commitment and global-ized agribusiness

The Korean government’s decision to abandonsmall national farmers in favor of a Free TradeAgreement in agriculture, threatens to flood thecountry with cheap imported rice and other

foods, the trend against which Lee is striving to sustain and revitalize traditional farming.His family’s story in BACK TO THE SOIL person-alizes a situation facing small farmers not onlyin Korea, but also throughout the world.

“Demonstrates how difficult it is, even for well-educated and determined individuals, todisplace the massive influx of cheap agricul-tural commodities in the world economic order.Highly recommended!”—Educational Media Reviews Online

2004 Seoul Independent Film Festival

2004 Gangju Human Rights Film Festival

85 minutes | color | 2004 Sale/DVD: was $440 now $398 | Order #GL7-04

Antonio Negri’s Empire, coauthored withMichael Hardt, was an international bestseller.A critical analysis of the new global economy,it was hailed as a bold new manifesto for the21st century and overnight it turned Negriinto a leading spokesperson for the interna-tional anti-globalization movement.

ANTONIO NEGRI profiles the controversial lifeand times of this university professor, philoso-pher, militant, prisoner, refugee, and so-called“enemy of the state.” Against the backdrop ofscenes of recent anti-globalization protests,Negri discusses the dangers of the economic,cultural and legal transformations beingwrought by the forces of globalization as wellas the opportunities to resist these changes.

“A rich—nearly Hollywoodian—cache ofbiographical material... assembled with greatskill and obvious passion. Crackles withunexpected twists and is braced by lucidexcurses on Negri’s political theories...Great!”—Cineaste

52 minutes | color | 2004 Sale/DVD: $390 | Order #GL7-03

Antonio Negri—A Revolt That Never EndsA Film by Alexandra Weltz & Andreas Pichler

3Call Toll Free: 800.876.17102 First Run/Icarus Films

Examines the life and work of Amartya Sen,Professor of Philosophy and Economics atHarvard University, focusing on his SocialChoice Theory, for which he was awarded theNobel Prize in Economics in 1998.

“Superb, well-edited, and thoughtful.”—The Journal of Development Economics


Amartya Sen: A Life ReexaminedA Film by Suman Ghosh

Back to the Soil A Film by Kwon Woo-jung

NEWrelease

CAN’T DO IT IN EUROPE portraysthe new phenomenon of “reality

tourism,” whereby American or Europeantravelers seek out real-life experiences asexciting tourist “adventures.” The film follows agroup of such international tourists as they visitthe mines in Potosi—the poorest city in thepoorest nation in Latin America—whereBolivian miners work by hand, just as they didcenturies ago, to extract silver from the earth.

Led by their Bolivian tour guide, and walkingthrough constricted, muddy and poorly venti-lated tunnels, breathing fetid air laced witharsenic, asbestos and toxic gases, andoccasionally dodging fast-moving carts loadedwith silver ore, the tourists take in the “sights”with goggle-eyed amazement.

In addition to interviews with the tourists, tourguide, and an elderly retired miner, CAN’T DOIT IN EUROPE features a discussion by thecity’s Director of Development, who boasts ofthe city’s growing tourist trade and explainswhy, in order to preserve the authentic “experi-ence” for tourists, they don’t want to change orimprove working conditions for the miners.

“Accessible to those first being introduced toanthropology, it is also provocative andengaging for senior students able to addressmore fully themes of postcolonialism, thetourist gaze, authenticity, commodification,globalization, and discourses of Orientalismand imperialist nostalgia.”’—Anthropologica

2007 MoMA Documentary Fortnight

2006 Cinema du Réel


Can’t Do It in Europe A Film by Anna Weitz, Anna Klara Åhréns & Charlotta Copcutt

5See Page 31 for Ordering Information

In the aggressive search for the“black gold” that drives Western

economies, multinational corporations areworking to extract billions of dollars of oilreserves from beneath Ecuador’s rainforest.BETWEEN MIDNIGHT AND THE ROOSTER’SCROW investigates the operations of the EnCanaCorporation, which despite proud public decla-rations of its social responsibility, is shown tobe answerable for widespread environmentalcontamination and human rights violations.

BETWEEN MIDNIGHT AND THE ROOSTER’SCROW focuses on EnCana’s development of aheavy crude pipeline designed to pump oilacross Ecuador from the Amazon to the Pacificcoast for export. Filmmaker Nadja Drost followsthe cross-country route of the pipeline, alongthe way interviewing farmers, small landowners,indigenous community representatives, and

environmental activists, who recount forcedrelocation, imprisonment, and intimidation bythe Ecuadorian police and army who have beenassigned to protect EnCana’s pipeline.

“An important and timely film…for all citizensof the global village.”—International ThirdWorld Studies Journal & Review

“Disturbing…especially useful in the collegeclassroom.”—Bridges: An InterdisciplinaryJournal of Theology, Philosophy, History, andScience

2006 American Sociological Association Film Festival

2005 Planet in Focus Environmental Film Festival


4 First Run/Icarus Films

Between Midnight and the Rooster’s Crow A Film by Nadja Drost NEW

release

NEWrelease

This is the story of an Andean paradise lost—lost after a devastating mercury spill. On June2nd, 2000 at the Yanacocha goldmine in thePeruvian Andes, 151 kilograms of liquidmercury spilled over a 25-mile long area,contaminating three mountain villages,including Choropampa. The environmentalcatastrophe turned this quiet village into ahotbed of civil resistance.

The mine, jointly owned by a Peruviancompany, the World Bank, and the NewmontMining Corp of Colorado, insists the problemwas quickly resolved, while villagers tell astarkly different story. CHOROPAMPA—THE PRICE OF GOLD follows their valiantstruggle for health care and justice over a two-year period.

In cinéma-vérité style, illustrated by archivalfootage, CHOROPAMPA—THE PRICE OF GOLDexposes the global gold trade’s nasty under-belly, and makes it clear that the village wassacrificed to American business interests.The story is a poignant reminder of the realcost of gold.

“Impressive... captures all the subtlety andcontradictions of power relations in the Andes. Iwould highly recommend this video to anyoneinterested in globalization or the spirited waysin which common people resist it.”—Professorof Anthropology Mary Van Buren, ColoradoState University

Rudolf Vrba Award, 2003 OneWorld International Film Festival


Choropampa—The Price of GoldA Film by Ernesto Cabellos & Stephanie Boyd

7Call Toll Free: 800.876.1710

In the developed world, the demand fordomestic help is increasing. In many Westernfamilies both partners need to earn money foreconomic survival. The resulting need foradditional nursing and childcare has led to aworldwide shift in the areas of care and love.One of the consequences is migration:escalating numbers of women in the ThirdWorld are leaving their own children to takecare of children in the West, where manyparents seemingly can’t care for their children,and pursue their careers.

Women from the Philippines are well regardedin this respect. They speak English, areCatholic, and according to many, are caring,intelligent, and compliant. They are less expen-sive than a nursery school and supply morematernal love.

The money earned in the West issent home to the Philippines.Local help can then be hired tolook after the children of theexpatriates. This money is thelargest source of income inforeign currency, and maternal lovehas become the second largestexport product of the country.

“An excellent and timely documentary.”—Asian Educational Media ServiceNews and Reviews

“Recommended! ...would be most usefulin an academic library supporting asociology or cultural studies course.”—Educational Media Reviews Online


Chain of Love A Film by Marije Meerman


DAM/AGE traces writer Arundhati Roy’s boldand controversial campaign against theNarmada dam project in India, which willdisplace up to a million people. The author ofThe God of Small Things, which won the presti-gious Booker Prize in 1998, Roy has alsopublished The Cost of Living, a book of twoessays critical of India’s massive dam andirrigation projects. In Power Politics, Roychallenges the idea that only experts can speakout on such urgent matters as nuclear war, theprivatization of India’s power supply by Enronand issues like the Narmada dam project.

DAM/AGE shows how Roy, despite the threat ofimprisonment, chose to use her fame to standup to powerful interests supported by multina-tional corporations and the Indian government.In a clear and accessible manner, the filmweaves together a number of issues that lie atthe heart of politics today: from the conse-quences of development and globalization tothe urgent need for state accountability and thefreedom of speech.

“A moving, vividly potent film... HighlyRecommended!”—Video Librarian

“Highly Recommended! The ideas presented inthe film provide ample ground for discussionand contemplation.”—Educational Media Reviews Online

2004 American Sociological Association Film Festival

Women’s Achievement Award, 2003 One World Media Awards


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DAM/AGE: A Film with Arundhati Roy A Film by Aradhana Seth


For the Fulani nomads of West Africa cattleare the lifeblood. After many years of drought,however, lack of pasture and water threatensthe herd’s existence. Now, advanced satellitetechnology is being used to ensure theirsurvival.

THE COW JUMPED OVER THE MOONdocuments the interaction between the tradi-tion-based knowledge of West African nomadsand the advanced technological knowledge ofthe United States, represented by agenciessuch as NASA and NOAA (the NationalOceanographic and Atmospheric Agency).

From the traditions of the cow-herder in thedesert, to the expertise of the NASA space-scientist, THE COW JUMPED OVER THE MOONposes important questions about the nature ofknowledge and technology, autonomy againstconformity, and localization versus globaliza-tion.

“This film is a wonderful instance of howtechnology can assist in efforts to save theenvironment, climate, and diversity of theworld in which we live.”—Educational Media Reviews Online

“This film skillfully plays on the visual contrastsbetween tradition and modernity. The idea ofpresenting the great ecological debates of thefuture through the story of African cowherdersand the states of Western research on climateis very seductive.”—Télérama


The Cow Jumped over the MoonA Film by Christopher Walker


If, as the saying goes, informationis power, then journalists can be

seen as watchdogs of our government leadersand custodians of the public good, providingtruthful information to help citizens build orpreserve democratic societies. DEMOCRACYON DEADLINE is a comprehensive look atjournalists worldwide, working in differentmedia and various languages, as they attemptto speak truth to power.

Filmed in the United States and countriesthroughout Africa, Asia, Central America,Europe and the Middle East, DEMOCRACY ONDEADLINE profiles international journalists asthey cover local and international events, andin the process enables them to discuss theirsense of vocation, the need to defend journal-istic principles against commercial pressures,how they deal with censorship or governmentconstraints, as well as dangerous and evenlife-threatening conditions.

In an era when mainstream journalism,especially in the U.S., is being steadily erodedby political manipulation, commercialconstraints, and circulation and ratingspressures, DEMOCRACY ON DEADLINE is animportant reminder of the crucial political valueof an independent news media in anydemocratic society.

★★★ ½ “Inspiring… Highly recommended.”—Video Librarian

“Graphic and intense… Highly recommended.”—Educational Media Reviews Online

“Searing! Uses [the journalist’s] dangerouswork from around the world to forcefully illus-trate the importance of freedom of the press inpreserving democracy not only abroad, but alsoat home.”—Toronto Globe & Mail


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Democracy on Deadline A Film by Calvin Skaggs


More and more corporations today are“outsourcing” their production to countries withcheaper labor costs and less regard forworkers’ rights. Some corporate managers,whether out of sincere moral concern orbecause they must respond to the considera-tions of investors and shareholders, areattempting to balance profit-making with socialmorality.

A DECENT FACTORY focuses on such an effortby Nokia, the Finnish electronics firm, whichsends a team led by two business ethicsadvisors to examine conditions at a Chinesefactory supplying parts to Nokia.

The film documents in fascinating detail theirinspection of the plant, guided by its Europeanand Chinese managers. During their tour theNokia team investigates working and safetyconditions, payroll records, and potentialenvironmental hazards, and interviews Chinese employees.

The advisors’ final report to Nokia managers,which exposes numerous violations of even theless stringent Chinese laws on minimum wageand working conditions, confronts Nokia with thedilemma now facing an increasing number ofWestern firms—how is it possible to balance theprofit motive with a sense of social responsibility?

“An in-depth analysis of thecomplexity of globalization.”—Télérama

“Would be a great teaching tool for a business ethics class.”—The Business Ethics Blog

2005 Midwest Conference on Asian Affairs

2005 Hot Docs Film Festival


A Decent FactoryA Film by Thomas Balmès


NEWrelease

In a world in which the U.S. andEurope are addicted to oil and gas,

and those increasingly scarce resources arecontrolled by authoritarian regimes in SaudiArabia, Iran, Venezuela, Nigeria and Russia, thegeopolitical ramifications have upset the tradi-tional balance of power between nations.ENERGY WARS reveals precisely how theeconomic importance of fossil fuels affectsinternational politics and becomes a powerfultool of foreign policy.

The film profiles newly emergent “super-powers” such as Iran and Venezuela. Throughinterviews with Russian and Georgian govern-ment officials, ENERGY WARS shows how oilwas used as a political weapon in the strugglebetween an economically revitalized Russia andits former Soviet Republic.

Thomas Friedman (author of The Lexus and the Olive Tree: Understanding Globalization andThe World is Flat) analyzes the political conceptof “petro authoritarianism” and Kenneth Deffeyes(Hubbert’s Peak: The Impending World OilShortage and Beyond Oil) explains the “PeakOil” phenomenon, the point at which theearth’s supply of oil begins its terminal decline.

ENERGY WARS concludes by investigating thesearch for alternatives to our dependency onoil, featuring interviews with economists, stockmarket traders, and new energy entrepreneurswho discuss the pros and cons of such

possible substitutes as biofuels, hydropower,nuclear and solar energy. As China, Africa,Latin America and even Saudi Arabia arepreparing for a “green” future, it’s clear that aworld of new energy sources will reshape theglobal balance of political power.


Energy Wars A Film by Shuchen Tan, IJsbrand van Veelen & Rudi Boon


Seydou Konaté is a doctor inNongon, a small village in

Southern Mali. Working out of the CommunityHealth Care Center, with limited staff andtechnical facilities, he is the only doctor formore than 40,000 inhabitants.

EVERYTHING’S FINE portrays Konaté’severyday routine, treating a variety of injuriesand ailments in his clinic. Through itsengaging portrait of this self-styled “bushdoctor,” EVERYTHING’S FINE offers revealing

insights into the challenges of health care inAfrica today.

“Brings out the plight of current health carestandards in rural Africa, intertwined as theyare in every country, with political andeconomic realities…recommended.”—Educational Media Reviews Online

Heritage Award,2006 Cinema du Réel


Everything’s Fine A Film by Daisy Lamothe

Donka Hospital in Conakry, Guinea is similar tomany African hospitals. Built in 1959 justbefore independence, it was designed on aEuropean model, with little consideration for

African realities.The most impor-tant hospital inthe country, itsplight typifies thecrisis affectingthe entire Africanhealth sector.

“Illuminates the dedication of the few whostruggle against the darkness.”—San Francisco International Film Festival

Golden Spire Award Winner, 1997 San Francisco Film Festival

Best of the Festival and BestInternational Documentary, 1997 Hot Docs


Donka: X-Ray of an African HospitalA Film by Thierry Michel


NEWrelease

NEWrelease

When a dam burst at a Romanian goldmine inearly 2000, more than 100,000 tons of cyanidewas released into the Tisza River, destroying itsecosystem as well as the livelihoods of subsis-tence fishermen in neighboring Hungary.

INHERITANCE: A FISHERMAN’S STORY filmfollows fisherman Balazs Meszaros as hestruggles with the effects of the disaster on hiscommunity, his own work and personal life, andattempts to discover the corporate forcesbehind the mining operation

He eventually learns that Esmeralda, anAustralian corporation, owns the Romanianmine. Balazs, who has never been on anairplane before, travels to Australia to confrontthe company managers responsible for thespill, to discuss compensation, and confrontthem with a human face of the tragedy.

As INHERITANCE follows Balazs’s movingefforts to preserve a way of life, anddocuments his transformation from quietfisherman into a man who stands alone againsthuge multinational corporations, it exposes theenvironmental, and human, consequences ofunregulated globalization.

“Brilliant! Very impor-tant! Candidly andcaptivatingly handlesone of the dark sidesof globalization.”—DOX DocumentaryFilm Magazine

“An excellent film forthe global environ-mental history.”—H-EnvironmentDiscussion Network

Best Documentary Award, 2004 Real Life on Film Festival

2004 Planet in Focus Film Festival



Inheritance: A Fisherman’s StoryA Film by Peter Hegedus


The 20th century has seen the creation ofcolossal wealth and exploding economies. Butthe days of industry providing mass employ-ment are over. In the global economy, humanresources are being replaced by technology.We are moving from a mass labor force to anelite corps concentrated in the knowledgesector.

FOR MAN MUST WORK raisescrucial questions and suggestsrethinking the future. Filmed in theUnited States, Canada, France andMexico, the film shows how livingand working conditions are deteri-orating for many people. Besidespersonal stories, we also hear fromexperts such as Vivianne Forrester,author of The Economic Horror; Jeremy Rifkin,American economist and author of The End ofWork; sociologist Ricardo Petrella; IgnacioRamonet, editor-in-chief of Le Monde diploma-tique; and Jacques Attali, author of Dictionaryof the 21st Century and former president of theEuropean Bank for Reconstruction andDevelopment. They have no illusions—theythink the 21st century is getting off to a verybad start.

52 minutes | color | 2002 Sale/DVD:| $390 | Order #GL7-16

“Highly Recommended. This is asuperb piece of work that gives a thorough assessment ofglobalization in the context ofsupply and demand for labor… a full, practical and theoreticaltreatment of a complex subject.”—Educational Media ReviewsOnline

“A very disturbing portrait of thefuture.”—Labor History Journal

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For Man Must Work, or the End of WorkDirected by Jean-Claude Bürger A National Film Board of Canada Production


Lagos’ population is expected to reach 24million people by 2020, which would make itthe third largest city in the world. Every hour,21 new inhabitants set out to start a life in thecity, a life that is highly unpredictable andrequires risk taking, networking and improvisa-tion as essential strategies for survival.

Rem Koolhaas is a Professor of Architectureand Urban Design at Harvard. For the pasteleven years Koolhaas and students from TheHarvard Project on the City have come toLagos, Nigeria regularly to research the type ofurban environment that is produced by explo-sive population growth.

LAGOS / KOOLHAAS follows Koolhaas duringhis research in Lagos over a period of twoyears as he wanders through the city, talkingwith people and recognizing the problems withwater, electricity and traffic, and helping todevelop a new concept of the big city.

“Highly Recommended! Excellent… The filmhas excellent production values, and is easy toview and understand..”—Educational Media Reviews Online

“A fascinating and provocative insight into thevery extremes of globalizing modernity andurbanization… engaging and stimulatingviewing!”—Visual Anthropology Review

2004 African Studies Association Film Festival

2003 Architects Series,Museum of Modern Art (New York)

2003 International Environmental Film Festival


Lagos / KoolhaasA Film by Bregtje van der Haak


KNOCK OFF is a reflection on counterfeitbranding, consumerism, sweatshop labor and globalization, framed by a journey upBroadway in New York City. The tour includespolice seizures of knock-off merchandise sold by immigrants in Chinatown, a visit topricey designer stores in the chic Sohoneighborhood, bargain designer-look-alikegoods in Times Square, and imaginativemanufacturers in Harlem who create their own fake designer products.

“An entertaining and provocative tour of someof the main issues raised by luxury brandedgoods in a global economy.”—Leonardo: The Journal for theInternational Society for the Arts,Sciences and Technology

2006 North American Labor History Conference


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KNOCK OFF: Revenge on the LogoA Film by Anette Baldauf & Katharina Weingartner

More and more people in Western societies,dissatisfied with their own lives, are eagerlyseeking “authentic,” real-life experiences. Oneresult has been the development of an “experi-ence economy,” in which companies offer“authentic” experiences, a chance to witnessor even participate in real-life adventures.

But the idealized representations of “authen-ticity” being promoted—often involving travelin foreign, especially Third World, countries—are largely illusory notions of global connec-tivity. The “experience economy” inevitablyfinds itself marketing the false and inauthenticas somehow “realer” than the real, more rootedin basic human emotional needs.

“Fascinating! Recommended!”—Educational Media Reviews Online


Keeping It Real A Film by Sunny Bergman


When Luiz Inácio da Silva, aformer metalworker known as

“Lula,” won the Brazilian presidency in 2002on a campaign promising agrarian reformand an end to hunger, popular hopes forsocial change galvanized the nation. LULA’SBRAZIL, filmed two years into his adminis-tration, examines the achievements as wellas the failures of his presidency comparedto his campaign promises, revealing how hisambitious plans have been frustrated by aclash with national and internationaleconomic interests.

The documentary sketches Lula’s personalstory and blends this biography with anintimate look at living conditions for Brazil’simpoverished majority. We accompany socialworkers from thegovernment’s“Zero Hunger”program as theyvisit the homes ofthe rural poor,and watch thepolice patrol thedrug- and crime-infested hilltopfavelas.

LULA’S BRAZILalso featurescommentary by government officials, NGOleaders, political advisors, factory workers, theunemployed, wealthy landowners, smallfarmers, peasant members of the LandlessWorkers Movement, and includes highlightsof Lula’s speeches both to the activist-oriented World Social Forum and the interna-tional economic elite’s World EconomicForum.

“Moving! Powerful!... A film that is equallyinteresting when read between the lines, andthat criticizes without losing hope.”—Agência Estado (Brazil)


Lula’s Brazil: The Management of Hope A Film by Gonzalo Arijón

19Call Toll Free: 800.876.171018 First Run/Icarus Films

NEWrelease

About midnight on December 3, 1984,huge amounts of toxic gas leaked from theUnion Carbide pesticide factory in Bhopal,India, poisoning hundreds of thousands ofpeople, and killing thousands.

Today, hundreds of thousands of people stillsuffer. Drinking water for at least sixteen nearbycommunities remains severely polluted, while, todate, no court of law anywhere in the world hasever held Union Carbide or any of its officersresponsible for what happened that night.

LITIGATING DISASTER explores how UnionCarbide successfully manipulated both the U.S.and the Indian legal systems against eachother, to avoid having to defend its record inthe Bhopal plant in court. Featuring, a youngIndian-American lawyer, the film follows thecase he brought on behalf of the victims in

front of the Federal District Court in New York.Case number 99CIV 11239 has survived twomotions to dismiss, and is now proceeding to trial.

LITIGATING DISASTER takes viewers on ariveting cinematic investigation, presenting thecompelling evidence assembled against UnionCarbide including unique, never before seen

documents unearthedthrough prolongedlegal struggles, andexclusive interviewswith former UnionCarbide formerofficers.

“Highly Recommended!... raises a series ofimportant questions... Eyewitness testimoniesprovide a vivid picture of the human sufferingcaused by the gas leak at the Union Carbideplant.”—Educational Media Reviews Online

2005 Public Interest Environmental Law Conference


Litigating DisasterA Film by Ilan Ziv

Since most of us take for granted the vastarray of foodstuffs readily available to us insupermarkets and restaurants, we give littlethought to how they have all been cultivatedand processed. OUR DAILY BREAD offers afascinating, behind-the-scenes look at ourmodern agricultural industry and the elaboratetechnology utilized for mass production.

In a series of visually stunning, wide-screencompositions, the film simply shows us, in asobjective a manner as possible, without edito-rial commentary or explanatory voice-overnarration, the immense and technically sophis-ticated nature of agricultural production today.In scene after scene that seem straight out ofa science-fiction or fantasy film, OUR DAILYBREAD reveals ingenious marvels of mecha-nization operating on an assembly-line basis,whether for the cultivation of plants or theslaughter of animals.

“The 2001: A Space Odyssey of modern foodproduction.”—The Nation

“Devastating! A Must-See!”—The New York Times

“A rare achievement in the documentary filmgenre...reflexive, subtle and intelligent.”—Leonardo Digital Reviews

2006 New York Film Festival

Grand Prize, 2006 Paris InternationalFestival of Films on the Environment

Best Film, 2006 ECOCINEMA Film Festival


Our Daily Bread A Film by Nikolas Geyrhalter


THE MEN WHO WOULD CONQUER CHINAfollows the efforts of wealthy New York invest-ment banker Mart Bakal and his well-connected Hong Kong business partner VincentLee as they join forces in an effort to createthe perfect mix ofeconomic andpolitical opportu-nity in China.

The film chroni-cles their effortsin New York,Beijing, Hong Kongand Shanghaiover a three-yearperiod. We join them as they engage in difficultnegotiations with Chinese government bureau-crats, tour Chinese factories seeking Westerninvestment, attend business luncheons andofficial receptions, and become embroiled intheir own disputes and arguments.

The business scheme they succeed in signingwith the Chinese government involves thepurchase of failed state-owned companies,which Bakal and Lee plan to restructurethrough improved management techniques, andthen resell at a considerable profit to multina-tional corporations. As foreign investment inChina rapidly approaches the $100 billionlevel, and social inequality and unemploymentcontinue to rise, the film offers a revealingportrait of the vast social changes taking place,especially the potential long-term impact ofcapitalism on China.

“Highly Recommended! Engaging... wildlyinformative and entertaining... a tremendouspiece of work, giving its audiences a witty yetastute exploration of the intersection of global-ization and entrepreneurship in China.”—Educational Media Reviews Online

2005 Chicago International Documentary Festival

2005 Midwest Conference on Asian Affairs


The Men Who Would Conquer ChinaA Film by Nick Torrens & Jane St. Vincent Welch


During the social and culturaleuphoria of a newly independent

Niger in the 1960s, Philippe Koudjina workedas a successful photojournalist and lateropened his own photo studio.

Today Koudjina has fallen on hard times. He isno longer able to take photos because heis slowly losing his sight to glaucoma.After being hit by a car, he mustuse crutches to get around, and hecan’t afford the medical care herequires. His cameras, photographicequipment and a disorganizedcollection of negatives gatherdust in a decaying cupboard,while he begs on the streetin order to survive.

Koudjina’s desperatesituation is contrastedwith the fortunes of otherAfrican photographerssuch as Malick Sidibé andSeydou Keita, whose workfrom the same period hasbrought them renewed atten-tion and financial rewards inEurope.

“Has a visual power, it is poetry.”—Skrien Filmmagazine

Golden Calf for Best Documentary,2006 Netherlands Film Festival


Photo Souvenir A Film by Paul Cohen & Martijn van Haalen

Brazilian photographer Sebastião Salgado joinsauthor and art critic John Berger to pore overSalgado’s collection, Migration, featuringphotos of people throughout Africa, Asia,Eastern Europe and Latin America who havebeen pushed from their homes and traditionsinto slums and refugee camps.

“Highly Recommended… powerful… invites usto consider economics in a new way.”—Bridges, An Interdisciplinary Journal


The Spectre of Hope A Film by Paul Carlin


The economic development ofmany countries depends on the

World Bank. Often criticized andblamed for politically unpopular policies, andconfronted with numerous setbacks, the Bankis experiencing a difficult time with regard towhich strategies to adopt, particularly in Africa.

Uganda, a country that emerged from thedictatorship of Idi Amin and years of civil warwith relatively high rates of economic growth,is one of its “model cases.” OUR FRIENDS ATTHE BANK looks at the relationship betweenthe Government of Uganda and the World Bankover a period of 18 months.

High-level teams set up by the Bank’s newPresident, James Wolfensohn, and by Uganda’sPresident, Yoweri Museweri, confront eachother. The stakes are enormous.

Traveling between Washington, DC andUganda, Peter Chappell followed the negotia-tions between the World Bank and Uganda inorder to understand and describe the mecha-nisms that shape the reality of North-Southrelations, economic and political policy, as wellas the future of millions of people.

“It is a triumph, full of insights and shrewdobservations… essential viewing for anyoneinterested in aid and development.”—Michael Holman, Africa Editor,Financial Times

“An ideal enhancement to any course thatseeks to help students understand the institutional framework of the world in whichthey live.”—International Teaching Resourcesfor Business

“Effectively reveals the obscure and abstractmechanisms that shape the reality of North-South relations, as well as the future ofmillions of people.”—WorldViews

“At a time when all the talk is of globalization,Peter Chappell is one of the few to addresssuch an abstract concept… Brilliantly filmed,lively, impeccable.”—Le Monde

Library Prize, 1998 Cinéma du Réel (Paris)


Our Friends at the Bank A Film by Peter Chappell


NEWrelease

The forty books and countless articles byFrench sociologist Pierre Bourdieu (1930-2002) represent probably the most brilliantrenovation and application of social science inour era. Bourdieu argued that scholars andwriters could and should bring their specializedknowledge to bear on social and politicalissues.

In the late nineties hebecame something ofa celebrity scholar,one of the world’smost importantacademics activelyassociated with theanti-globalizationmovement. Hispowerful critiques ofthe neoliberal revolu-tion were the natural outgrowth of a lifetime ofresearch into economic, social and culturalclass domination.

Filmed over three years, SOCIOLOGY IS AMARTIAL ART follows Bourdieu as he lectures,attends political rallies, travels, meets with hisstudents, staff, and research team in Paris, andhaving a conversation with Günter Grass.

The film’s very title stresses the degreeof Bourdieu’s political engagement.He took on the mantle of Emile Zola andJean-Paul Sartre in French public life,slugging it out with politicians becausehe considered those lucky enough tohave spent their lives studying the socialworld could not be indifferent to thestruggle for justice.

“A seminal work.”—Leonardo Reviews

“Compelling! Trulymoving.”—Cineaste

“The finest documentarya social scientist couldever dream of… a vital

documentary that should be part of everycollege or university library.”—International Sociology

“Extremely valuable...not only does the viewerreceive clarification about certain concepts ofhis and their social and political implications,but also clarification in the portrayal of hiswork’s process.”—Teaching Sociology


Sociology Is a Martial Art A Film by by Pierre Carles


Who said that the economy serves mankind?What is this world where one third of thepopulation, in the rich countries, or moreprecisely the wealthiest two percent in thesecountries, control everything? A world wherethe economy is law, where this law of thestrongest is imposed on the rest of humanity?Why do we accept this cynical and immoralstate of being? These are some of thequestions PROFIT, AND NOTHING BUT! asks.

Capitalism has succeeded in convincing us thatit is the only truth, the only morality we need. Ithas even convinced its opponents that theirfailure lies within the normal scheme of things.

Raoul Peck contrasts this heavily documentedillumination of the capitalist system with thedevastating reality in his native land, Haiti,whose GNP for the next thirty years is roughlyequivalent to Bill Gates’ (current) fortune. Thefilm’s stark images of the lives of the damnedon earth provide a striking backdrop for talk of“triumphant capitalism.”

“Superb! A complete and thought provokinganalysis of the current global economicsystem…an excellent work.”—Economic Justice News

“A sophisticated film! Economically and politi-cally provocative! Peck provides a newpedagogy for the teaching of economics.”—Union for Radical Political EconomicsNewsletter

2002 London Human Rights Watch Film Festival

2001 Margaret Mead Film & Video Festival


Profit, and Nothing But!A Film by Raoul Peck


Now on

After twenty years of devastatingpollution produced by oil compa-

nies in the Amazon basin ofEcuador, Dallas-based MAXUS promises to bethe first company to protect the rainforest, andrespect the people who live there.

TRINKETS & BEADS tells the story of howMAXUS set out to convince the Huaorani—known as the fiercest tribe in the Amazon—toallow drilling on their land.

“An important film that should be seen byanyone concerned about the environment, first-third world relations, globalization, ethnology,and the role of missionaries.”—Bridges, An Interdisciplinary Journal

Gold Apple, 1997 National Educational Media Network


Trinkets and Beads A Film by Christopher Walker

THE WILD EAST is an ethnographic renderingof contemporary life in Ulan Bator, a city at thecrossroads of tradition and modernity, commu-nism and global capitalism. Through the dailystruggles of two young men, Jenya and Sasha,the film reveals a Mongolia beyond the stereo-types of wild horses and wandering nomads.

“Recommended.”—Educational MediaReviews Online

“Excellent!... illustratescontemporary problems ofeconomic and culturalchange... a film that appeals

to the senses, engaging the viewer from beginning to end.”—Anthropology Review Database

2004 Jean Rouch Award Winner,American Anthropological Association

2004 Association for Asian Studies Film Festival


The Wild East: Portrait of an Urban NomadA Film by Michael Haslund-Christensen


In 1999, the residents ofTambogrande, a small town in

northern Peru, learned that the Fujimorigovernment had secretly granted miningconcessions on their land to the NorthAmerican corporation, Manhattan Minerals.The company’s plans for an open-pit gold minewould involve relocation of roughly half of thetown’s residents and contaminate the soil andground water in this agricultural region.

Aware of the devastating environmental andhealth consequences of a mining operation inChoropampa, Tambogrande’s residents organizedto protect their town. In TAMBOGRANDE, theproducers of Choropampa: The Price of Gold(see page 7) follow Tambogrande’s five-year-longstruggle to thwart the Peruvian government’sconnivance with corporate plans that woulddespoil their land and destroy their livelihoods.

In telling this story of the showdown betweenthe popular will and multinational-corporateinterests, TAMBOGRANDE uses scenes of massdemonstrations, interviews and commentaryfrom participants on both sides of the conflict,statements by national politicians, corporatevideos, and testimony from an environmentalscientist and a Wall Street stockbroker.

In the ongoing history of attempts by multina-tional corporations to exploit Latin America’snatural resources, TAMBOGRANDE is a raresuccess story, one demonstrating how ordinarypeople can defeat government and corporatecollusion.

2007 One World International Human Rights Documentary Film Festival

2006 International Documentary Film Festival Amsterdam


Tambogrande: Mangos, Murder, Mining A Film by Ernesto Cabellos & Stephanie Boyd


NEWrelease

Advertising MissionariesA Film by Chris Hilton & Gauthier Flaunder

Follows the mission of atheater company inPapua New Guinea tobring the consumerrevolution to the peopleof the highlands.

1997 Margaret Mead Film Festival


Diamonds and RustA Film by Adi Barash & Ruth Shatz

Off the coast ofNamibia, the crew of adiamond-mining trawlerworks tirelessly aroundthe clock in an atmos-phere fraught with

racial and political tension.

“Fascinating and powerful.”—DOX Magazine

2001 Golden Gate Award, San FranciscoInternational Film Festival


Fishing in the Sea of GreedA Film by Anand Patwardhan

Documents the responseof one fishing commu-nity in India to the “rapeand run” industrial-scale fishing that hasbegun to dominate their

livelihood and decimate their environment.

“Introduces students to an important worldwideenvironmental problem.”—Blair B. King, Asian Educational MediaService News and Reviews


A Narmada DiaryA Film by Anand Patwardhan & Simantini Dhuru

Investigates the Sardar Sarover Dam project inwestern India, which may displace 200,000residents of the Narmada Valley.

“Documents one of the most dynamic globalstruggles against unjust and unsustainable devel-opment… Recommended.”—Skipping Stones


Since the Company CameA Film by Russell Hawkins

Set in a remote Solomon Islands village, thisfilm tells the story of a community coming toterms with social, cultural and ecological disin-tegration generated by the economic impact ofa Malaysian timber company.

“Has significant pedagogical value in anthropo-logical, ecological, and economic instruction.”—Keith Prufer, Anthropology Review Database


Taxi to TimbuktuA Film by Christopher Walker

Alpha is a New York City taxi driver who comesfrom the poorest region of Mali. Since thedrought of 1973, the men from his village havegone abroad to earn enough money to keep thewomen and children alive.

Like Alpha, they started in France, whereAfricans were welcome to do jobs the Frenchwouldn’t. But as France fell on hard times, themen dispersed to New York and Tokyo, wherethey work in dry-cleaners, restaurants andconstruction, earning double the money theywould in other cities.

“Superior... Recommended.”—Educational Media Reviews Online


More Films & DVDs on Globalization


Focusing on Levi Strauss & Co., WORKINGWOMEN OF THE WORLD follows the relocationof garment production from Western countriesto nations such as Indonesia, the Philippinesand Turkey, where low wages are the rule andemployee rights are nonexistent.

The film introduces us to women like Yanti, a26-year-old Indonesian who works ten hours aday, six days a week, for $60 a month (theprice of a pair of Levi’s in Jakarta). Conditionsat the factory are dreadful. There are five filthytoilets for 2000 women, and with no ventila-tion, the factory is an inferno. Any protest ismet with immediate intimidation and increasedsurveillance until the offender quits.

WORKING WOMEN OF THE WORLD alsopresents the stories of her western counter-parts who are losing their jobs. Maria Therese

worked in the Levi’s factory inYser La Basse, France, andwas a union representativethere. In interviews, shedescribes the work, the wagestructure, and her negotiationswith management and thegovernment after the closureannouncement.

“Informative... Exposes thetreatment of garment produc-tion employees.”—EducationalMedia Reviews Online

2004 National Women’s Studies Association Film Festival

2002 One World Film Festival (Prague)


Working Women of the WorldA Film by Marie France Collard



Film Page

AdvertisingAdvertising Missionaries . . . . . . . . . . . . . . . . . . 29Knock Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

AgricultureBack to the Soil . . . . . . . . . . . . . . . . . . . . . . . . . 2Cow Jumped Over the Moon, The . . . . . . . . . . . . 7Our Daily Bread . . . . . . . . . . . . . . . . . . . . . . . . 20Tambogrande. . . . . . . . . . . . . . . . . . . . . . . . . . 25

AnthropologyAdvertising Missionaries . . . . . . . . . . . . . . . . . . 29Back to the Soil . . . . . . . . . . . . . . . . . . . . . . . . . 2Chain of Love . . . . . . . . . . . . . . . . . . . . . . . . . . 6Choropampa . . . . . . . . . . . . . . . . . . . . . . . . . . . 7Everything’s Fine . . . . . . . . . . . . . . . . . . . . . . . 12Losers and Winners . . . . . . . . . . . . . . . . . . . . . . 1Trinkets and Beads. . . . . . . . . . . . . . . . . . . . . . 27Wild East, The . . . . . . . . . . . . . . . . . . . . . . . . . 27

Business Ethics Between Midnight and the Rooster’s Crow . . . . . . 3Choropampa . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Decent Factory, A. . . . . . . . . . . . . . . . . . . . . . . . 9Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 17Profit, and Nothing But! . . . . . . . . . . . . . . . . . . 23Tambogrande. . . . . . . . . . . . . . . . . . . . . . . . . . 25

Communication & Media StudiesAdvertising Missionaries . . . . . . . . . . . . . . . . . . 29Democracy on Deadline . . . . . . . . . . . . . . . . . . 10Photo Souvenir . . . . . . . . . . . . . . . . . . . . . . . . 22Spectre of Hope, The . . . . . . . . . . . . . . . . . . . . 22

Culture ChangeAdvertising Missionaries . . . . . . . . . . . . . . . . . . 29Can’t Do It in Europe . . . . . . . . . . . . . . . . . . . . . 5Cow Jumped Over the Moon, The . . . . . . . . . . . . 8Since the Company Came . . . . . . . . . . . . . . . . . 29

EconomicsAmartya Sen: A Life Reexamined . . . . . . . . . . . . . 2Chain of Love . . . . . . . . . . . . . . . . . . . . . . . . . . 5Decent Factory, A. . . . . . . . . . . . . . . . . . . . . . . . 9Knock Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Losers and Winners . . . . . . . . . . . . . . . . . . . . . . 1Profit, and Nothing But! . . . . . . . . . . . . . . . . . . 23

EnvironmentBetween Midnight and the Rooster’s Crow . . . . . . 3Choropampa . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Cow Jumped Over the Moon, The . . . . . . . . . . . . 8

Film PageDam/Age. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Energy Wars . . . . . . . . . . . . . . . . . . . . . . . . . . 12Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 17Tambogrande. . . . . . . . . . . . . . . . . . . . . . . . . . 25

FishingFishing in the Sea of Greed. . . . . . . . . . . . . . . . 29Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . . . 15

GeopoliticsEnergy Wars . . . . . . . . . . . . . . . . . . . . . . . . . . 12Lula’s Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . . 19Our Friends at the Bank . . . . . . . . . . . . . . . . . . 21

Health & MedicineDonka: X-Ray of an African Hospital . . . . . . . . . . 11Everything’s Fine . . . . . . . . . . . . . . . . . . . . . . . 11Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 18

Indigenous PeoplesAdvertising Missionaries . . . . . . . . . . . . . . . . . . 29Since the Company Came . . . . . . . . . . . . . . . . . 29

Trinkets and Beads . . . . . . . . . . . . . . . . . . . . . . 26

Information TechnologyCow Jumped Over the Moon, The . . . . . . . . . . . . 7Democracy on Deadline . . . . . . . . . . . . . . . . . . 10

Integration of Financial MarketsLula’s Brazil. . . . . . . . . . . . . . . . . . . . . . . . . . . 18Men Who Would Conquer China, The . . . . . . . . . 19Our Friends at the Bank . . . . . . . . . . . . . . . . . . 21

InvestmentBetween Midnight and the Rooster’s Crow . . . . . . 4Losers and Winners . . . . . . . . . . . . . . . . . . . . . . 1Men Who Would Conquer China, The . . . . . . . . . 19Working Women of the World . . . . . . . . . . . . . . 28

Labor & Trade UnionsCan’t Do It In Europe . . . . . . . . . . . . . . . . . . . . . 4Chain of Love . . . . . . . . . . . . . . . . . . . . . . . . . . 5Decent Factory, A. . . . . . . . . . . . . . . . . . . . . . . . 9Diamonds and Rust . . . . . . . . . . . . . . . . . . . . . 29For Man Must Work . . . . . . . . . . . . . . . . . . . . . 13Working Women of the World . . . . . . . . . . . . . . 28

LawDam/Age. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Knock Off . . . . . . . . . . . . . . . . . . . . . . . . . . . . 15Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 17

ManagementDecent Factory, A. . . . . . . . . . . . . . . . . . . . . . . . 9Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 17

Film Page

MigrationChain of Love . . . . . . . . . . . . . . . . . . . . . . . . . . 5Taxi to Timbuktu . . . . . . . . . . . . . . . . . . . . . . . 29

MiningChoropampa . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Diamonds and Rust . . . . . . . . . . . . . . . . . . . . . 29Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . . . 14

Movement of CapitalAmartya Sen . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Men Who Would Conquer China, The . . . . . . . . . 19

Multinational CorporationsBetween Midnight and the Rooster’s Crow . . . . . . 3Choropampa . . . . . . . . . . . . . . . . . . . . . . . . . . . 6Decent Factory, A. . . . . . . . . . . . . . . . . . . . . . . . 9Energy Wars . . . . . . . . . . . . . . . . . . . . . . . . . . 12Inheritance . . . . . . . . . . . . . . . . . . . . . . . . . . . 14Litigating Disaster . . . . . . . . . . . . . . . . . . . . . . 17Since the Company Came . . . . . . . . . . . . . . . . . 29Tambogrande. . . . . . . . . . . . . . . . . . . . . . . . . . 25Trinkets and Beads. . . . . . . . . . . . . . . . . . . . . . 26Working Women of the World . . . . . . . . . . . . . . 28

PhilosophyAmartya Sen . . . . . . . . . . . . . . . . . . . . . . . . . . . 2Antonio Negri . . . . . . . . . . . . . . . . . . . . . . . . . . 2Sociology is a Martial Art . . . . . . . . . . . . . . . . . 24

PovertyDonka: X-Ray of an African Hospital . . . . . . . . . . 11Profit, and Nothing But! . . . . . . . . . . . . . . . . . . 23Working Women of the World . . . . . . . . . . . . . . 28

Science & TechnologyCow Jumped Over the Moon, The . . . . . . . . . . . . 7Energy Wars . . . . . . . . . . . . . . . . . . . . . . . . . . 12Losers and Winners . . . . . . . . . . . . . . . . . . . . . . 1Our Daily Bread . . . . . . . . . . . . . . . . . . . . . . . . 20

TravelCan’t Do It in Europe . . . . . . . . . . . . . . . . . . . . . 5

Urban StudiesKeeping it Real . . . . . . . . . . . . . . . . . . . . . . . . 15Lagos/Koolhaas . . . . . . . . . . . . . . . . . . . . . . . . 16Taxi to Timbuktu . . . . . . . . . . . . . . . . . . . . . . . 29

Women Chain of Love . . . . . . . . . . . . . . . . . . . . . . . . . . 5Dam/Age. . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9Working Women of the World . . . . . . . . . . . . . . 28

Index


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