Videos & DVDs on The Law Human Rights, Criminal Justice ...Federalists and anti-Federalists over whether to ratify the Constitution and become the United States, or to not ratify and

Over the course of two years this filmfollows the development of an experimentalState court, the Red Hook CommunityJustice Center, in a neighborhood inBrooklyn, New York, plagued by a cycleof unemployment, poverty and crime.

RED HOOK JUSTICE portrays a courtthat wants to give offenders a secondchance. Before resorting to jail, the RedHook judges mandate extensive drug treat-ment, job training and community service.The Justice Center has an unprecedentedinvolvement in defendants’ lives, and casesthat would be closed quickly in traditionalcourts can extend over many months.

RED HOOK JUSTICE focuses on the storiesof three Red Hook defendants and severalstaffers at the Center. The cameras captureintense cinéma-vérité scenes of intake inter-views in the Center’s holding cells, arraign-ments and other court proceedings, heatedstaff interactions, community meetings,counseling sessions, and other day-to-dayworkings of the Justice Center.

Today there are dozens of similar justicecenters opening throughout the United States.As a new type of court that seeks to stop thecycle of crime and to heal the surroundingcommunity, RED HOOK JUSTICE heraldsthe beginning of a legal revolution inAmerica—the community justice movement.

“An important contribution to the dialogue oncriminal justice and the creation of useful solutions.” —Prof. Jill Soffiyah Elijah, DeputyDirector, Criminal Justice Institute, HarvardLaw School

“It should be seen by all Judges, politicians,prosecutors, and the public as it reveals that analternate form of addressing law-breakingbehavior by examining its roots is possible.” —Tanya Krupat, MSW, MPH, Former Director ofthe NYC Children of Incarcerated Parents Program

“An inspiring production.” —Charles S. Lanier,School of Criminal Justice, University at Albany

“Highly Recommended!” —Educational Media Reviews Online

55 minutes | color | 2004 | Order # LW71Sale/VHS or DVD: $390 | Rental/VHS: $75

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RED HOOK JUSTICE A Film by Meema Spadola

FIRST RUN/ICARUS FILMS 1

The Law & Human Rights,Criminal Justice & Corrections

Videos & DVDs onVideos & DVDs onThe Law & Human Rights,Criminal Justice & Corrections

When Arkansas Deputy SheriffAaron Duvall was assigned toinvestigate what appeared tobe an isolated triple homicideoutside rural Russellville, hebecame obsessed with find-ing the killers of the familythat he knew, includingWilliam Mueller, his wifeNancy and their 8-year-old daughter Sarah .

BROTHERHOOD OFHATE recountsDuvall’s investigationof the Mueller mur-der case, which grad-ually expanded to reveal a nationwidepattern of violence linked to a whitesupremacy group. The investigative trailleads to the Kehoe family in Coleville,Washington, in particular the oldest sonChevie, who conspired to build a whites-only homeland in the Pacific Northwest.The film reveals how his efforts led to acountrywide rampage of theft, gunfightswith police and murder.

BROTHERHOOD OF HATE thus documents one family’s legacy of hate,relating the story of eight brothersraised to be white supremacist warriors, and in the process revealsthe dangers posed to America by the virulent, racist ideology of whitesupremacy.

“RECOMMENDED... Does a good job of creating drama through the narrative, keepingthe viewers both shocked and intrigued. A fine addition to any library collection.” —Educational Media Reviews Online

2001 Amnesty International HumanRights Film Festival, Salt Lake City

2001 Seattle Human Rights Film Festival

52 minutes | color | 2000 | Order # LW72Sale/VHS: $390 | Rental/VHS: $75

BROTHERHOOD OF HATEDirected by Pamela YatesA New York Times Television Production

CALL TOLL-FREE: 1 • 800 • 876 • 17102

The recent Abu Ghraib prison scan-dal, involving torture of Iraqi prisoners bymembers of the U.S. military, shocked theAmerican public. But they might be evenmore stunned to discover that similar violence occurs inside prisons throughout theUnited States, where prisoners are routinelyabused, even tortured, by prison guards.

TORUTURE: AMERICA’S BRUTALPRISONS visits correctional institutions inTexas, Florida and California, uncoveringpenal systems with deeply ingrained culturesof punishment, rather than rehabilitation.

The film features actual videos recorded byprison surveillance cameras and correctionofficers themselves, which reveal incidentsin which inmates are brutalized, often forminor infractions, with stun guns, tasers,dangerous restraining devices, attack dogs,chemical sprays, and beatings by guards.These disturbing scenes are supplemented byinterviews with former prisoners, a warden,a prison doctor, inmates’ relatives, attorneys,and footage from a California Senate inquiryand a murder trial of four guards.

Although many prisons denied permissionto film inside their facilities, a rare glimpsebehind the walls is offered by interviewswith former correctional officers who havebroken the “green wall” code of silenceand become whistleblowers. They testifyabout the regular practice of cover-ups ofcorruption and violence, as well as thebrutality and vindictiveness of fellow guards.

This rare look inside our correctional system reminds us that the American public, including many college students,are unaware of what occurs insideAmerica’s prisons. This documentary

provides a shocking but realistic contextfor classroom studies of this crucial butlargely unseen aspect of the Americancriminal justice system.

“A hair-raising account of official brutality inU.S. correctional facilities. Many of theimages in the film are hard to watch, andharder to forget.” —Watching Justice website


TORTURE: AMERICA’S BRUTAL PRISONSDirected by Nick LondonReporter: Deborah Davies


Phoenix, Arizona

Abu Ghraib

Are musicians and recording com-panies legally responsible for thesocial consequences of the ‘messages’ in their music? That isthe contentious issue explored inDREAM DECEIVERS, whichchronicles a lawsuit brought againstthe Heavy Metal group Judas Priestand their distributor, CBS Records.

On December 23, 1985, two youngmen in Reno, Nevada, after a night ofheavy drinking, smoking marijuanaand listening to a Judas Priest album,took turns putting a shotgun to theirheads and pulling the trigger. RaymondBelknap died instantly. His friend JamesVance survived but was grossly disfigured.

Their parents subsequently filed suit,claiming that subliminal messages in theband’s songs mesmerized the boys intotheir bizarre suicide pact. DREAMDECEIVERS documents the trial in Reno’sDistrict Court through riveting scenes ofcourtroom testimony, with witnesses ques-tioned by prosecution and defense attorneys,as well as scenes of the claimants’ attorneypreparing them for their testimony.

Today, as the “culture wars” in Americahave intensified, with conservative reli-gious and political forces decrying thedestructive influence of popular culture onAmerican youth, DREAM DECEIVERS isa topical exploration of personal, social andlegal aspects of this controversial issue.

“Recommended for public and academiclibraries.” —Library Journal

“★★★★★ [Must Have] Extremely well edited... a sobering learning experience… an excellent documentary.” —Video Rating Guide for Libraries

“The material is so overpowering, and thevideotape creates such painful intimacy, thatthe coziness of the small screen may not do itjustice... DREAM DECEIVERS will rivet theattention, as it presents a terrible story of mixedsignals and wasted lives.” —New York Times

Blue Ribbon, 1993 American Film & Video Festival


DREAM DECEIVERS: The Story Behind James Vance vs. Judas PriestA Film by David Van Taylor

CALL TOLL-FREE: 1 • 800 • 876 • 17104

What would it have been like if televisionhad covered the ratification process of theU.S. Constitution? Such is the premise ofAN EMPIRE OF REASON, an imaginativelook back at the legislative process whichultimately gave birth to the United Statesof America.

Walter Cronkite appears as the anchorpersonof the CTN (Contintental TelevisionNetwork) nightly newscast. In the TVnews style of the late twentieth century, hereports the vociferous battle between theFederalists and anti-Federalists over whetherto ratify the Constitution and become theUnited States, or to not ratify and remainaffiliated, but autonomous, states.

Alexander Hamilton, one of the authors ofthe Constitution, and anti-FederalistMelancton Smith duke it out on William F. Buckley Jr.’s Firing Line.Heated arguments on the necessityof a Bill of Rights take place on The MacNeil/Lehrer Report and The Phil Donohue Show. Hovdeexplains that they chose this con-temporary format because “The way history is presented is cut-and-dried. It has nothingto do with us. It’s people in period costume.”

AN EMPIRE OF REASONseeks to elucidate the issues sovital to that time—the benefitsof a unified nation vs. the fearof a big, distant government,the pros and cons of a singlecurrency, a federal incometax, and a Bill of Rights—in such a way as to revealthe continued presence of

these issues in contemporary Americanpolitical discourse. What is at stake isnothing less than the still ongoing debateover the meaning of the word “democracy.”

“Wonderful!” —R.B. Bernstein, AdjunctProfessor of Law, New York Law School

“Teaches as it entertains... so that a wide rangeof ages and educational levels can learn fromit.” —The Atlanta Journal and Constitution

1989 Emmy Award

Best of Festival, 1989 Athens Film Festival


AN EMPIRE OF REASON A Film by Muffie Meyer & Ellen Hovde


Now on

FACING THE DEMONS documents theeffort to create an extraordinary event—a“conference” between those responsiblefor a terrible murder, and the family andfriends of the victim.

This notion of “restorative justice” has itsorigins in Maori culture, where part of thepunitive ritual is to confront victims andaccept responsibility. The introduction ofsuch conferences in New Zealand con-tributed to a 90 percent reduction in juve-nile crime, and a study in Australia foundthat victims involved with “restorativejustice” conferences were better able tocope in the aftermath of crime.

At the center of this story are four people:Senior Sergeant Terry O’Connell of theNew South Wales Police Service, the facili-tator of the conference; Joan Griffiths andKen Marslew, the parents of the universitystudent, Michael Marslew; and Karl Kramer,one of Michael’s killers.

Conferences such as the one documentedin this film can help criminals confront theenormity of their actions, perhaps preventingthem from relapsing on the outside. Forvictims and their families, it can be a wayof helping to end the ordeal. Capturing onfilm the emotionally charged confronta-tion between a murderer and his victim’sfamily, FACING THE DEMONS takes usthrough the entire process to bring aboutsuch communication.

“Powerful and deeply moving... A very vividrendering of the complexities and pain flowing

out a realcrime... Very,

very highly recommended.”

—MC Journal:The Journal of

Media AcademicLibrarianship

“A disturbing andcompelling look at the

results and effects ofcrime.” —TV Week

“A compelling and resourceful tool as anintroduction to and illustration of restorativejustice.” —Online Journal for Peace andConflict Resolution


FACING THE DEMONSDirected by Aviva ZieglerProduced by Dee Cameron

CALL TOLL-FREE: 1 • 800 • 876 • 17106

Like Watergate and Vietnam, Attica is anicon of recent history. Gov. Rockefeller’sbrutal retaking of the prison—a nine-minute,1600-bullet assault that took the lives of 29 inmates and 10 guards—put an end tothe four-day rebellion. But the strugglefor justice, by both prisoners and guards,has endured for three decades.

GHOSTS OF ATTICA features extensive interviews with Attica survivors,including former inmate Frank “Black”Smith, whom inmates appointed Chief ofSecurity. After the prison was stormed,Black was singled out for vicious treatmentby the guards, who tortured him for hours,and threatened castration and death.

Also interviewed is Mike Smith, a guardwho was taken hostage and subsequentlywounded by police fire. More recently hehas taken on a new role: that of a politicalagitator lobbying Governor Pataki forcompensation, counseling, and an apologyfrom the State.

Elizabeth Fink, the attorney who headed theinmates’ decades-long legal battles againstNew York State, is also interviewed, as areNew York Times columnist Tom Wicker,Congressman Herman Badillo, AssemblymanArthur Eve, and civil rights lawyerWilliam Kunstler.

GHOSTS OF ATTICA offers the definitiveaccount of America’s most violent prisonrebellion, its suppression, and the days oftorture that ensued. Using exclusive, newlyuncovered video of the assault, interviewswith eyewitnesses who’ve never spokenbefore on-camera, and footage of inmatesand hostages throughout their battles

against thestate, this film unravelsone of America’s deepest cover-ups,and shows how the legendary prison riottransformed the lives of its survivors.

“★★★★ Highly recommended… Well-editedand loaded with revealing photographs andcogent commentary... an exceptional piece offilmmaking.” —Video Librarian

“A hard-hitting documentary... Highly Recommended.” —Educational Media Reviews Online

2002 Dupont-Columbia UniversityAward for Journalistic Excellence


GHOSTS OF ATTICADirected by Brad LichtensteinProduced by David Van Taylor & Brad LichtensteinNarrated by Susan Sarandon


Two advocacy groups, The MillionMoms and the Second Amendment Sisters,are diametrically opposed on gun control,but they agree on one point: mothersshould have a voice in determining guncontrol policy in America. GUNS &MOTHERS exploresthe grassroots beliefsof both movementsby focusing on twodifferent women, living in two differentAmericas.

Frances Davis lives in Crown Heights,Brooklyn. Having lost all three of her sons to gun violence, she advocates for stronger gun control andsupports the Million Moms, a group thatsees stronger gun control laws as a way toprevent the alarmingly high number ofdeaths of young people from gun violencein America.

Maria Heil has four children and lives inrural Pennsylvania. Convinced that a gunis a woman’s best tool for self-defense,she’s become active with the SecondAmendment Sisters, who believe thatguns are the most effective way a womancan protect herself and her family.

The film follows their parallel crusadesover the course of a year. With insideaccess to both sides, the filmmakers showhow both the Million Moms and the NRArecruited women; how tempers flaredaround the gun issue; how presidentialcandidates handled the debate; and howthe movements looked a year later.

Throughout the narrative, two keenobservers of gun politics, author RobertSpitzer and New York Times journalist Fox Butterfield, shed additional light onthe dialogue.

“Recommended! An excellent job in proposingboth sides of the gun control issue.” —Educational Media Reviews Online

“Heart-wrenching...an admirably respectfulanalysis of both sides of a divisive issue.” —Time Out

2005 National Women’s StudiesAssociation Film Festival

Pick of the Week!—New York Times,Time Out, and Entertainment Weekly


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GUNS & MOTHERSDirected by Thom PowersProduced by Thom Powers, Meema Spadola & John Walter

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Sooner or later, most criminals get out ofprison and are reinserted into civilian life.What happens next? For ten months, film-maker Barry Greenwald followed the livesof seven men on the brink of freedom—sixdeemed at high risk as repeat offenders—as they struggled to remain on the rightside of the law.

These men were imprisoned for everythingfrom white-collar crime to murder. Now,their parole officers—the human face ofthe criminal justice system that imprisonedthem—are trying to keep theirclients out of jail and their failuresoff the files. Many of the men trytoo, submitting themselves tourine testing for drugs, randomcurfew checks, and therapy sessions.Others feel hopeless and merely gothrough the motions. Their storiesare at turns disturbing, tragic,endearing, and downright bizarre.

HIGH RISK OFFENDER is a gripping,unadorned look into the universe ofthe parole office, and the tenuous relationships between offenders andtheir parole officers and therapists.

“This amazing documentaryshares the experiences of ahandful of parole supervisorsand their clients. Seeminglyunobtrusive... the directness ofthe professional supervisionbrings the intensity of the film to a dramatic pitch as we witnessthe parolees’ self-destruction, ordesperate struggle to salvage theirlives. A solid recommendation forcriminal justice students and personnel.” —Library Journal

“Greenwald’s films are marked by the extraordinary access he gets to his subjects.”—POV Magazine

“Brilliant... remarkable... The year’s best!” —Toronto Star

Gold Apple, 1999 National Educational Media Network

1998 Montreal World Film Festival


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HIGH RISK OFFENDERA Film by Barry Greenwald


Decades-old incidents of murder and torturein Central America have recently becomethe focus of the American legal system intwo landmark test cases involving the useof the Torture Victim Protection Act andthe Alien Tort Claims Act.

In December 1980, the bodies ofCatholic nuns Ita Ford, Maura Clarke,Dorothy Kazel and lay missionary JeanDonovan were exhumed from a crudegrave in El Salvador. An investigation led to the conviction of five SalvadoranNational Guardsmen. In the 1990’s declas-sified U.S. government records revealedthat the State Department had withheldinformation incriminating high levels ofthe Salvadoran military in the murders.

In 1999, these new revelations enabled relatives of the victims to sue two formerSalvadoran generals now residing in theU.S. JUSTICE AND THE GENERALSchronicles the development of this historiccivil case, which was tried in a U.S.Federal court, and details the importantlegal issues involved.

Building on that precedent, another historicsuit, Romagoza et al. vs. Garcia et al., was

brought by four Salvadorans seeking damages in a U.S. court for the torturesinflicted on them by Salvadoran securityforces during the years 1979 to 1983. On July 23, 2002, a jury in West PalmBeach, Florida found the generals liablefor the torture of the plaintiffs and the juryawarded them $54.6 million in damages.

Through its examination of these two cases,JUSTICE AND THE GENERALS offersunique insight into a new chapter in Americanand international human rights law.

“Harrowing yet enlightening.” —Legal Times

“Accurately depicts many of the issuesinvolved in securing justice and accountability,whether at a state, regional or internationallevel.” —Dr. Kelly Dawn Askin, Director ofthe International Criminal Justice Institute,Washington, D.C.


JUSTICE AND THE GENERALSA Film by Gail PellettProduced by Gail Pellett Productions,in association with Thirteen/WNET New York

CALL TOLL-FREE: 1 • 800 • 876 • 171010

On December 3, 1984, the biggestand deadliest chemical disaster of alltime occurred in Bhopal, India. Nearlytwenty years later the ordeal isn’t over,justice has not been done. Had the disaster occurred in the developedworld, heads would have rolled, prisonsentences would have been served,changes would have been made. But thedisaster didn’t happen in the West, but inan obscure Indian city.

LITIGATING DISASTER explores howUnion Carbide successfully manipulatedboth the U.S. and the Indian legal systemsagainst each other, to avoid having todefend its record in the Bhopal plant incourt. Featuring a young Indian-Americanlawyer, the film follows the case hebrought on behalf of the victims in front ofthe Federal District Court in New York.Case number 99CIV 11239 has survivedtwo motions to dismiss, and is now pro-ceeding to trial.

Constructed as attorney Rajan Sharma’scase is presented to fictitious jurors,LITIGATING DISASTER takes theviewers on a riveting cinematicinvestigation; presenting the compellingevidence assembled against UnionCarbide including unique, never beforeseen documents unearthed through prolonged legal struggles, exclusive inter-views with Union Carbide former officers,powerful archival material, and scenesfilmed in and out of the abandoned plant.

As the story unfolds, LITIGATING DISASTER makes it clear the real culprit is the lack of any international law or tribunal to govern the activities of multi-national corporations.

“A vivid picture of the human sufferingcaused by the gas leak at the Union Carbideplant... Highly Recommended!” —Educational Media Reviews Online

2005 Association for Asian StudiesFilm Festival


LITIGATING DISASTERA Film by Ilan Ziv


AN ORDINARY RAPE examines the mis-conceptions that surround date rape in theUnited States. Through interviews withhigh school and college students, journalists,criminologists, psychologists, lawyers,police, and physicians, the film presentsdivergent attitudes which alone wouldgenerate debate among viewers. But thefilm is also punctuated with the observationsof Stephanie S., a date rape victim. Throughher, viewers receive a clear understandingof the effects of date rape on its victims.

“Powerful. One of themore effective filmsabout rape.” —ThePsychology of Women

1995 HealthyLiving Award, Life Skills Category

Bronze Apple, 1994 NationalEducational Film & Video Festival


AN ORDINARY RAPEA Film by Isabelle Coulet

A GANG FOR GOOD portrays the 6- to 18-year-old citizens of the Boys BrotherhoodRepublic (BBR) in New York’s Lower EastSide, the last self-governing “junior republic”in the U.S., who elect their own mayor andcity council, and administer their ownpolice and court systems.

“[An] antidote for pessimism... The hands onlessons in democracy are obviously aimed at

encouragingself-relianceand self-esteem.The results can be striking.” —The New York Times

Bronze Apple, 1994 NationalEducational Film & Video Festival


A GANG FOR GOODA Film by Frederick Rendina

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This film investigates police brutality in theChicago Police Department. As

victims speakout, THE ENDOF THENIGHTSTICKinvestigatescharges of insti-tutional racism,violence and

cover-up. It also tells the story of localactivist groups protesting these practices.

“A disturbing exploration of institutionalizedracism.” —People Magazine

Silver Hugo, 1994 Chicago Film Festival


THE END OF THE NIGHTSTICKA Film by Peter Kuttner, Cyndi Moran & Eric Scholl

After the September 11th terrorist attacks, more than5,000 Arab or Muslim immigrants were taken intocustody by the U.S. JusticeDepartment and held indefinitelyon the grounds of national security. Detainees were subjectto arbitrary arrest, secret detention,solitary confinement and deportation.Most were held on minor immigrationcharges and were frequently denied legalrepresentation and communication withtheir families. The Justice Department hasensured the invisibility of these cases, byrefusing to disclose the names and totalnumber of people detained.

Set in a bare room that functions variouslyas interrogation room, prison cell andhome, PERSONS OF INTEREST consistsof a series of intimate encounters with twelvedetainees and family members. Detaineesshare their stories, show photographs,read letters written in jail, reenact theirprison experience... even sing.

PERSONS OF INTEREST is a unique,compelling film that gives voice to thehuman cost of the U.S. government’s anti-terrorism campaign.

“A film guaranteed to raise the righteousindignation of anyone with a favorable opinionof liberty, freedom or the Constitution.” —Newsday

“★★★★ Editor’s Choice! HighlyRecommended! Sure to generate intense feelingsof shame, revulsion, and sadness... while alsosparking fruitful discussion.” —Video Librarian

“Haunting...This timelyand poignantdocumentary isan eye-openingdiscussionprompter.” —Booklist

“The stories illus-trate the humancost of a JusticeDepartment that hasabandoned funda-mental human rightsin its indiscriminate campaign againstterrorism. But the film never raises its voice topropagandize. It doesn’t have to.” —Newsweek

“Highly Recommended!” —Educational MediaReviews Online

2004 Humanitarian Award, Amnesty International

2004 Human Rights WatchInternational Film Festival

2004 Middle East Studies Association FilmFest


PERSONS OF INTERESTDirected by Alison Maclean & Tobias PerseProduced by Lawrence Konner


On April 21, 1992, RobertAlton Harris, convicted ofmurdering two teenage boysin San Diego after a 1978bank robbery, was the firstprisoner put to death inCalifornia in twenty-five years.Conducted according to guide-lines officially labeled “Procedure 769,” hisexecution drew enormous attention andwide media coverage around the country.

PROCEDURE 769 looks at the event throughthe eyes of the witnesses. As Harris’ brotherRandall; Sharron Mankins, mother of one ofHarris’ victims; Daniel Vasquez, the wardenat San Quentin; psychologist Craig Haney;reporter Wade Douglas and six othersshare their meticulous but differingaccounts, a startling perspective on capitalpunishment is presented for the first time.

“A disconcertingstudy of the functioning ofhuman observation and memory.” —Amsterdam Documentary Film Festival

“[PROCEDURE 769] is never less than fascinating... astonishing!” —Variety


PROCEDURE 769: Witnesses to an ExecutionA Film by Jaap van Howijk

The racially motivated killing in June 1998of James Byrd, Jr.—a black family manwho was severely beaten by three whitemen, chained to their truck, and draggedfor three miles—revealed the intense hatethat still lies just beneath the surface ofAmerican society. In SOUTH, ChantalAkerman reveals the thoughts and emo-tions of the local townspeople. Her inti-mate access to their lives, including beingallowed to film Byrd’s funeral, enablesAkerman to tell this tragic tale in anunusually illuminating fashion.

“[SOUTH] makes its sorrowful points succinctly.” —Variety

1999 New York Human Rights WatchInternational Film Festival


SOUTHA Film by Chantal Akerman

CALL TOLL-FREE: 1 • 800 • 876 • 171014

Tough new sentencing lawsacross the U.S. are resulting inan influx of prisoners, creatingmassive overcrowding. Manystates are responding to this crisisby contracting out the manage-ment and liability of prisoners toprivate multinational corporations.

The business of prisons has becomea new, powerful industry. Recessionproof, these companies, such asWackenhut Corrections Corp., have seenrecord rises in their stock prices. In the eraof ‘Law and Order’ and ‘Zero Tolerance,’PROFITS OF PUNISHMENT explores arelationship between government andbusiness that affects every American—the business of incarceration.

Is this creating a market driven incentiveto lock more people up and for longerperiods of time? Are prisoners now com-modities to be traded on the stockexchange? PROFITS OF PUNISHMENTlooks at these questions, and critics of thesystem discuss why they feel governmentsare not looking more seriously for alterna-tives that might prevent crime and reduceprison populations.

Questions are raised after watching thefilm: How do these parallel and opposinguniverses affect each other? What happensto justice when money is made out of thedeprivation of liberty?

“Highly Recommended. Well structured andwell paced ... Useful to high school, under-graduate and graduate students, especiallythose studying criminal justice, political science or sociology.” —Educational MediaReviews Online

“The Viewer is left questioning whethermoney (in the case of the public sector) or theprofit motive (in the case of the private sector)should be so intricately related to the punish-ment process. It is one of the best, mostthought provoking videos I have seen relatedto corrections” —Kevin E. Courtright,Criminal Justice Policy Review

2002 Human Rights Watch Film Festival

2001 Amnesty International Human Rights Film Festival


PROFITS OF PUNISHMENTDirected by Catherine ScottProduced by Pat Fiske & Paradigm Pictures


After 75 years of a concerted global fightto restrict the supply of addictive drugs,the world is currently facing unprecedentedlevels of illicit drug production, with tentimes more heroin produced now thanduring the last “plague” of the 1970s. The three-part series DEALING WITHTHE DEMON examines how we find ourselves in this situation and what canpossibly be done about it.

Filmed in fifteen different countries (in Asia, the U.S., Australia and Europe),DEALING WITH THE DEMON is a compelling view of one of the darkest aspectsof recent history, with a provocative andtimely perspective from which to view the ongoing debate.

“Tempting as it must have been to moralize,the series instead fuses a comprehensive lookat the history of heroin with contemporarydebates on how the problem should be handled,

withoutturning intoa sermon.Intensivelyresearched ... splendidstuff.” —The Age (Australia)

Winner of Three Silver Plaques, 1996 Chicago International Television Festival

3 x 55 minutes | color | 1996 | Order # LW719Sale/VHS: $385 | Rental/VHS: $150

DEALING WITH THE DEMONDirected by Chris Hilton & David RobertsProduced by Chris Hilton

CALL TOLL-FREE: 1 • 800 • 876 • 171016

SOCIETIES UNDER THE INFLUENCEsheds light on several unusual people who are fighting to expose the epidemicrepression surrounding drugs and thedrug trade. This film contendsthat the “morally and politicallycorrect” drug war we read aboutin our newspapers everyday is acorrupt and pernicious front thatprotects our judicial system, big business, organized crime andAmerican foreign agendas.

“Highly Recommended! Powerful and thoughtprovoking.” —Educational Media Reviews Online


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SOCIETIES UNDER THE INFLUENCEDirected by German GutierrezA National Film Board of Canada Production

In Pakistan, many women who decide toleave abusive marriages are signing theirown death warrants. They risk being dis-figured or murdered by men who believe itis the only way to restore honor to the family.

Authorities in Pakistan rarely respond toreports of honor killing. The Human RightsCommission Pakistan and the WomenAction Forum estimate that 1000 womenare murdered each year, with little or noresponse from the government. At theDastak women’s shelter in Lahore, womenaccused of tarnishing the family honorfind a safe haven. Here, in this tidy buildingwith a well-kept lawn, they live in safety,receiving both counseling and legal advice.

Kubra is one such woman. After enduringrepeated beatings, the 28-year-old fled toDastak. We meet Kubra—armed guard intow—on her way to a meeting with membersof her family. They entreat her to return.Eventually, she agrees. Three weeks later,she is murdered, shot to death in her sleep.

Through Kubra’s story, and the stories ofother women at Dastak, the film creates aportrait of one institution that is protectingPakistani women, at least the women whocan make it there.

“A heartbreaking documentary about honorkillings in Pakistan.” —indieWIRE.com

“Outspoken and poignant... a very powerfulstatement against ‘honor killings.’” —Al Jadid, A Review & Record of ArabCulture and Arts

“Recommended.” —Educational MediaReviews Online

2005 National Women’s StudiesAssociation Film Festival

2003 Prix Italia, Best Human Interest Documentary


AGAINST MY WILL Directed by Ayfer ErgunProduced by Humanist Broadcasting Foundation


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Each year across the Islamic world, hun-dreds of women are murdered by theirmale relatives. Filmed in Jordan and onthe West Bank, CRIMES OF HONOURinvestigates ‘femicide’—the killing ofwomen suspected to have ‘dishonored’their families by engaging in unacceptablebehavior.

The films presents the stories of womenlike Rania Arafat, who fled from her homeafter falling in love with a man her familydid not approve of. Eventually, believingher mother’s promise of forgiveness, shewas reunited with her family at a policestation. One of her brothers signed a docu-ment promising not to harm her, but,while on the way home, another brothershot Rania in the head.

But some women are fighting for change.Rana Husseini, an award-winningreporter for the Jordan Times, documentsand reports on the stories of femicide.Jordanian human rights lawyer AsmaKhader uses the courts to protect threat-ened women, and fights for longer prisonsentences for those found guilty (sentencesare often only one year). And ProfessorNadera Shalhoub-Kervorkian founded theWomen’s Work Center for Legal Aid andCounseling in the West Bank, where sheprovides aid and counseling to womenwith no place to turn.

From the courthouses to the jails, and tothe hiding places of young women, thefilm puts facts before the viewer, andbrings the hopeful stories of three womenfighting to end CRIMES OF HONOUR.

“Serious and memorable...a well researched documentary.” —Professor Jennifer Loewenstein,University of Wisconsin-Madison, for Feminist Collections Quarterly

“Highly Recommended! This stirring cultural snapshot…is a powerful explorationof crimes in the name of Islamic family honor.”—Educational Media Reviews Online

2000 National Women’s StudiesAssociation Conference Film Festival

1999 Middle East Studies Association Film Festival


CRIMES OF HONOURDirected by Shelley Saywell

CALL TOLL-FREE: 1 • 800 • 876 • 171018

Filmed during the closing stages ofSouth Africa’s Constitutional Assembly,THE DEADLINE is an inside look at therealpolitik negotiations involved.

May 10th, 1996 was chosen by the majorSouth African political parties as the dead-line for the new constitution. Followingthe first democratic elections (April 1994),the ANC-led parliament set about the twoyear task of creating a blueprint for anapartheid-free society, a blueprint that wasto include a set of inalienable rights. Bythe final four weeks most of the Constitutionhad been written, but disputes over a fewkey issues—property rights, labor rights,education, language—remained.

Tension grew as the deadline loomed, andthe playful camaraderie that had charac-terized much of the negotiations gave wayto open antagonism, accusations, andcounter accusations. A deadlock over out-standing issues continued until the finalnight, threatening to derail the transitionto democracy.

THE DEADLINE, commissioned by theConstitutional Assembly, provides aunique behind-the-scenes look at one ofthe most historic and dramatic constitu-tional processes of the 20th century.

“An in-depth, intimate view of the excitingand critical final period in the writing of thenew South African constitution... exceedinglyinformative... of great interest to scholars ofcontemporary South Africa.” —Educational Media Reviews Online

“An unusual behind-the-scenes documentaryabout the highest law in the land… a freshapproach to a subject which stultifies mostpeople… Gleaned from hundreds of hours offootage.” —The Star (Johannesburg)


THE DEADLINEDirected by David JammyA Mail & Guardian Television ProductionProduced for the South African Constitutional Assembly


The eponymous protagonistsof MADEMOISELLE AND THEDOCTOR are 79-year-old LisetteNigot, a retired French-born professor who wishes to terminateher life, and Dr. Philip Nitschke, a proponent of euthanasia whocounsels those who want controlover their own deaths.

Dr. Nitschke is a highly controversialfigure in his native Australia, where,before a Rights of the Terminally IllAct was overturned by the AustralianGovernment in 1997, he was the first doctorin the world to legally administer voluntaryeuthanasia. Nitschke today leads workshopsthat provide medical and legal advice onhow to achieve death with dignity.

MADEMOISELLE AND THE DOCTORshows Nitschke at work, counseling elderly participants in his workshops,demonstrating several “do it yourself” suicide machines, and speaking at aHemlock Society conference in California.

At 79, Mademoiselle Nigot is in goodhealth, feels no pain, and does not seemdepressed. Expressing her fears ofencroaching old age, she simply declaresthat she sees no reason to continue living.Mademoiselle Nigot clearly represents theultimate test case for a legalized policy ofvoluntary euthanasia.

Before MADEMOISELLE AND THEDOCTOR reaches its dramatic conclusion,it has made a persuasive argument as towhy the right to die should be guaranteedby law.

“A heartbreaking yet thought-provokingfilm… Philosophical fires ignite all along theway and ethical and moral argumentsabound.” —SilverDocs Festival

Silver Sterling, 2004 Silverdocs Festival

2004 Sydney Film Festival



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MADEMOISELLE AND THE DOCTORA Film by Janine Hosking

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Little is known about the French military’sinvolvement in Operation Condor, asupranational criminal organizationestablished in 1975 by South Americangovernments to exterminate politicalopponents in their own countries andabroad. Now, DEATH SQUADRONSsheds light on this hidden history.

For the first time ever, French militaryofficials, government officials, andSouth American generals speak on camera,implicating people such as former FrenchGeneral Aussaresses, who trained Chileanofficers in Brazil, Colonel Jean-Claude LeGuen, and many others.

As they detail the collaboration betweenFrance and the far right in Latin America,they describe the interrogation techniques taught by French officers inthe 1960’s and 70’s. The French perfectedthese methods after their defeat in Indo-China and during the Algerian war.Though little documentary footage ofthese practices exists, the Italian filmmakerGillo Pontecorvo realistically re-createdthem in The Battle of Algiers. Clips fromthis landmark film, which was recentlyscreened at the Pentagon, illustrateDEATH SQUADRONS. The film also documents the French military’s involvementwith training U.S. officers at Fort Bragg oncounter-insurgency techniques, which wereeventually used by the U.S. in Vietnam.

While many Latin American generals have inrecent years been tried for their actions, theirFrench instructors, despite their crucial role,have escaped punishment or were amnestiedyears ago by the French government.

“A valuable contribution to the study of stateterror... Highly Recommended for undergrad-uate and graduate students as well asexperts.” —The Americas: A QuarterlyJournal of Inter-American Cultural History

“A far-reaching exposé… absolutely blood-chilling!”—Senses of Cinema

“Highly Recommended!” —Educational Media Reviews Online

2003 Amsterdam InternationalDocumentary Festival

2003 Turin International Film Festival

2003 International Film Festival forHuman Rights in Latin America & the Caribbean


DEATH SQUADRONS—The French SchoolA Film by Marie-Monique Robin


In 1994, decades of politically motivatedethnic scapegoating culminated in awholesale slaughter of Rwanda’s Tutsiminority, along with many Hutu moderates.More than 800,000 lives were taken. GACACAfollows the first steps in the new Rwandangovernment’s bold experiment in reconcil-iation: the Gacaca (Ga-CHA-cha) Tribunals.

The Gacaca Tribunals represent a remarkabledemocratization of justice for a peopleaccustomed to dictatorial authority. The Tribunals offer a voice, and perhaps atherapeutic catharsis, to survivors. The system is fraught with potential pitfalls,however: minimally trained judges will beassigned complex cases, false accusationsor confessions are possible, and revenge orfear of revenge will affect testimonies.

Anne Aghion spent six weeks recordingthe intertwining stories of survivors andprisoners, and their visions of the future.GACACA opens a chapter to a new era.

“Excellent... An excellent pedagogical tool forclasses on Rwanda, on transitional justice, oron reconciliation and reintegration.” —Peter Uvin, Fletcher School of Law andDiplomacy, Tufts University

“Recommended. This is a fine film which willfuel many lively discussions not only on theissue of justice in Rwanda, but justice in theface of heinous crimes against humanity.” —Educational Media Reviews Online

“For someone studying the Rwandan genocideand reconciliation efforts, GACACA providesa view seldom seen.” —Online Journal forPeace and Conflict Resolution

2005 Association of GenocideScholars Conference


2003 Amnesty International Film Festival


GACACA, Living Together Again In Rwanda?Directed by Anne AghionProduced by Philip Brooks, Laurent Bocahut & Anne Aghion

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In this sequel to GACACA, Anne Aghionreturns to Rwanda, as close to 16,000killers in the 1994 genocide, still untried,are released. Having confessed to theircrimes, and having served the maximumsentence the Gacaca tribunals couldimpose, perpetrators of appalling crimesare sent home to livealongside people they victimized.

IN RWANDA WE SAY...focuses on one suspect,tracking the effect of hisreturn on a tiny hillsidehamlet. While the govern-ment’s message of a “unitedRwandan family” permeatesthe language of the commu-nity, the imposed coexistencebrings forth varying emotions,from numb acceptance torepressed rage.

What unfolds, however, is astonishing.Little by little, people begin to talk in aprofound, articulate way — first to thecamera, and then to each other — as theseneighbors negotiate the emotional task ofaccepting life side by side.

“Recommended!” —Educational MediaReviews Online

“One of the most remarkable documentariesyou are likely to see this year.” —Connecticut Post

“With extraordinary sensitivity, Aghiontakes us into the heart of the problem of recon-ciliation in a post-genocidal society—not withwordy abstractions but with the earthy, real

expressions of thepeople, victims and accused criminals,who must try to live together. Those seekingto know whether reconciliation is possible inRwanda must look for their answer in thiscompelling expression of Rwandan voices.” —Alison des Forges, Senior Advisor toHuman Rights Watch, Africa

2004 United Nations Association Film Festival (Stanford University)



IN RWANDA WE SAY... The Family That Does Not Speak DiesDirected by Anne AghionProduced by Laurent Bocahut & Anne Aghion


On August 26, 1998, Stéphane and Fabricesurrender to the police, confessing to themurder of Mustapha K. committed threedays earlier in the village of Vendargues,France. After 48 hours in custody the twoyoung men are brought up in front of themagistrate, Dominique Voglimacci. He isin charge of interrogating the suspects andwitnesses, to bring the truth to light or, atleast, to get as close to it as possible.

Filmed over a period of months, INDICT-MENT follows one man’s attempt toarrive at the truth. As he questions thesuspects, parents and friends of the sus-pects and the victim, psychiatrists andothers, it gradually emerges that Stéphaneand Fabrice have been lying. Though withevery detail and small revelation, theabsolute truth seems less obtainable.

“An astounding document. A real-life detective story… A film which reveals, aboveall, how difficult it is to judge.” —Télé Obs



INDICTMENTA Film by Henri de Latour

MABO traces thestory of Eddie KoikiMabo, an indigenousAustralian whosestruggle for ancestralland rights profoundlyeffected national law.

His decade-long effort against theAustralian legal system led in 1993 tothe passing of the Native Title Act,which ended the theory of terra nullius,or land belonging to no one at thetime of white settlement.

“A moving and personal story... [Mabo] challenged the myths of invasionand colonization through Australia’sown legal system and won.” —The Contemporary Pacific

2001 Amnesty International Film Festival (Vancouver, Canada)


MABO—Life Of An Island ManA Film by Trevor Graham

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This fascinating feature documentaryoffers an intimate look inside the Brazilianjustice system, closely observing theeveryday work of attorneys, judges, prosecutors and other legal professionals,as well as the defendants passing throughthe system—a young man caught with astolen car, another charged with complicityin petty theft, and a teenager arrested forpossession of drugs and weapons.

The film follows each case through its various stages, showing the defendants’meetings with public defenders, the readingof the charges and questioning of thedefendants by a judge, scenes of theirdetention in grossly overcrowded cells,and supervised meetings with familymembers. JUSTICE also extends its viewbeyond the courtrooms and jails to revealthe personal lives of a judge, a publicdefender, and the families of the accused.

The film’s straightforward observationalapproach, lacking any voice-over narration,gradually succeeds in revealing a broadersocial picture, one involving clear implicationsof police corruption, an oppressive judicialsystem that basically seems designed topunish the poor for petty crimes, and apenal system characterized by horrificallyinhumane conditions. In a very compellingway, JUSTICE reveals the legal system as a sort of public theater dramatizing thesocial relations and power structures ofBrazilian society at large.

“A well-composed documentary… the filmpresents injustice worn smooth by years ofpractice.” —The New Republic

2004 Grand Prix, Visions du Réel Festival, Nyon


JUSTICEA Film by Maria Ramos


In the Indian State of Gujurat there is arevolutionary institution started by a disci-ple of Gandhi, Harivallabh Parikh, shortlyafter Indian independence. Known as theOpen Court, administered by the tribalvillage communities themselves, it is acourt where anyone can take the floor, wherejustice is dispensed without regard to caste.

NO SILENCE IN THIS COURT documentsthe proceedings of actual cases andincludes interviews with the participants,the villagers, and the Court’s founder. Ittells the history of this unusual court, andof its impact on the community.Established in 1949, the court was createdto quell the violence that daily resultedfrom petty squabbles, and to offer the trib-al people of this community an alternativeto the often corrupt practices of the localpolice and court system.

The court operates as an open forum, aplace where two parties can air theirgrievances and be assured of a just resolu-tion. Overseen by a small tribunal, the

entire community is involved in metingout the judgment, and the communityitself ensures its proper implementation.Since its inception, the court has peacefullyresolved more than 70,000 cases.

This ‘self-managed’ justice has proven sosuccessful, that the Justice Ministry hastried to establish similar courts in otherregions of India.

“NO SILENCE IN THIS COURT is adelightful film that can be enjoyed on manylevels… It could easily be used for a highschool social studies class or in a number ofundergraduate courses on India, includingintroductory surveys, cultural anthropology,sociology, or indeed, criminal justice. A finefilm.” —Asian Educational Media ServiceNews and Reviews

Official Selection, 2002 Associationfor Asian Studies Film Festival


NO SILENCE IN THIS COURTA Film by Elisabeth Dubreuil

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In early 2002, a group of reserveofficers and soldiers in the Israel DefenseForces issued a public statement declaringthat, although they were willing to servein Israel’s defense, they would no longerparticipate in the “War of the Settlements,”which they felt aimed only to perpetuateIsrael’s control over the Palestinian peoplein the OccupiedTerritories.Contending that theOccupation was cor-rupting Israeli society,they announced theirrefusal to fight beyondthe 1967 borders in orderto “dominate, expel,starve and humiliate anentire people.”

The “Combatants’ Letter”sent political shock wavesthroughout Israel and intensified the national debate over theOccupation. ON THE OBJECTIONFRONT features interviews with the sixfounding members of the Courage toRefuse organization, which today includesover 600 “refuseniks,” who movinglyrecount their personal histories, theirexperience of brutality and torture in theOccupied Territories and at checkpoints, theoften agonizing moral dilemmas that ledthem to their difficult decision, and howthey see their refusal not so much as apolitical act, but as a stand for humanrights and basic moral values.

In a nation that is primarily dependent ontwo things—its military and moralstrength—the actions of these members ofarmored corps, paratroops, and other eliteIDF units were met with harsh government

response, including jail sentences, andpassionate public emotions. The filmshows rallies in support of the Courage toRefuse members, which are countered byright-wing protests denouncing them astraitors and cowards. The stories of theCourage to Refuse members are supple-mented by interviews with their wives,parents, and other family members.

“Unflinching and moving!” —Time Out

“An important documentary.” —The International Herald Tribune

Ecumenical Award, 2005 BerlinInternational Film Festival

2005 San Francisco Jewish Film Festival

2005 Jerusalem International Film Festival


ON THE OBJECTION FRONT A Film by Shiri Tsur


When María Elena’s 3-year-old sonJorge is killed in a hit-and-run accident inChihuahua, Mexico, she begins a quest forjustice that brings her face to face withracism, corruption, and the traditional atti-tudes of her community.

María Elena is indigenous—a Rarámuri—and Marisela, the driver who killed herson, is ‘white.’ María Elena must thereforeface not only an official justice system thatdiscriminates against her, but also thewhispers of those in her remote mountaincommunity who regard her with suspicionbecause she is a divorced woman whomoved to the city. Some go so far as toblame her for Jorge’s death.

This moving story of grief and healing,injustice and cultural identity is recountedthrough scenes with María Elena, her par-ents, other family members, and friends,plus her lawyer and a Human RightsCommission representative.

Two separate trials are eventually held—one official government procedure and atraditional Rarámuri hearing—both of which

declare the driver not responsible for theaccident. Despite this setback, María Elenais ultimately shown as being able to drawupon enormous spiritual resources, evenin the midst of such a tragedy, whichenable her to carry on with her life.

“[A] bracing look at violence and justice.” —The New York Times

“A true account of tragedy, grief and injusticethat reflects on complex views with eloquentsimplicity and heartfelt directness.” —Variety

“Recommended! Both moving and eye openingin a cultural studies sense. The productionvalues are very high.” —Educational Media Reviews Online

2003 Sundance Film Festival

Best Documentary, 2003 Sao Paulo Film Festival

Best Mexican Feature, 2003 Guadalajara Film Festival


THE PASSION OF MARÍA ELENA A Film by Mercedes Moncada Rodriguez

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In September 1998, Augusto Pinochetflew from Chile to London on a pleasuretrip. But after experiencing back pain, he underwent an operation in the LondonClinic. Upon waking from surgery, he wasarrested by the London police.

This film investigates the legal origins ofthe case in Spain. Featuring interviews with prosecutor Carlos Castressana and JudgeBaltasar Garzón, THE PINOCHETCASE explores how a small group ofpeople in Madrid laid the groundworkfor this incredible feat—catching a dictator 25 years after his rise to power.

THE PINOCHET CASE also follows theworkings of the British legal system thatensued. After spending 503 days underhouse arrest, Pinochet was released ongrounds of ill health, but only after theHouse of Lords, in an historic decisionwith international repercussions, divestedhim of his legal immunity, ruling that evenheads of state can be held accountable forcrimes against humanity.

THE PINOCHET CASE also movinglyincorporates the stories of many Chileans,most of them women, relatives of the “disappeared,” and ex-prisoners who had been tortured, who traveled toMadrid to testify.

When Pinochet finally returned to Chile,he faced 200 criminal accusations inChilean courts. The Chilean SupremeCourt stripped him of his immunity, andon January 29, 2001, Judge Juan Guzmánplaced Pinochet under house arrest. The people were no longer afraid, and theChilean justice system started to make upfor lost time.

“Eloquent, meticulously structured. A grippingstep-by-step account of the case. Sober politicaland legal analysis alternates with grim first-hand accounts of torture and murder.” —The New York Times

“Both a legalistic thriller and a searing documentary.” —The Guardian

Premiere, Semaine de la Critique,2001 Cannes Film Festival

Golden Gate Award, 2002 San Francisco International Film Festival


THE PINOCHET CASE A Film by Patricio Guzmán


Iranian attorney Shirin Ebadi wasawarded the Nobel Peace Prize in 2003 forher efforts for democracy and human rights,in particular the struggle for the rights ofwomen and children in Iran. SHIRIN EBADI—A SIMPLE LAWYER is a portrait of thisdynamic woman, featuring scenes filmedwith Ebadi in her Tehran office, speechesat international conferences, meetingswith other Iranian lawyers, and a visit tothe children’s center she founded.

Appointed the first female president of theTehran City Court in 1975, Ebadi lost herposition following the Islamic Revolutionin 1979, when women were forbidden toserve as judges. She was readmitted to thebar in the early 1990’s when, as an attorney,she began to challenge Iran’s religious courtsover a wide variety of issues—includinghuman rights, freedom of expression,political prisoners, and democratic reform—demonstrating the need for an overallreform of the Iranian justice system.

Indeed, Ebadi argues that the most seriousproblem in Iran today is the misuse of reli-gion and that judges must be independent

of the Islamic government. She points out,for example, that although women in Iranare taking a more active role in social life,including increased attendance at universities,the status of women has actually regressedsince the Islamic Revolution.

Despite her increased fame since receivingthe Nobel Prize, Ebadi retains a sense ofhumility. She points out that Iran, of allcountries, should be aware of the dangerof personality cults, and that she has nodesire to be a spokesperson or role modelfor Iran’s 70 million citizens. As the filmmakes clear, however, although Shirin Ebadimay consider herself merely “a simple lawyer,”her committed pursuit of peace, justice andhuman rights, despite recent death threats,has made her an international symbol ofIran’s current struggle for democracy.

“Shows the exhausting journey of this indefatigable and charismatic angel of peace.”—Les Inrockuptibles


SHIRIN EBADI—A Simple LawyerA Film by Bani Khoshnoudi

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Aging & the Law. . . . . . . . . . . . . . . . . . . . 20

Alien Tort Claims Act. . . . . . . . . . . . . . . . 11

Attorneys . . . . . 10, 11, 17, 18, 24, 25, 29, 30

Civil Procedure . . . . . . . . . . . . . 4, 10, 11, 20

Civil Rights . . . . . . . . . . . . 2, 3, 7, 12, 13, 14(and Race Relations)

Comparative Law . . . . . . . . . . . . . 11, 17-30

Community Justice . . . . 1, 9, 22, 23, 26, 28

Constitutional Law . . . . . . . 5, 8, 13, 19, 30

Corrections . . . . . . . . . . . . 3, 7, 9, 14, 15, 25

Courts. . . . . . . . . . . . . 1, 4, 22, 25, 26, 28, 29

Criminal Law. . . . 1, 2, 9, 10, 11, 12, 16, 17,18, 20, 21, 22, 23, 25, 29

Death Penalty . . . . . . . . . . . . . . . . . . . . . . 14

Drugs . . . . . . . . . . . . . . . . . . . . . . . . . . . 1, 16

Entertainment Law. . . . . . . . . . . . . . . . . . . 4

Environmental Law . . . . . . . . . . . . . . . . . 11

French Law. . . . . . . . . . . . . . . . . . . . . . . . . 24

Human Rights . . . 2, 3, 7, 10, 13, 14, 17, 18, 21, 22, 23, 25, 27, 28, 29

Immigration Law . . . . . . . . . . . . . . . . . . . 13

Law Enforcement . . . . . . . 2, 3, 6, 12, 16, 25

Legal History. . . . . . . . . . . . 5, 11, 19, 24, 29

Medicine, Health Care & the Law . . 11, 20

Native Peoples Rights . . . . . . . . . 24, 26, 28

Parole . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 9

Police. . . . . . . . . . . . . . . . . . . . . . . . 12, 14, 16

Prisons . . . . . . . . . . . . . 3, 7, 9, 13, 14, 15, 25

Restorative Justice . . . . . . . . . . 6, 22, 23, 26

Women & Law . . . . . . . 8, 12, 17, 18, 28, 30

INDEX

New Releases Now on DVD!Most new releases are now available asDVDs, with scene selections! For a listingof titles currently available on DVD, andtechnical details on DVD formats, visitthe new DVD page on our website athttp://www.frif.com/subjects/dvd.html

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TABLE OF CONTENTS:U.S. Constitution, Law,

Legal System & Corrections . . . . . . Pages 1-16International & Comparative Law. . . . Pages 17-30

37 Videos & DVDs10 New Releases!

Documents

Videos & DVDs on The Law Human Rights, Criminal Justice ...Federalists and anti-Federalists over whether to ratify the Constitution and become the United States, or to not ratify and