OneBigTorrent.org

In Guantanamo

Category: Documentary
Description:
Guantanamo naval base, 'Gitmo', covers forty five square miles of Cuba inside an area under a controversial 'permanent lease' to the United States. Since 2002, the base has become synonymous with its detainment facilities for suspected terrorists. Although Barack Obama has given orders for the detention camp to be closed, the facilities remain open to this day. David Miller's quiet, powerful film is the result of three days the filmmaker spent touring the camps in May 2008 as part of a small group of media representatives allowed there. Although the event was presented as a chance to 'see inside' the working of Guantanamo, it was in fact a carefully staged PR exercise designed to yield predictable, stale, controlled media images. The film was produced in 2008/2009 in conjunction with Yvonne Ridley, PRSNL Pictures and the VODO team. Special thanks to Editor Luca Lucarini. IN GUANTANAMO is released via VODO under a Creative Commons Non-Commerical No-Derivs Attribution License. The filmmaker does not permit remixes but would like the work to be shared freely for non-commercial purposes. ABOUT VODO VODO is founded by Jamie King, one of the figures behind STEAL THIS FILM (www.stealthisfilm.com). VODO brings filmmakers together with the distribution power of the filesharing community. It aims to offer fresh, quality films on a free-to-share basis, promoted and distributed through a 'coalition' of filesharing partners that includes big names like The Pirate Bay, Mininova, Miro, TorrentFreak, Isohunt, Plube, OneDDL Vuze and and Frostwire, amongst many others. 'Together, the filesharing community has a distribution capacity that rivals and even exceeds that of the mainstream media,' says Jamie King. 'VODO aims to leverage that power for the benefit of filmmakers and other creators. By sharing films freely through the most popular and fastest growing filesharing sites, we're building audiences in the hundreds of thousands for artists. That has material value for these filmmakers, through raised profile, donations and marketing. It's a win-win situation and it's the future of distributing media after copyright.' Followers of release groups like aXXo will be familiar with the model. But VODO is a release group with a twist. Not only are artists voluntarily sharing: downloaders can choose to make voluntary donations to creators. VODO lets creators manage their own donation links, with all donations going directly to the filmmaker. Regular supporters of the VODO project will receive access to all the films being considered for release. VODO aims to release at least one film per month during the rest of 2009 and 2010. Forthcoming titles include the premiere of 'In Guantanamo', a documentary by first-time director David Miller that provides unprecedented access to the Guantanmo prison camps - but King says that fiction titles, animation and shorts will also be on the distribution list. 'During 2010 VODO will build out a series of revenue opportunities for its creators, with the free-to-share model at their core,' he explains. ABOUT THE TEAM VODO collaborators include Nils Hellberg of Piratbyran (Sweden, Design) and Rama Cosentino of BurnStation (Argentina, programming), with programming support by Dan O' Huiginn (UK). Members of the advisory board include Ashwin Navin, ex-CEO of Bittorrent Inc., and Peter Sunde of The Pirate Bay. VODO, which has been in development since 2008, has been produced with the support of the Arts Council UK, Emerald Fund and the Channel 4 British Documentary Film Foundation. VODO's not hiring right now, but it is looking for voluntary collaborators to help out as it grows and takes shape. Just send an email to info@vodo.net to find out more.
Seeders: 1622
Leeches: 110

The Anarchist Library on torrent

Category: eBooks, Magazines, Audio Books
Description:
The whole archive of theanarchistlibrary.org
Seeders: 14
Leeches: 3

PBS POV - Bronx Princess (September 22 2009)

Category: Documentary
Description:
PBS POV - Bronx Princess September 22 2009 Rocky Otoo is the Bronx-bred teenage daughter of Ghanaian parents, and she's no pushover. She is a sassy high-achiever bound for college. With freedom in sight, Rocky rebels against her mother's rules. When their relationship reaches a breaking point, Rocky flees to her father, a chief in Ghana. What follows is captured in Bronx Princess, a tumultuous coming-of-age story set in a homeland both familiar and strange. Her precocious — and very American — ideas of a successful, independent life conflict with her father's traditional African values. Reconciling her dual legacies becomes an unexpected chapter in this unforgettable young woman's education.
Seeders: 10
Leeches: 10

BBC Two - 1929 The Great Crash (2009)

Category: Documentary
Description:
BBC Two - 1929 The Great Crash (2009) A documentary exploring the causes of the 1929 Wall Street Crash. Over six terrifying, desperate days in October 1929, shares crashed by a third on the New York Stock Exchange. More than $25 billion in individual wealth was lost. Later, three thousand banks failed, taking people's savings with them. Surviving eyewitnesses describe the biggest financial catastrophe in history. In 1919, the US had emerged victorious and dominant from World War One. Britain and its European allies were exhausted financially from the war. In contrast, the US economy was thriving and the world danced to the American tune. Easy credit and mass production set the tone in the roaring twenties for an era of consumption like none that had ever been seen before. The stock market rose and investors piled in, borrowing money to cash in on the bubble. In 1928, the market went up by 50 per cent in just 12 months. The crash was followed by a devastating worldwide depression that lasted until the Second World War. Shares did not regain their pre-crash values until 1954.
Seeders: 37
Leeches: 35

Winstanley [OBT] DVDrip ENG

Category: Misc
Description:
Winstanley is the title of a film made in 1975 in the UK by Kevin Brownlow and Andrew Mollo, based on the 1961 David Caute novel Comrade Jacob.Runtime 2 hrs 20 minsWinstanley B/W 95 minutesIt Happened Here Again 45 minutes (color)640x480From the Wiki: This deals with some of the life story of the 17th Century social reformer and writer Gerrard Winstanley, who, along with a small band of followers known as the Diggers tried to establish a self-sufficient farming community on common land at St. George's Hill near Cobham, Surrey. This was one of the world's first socialistic living experiments which was copied elsewhere in England during the time of the Protectorate of Oliver Cromwell, but was quickly suppressed and in the end left only a legacy of ideas to inspire later generations of socialist theorists. Great efforts were made to produce a film of high historical accuracy. Armour used was actual armour from the 1640s, borrowed from the Tower of London. Directed by Kevin Brownlow Andrew Mollo Produced by Andrew Mollo Kevin Brownlow Written by David Caute (novel) Kevin Brownlow This torrent includes the featurette Making-Of film on Winstanley called “It Happened Here Again”The torrent is given from the new DVD release mastered from the original film. The dvd contains more information and extras. Encourage your library to purchase this film for it's historic value.Those who appreciate the work of Peter Watkins (La Commune Paris 1871,Colloden, The War Game, Freethinker, and The Universal Clock etc) will see similarities in this work.Notes written September 8, 2009
Seeders: 6
Leeches: 2

60 Minutes Special Don Hewitt August 23 2009

Category: News & Current Affairs
Description:
60 Minutes Special Don Hewitt August 23 2009 (CBS) This has not been a happy summer for those of us who work at CBS News: last month Walter Cronkite died, and this past week we lost Don Hewitt, the man who created 60 Minutes 41 years ago. Don was 86, but in his head and in his heart he was a kid. Words like "passion" and "enthusiasm" are too weak to describe this human dynamo. As correspondent Morley Safer explains, Don was his boss for most of the 45 years he has worked at the network and he was not an easy man to please. But when you did please him, you were on top of the world. And so was he. He was also a thorn in the side of his corporate bosses, though he liked to describe himself as a pain in the ass. And he was madly in love with broadcast journalism. We take a look at Don Hewitt - this founder, producer and above all, ringmaster of what he regarded as the greatest show on earth. "I once said to CBS, 'In my next contract I want a gun, and a whip and a chair,' because it's like being in a cage full of tigers. And there are temperaments. Not the least of which is mine," Don Hewitt once said. Ringmaster and lion tamer - Don became a show unto himself. Since the very beginning of television news more than six decades ago, he lived by a deceptively simple motto: "It's four little words. Tell me a story. And that's all we do. Tell 'em a story," he explained. Years before 60 Minutes, he was at Edward R. Murrow's side as television expanded its reach to broadcast live, from coast to coast. He produced the very first televised presidential debate, Kennedy vs. Nixon, in 1960. He was with Walter Cronkite the day John F. Kennedy was shot. And with 60 Minutes, he revolutionized broadcast news, dispatching what he called his "team of tigers" to the four corners of the globe to carry out that four-word mandate: Tell me a story. "There is no place on Earth that you haven’t been," Hewitt said when the broadcast turned 25. "And there's nobody on Earth that you haven't met. …And that is the great value of what we do, I think." He was, in fact, the boy wonder of CBS News, and remained the awestruck kid well past retirement age. He was opinionated, outrageous, with a quick wit and a short fuse. "The only problem is that when you've been around as long as I have, you get to be kind of a pain in the ass," Hewitt once said. And as his friends and colleagues will tell you, on balance, the pleasure of Don's company was mostly worth the pain. "I mean, he put on a show in the control room. And it was just wonderful. It was hypnotic," Phil Scheffler remembered, who worked at Don's side for over half a century. 60 Minutes Executive Producer Jeff Fager remembers his first meeting with Hewitt. "I remember it well. He said, 'Listen kid. All you need to do is bring us good stories.'" Fager succeeded Don in 2004 as executive producer, and he remembers all too well being the new kid on the block, 20 years ago: screening one of his first 60 Minutes stories for the ringmaster. It was a somewhat dry report on the Polish economy. "The first thing he said was, 'Where do you want it kid, right between the eyes?' He hated it. And what really was amazing is a couple of hours later he called and he said, 'I have some ideas for how we can make this story better.' And he did," Fager remembered. "He was like P.T. Barnum in the sense that he would bring the circus truck to town every time he got to talk to you," actor Alan Alda said. Don called Alda his best friend; Alda says that even after hours, Don talked constantly about work. "Because it excited him so much that he was, I think he was still a boy who was amazed at his success." The boy grew up in New Rochelle, N.Y., 45 minutes from Broadway. Fifteen cents would buy him a Saturday afternoon of cartoons, newsreels and melodramas. The movies got under his skin and stayed there. "He once said to me that when he goes to a Western movie, he comes out walking bowlegged," Safer remembered, laughing. "He told us many times how when he was in the war, he had seen so many war movies that when he was finally standing on the ship, and the enemy planes were coming at him, he thought 'Where's the music?'" Alda added. The movies gave him his role models: rascals who had the moxie to beat the system during the Great Depression. "I never knew whether I wanted to be Julian Marsh, the Broadway producer on 42nd Street, or Hildy Johnson, the reporter in Front Page," Hewitt said. Johnson came from the newspaper world, just as Don's father did. It was a whiskey soaked jungle of snappy talk and scooping the competition. And impresario Julian Marsh in 42nd Street was surrounded by bright lights and Broadway babes - Don's kind of world. "We always thought if Don Hewitt went into Broadway, he would have been just as big and just as successful," Fager said. "I mean, he had that way, he had that showmanship." In 1948, CBS put on its first TV newscast; Don was 25, with some wartime reporting experience under his belt. Somebody suggested he check out the CBS News studio, upstairs at Grand Central Station. "And I walked in. I couldn't believe it. You know, there are lights and cameras and makeup people and it looked like a Hollywood set. And I fell in love," Hewitt remembered. And the best thing was: no longer did he have to choose between being ace reporter Hildy Johnson or Broadway star maker Julian Marsh. "I thought, 'Oh my God, in television you can be both of them.' And I got hired," Hewitt remembered. Soon, he was producing Douglas Edwards' newscast, the forerunner of the CBS Evening News. There were no satellites, no computers - nothing much except huge, bulky cameras and Don's manic enthusiasm. "It wasn't very good, but it was respectable. I always thought it was the infancy of television. Like we were making those shows out of Play-Doh," Hewitt said when the Evening News turned 50. "Don has described those early days as playing with Play-Doh. Kind of making it up as you go along," Safer remarked. "No question about that. There were no signposts. No rules," Scheffler agreed. "Nobody had any experience in this before. And so he really was the inventor of the kind of television news that we do now." In the summer of 1956, the ocean liner Andrea Doria collided with a ship off Nantucket. Don, Doug Edwards and a cameraman flew off to have a look. The other networks had already come and gone, beating them to the first pictures of the crippled ship, dead in the water. "I said, 'Well, what the hell. We're here. Let's go anyway,'" Hewitt remembered. "We're flying over the Andrea Doria, it turns over, and like a big dead elephant, it sank right beneath us." "Dumb luck. By being late, we got the story," he added. Hewitt would do just about anything to get the story and shaft the competition. When Soviet Premier Nikita Khrushchev visited a farm in Coon Rapids, Iowa in 1959, Don put one over on NBC. "He stole their truck, their video truck," Alda explained. "And drove it into the middle of a corn field, where no one could find it. Now that's not Mr. Nice Guy, you know. He did return it, eventually." But Hewitt clashed often with CBS News President Fred Friendly, who found him too brash and too unpredictable. In 1965, Friendly figured out a way to get Don off the Evening News; Don thought it was a promotion. "His wife told me later that he came home and said, told her the story about how Friendly had come to see him and said, 'You know, Don, this Evening News is not big enough for you. We're gonna find really great projects for you to do.' And his wife said to him: 'Idiot. You just got fired,'" Scheffler said. "It was devastating at the time. You know, I had my legs cut off," Hewitt remembered. He remained at CBS, but sought solace out on his beloved beach. Next to television, he worshiped the sun and his kids. He produced a few earnest documentaries, but hungered after something with a little more punch. "He got bored easily, is the problem," Scheffler said. And out of that boredom came Don's greatest idea: 60 Minutes. In a sense, it should have been called "15 minutes." Don couldn't sit still for anything longer than that. "It's really a reflection, I think, of his attention span," Scheffler said. "His attention span was 15 minutes. And so he said 'We'll do a program that has three 15-minute stories on it." It began in the fall of 1968, without, at first, Phil Scheffler. "I turned him down. I said, 'You know, Don, I don't think your show's gonna be serious enough.' And I said, 'Besides, you know, it's not gonna last very long,'" Scheffler remembered. That was more than 40 years ago. Scheffler eventually came on board, as did any number of oddballs. "Don managed to attract the best people in the business. And he kept this ensemble full of crazy egos all working towards the same end," Fager said. Asked what he means by crazy egos, Fager said, "More like tigers in a cage, and every once in a while they'd jump out of their cages and Don would have to figure out a way to coax them back in." With Don cracking the whip, it was not a place for the fainthearted. "I saw him fire the same producer three times in the halls," Fager recalled. "He fired Mike [Wallace] at least 50 times," Safer added. "Well, Mike probably deserved it," Fager joked. Alan Alda wondered if all that high drama achieved any purpose. "Was it successful in getting you to think on another level?" Alda asked. "Oh, absolutely," Safer replied. "I think it made the pieces, the stories, in the final analysis, much leaner and much more direct." "And would he turn out to be right?" Alda asked. "Mainly he was right," Safer said, laughing. But there were some rough moments in an otherwise brilliant career. In 1995, the then CBS management suppressed a 60 Minutes expose of the tobacco industry. The story eventually was broadcast, after it was reported in The Wall Street Journal. Though the tobacco story haunted him for years, Don continued masterminding the broadcast for another decade. "His job was his life. And that's what made it so hard for him to give it up. In fact, he said quite publicly 'I wanna die at my desk,'" Fager said. Don left the broadcast - reluctantly - in 2004, at age 81, and slowly made peace with the idea of having more time for the grandchildren. And of watching 60 Minutes not in the screening room, but in his own living room. Asked what he thinks Hewitt's legacy is, Phil Scheffler said, "His legacy is 60 Minutes. There's no question. I mean, this was his shining, his crowning success." Fager said, "It's a great legacy, this broadcast, and it hasn't strayed much from what he envisioned in the first place more than 40 years ago." "He gave the country nourishment but in the form of, to a great extent in the form of entertainment. It wasn't like eating your broccoli. What he gave us was a good old-fashioned hot dog, but somehow it nourished us like broccoli," Alda added. "There is some kind of genius in that. He was able to fuse those two things."
Seeders: 0
Leeches: 0

NFB of Canada - Discordia

Category: Documentary
Description:
SEED WHEN COMPLETED. PATIENCE WHEN DOWNLOAD... MY CONNECTION IS THROTTLED. From the NFB website... It's September 9, 2002, and a scheduled appearance by Benjamin Netanyahu, the former Israeli prime minister, has sparked heated debate at Montreal's Concordia University. By the end of the day, the "Concordia riot" has made international news, from CNN to Al-Jazeera. Discordia documents the fallout from that eventful day--following three young campus activists as they negotiate the most formative year of their lives. Samer Elatrash, articulate and impulsive, is the son of Palestinian refugees and active with Solidarity for Palestinian Human Rights. Noah Sarna, the soft-spoken co-president of the Jewish students' association Hillel, is passionate in his support for the state of Israel. Aaron Maté, a VP of the student council, finding himself at the eye of the storm, seeks advice from his father, a Holocaust survivor, and Noam Chomsky, a leading critic of Israeli policies. Filmmakers Ben Addelman and Samir Mallal jump into the fray with street-smart bravado and a handheld camera. Buoyed along by hip-hop artist Buck 65, they offer a tonic reflection on the current state of Canadian student activism--and the enduring value of a tolerant and open mind. 2004, 68 min 40 s Video encoding information: 002: [General] Title: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; discordia Data source: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; DVD DVD title number: ;; ;; ;; ;; ;; 2 Runtime: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 01:09:16 [Video] Video format: ;; ;; ;; ;; ;; ;; ;; ;; ;; NTSC FPS: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 29.970 Size: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 624 x 352 Video bitrate (kbps): ;; 5924 Video codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xvid4 2-pass-encoded: ;; ;; ;; ;; ;; ;; ;; yes Fast resizing: ;; ;; ;; ;; ;; ;; ;; ;; no Deinterlacer filter: ;; ;; Antialiasing filter: ;; ;; No antialiasing [Audio 1] DVD audio track id: ;; ;; ;; 1 Language: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xx Audio codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ac3 Channels: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 6 Sample rate: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 48000 Audio bitrate (kbps): ;; 448 005: [General] Title: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; discordia Data source: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; DVD DVD title number: ;; ;; ;; ;; ;; 5 Runtime: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 00:22:58 [Video] Video format: ;; ;; ;; ;; ;; ;; ;; ;; ;; NTSC FPS: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 29.970 Size: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 752 x 432 Video bitrate (kbps): ;; 7788 Video codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xvid4 2-pass-encoded: ;; ;; ;; ;; ;; ;; ;; yes Fast resizing: ;; ;; ;; ;; ;; ;; ;; ;; no Deinterlacer filter: ;; ;; Antialiasing filter: ;; ;; No antialiasing [Audio 1] DVD audio track id: ;; ;; ;; 0 Language: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xx Audio codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ac3 Channels: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 2 Sample rate: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 48000 Audio bitrate (kbps): ;; 192 006: [General] Title: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; discordia Data source: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; DVD DVD title number: ;; ;; ;; ;; ;; 6 Runtime: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 00:12:20 [Video] Video format: ;; ;; ;; ;; ;; ;; ;; ;; ;; NTSC FPS: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 29.970 Size: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 768 x 432 Video bitrate (kbps): ;; 8451 Video codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xvid4 2-pass-encoded: ;; ;; ;; ;; ;; ;; ;; yes Fast resizing: ;; ;; ;; ;; ;; ;; ;; ;; no Deinterlacer filter: ;; ;; Antialiasing filter: ;; ;; No antialiasing [Audio 1] DVD audio track id: ;; ;; ;; 0 Language: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xx Audio codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ac3 Channels: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 2 Sample rate: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 48000 Audio bitrate (kbps): ;; 192 008: [General] Title: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; discordia Data source: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; DVD DVD title number: ;; ;; ;; ;; ;; 8 Runtime: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 00:17:46 [Video] Video format: ;; ;; ;; ;; ;; ;; ;; ;; ;; NTSC FPS: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 23.976 Size: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 624 x 368 Video bitrate (kbps): ;; 4404 Video codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xvid4 2-pass-encoded: ;; ;; ;; ;; ;; ;; ;; yes Fast resizing: ;; ;; ;; ;; ;; ;; ;; ;; no Deinterlacer filter: ;; ;; Antialiasing filter: ;; ;; No antialiasing [Audio 1] DVD audio track id: ;; ;; ;; 0 Language: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; xx Audio codec: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ac3 Channels: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 2 Sample rate: ;; ;; ;; ;; ;; ;; ;; ;; ;; ;; 48000 Audio bitrate (kbps): ;; 192
Seeders: 1
Leeches: 1

America & the Holocaust, Deceit & Indifference (PBS)

Category: Documentary
Description:
Video Codec..........: XviD ISO MPEG-4 Video Bitrate........: 1025kbps Duration.............: 1:25:04 Resolution...........: 528*400 Framerate............: 29.970 Audio Codec..........: 0x0055 MPEG-1 Layer 3 Audio Bitrate........: 110 kbps VBR Audio Channels.......: 2 Filename.............: America and the Holocaust.avi Filesize.............: 733,464,576 No Subtitles http://www.imdb.com/title/tt0195518/ http://www.pbs.org/wgbh/amex/holocaust/ In 1937, a 17-year-old German Jew named Kurt Klein emigrated to the US to escape the growing discrimination against Jews that had become a terrible fact of life following Hitler's rise in 1933. Together with his brother and sister, who had emigrated previously, Klein worked to establish himself so that he could obtain safe passage for his parents out of Germany. America and the Holocaust uses the moving tale of Klein's struggles against a wall of bureaucracy to free his parents to explore the complex social and political factors that led the American government to turn its back on the plight of the Jews. The film is produced by Martin Ostrow. Hal Linden narrates. In 1938, American society had its own political, social, and economic problems, including a long-standing--and rising--anti-Semitism. Despite stories coming from Europe about a campaign to force Jews out of Germany and about the horrors of Kristallnacht ("the night of broken glass"), the majority of Americans were fearful that an influx of immigrants would only aggravate the serious unemployment problem brought on by the Depression. More than 100 anti-Semitic organizations blanketed the US with propaganda blaming Jews for all America's ills. Businesses discriminated against Jews, refusing them jobs. Signs at private beaches bore the words "No Jews or Dogs allowed" and certain hotels and housing developments proudly proclaimed themselves "Restricted." Even the government was not immune from anti-Semitic sentiments. While the Kleins were struggling to obtain visas from the American consulate, the State Department ordered its consuls to stall the process. "Even though we continued our attempts to get our parents out--because we knew that they were in the unoccupied part of France which was still not totally under German control--everything we did for them turned into nothing," recalls Kurt Klein. "The State Department probably had a greater degree of anti-Semitism than others, particularly in the immigration section," says former Treasury Department employee Edward Bernstein. "Their attitude was, `If we're patient, we find that the problems of the Jews in Germany are not really life-threatening." But for Kurt Klein and other German-American Jews with relatives overseas, patience was a commodity they couldn't afford. By the end of 1941, the Nazis had murdered half a million Jews. Although trains regularly headed to fully operational killing centers by the spring of 1942, the "final solution" was still a well-guarded secret. That summer the State Department was advised by Gerhart Reigner, the representative of a Jewish organization in Geneva, of Nazi plans to exterminate all the Jews in Europe. Their response was to dismiss the information, calling it "a wild rumor inspired by Jewish fears." "The State Department was actively blocking information about the genocide, " says historian David Wyman. "Roosevelt refused to focus on the issue. The American churches were largely silent...and the press had little to say--and buried that little on the inner pages. So it fell to Jewish activists to bring the information to the American public." It took protests and petitions from Jewish organizations and finally the Treasury Department, headed by Henry Morgenthau, to uncover the State Department's deliberate obstruction of rescue. "Secretary Morgenthau, who valued above all else his relationship with the president, nevertheless felt he had to put himself on the line and be the spokesman on this issue," recalls John Pehle of the Treasury Department. At last, on January 16, 1944, President Franklin Roosevelt met with Morgenthau in the Oval Office. Six days later, Roosevelt officially reversed the government's policy of obstruction. He signed Executive Order 9417, creating the War Refugee Board, which was instructed to "take all measures to rescue victims of enemy oppression in imminent danger of death." "In the end, the War Refugee Board played a vital role in saving the lives of 200,000 Jews," says Wyman, "a very valuable contribution, to be sure. But the number is terribly small compared to the total of six million killed. The Board did prove that a few good people--Christians and Jews--could finally break through the walls of indifference. The great shame is that if Roosevelt had created the board a year earlier [it] could have saved tens of thousands, even hundreds of thousands more--and in the process, have rescued the conscience of the nation."
Seeders: 35
Leeches: 13

The Supreme Court on Trial-Link TV Special

Category: Documentary
Description:
Special: The Supreme Court on Trial Category: Documentaries Regions: North America Topics: Political Institutions / Systems There is a battle taking place in the US Supreme Court between the originalists and the evolutionists, and the verdict is in: the originalists have it, five to four. Adhering to a belief that the Constitution is doctrine, the Originalists take a seemingly fundamentalist approach to interpreting this document as the last word on American laws and values. Those who disagree with this strict point-of-view could be called Evolutionists, as they believe our founding charter was crafted in broad, open-ended language, and evolves to reflect our changing society. Does this combination of beliefs make for a politically motivated Supreme Court? And how has that balance controlled decisions that have affected us all? In this Link TV special we are joined by famed author and prosecutor Vincent Bugliosi to talk about his experiences and to present the documentary Original Intent: The Battle for America. About the film: Original Intent Original Intent is the judicial philosophy promoted by President George W. Bush and Supreme Court Justices Antonin Scalia and Clarence Thomas. Originalists believe the U.S. Constitution should be interpreted in the way the Founding Fathers understood it in 1789 - an era when only white men were allowed to vote and slavery was legal. Others believe the Constitution was crafted in broad, open-ended language and that its meaning evolves over time. Originial Intent: The Battle for America argues that the far right is using originalism as a cover to advance a radically conservative political agenda. With the appointments of Justices Roberts and Alito, the balance of the Supreme Court shifted dramatically to the right. Many laws that are considered fundamental rights can be overturned, particularly laws that protect civil rights, voting rights, affirmative action, reproductive rights, privacy, and sexual freedom. The film contains interviews with: Robert Bork, Supreme Court nominee; Prof. Erwin Chemerinsky, Dean, UC Irvine Law School; Prof. Alan Dershowitz, Harvard Law School; Edwin Meese, Attorney General, Reagan Administration; Senator Alan Simpson (R-WY); Prof. Nadine Strassen, NY Law School and President, ACLU; and Nina Totenberg, Legal Affairs Correspondent, National Public Radio. An essential film for courses in Political Science, Government, Constitutional Law and American Studies. For more links and information on other special programs, visit our Specials page.
Seeders: 1
Leeches: 15

Murder, Spies and Voting Lies - The Clint Curtis Story DVDrip Xvid MP3

Category: Documentary
Description:
Clint Curtis was an everyday computer programmer in Florida until he was asked by a powerful Republican legislator to create vote-rigging software for electronic voting machines. For the first time, Patty Sharaf's terrifying documentary, Murder, Spies & Voting Lies (the Clint Curtis story), recounts the full, remarkable tale. Join journalist/blogger Brad Friedman, as he investigates Curtis's hair-raising claims, uncovering a seamy side of American democracy that mainstream media fails to report. Also featuring: Gore Vidal, Bob Fitrakis, Cynthia McKinney, Harry Hursti, Mavis Georgalis and a host of others. http://www.votinglies.com/ See the promo at http://www.youtube.com/watch?v=sNHhP4JCDhA
Seeders: 5
Leeches: 0