Name: "It's the first time I've been this upset with the U.S. government" - Waiting for the Invasion
Uploaded: 2023-06-11T20:09:00+00:00
Duration: 59 min 10 s
Description: https://www.patreon.com/thememoryhole_ Set against the backdrop of a tense political climate in Nicaragua during the 1980s, the film delves deep into the attitudes, experiences, and aspirations of the

1 year ago

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Nicaragua documentary US invasion Sandinista government contras attitudes resilience American citizens small businessman multinational corporation agricultural experts

https://www.patreon.com/thememoryhole_

Set against the backdrop of a tense political climate in Nicaragua during the 1980s, the film delves deep into the attitudes, experiences, and aspirations of the Nicaraguan people as they prepare for a potential invasion by the United States and simultaneously resist the American-backed rebel group known as the "contras," who seek to overthrow the Sandinista government.

With an immersive approach, the documentary takes viewers on a compelling journey through the lives of various American citizens who have chosen to make Nicaragua their home and have come to support the Sandinista government. Their stories are skillfully interwoven, offering diverse perspectives that highlight the complexities of the Nicaraguan political landscape.

The filmmakers conduct insightful interviews with an array of individuals, each representing a unique facet of society. Among those featured are a resilient small businessman, who shares his experiences of navigating economic challenges while passionately advocating for the Sandinista government's policies aimed at promoting social justice and equality. Additionally, the documentary introduces a multinational corporation manager, providing an intriguing contrast by exploring the motivations and perspectives of someone working within a corporate framework who nonetheless supports the Sandinista government's reforms.

The film also highlights the invaluable contributions of agricultural experts, whose dedication to sustainable farming practices and agrarian reform becomes evident through their compelling narratives. Their stories shed light on the significance of food security and the profound impact of the Sandinista government's agrarian policies on rural communities.

Furthermore, the filmmakers provide a platform for teachers who have witnessed firsthand the transformative effects of educational initiatives implemented by the Sandinista government. Through their experiences, viewers gain insight into the government's commitment to fostering a well-rounded education system that prioritizes inclusivity and empowers the younger generation.

The documentary also reveals the voices of courageous nuns, whose faith and social activism converge as they support the Sandinista government's efforts to address poverty, inequality, and social injustice. These dedicated individuals showcase the intersection of spirituality and political engagement, emphasizing the holistic approach taken by the Sandinista government to uplift its citizens.

DeeDee Halleck (born January 5, 1940) is a media activist, founder of Paper Tiger Television and co-founder of the Deep Dish Satellite Network, the first grass roots community television network. She is Professor Emerita in the Department of Communication at the University of California, San Diego.
Career

Her first film, Children Make Movies (1961), was about a film-making project at Lillian Wald's Henry Street Settlement in Lower Manhattan.[1][2] Her film, Mural on Our Street was nominated for an Academy Award in 1965. She has led media workshops with elementary school children, reform school youth, senior citizens and migrant farmers. In 1976 she was co-director of the Child-Made Film Symposium, which was a fifteen-year assessment of media by youth throughout the world.

She has served as a trustee of the American Film Institute, Women Make Movies and the Instructional Telecommunications Foundation. She has authored numerous articles in Film Library Quarterly, Film Culture, High Performance, The Independent, Leonardo, Afterimage and other media journals. Her book, Hand Held Visions: the Impossible Possibilities of Community Media is published by Fordham University Press. She co-edited Public Broadcasting and the Public Interest with M.E. Sharpe, and has written essays for a number of collections on independent media.

In 1989 she received a Guggenheim Fellowship for an ecological series for the Deep Dish Network. She received two Rockefeller Media Fellowships for The Gringo in Mañanaland (1995), a compilation film about stereotypes of Latin Americans in U.S. films, which was featured at the Venice Film Festival, the London Film Festival and won a special jury prize at the Trieste Festival for Latin American Film and first prize from the American Anthropological Association's Visual Anthropology Division in 1998. Ah! The Hopeful Pageantry of Bread and Puppet. made in 2000 in collaboration with Tamar Schumann, was shown at the Woodstock Film Festival, The PDX Experimental Film Festival in Portland, Oregon, the Vermont Film Festival and the Dallas Video Festival.

She has received five awards for lifetime achievement: an Indy from the Association of Independent Video and Filmmakers, The George C. Stoney Award from the Alliance for Community Media (ACM); The Life Time Achievement Award of the National Alliance for Media Arts and Culture (NAMAC), the Herbert Schiller Award from the 2003 Schmio Awards and the 2007 Dallas Smythe Award from the Union for Democratic Communication.

She has co-coordinated Paper Tiger installations at the Whitney Museum of American Art, the Austrian Triennial of Photography in Graz, the Wexner Center in Columbus Ohio, the Gallery at the San Francisco Art Institute and the Berkeley Art Museum.

In 1990, before the first Gulf War started, she worked with a team of Paper Tiger and Deep Dish producers to create a series on the impending war, called The Gulf Crisis TV Project which ultimately produced ten half-hour programs which were widely shown on Public-access television stations, film festivals, the Whitney Museum, Channel Four in the UK and NHK in Japan. Her work with Deep Dish TV includes a twelve part series on the prison industrial complex in the United States entitled, Bars and Stripes (1996) and Shocking and Awful, (2004-2005) a thirteen part series on the 2003 invasion and occupation of Iraq. She is currently finishing a four-hour compilation of speeches and interviews from the World Tribunal on Iraq, which Deep Dish filmed in Istanbul in June 2005.

Halleck has been closely involved with the Independent Media Center movement, which now totals over 180 centers in sixty countries. She was one of the initial group of media activists that developed the first center in Seattle during the World Trade Organization protests. Her role was to develop the initial funding proposal for the center, raise funds from individual donors and organize 5 days of satellite broadcasting from that historic event. That work evolved into the television version of Democracy Now!, the Pacifica Network daily radio news series. After retiring from the University of California in 2001, Halleck worked full-time for a year (on a volunteer basis) to create the infrastructure and resources for Democracy Now! television, building on the contacts already established by Deep Dish. This daily news program is now on over 650 community television and radio stations and on the Dish Network of 15 million subscribers via Freespeech TV.

As President of the Association of Independent Video and Film Makers (AIVF) in the nineteen seventies, Halleck led a media reform campaign in Washington, testifying twice before the House Sub-Committee on Telecommunication for increased support and channel space for independent video and film. This work ultimately lead to the creation of ITVS, the Independent Television Service. Halleck’s work in media reform includes working with a coalition of national organizations to insure public interest set-asides for Direct Broadcast Satellite (DBS). That successful campaign created the provisions which have allowed Free Speech TV, Link TV and a number of universities to have 24-hour television networks via satellite. Halleck has been involved in media policy reform on the international level as a member of the MacBride Roundtable on Communication, Communication Rights in the Information Society (CRIS) and as an official delegate to the World Summit on the Information Society in Geneva 2003 and in Tunis in 2005.

Halleck is now working with Victoria Maldonado on a series entitled "Waves of Change", which looks at community media around the world.

Halleck was the lead respondent in the 2019 Supreme Court case Manhattan Community Access Corp. v. Halleck.[3]

In 2021, she was one of the participants in John Greyson's experimental short documentary film International Dawn Chorus Day.[4]
References

"Children Make Movies - Deedee Halleck - The Film-Makers' Cooperative". film-makerscoop.com. Retrieved 2023-05-12.
Halleck, DeeDee: Making Movies With Kids On The Lower East Side in Captured: A Film/Video History of the Lower East Side. (2005). Seven Stories Press. 9781583226742
Higgins, Tucker (February 25, 2019). "Supreme Court justices seem unlikely to extend First Amendment protections to users of social media platforms such as Facebook and Twitter". CNBC. Retrieved March 21, 2021. "The producers, DeeDee Halleck and Jesus Melendez, claim that they were unlawfully suspended from airing programs on the channels after they published a video that was critical of the network."

Sarah Jae Leiber, "International Dawn Chorus Day Premieres April 29". Broadway World, March 29, 2021.

Sources
Hand Held Visions, Fordham University Press, 2002. Roar, Paper Tiger Catalog, Wexner Center, Ohio State University, 1996.

https://en.wikipedia.org/wiki/DeeDee_Halleck

Skip Blumberg (born October 10, 1947) is an American filmmaker. He is one of the original camcorder-for-broadcast TV producers, and among the first wave of video artists in the 1970s. His early work reflects the era's emphasis on guerrilla tactics and medium-specific graphics, but his more recent work takes on more global issues. His work has screened widely on television and at museums. His video Pick Up Your Feet: The Double Dutch Show (1981) is considered a classic documentary video and was included in the Museum of Television and Radio's exhibition TV Critics' All-time Favorite Shows.[1] His cultural documentaries and performance videos have been broadcast on PBS, National Geographic TV, Showtime, Bravo, Nickelodeon, among others.

He was a part of the early video collective Videofreex.

He is currently producing works for The My Hero Project.[2] and Sesame Street along with various independent productions.[3]
Works

When I was a Worker Like Lavern, 1976 - An early example of Blumberg's personal documentary approach begins as an informative look at the mail-order distribution process, and ends as a candid observation of management/labor relations.[4]
For a Moment You Fly, 1978 - A portrait of a unique one ring circus in NYC. This is an informal portrait of a circus that emphasizes "human-sized events" as an alternative to the mainstream circus, suggesting an affinity with Blumberg's own "human-sized" video as an alternative to mainstream television.[5]
Contests USA, 1980 - A three-part documentary; Summer Ski Jumping, The Ugly Dog Contest, Festival of (Musical) Saws, that explore the "extraordinary" aspects of "ordinary" people.[6]
Pick Up Your Feet: The Double Dutch Show, 1981 - A look at the young participants of the Double Dutch Championship in New York City.[7]
Sesame Street - Since 1988, Skip Blumburg has created over 75 segments for the show.
Nick At Nite ID's, 1991 - Skip Blumburg created 4 ID's for the block using pixelation & rotoscoping.
Cookie Girl in the Hot Zone, 2001 - A short produced for myhero.com about 12-year-old Jemma Brown, who started to serve cookies to the firefighters 3 days after the September 11, 2001 attacks on the World Trade Center.[8]
Con Creep, 2001 - A portrait of a New York street musician who has maintained financial stability despite the constant presence of the police force.[9]

Awards and honors

Ohio State University Journalism Award
Guggenheim Fellowship
Participating Filmmaker - Sundance Institute Dance Video Lab
Esquire Magazine’s “Best of the Next Generation”
Museum of TV and Radio’s “TV Critics’ Favorite Shows of All-Time.”