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Results 1 to 10 of 12 |

Decolonization and Me : Conversations about healing a Nation and Ourselves. by Webstad, Phyllis.;
Library Bound Incorporated
Subjects: SOCIAL SCIENCE / Activism & Social Justice; SOCIAL SCIENCE / Diversity & Multiculturalism;
Available copies: 0 / Total copies: 1
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Ally Is a Verb : A Guide to Reconciliation with Indigenous Peoples. by LeMay, Rose.;
Library Bound Incorporated
Subjects: BUSINESS & ECONOMICS / Diversity & Inclusion; SOCIAL SCIENCE / Ethnic Studies / American / Native American Studies;
Available copies: 0 / Total copies: 1
unAPI

Let Us Play : Winning the Battle for Gender Diverse Athletes. by Browne, Harrison.;
Library Bound Incorporated
Subjects: SOCIAL SCIENCE / Discrimination; SOCIAL SCIENCE / LGBTQ+ Studies / Transgender Studies; SPORTS & RECREATION / Cultural & Social Aspects;
Available copies: 0 / Total copies: 1
unAPI

Rediscovering the Age of Dinosaurs. by Curry, Kristi,actor.; The Great Courses (Firm),dst; Kanopy (Firm),dst;
Kristi Curry RogersOriginally produced by The Great Courses in 2022.In this course, you'll learn about the diversity of dinosaur species; the fossils that reveal the dinosaurs' world; dinosaurs' remarkable lifestyles; cutting-edge methods in paleontology; and the other amazing animals that lived alongside the dinosaurs. These lectures offer you a breathtaking view of the panorama of life on our planet.Mode of access: World Wide Web.
Subjects: Documentary films.; Science.; Biology.; History, Ancient.; Social sciences.; Instructional films.; Documentary films.; History.; Animals.; Extinction (Biology).; Paleontology.;
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No more nice girls : gender, power, and why it's time to stop playing by the rules / by McKeon, Lauren,author.;
Includes bibliographical references and index."In the age of girl bosses, Beyoncé, and Black Widow, we like to tell our little girls they can be anything they want when they grow up, except they'll have to work twice as hard, be told to "play nice," and face countless double standards that curb their personal, political, and economic power. Today, long after the rise of girl power in the 90s, the failed promise of a female president, and the ubiquity of feminist-branded everything, women are still a surprisingly, depressingly long way from gender and racial equality. It's worth asking: Why do we keep trying to win a game we were never meant to play in the first place? Award-winning journalist and author Lauren McKeon examines the varied ways in which our institutions are designed to keep women and other marginalized genders at a disadvantage and shows us why we need more than parity, visible diversity, and lone female CEOs to change this power game. She uncovers new models of power-- ones the patriarchy doesn't get to define-- by talking to lawyers insisting on gender-neutral change rooms in courthouses, programmers creating apps to track the breakdown of men and women being quoted in the news media, educators illustrating tampon packaging with pictures of black bodies, mixed martial artists teaching young girls self-empowerment, entrepreneurs prioritizing trauma-informed office cultures, and many other women doing power differently. As the toxic, divisive, and hyper-masculine style of leadership gains ground, threatening democracy here and abroad, McKeon underscores why it's time to stop playing by the rules of a rigged game. No More Nice Girls charts a hopeful and potent path forward for how to disrupt the standard (very male) vision of power, ditch convention, and build a more equitable world for everyone."--
Subjects: Equality.; Feminism.; Power (Social sciences); Sex discrimination against women.; Social control.; Women; Women's rights.;
Available copies: 1 / Total copies: 1
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The Upsetter. by Bhala, Adam,film director.; Higbee, Ethan,film director.; Del, Benicio,actor.; Factory 25 (Firm),dst; Kanopy (Firm),dst;
Benicio Del ToroOriginally produced by Factory 25 in 2008.Tells the wild, weed-fueled story of Lee “Scratch” Perry — a visionary Jamaican musician, artist and all around madman — who burst upon the Kingston scene in the ‘50s with a brand new sound, inventing a genre of music that would come to be called Reggae. He went on to discover a young Bob Marley and gained international recognition as a solo artist and record producer, working with pioneering artists like the Heptones and the Congos. Soon he was being called upon by artists as diverse as The Clash and Paul McCartney to provide his unique sound. Narrated by Benicio Del Toro, the film captures the essence of a complex, enigmatic figure who was at once a mad genius and a mystic.Mode of access: World Wide Web.
Subjects: Documentary films.; Enthnology.; Social sciences.; Arts.; Music.; Latin America.; Foreign study.; Documentary films.; Ethnicity.; Artists.; History.; Biography.;
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Orlando, My Political Biography. by B., Paul,film director.; The Criterion Collection (Firm),dst; Kanopy (Firm),dst;
Originally produced by The Criterion Collection in 2023.“Come, come! I’m sick to death of this particular self. I want another.” Taking Virginia Woolf’s novel Orlando: A Biography as his starting point, academic virtuoso turned filmmaker Paul B. Preciado fashioned the documentary ORLANDO, MY POLITICAL BIOGRAPHY—a personal essay, historical analysis, and social manifesto. For almost a century, Woolf’s eponymous hero(ine) has inspired readers with their gender fluidity as well as their physical and spiritual metamorphoses across a three-hundred-year span. In making his film, Preciado invited a diverse group of more than twenty trans and nonbinary people to play the role of Orlando and to participate in this shared biography. Together, they perform interpretations of the novel, weaving into Woolf’s narrative their own stories of transition and identity formation. Not content to simply update a groundbreaking work, Preciado interrogates the relevance of Orlando in the ongoing struggle to secure dignity for trans people worldwide.Mode of access: World Wide Web.
Subjects: Documentary films.; Literature.; Arts.; Social sciences.; Gender identity.; Homosexuality.; Documentary films.; LGBTQ.; Artists.;
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White Balls on Walls. by Vos, Sarah,film director.; Icarus Films (Firm),dst; Kanopy (Firm),dst;
Originally produced by Icarus Films in 2022.The slogan “Meet the Icons of Modern Art” needs to be scraped off the glass wall of the Stedelijk, Amsterdam’s Museum of Modern Art. Because precisely who these icons of modern art are is very much the question.Who gets to decide? And who loses out? In 2019, as director Sarah Vos started shooting her documentary, more than 90 percent of the art at the Stedelijk was made by white men. That must change, the museum’s director Rein Wolfs believes. But it’s easier said than done—as becomes clear when the film’s director Sarah Vos follows Wolfs and his team as they strive for greater diversity in the collection, as well as among their staff.It was a brave move by the Stedelijk to allow a camera behind the scenes of a process that raises uncomfortable and awkward questions. Can a painting still be entitled “The Prostitutes”? When you appraise art, should you also take the skin color or gender of the artist into account? And how is one to engage with visitors who find all this “too politically correct”?This film is more than a look behind the scenes at a museum: as well as presenting a new perspective on art history, it magnificently encapsulates the struggles that are engaging many historical and cultural institutions.Mode of access: World Wide Web.
Subjects: Documentary films.; Enthnology.; Social sciences.; Business.; Sociology.; Documentary films.; Ethnicity.;
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Close to the Bone. by Thomas, Jared,film director.; McKinnon, Malcolm,film director.; Ronin Films (Firm),dst; Kanopy (Firm),dst;
Originally produced by Ronin Films in 2022.In September 1852, in South Australia’s Flinders Ranges, the mutilated body of 16-year-old shepherd, James Brown, was found. The next day, a reprisal party of 17 men killed a disputed number of First Nations people. 170 years later, descendants of James Brown’s family return to the Flinders Ranges and reach out to people from some of the Aboriginal groups and share memories of the traumatic early period of European invasion. What happens when stories of violence and conquest on Australia’s colonial frontier are more than just an historical abstraction, with powerful and personal meanings for families and individuals on both sides of the inter-cultural frontier? Can the scars of past atrocities be reconciled and healed through the act of truth-telling? CLOSE TO THE BONE is a practical exercise in ‘truth and reconciliation,’ engaging with culturally and politically challenging material, in an effort to forge shared understandings. The film reveals diverse understandings of historic events, while seeking to resolve a shared path forward. In doing so, the film is informed by Charlie Perkins’ words: ‘We know we cannot live in the past, but the past lives in us.’Mode of access: World Wide Web.
Subjects: Documentary films.; Social sciences.; Australians.; Foreign study.; History, Modern.; Documentary films.; Indigenous peoples.; Current affairs.; History.; Violence.; Aboriginal Australians.; Australia.;
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Close to the Bone. by Thomas, Jared,film director.; McKinnon, Malcolm,film director.; Ronin Films (Firm),dst; Kanopy (Firm),dst;
Originally produced by Ronin Films in 2022.In September 1852, in South Australia’s Flinders Ranges, the mutilated body of 16-year-old shepherd, James Brown, was found. The next day, a reprisal party of 17 men killed a disputed number of First Nations people. 170 years later, descendants of James Brown’s family return to the Flinders Ranges and reach out to people from some of the Aboriginal groups and share memories of the traumatic early period of European invasion. What happens when stories of violence and conquest on Australia’s colonial frontier are more than just an historical abstraction, with powerful and personal meanings for families and individuals on both sides of the inter-cultural frontier? Can the scars of past atrocities be reconciled and healed through the act of truth-telling? CLOSE TO THE BONE is a practical exercise in ‘truth and reconciliation,’ engaging with culturally and politically challenging material, in an effort to forge shared understandings. The film reveals diverse understandings of historic events, while seeking to resolve a shared path forward. In doing so, the film is informed by Charlie Perkins’ words: ‘We know we cannot live in the past, but the past lives in us.’Mode of access: World Wide Web.
Subjects: Documentary films.; Social sciences.; Australians.; Foreign study.; History, Modern.; Documentary films.; Indigenous peoples.; Current affairs.; History.; Violence.; Aboriginal Australians.; Australia.;
unAPI

Results 1 to 10 of 12 |