Saturday, November 07, 2015

AIFF 2015: Figuring Out The New Schedule Software SCHED

The Anchorage International Film Festival seems to have abandoned Festival Genius - a film festival specific software program - for a  more generic event scheduling program called SCHED.  I'm just starting to figure it out.   You can skip this post and check it out yourself here.  (I'd note that SCHED does list film festivals as one of the kinds of events it is 'perfect for.')

Some first impressions:
  • It looks simpler
  • It doesn't seem to have the many ways Festival Genius allowed people to search and sort for specific types of films, specific times, venues, or to create a variety of schedule formats.
  • It's color coded films by genre.
  • There are drop down windows that tell you more about each film including when and where it plays.
  • There's information about who is attending.
  • It's social media connected and interactive.
  • It seems to have good mobile applications

On the actual website, you could click on any of the colored bars and get a drop down window with info about the film and when and where you can see it.  But there's a lot of different colors and when you scroll down, you lose the legend that tells you what the colors mean. 

Click to enlarge and focus
OK, I'd gotten to know my way around Festival Genius, and it took a bit of time, so I don't want to judge this yet.  I want to see how easy this will be for finding out when, say, all the docs play, or all the features in competition play.  I want to see how easy I can see how much time I have from the end of one film to the beginning of another and how easy it is to see all the films at one venue for the afternoon.  Once I got the hang of Festival Genius, it could do all this kind of fancy sorting.

The print version looks like it allows you to see all the important information (but not the details about the film itself) all on one page.   Actually, now that I look carefully at the print version - you can do lots of different sorting there.  GET TO THE PRINT VERSION from the regular schedule - upper right.  See pink circle in image below.  Once you're in the print version, the sort boxes are in the upper right side.

Click to enlarge and focus


And there is a page with guides to personalizing the schedule.

From what I could figure out so far, I can pick films I want to see and it will set up a schedule, but I can't see some of the timing and location overlaps and conflicts before I pick a film.  But maybe that's in there.  I know I had to create some of these things myself - like all the features in competition over the week - but FG made it fairly easy to get the information. 

I would note that I never registered for Festival Genius because it required more personal info about me than I wanted to give it.  That wasn't a factor with SCHED. 

The Privacy Policy doesn't have anything that raised any red flags for me - though these days it's hard to know the implications of the language.  But I did notice that because they don't collect information about people under 13 years of age, such people can't sign up.  (Well, of course they can, but SCHED seems to be giving itself an out if they do.):

"8. No Collection of Children's Personal Information.

Our Services are intended for general audiences and commercial use and are not intended for and may not be used by children under the age of 13. We do not knowingly collect any personal information from children under the age of 13 and delete any information We believe to be in violation of this provision."
There was nothing to tell me that people under 13 cannot register I registered.

This clause from Your Data and Responsibilities gave me some pause.
"We need to be able to use your data to provide you with our Services and you are granting us a worldwide, irrevocable, non-exclusive, royalty-free license to use, reproduce, adapt, publish, translate and distribute Your Data in any existing or future media as we deem appropriate. You also grant to us the right to sub-license these rights."
I'm not sure what this all might mean for me.  I don't expect to be putting much information up there, but I'm guessing all the information that AIFF puts up now belongs to SCHED.  This was the kind of legal language the Anchorage Daily News (now the Alaska Dispatch) used that scared me off as a blogger when they were reaching out to local bloggers.  Why would I want to give them rights to use my materials like this?  It seemed like a one way benefit.

And I'm hoping that posting the screen shot above from SCHED won't get me in trouble - I couldn't tell from the legal language.  I'm assuming this is fair use since I'm sort of reviewing this software.

So, I like the colors, but I'm leery that getting the kinds of information that Festival Genius offered will be much harder.  I haven't talked to anyone at the Festival about the change yet.  I'm guessing this is a lot cheaper for them. 


Given the ability to sort in the print version, I think this is going to be just fine. 

Friday, November 06, 2015

4.5 Anchorage Earthquake: Two Quick Jolts Wake Me From Light Sleep

Screen shot from USGS
It wasn't strong, it wasn't long, but two quick jolts, maybe three or four seconds altogether.  Enough
to make slight creaking noises.

From the USGS:

M4.5 - 19km S of Y, Alaska
  1. 2015-11-06 14:26:50 (UTC)
  1. 2015-11-06 05:26:50 (UTC-09:00) in your timezone
  1. Times in other timezones
Nearby Cities
  1. 19km (12mi) S of Y, Alaska
  1. 54km (34mi) NNW of Knik-Fairview, Alaska
  1. 85km (53mi) N of Anchorage, Alaska
  1. 334km (208mi) SSW of Badger, Alaska
  1. 802km (498mi) WNW of Whitehorse, Canada
I'm not sure what Y stands for in their location description, but here's the map enlarged:

click to enlarge and focus better

Thursday, November 05, 2015

"Smart and aggressive people have taken advantage of opportunities to teach, pursue scholarship, advance their causes, and persist in the face of a sometimes bewildering mixture of difficulty and opportunity.”


That's from the conclusion that Will Jacobs, Professor Emeritus in History, read from his book  Becoming UAA:  1954-2014 at Chancellor Tom Case's home Wednesday night.  Will, under some prodding from the UAA administration, has written what he more or less said was a first draft of UAA history and he discussed the book and its writing at a reception that included history faculty, some other emeritus faculty, and assorted other guests.

As I sat there listening to Will's talk, I marveled at how oblivious I had been to much of what was going on around me.  Sure, I knew about the merger and certainly about Fairbanks/Anchorage rivalries, but there were so many details I knew nothing about.  And he mentioned one player - Lew Haines - whom I did know somewhat, but had no idea really about his background and contributions to UAA.

It was yet one more reminder to me (and to readers) reach any conclusions about people until I have learned more about them - where they came from and what they all did before they entered the periphery of my life.   I'm looking forward to reading this book to just understand what was going on out of sight that impacted my work life. 

In the picture below you can see Chancellor Case on the right standing and Dr. Jacobs sitting at the far right.  For someone like me who has lived through much of this

This image gets bigger and sharper if you click on it

Will was bullish on what UAA has become, despite being
". . . troubled by conflicting values, uncooperative colleagues, and forced perceived to be malign emanating from Fairbanks"
lots of good things had been achieved.  The nature of public organizations is often troubled this way.  Budgets are often annual, making long term projects hard to achieve.  This rather than comprehensive planning, things get done piecemeal as political coalitions that can get funding for a project emerge for a time - ideally when the legislature has some slack in the budget.

But he also voiced concern for the future of state universities in fulfilling their traditional role as a path to upward social mobility. 

The 'ancient' history - back in the 50's and early 60's - before I was here, includes the creation of the community college by the Regents in Fairbanks  jointly with the Anchorage School Districts.  Will read some letters that sought (and got reassurance) that the new community college in Anchorage wasn't going to develop into a four year college.  From a letter from UA president Ernest Patty to the Board of Regents in 1954, recounting a conversation with Larry Good, the new Anchorage Community College director:
"I told him that we didn't want to create something that was going to develop, in two or three years, into a Junior College and then in two or three years after that become a competing section of the University.  He was quick to assure me that he was strictly a community college man, and that his ambitions did not extend beyond those limits for the Anchorage Community College . . . he would give us his word of honor that those were the plans on which he was proceeding. . ."
I became a faculty member in Anchorage in 1977, just as the old 'senior' college had become an independent four year college and from the very beginning I was told that Fairbanks was conspiring against Anchorage.  And at the reception Wednesday questions still came up about why Fairbanks today has a bigger budget than Anchorage while Anchorage has far more students.

And giving 'his word of honor.'  Wow, that seems so quaint today.  It would be nice if we could operate like that again.

The book is both legitimate historical academic research and, it seems, UAA public relations.  It's published by "University of Alaska Anchorage" and it says "Publication coordination by the UAA Office of Institutional Effectiveness."  There's a lot of history in here, but there's also a lot more that isn't in here.  It's a good start to documenting UAA's history and perhaps a call for others to jump in and fill in the gaps.

And talking about history, I would note that the Chancellor's house is a 10,000 square foot house in Turnagain that once belonged to Anchorage banker Elmer and Mary Louise Rasmuson.  After Mary Louise died in 2012 at age 101, the children arranged to donate the house to the University of Alaska Foundation to be used as the Chancellor's residence. 


















Wednesday, November 04, 2015

John Weddleton Is Running For Assembly

I got an invitation to a campaign kickoff party for John Weddleton.  I'd first met John when he was hosting meetings in support of Title 21 - the planning section of the Anchorage Municipal Code.  I'd been invited, as a blogger, by people who supported the changes to Title 21 and were fighting last minute changes to revise the ordinance.  Mayor Sullivan had hired Dan Coffey in a no-bid contract to work (mostly) with developers who wanted changes to the plan which had gone through years of public meetings.

The meetings were at John's store - Bosco's.  I knew about Bosco's because my son had spent a fair amount of time and money their as a kid.  It's a comic book and gaming store and my son was serious about Dungeons and Dragons then.

I'd been impressed back then, with John's knowledge of Title 21 and his passion for public involvement and transparency.  I also learned that he'd gotten a lot of his knowledge from being a member of the Planning and Zoning Commission.  I also learned that the big motorcycle parked in front of the store was his too.

Last night John started off by talking about how when he first moved to Anchorage, he'd gone to a community council meeting and was impressed by how easy it was to get involved in his community.  There were assembly members at this meeting, he said, and you could talk to them like they were real people.  I remember, when I first came here as well, my own amazement at how accessible government and politicians are here in Anchorage.

He also pulled out some typical Anchorage public notice signs and pointed out that there was no information on the signs except a case number and a phone number.  If anyone wants to know what the project is, they have to call the number, and then they don't get told too much about the project.  And if you go to the Muni website, it's hard to find things.  He thought it should be easier for folks to know what the case was about. 

I decided that before posting this, I should check out the Muni website and see how easy or difficult it is to get case information.

I knew this was in the Community and Development Department, so I had a bit of a head start.  From there I found a link on the side to Boards and Commissions.  That got me to another page which had a list of meetings:


Platting Board - 11/4/2015 November 04, 2015 - 06:30 PM Agenda
Planning and Zoning Commission - 11/9/2015 November 09, 2015 - 06:30 PM Agenda
Assembly - Regular - 11/10/2015 November 10, 2015 - 05:00 PM Agenda

 If you click on the Agenda link for Planning and Zoning Commission, you get an agenda.  I clicked on the very first item and got this:








Not very helpful. 

But other items on the agenda had links to pdf files of the cases.  So you can find a number of them, but it takes a certain amount of perseverance.  I'm sure there are simpler ways for people to find these things, but it also means that someone has to post and monitor the site to keep it current.  When I asked John about this afterward, he did say staff is posting some of this and it should get better.  But his point was that when people see the Public Notice signs, there's nothing to indicate what is being proposed and whether they should be interested or not, whether they should make the effort to find out. 


I'm always a bit uncomfortable about blogging local candidates.   It's important, but it seems I should try to cover all the candidates for an office.  That isn't easy when there are a number of races and lots of things vying for my attention.  Last year I got invitations from three of the mayoral candidates and went to all the functions and wrote about them.  The others I was able to catch at a candidate forum. 

In this south Anchorage assembly district I'm not even sure of how many candidates there are.

The ADN says: 
Joe Riggs, a conservative candidate who owns Alaska Healthcare Strategies, a medical equipment and consulting business, is also running.
The ADN more recently says that photographer David Jensen  joined the race.

Tuesday, November 03, 2015

After Cloudy, Snowy Days, Sun's Out



As I pulled into the Costco parking lot, the clouds parted, and the skinny trees' shadows blossomed on the wall.

And off beyond the parking lot, the mountains reappeared with fresh snow.


Monday, November 02, 2015

My Name Is Red

Chapter one starts with a murder.  In fact the title of the chapter - like all the chapters - is the name of the narrator: I AM A CORPSE.  The whole book revolves around finding out the narrator of the second chapter: I WILL BE CALLED A MURDERER.

That may be what holds the story together, but it's not really what the book is about.  So unimportant is the identity of the murderer that at our book club, two of the people said they couldn't remember who the murderer was.  MY NAME IS BLACK is probably the most frequent chapter title.  And BLACK is assigned the task of finding out who the murderer is.  They suspect one of three illustrators who were working secretly on a book for the sultan along with CORPSE.  So we hear from each of them as well as I WILL BE CALLED A MURDERER, assuming all along that one of them is the murderer. 



BLACK is assigned to interview the three artists and asks the master how will he be able to tell which is the murderer.  The master tells him to ask three questions, which will give you a glimpse of topics in the book, though at this point you don't have any idea where this will lead.

The three questions:
1.  "Has he come to believe, under the sway of recent custom as well as the influence of the Chinese and the European Franks, that he ought to have an individual painting technique, his own style?  As an illustrator does he want to have a manner, an aspect distinct from others, and does he attempt to prove this by signing his name somewhere in his work like the Frankish masters?  To determine precisely these things, I'd first ask him a question about 'style' and signature.'"

Then?
2.  Then, I'd want to learn how this illustrator felt about volumes changing hands, being unbound, and our pictures being used in other books and in other eras after the shahs and sultans who'd commissioned them have died.   .   .  Thus I'd ask a question about 'time' - an illustrator's time and Allah's time.

3.  The third would be 'blindness'!"  said the great master Head Illuminator Osman, who then fell silent as if this required no explication.
"What is it about 'blindness'?"  I said with embarrassment.
"Blindness is silence.  If you combine what I've just now said, the first and second questions, 'blindness' will emerge.  It's the farthest one can go in illustrating;  it is seeing what appears out of Allah's own blackness."

There's also a love story, though not a very satisfying one.   I, SHEKURE is the beautiful woman that a number of the characters are in love with.


My Name Is Red played games with my mind.  Ideas I'd never encountered exploded from the pages.  One of the masters went to Venice and saw many portraits in the "Frankish" style.  Portraits so realistic that if you saw the painting, you would be able to recognize the subject if you saw him on the street.  Well, of course, what's the big deal?  The big deal is that this was amazing to him.  That Allah's ban on idols, made such portraiture forbidden.  I had to go look at miniatures to see what the people looked like.  And yes, there are faces, but no, they really aren't that detailed.

There is also a group of religious fundamentalists who are being stirred up against the artists for trying to have a style.

And blindness?  Well, the work of a miniaturist is so exacting, that many go blind eventually.  Yet, some see this as the perfect situation for an artist because he is painting only what Allah sees at that point.  And they are such skilled artists that they can paint blind.

Lots to ponder here.  But also lots of detail and repetition, which is consistent with miniatures of that era and the return to themes illustrated over and over again.  

By the way, author Pamuk won a Nobel Prize in Literature. 

Sunday, November 01, 2015

What's A Blogger To Do? Too Much To Write About - LIO Scandal, Forced Arbitration, Trump's Good Old Days, Hockey

Me:  Even with the gain of an hour overnight as we set our clocks back,  there's not enough time!
Jiminy Cricket:  Of course there is Steve, you just have to prioritize.
Me:  Actually, the number of things we could do has increased so fast that humans will soon be obsolete, we just can't keep up.  It used to be we maybe had two newspapers to read, now every newspaper in the world is available online.  Not to mention every home video anyone has ever made.
Jiminy Cricket:  You going to complain all morning or write?
Me:  OK, OK.  So, my first glimpse of November 2015 was an inspiring one as I looked out the window at what should have been 9:24am, but because of the time change was only 8:24am.  And if you look closely you can see the snow that we got Friday still lingering.


So, what's stacking up in the blog pile?  Anchorage International Film Festival (AIFF) posts on documentaries, shorts, animation, and maybe even Alaska films in competition.  I try to get some of those groups done before the festival begins and this year I have the features in competition up already.  I don't have to think too hard on these, just go looking for info on the films.  And the AIFF 2015 page is started already.  That's up on top and I'll be updating general festival strategy stuff from last year and information on the films for this year.

I've got more to do on the Chuitna decision which the resource development community is upset about and has appealed.  There are some significant democratic principle issues at stake there that should be explored.  But it's complicated and people have lots of other things to distract them (back up to complaints about too little time above.)

I want to post more on my new, evolving relationship with my sourdough starter.

I'm working on something on rules - what they do for us, but how to keep from becoming trapped by them.   There are some books I want to say something about, some movies, how Netflix and other online movie sites are changing things, more on the conflicts between police and African-Americans  . . .  But serious posts require some time and thought and if I take on a subject, I want to look at it differently than others, not just reprint what others write.

Then there are all the potential posts that show up everyday, not part of the queue, but begging to be written.  Today's Section A of the Alaska Dispatch News (ADN)  (it was the second time this week we had to call to say it wasn't delivered) was full of such stories.  I'll just try to do a short take on a couple of them.

1.  Jim Gottstein's lawsuit against the Legislative Information Office remodeling contract.  It's so easy for legislators to get away with stuff.  Lisa Demer wrote along detailed story on all the irregularities in the contract two years ago in the ADN.   But this needed someone with legal standing and money and perseverance to step up and sue.  Today's article reveals some private emails that show Rep. Hawker worked with the politically generous developer to get around legislative attorneys' opinions that a no-bid contract was illegal.  Legislators often work with constituents to find ways to get around obstacles to get things done.  But when it's for a no bid contract for a state building that's going to raise the legislature's  rent enormously, it's suspicious.  And Hawker's an accountant, so he can't plead ignorant (ignorance is not a get out jail free card for anyone, but he had special expertise and clearly should have known better.)

2.  Corporations slipping arbitration language into contracts.  This is a New York Times article that was on the front page of the ADN.  It's got several themes I've got an interest in:
  • The power of large corporations to force rules on their customers, rules that always favor the corporation.  In particular it is looking at rules that require arbitration to resolve disputes.   The offending language is:
". . .the company 'may elect to resolve any claim by individual arbitration.'


Those nine words are at the center of a far-reaching power play orchestrated by American corporations, an investigation by The New York Times has found.
By inserting individual arbitration clauses into a soaring number of consumer and employment contracts, companies like American Express devised a way to circumvent the courts and bar people from joining together in class-action lawsuits, realistically the only tool citizens have to fight illegal or deceitful business practices.
Over the last few years, it has become increasingly difficult to apply for a credit card, use a cellphone, get cable or Internet service, or shop online without agreeing to private arbitration. The same applies to getting a job, renting a car or placing a relative in a nursing home."
[Added later:  I should also add that attorneys have lots of incentives to fight for their ability to file class action lawsuits.  And that my sense is many of those suits only bring in money for attorneys because either the individuals don't understand all the paperwork needed to make a claim, or they do understand and decide that for the small amount they might possibly get, it's not worth all the work.]
  • The impossibility of consumers actually reading all the contracts they have to agree to these days.  For a particularly egregious example, see my post on the iTunes update agreement back in 2013.
  • Among many disturbing aspects of this issue, is how this change was carried out and Supreme Court Chief Justice John Roberts' role in this.
" . . .the move to block class actions was engineered by a Wall Street-led coalition of credit card companies and retailers, according to interviews with coalition members and court records. Strategizing from law offices on Park Avenue and in Washington, members of the group came up with a plan to insulate themselves from the costly lawsuits. Their work culminated in two Supreme Court rulings, in 2011 and 2013, that enshrined the use of class-action bans in contracts. The decisions drew little attention outside legal circles, even though they upended decades of jurisprudence put in place to protect consumers and employees.
One of the players behind the scenes, The Times found, was John G. Roberts Jr., who as a private lawyer representing Discover Bank unsuccessfully petitioned the Supreme Court to hear a case involving class-action bans. By the time the Supreme Court handed down its favorable decisions, he was the chief justice."
 The problem for me isn't that a group of people come together to change the law.  That happens all the time for things like civil rights, environmental protection, and other important causes.  But the Constitutional narrative of James Madison was that competing powers would mean that laws would be just because people would challenge misuses of power.  And that's what seems to be happening in the LIO case mentioned above.  However, given the huge inequality in the distribution of wealth in the United States today, the ability to challenge large corporations becomes harder and harder.  The ability of corporations to draft legislation for the legislators they've funded, to change the laws in their own favor, grows increasingly hard to challenge. 


3.  A Washington Post article reprinted on page A-7 of the ADN explaining that supporters see Trump as the candidate who can restore America's greatness.   Trying to understand the motivations of Trump and other candidates is something I always want to do.  I think it is often more complicated than is normally reported.  Unfortunately, the reporter's tone is a bit flip (not to the snark level).  But he does point out that 'when America was last great' varies from person to person, and how Trump is going to restore this lost quality isn't clear.  But let's look at a couple of the examples of the good old days.
  • ". . . the last time America was great was when Ronald Reagan was president, when people played by the rules."   
Let's see, the 1980's included the savings and loan scandal, Iran Contra,  Reagan's Chief of Staff was convicted of lying to Congress and more. Jimmy Swaggart and Jimmy Baker scandals, and in sports Pete Rose was betting on his games and Ben Johnson got his Olympic Gold metal with steroids. 
  • ". . . it was in the ’70s, Holly Martin says, when you could depend on Americans to work hard."   
When the US had the largest number of union members who still had some power to negotiate with their employers?  When the pay ratio between the CEO and the lowest paid employees was about 20-1 compared to today's 350 - 1? [Clearly related to inequality of wealth mentioned in the class action suit article.]  And jobs were easy to get because so many men were fighting in a controversial war in Vietnam and women were supposed to stay home and raise the kids?
  • " . . .to find true American greatness, Steve Trivett contends, you need to go back to before the Vietnam War, “when you could still own a home and have a good job even if you didn’t have a college education.”
You mean just before the Civil Rights Act when whites didn't have to compete with blacks for jobs?  And redlining meant blacks couldn't get loans to buy houses?  
  • “The last time we had good jobs and respect for the military and law enforcement was, oh, probably during Eisenhower.” 
When income tax rates in the US were at their all time highest, the largest percentage of US workers were unionized, and when Southern police and courts looked the other way when blacks were lynched?  That was right after WW II and before Vietnam tore the country apart.  
All this selective memory echoes the theme of the play I just saw Other Desert Cities.  We all remember things differently.  And none of those decades were calm and peaceful. They all had strong conflicts. 

4.  Local hockey player squeezes in grandmother's and great aunt's funerals in Saskatchewan before leading his team to victory back in Anchorage.  Here's a kid whose family obligations came before his team obligations.  It involved three plane changes each way (and a hefty bill, I'm sure).  On the lucky side, instead of the normal Fri-Sat games, it's a Sat-Sun series.  A good story and my condolences and congratulations.


Saturday, October 31, 2015

Other Desert Cities

We squeezed in a stop at Cyrano's Thursday night to see Other Desert Cities.   We didn't really know what we were going to see except that it had won acclaim Outside. 

It turned out to be a perfect play for the theme of this blog - it's all about knowing, our memories, their limits, and how our own emotions color our mind's records of our own experiences.  It's about keeping secrets and the damage that does. 

The cast of five was fantastic - to me, they were all the characters and not actors playing the characters.  And all the characters were rich blends of strengths and weaknesses.  And you should stay right to the end. 

If you're paying attention, you'll have noticed that the titles of the post and the book in the picture are different.  The book is what the character Brooke presents her family (in manuscript form) over the Christmas holidays in Palm Springs.  Not the novel they thought she was writing, but a memoir that includes them all.  She wants their blessings.  

The play is Other Desert Cities. I'm not really sure I'm excited about the title or understand why it was chosen to label this play.  Yes, I caught the mention in the play, but I still don't think it's a great title for this story. 

It's at Cyrano's for those of you in or near Anchorage, this weekend and the next two and definitely worth going to see. 




Thursday, October 29, 2015

Shmira - Sitting With Crysta

I got an email Tuesday afternoon that a good friend had died.  A good friend, to me, is someone you have an ongoing mutual affection for and with whom you can talk openly about things big or small.  When you see each other, no matter how much time has passed since you were last together, you pick up the conversation as though you'd just been away an hour or two.  Crysta was such a friend.

The email also asked if volunteers were available "to perform the mitzvah shmira."  I've been Jewish, more or less, all my life but I didn't know what shmira was, so I consulted Rabbi Google, who introduced me to Elizabeth Savage at Tablet who'd written about her shmira experience earlier this year:
"Shmira, which literally means guarding, is one of the prescribed Jewish rituals surrounding death. The group in charge of these customs is called the Chevra Kedisha (literally “holy group/community”), which attends to the preparation and protection of the body between death and burial—a time when it’s believed the soul hovers in a sort of liminal space. Someone must clean and dress the body, and someone must sit shmira at all times."
The Chevra Kedisha website offers a little more:  
The Concept of Shmira
Many of the traditions and laws that pertain to the care and preparation of the Jewish dead are founded on two basic principles:
1. The body as the container of the soul is to be treated with the utmost dignity and respect.
2. Although at death the soul departs the body, it still remains present near the body and is fully aware of all that transpires in its vicinity.
Thus the Shmira serves two purposes:
1. To guard the body from becoming prey for rodents and insects.
2. To give respect to the remains and consolation to the soul by not leaving the body
unattended like something useless and no longer worthy.
As I said, Crysta was a good friend, and we still had some things to tell each other and this seemed like a good opportunity.  So I emailed back we were available except Wednesday evening.  I guess I hadn't thought it through completely.  The email with the Shmira schedule had us down for Wednesday morning from 4:30am to 6:30am.  It took a few minutes for me to realize it was already Tuesday night and that meant we were expected in less than 10 hours.  I told J she didn't really have to come with me at that hour, but she insisted. 

Actually, I do like it when I manage to get up and out really early in the morning when no one else is out and about.  We knocked on the back door at the funeral home and the people before us let us in and even offered to leave some chocolate for us.  I'd already learned that I wouldn't be literally sitting with the body, but rather in the same building.  But there was no one else there but us and whatever bodies were there with Crysta. 

I can't imagine Crysta not being around.  She can die, yes, hard as that might be on those of us left behind, but I know she'll always be around.  That strong English accent despite her 50 some years in the US, always gave her a veneer of class and authority that hid, until you got to know her better, the very warm and funny woman she was.  We chatted a bit and I read her from the The River of Smoke.  Everything now is taking place in Canton and the Pearl River down to Hong Kong and I knew that Crysta would enjoy it.  Crysta and Ray had asked, way back when I was going to teach a graduate class on Chinese Civil Service Reform that included a trip to Hong Kong and Beijing, if they could come along.  It would help with the cost of the travel for the students so no one had a problem.  And despite being 30 years older or more than all of the students, Crysta and Ray never wore out, so none of the students could complain that I was pushing them too hard.  And their calm demeanor and travel experience made them great chaperons for the students, most of whom had never been out of the US.  And it raised our friendship to a whole new level. 

So I read and I could hear Crysta asking questions or correcting me, always with an impish smile in her voice.  And as I thought about our special relationship, I was reminded of Lydia Selkregg's funeral when one person after another stood up and talked about their special relationship with Lydia.  What, I thought at the time, everyone had a special relationship!?  It took a while to realize that didn't diminish the relationship I had had with her.  I know that's also the case with Crysta.  It's good to know that you can love lots and lots of people without diminishing any of those relationships.  I remember wondering when J was pregnant with our second child:  I love my son so much; how can there be enough love for yet another child.  And after M was born, I learned that love is infinite. 


Thanks, Crysta for being in my life.  Your departure would be much more difficult if you hadn't lived life so well that seeds of your goodness are planted in so many people's hearts. 

"When the news reached the king of Nineveh, he rose from his throne, took off his robe, put on sackcloth, and sat in ashes."

AIFF 2015: Features In Competition From Turkey, UK, Hong Kong, Japan, New Zealand and Iran

"In competition" means these films were selected by the screeners to be eligible for awards at the festival.  "Features" are 'stories' that are full length. While there are always other features which different folks like better than those in competition, it's a good bet these are among the best features at the festival.  This year's picks are all from outside the US.

The point of this post isn't to tell you what each of the features in competition are about, but rather to just give you a glimpse of something about the film I found interesting.

I don't have the times and locations yet.  I'll add them later and I might make other changes as things come to my attention.  

Here's the whole list and below I look at each one. 


Film (all are in competition) Director Country Length
And The Circus Leaves Town Mete Sozer Turkey 99 min
Creditors Ben Cura United Kingdom 81 min
Jasmine Dax Phelan Hong Kong 80 min
Magic Utopia Shoji Toyama, Shuichi Tan Japan 88 min
Orphans & Kingdoms Paolo Rotondo New Zealand 74 min
The Descendants Yaser Talebi Islamic Republic of Iran 80 min





And The Circus Leaves Town  
Mete Sozer 

Turkey √
99 min
l
And the Circus Leaves Town is the story of a village caught in between life and death. This is the story of the moment when the paths of the village which wants to forget its past and the “Stranger” who wants to grasp his past converge. The “Stranger” gets off the train with an old, wooden, red suitcase. His destination is a village where only a handful of people are left, where the young have left and the babies cease to be born, where each moment repeats a previous moment. The arrival of the “Stranger” is met with curiosity first, and suspicion later. The dark, covered memories of a bloodied wedding night are revived. Is the “Stranger” someone from the past, or a brand new hope... (From the Istanbul Foundation for Culture and Arts iFKA)

Won for International Feature Film at the 5th Underground Film Festival in Cork City, Ireland this past August.


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Creditors
Ben Cura   
United Kingdom √
81 min


Much of what I know about Ben Cura comes from a recent in-depth interview with Film Courage.    Cura wrote the screen play,  directed the film and acts in it.   But it also has some strong, established actors, like Christian McKay, Simon Callow, and Andrea Deck.
"At times disturbingly funny and cruelly bleak, "Creditors" deals with the most private aspects of human relationships. From questioning our concepts of marriage and fidelity, to trying to establish the role of the modern woman in a world still trapping her within the confines of old fashioned canons, the film's story stirs, moves and sometimes even angrily rebuts our very own personal definitions of each."
The interview covers a wide range of topics from Cura's background (his father is a major opera singer which meant as a child Cura traveled the world); adapting the film from August Strindberg's 1888 play; the challenges of being a first time director and of black and white;  budgeting, and more.

 The film's world premiere is October 31, 2015 in New York's Nordic International Film Festival.  Then, it appears, to Anchorage.  Those who seriously want to prepare for the festival can read the original Strindberg play here.  




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Jasmine  
Dax Phelan  
Hong Kong √ 
80 min

UPDATE Dec. 10:  Just opened an email from Dax Phelan who said the second review quoted here was of an unfinished version of the film.  So take it with a grain of salt.



TwitchFilm liked it:
"Dax Phelan, veteran screenwriter and producer based in Los Angeles got the Hong Kong bug on a writing research trip to the city in 2005. By his own tongue-in-cheek admission, it had become somewhat tedious being handsomely paid for writing screenplays that rarely if ever get made. Citing inspiration by such auteurs as Lodge Kerrigan (The Killing TV series, Keane) and the Dardenne brothers (Two Days, One Night) Phelan sensed that Hong Kong could be fertile ground for a psychological thriller that would be his directorial debut. He penned Jasmine based on a story that he had co-written with Jason Tobin. . .

For the first time ever, Hong Kong plays a characterful, if inhospitable backdrop to an english language film with artistic sensibilities, a restrained, rhythmical build, and a chilling and thought-provoking climax. It explores themes of loneliness amongst the masses, fear of postponed regret, and most poignantly our ability to invest everything in our own flawed narratives."
Screen Daily wasn't as kind:

"Writer-director Dax Phelan uses the trope of the unreliable narrator to mixed effect in Jasmine, a classically-executed slow-moving descent into paranoia set on the streets of Hong Kong. Working from an idea by Phelan and Tobin, Jasmine’s script is too thinly fleshed-out to be fully successful, and the production tends to drag through its final frames. This moody noir will find a slim audience locally, and works best as a calling card for its director and lead actor, who are clearly capable."
Guess we'll have to see for ourselves who's right.   As of Oct 26, Anchorage isn't mentioned on either the director's Twitter or Facebook pages. 



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From Keiko Shiga's Tumblr page
Magic Utopia
Shoji Toyama 
Japan √
88 min


Finding out about this film isn't easy.  There this from
"A young girl who lost her mother suddenly begins to float in midair when she meets a man trapped in a past of painful memories. At the same time, an old man receives a message on his answering machine from his long dead daughter."
 And this from what seems to be the film's website:

  1. 思い出せない秘密
  2. 抑えられない衝動
  3. 真実しかない孤独
ひとりの少女の体が宙に浮いたことによって動き出す
3人の男女の《マジックユートピア》へと向かう魂の物語。
わたしは知らないこれから浮きあがるこの世界を
 But this picture on their website suggests this could be good. 
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Image from Orphansandkingdoms website gallery
Orphans & Kingdoms
Paolo Rotondo 
New Zealand √
74 min



From an interview with Director Paolo Rotondo in the New Zealand site Flicks:

How did you discover the three young leads?

They all auditioned. Calae who plays Kenae was the only kid who could really stand up to an adult actor in the audition and hold his own. Hanelle (Tibs) had auditioned for me when I was helping to cast a US TV film, she was so strong I wanted her for Orphans. Jesse auditioned and proceeded to teach me about the real world of the characters I was exploring, he didn’t need a script – he knew the story.
Director bio from a story generator workshop he ran:
I am a passionate and accomplished Artist who has worked in New Zealand’s Film, Theatre and Television industries for twenty years. My need to tell stories began as an Actor and inspired me to develop my skills as a Playwright and consequently Filmmaker. I offer a depth of experience in Film and Theatre, ranging from acting, to producing, to writing and directing.
The short films I have written have won awards and garnered international acclaim. This year I will be releasing my first full-length feature film ‘Orphans & Kingdoms’ which I wrote and directed, funded by The New Zealand Film Commission.
As a Playwright my works have been published and have toured nationally and internationally to universal critical and audience acclaim. “In 2014 my Play “Strange Resting Places” was invited in the New Zealand showcase at Edinburgh Festival.

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The Descendants

Yaser Talebi 
Islamic Republic of Iran √
80 min



From the Youtube description:
"Jacob's family worries about Farrokh, the son of the family. Farrokh left Iran to continue his studies but he has not been in touch with them for a long time. Jacob travels to Sweden to look for his son..."