June 12 , 2000


Poverty in America:

Turning the Tables
BY NEIL DEMAUSE
Welfare reform face a time limit of its own.

Allied Forces
BY TED KLEINE
The National Campaign for Jobs and Income Support

Poverty in a Gilded Age
BY ANNETTE FUENTES
An interview with Frances Fox Piven.

Out of Sight
BY KARI LYDERSEN
In many cities, being homeless is against the law.

Leave the Kids Alone
BY MIKE MALES
Poverty is the real problem

The Union Difference
BY DAVID MOBERG

Down and Out on Polk Street
PHOTOGRAPHS BY KEVIN WEINSTEIN


Other Features:

Star Wars: Episode Two
BYJEFFERY ST. CLAIR
The Pentagon's latest missile defense fantasy.

"This Is Not Life. This Is Prison"
BY RICHARD MERTENS
Kosovo one year after the NATO bombing.

Bosnian Serbs Still Look to Belgrade
BY PAUL HOCKENOS


News & Views

Editorial
BY JOEL BLEIFUSS
Memo to third parties: Face Reality.

Appall-O-Meter
BY DAVID FUTRELLE

A Terry Laban Cartoon

Marching On
BY DAVE LINDORFF
Unity 2000 plans to disrupt this summer's GOP convention

The Other Side of the Street
BY KIM PHILLIPS-FEIN
Food workers target Goldman Sachs

Going to Waste
BY ERIC WELTMAN
Health Care Without Harm cleans up toxic hospitals

Profile
BY KARI LYDERSEN
Flour Power

Forgotten America
BY Juan Gonzalez
Bombs Away


Culture

Ancient Daze
BY JOSHUA ROTHKOPF
FILM: Ridley Scott's Gladiator

A Class by Itself
BY BILL BOISVERT
BOOKS: David Brooks' Bobos in Paradise

A Different Point of View
BY PAT AUFDERHEIDE
TV: P.O.V. on PBS

 

A Different Point of View
By Pat Aufderheide

A young Algerian woman, hugely pregnant with twins, weeps as she recalls the terrorist bomb that almost killed her grandfather. The INS officer who denies her asylum tries to hold back tears of frustration as he later explains his decision, and then begs gruffly, "Turn that damn thing off." It's Well -Founded Fear, a documentary that takes you into the political asylum process, where horror is routine and the stakes are too high not to lie.

A dowager bustles up to her old family mansion in Havana, now a bank. She tries to wheedle a glimpse of her childhood playroom, while her son squirms with embarrassment at her side. But when she goes home, her visit sinks in, and she starts talking back to the Cuban-American right. It's Our House in Havana, a story about the passions that fueled the Elián González drama.

An Appalachian filmmaker recalls hearing, back in 1967, that an eccentric old man had shot a Canadian filmmaker to death for standing on his property. The terrible news also evoked her deep resentment at the parade of journalists who too often simply exploited Appalachia's poverty. Thirty years later, she interviews the dead filmmaker's daughter, now herself the outsider capturing someone else's reality. It's Stranger with a Camera, an acutely personal story about the power of the image and the responsibility of the storyteller.

It is now easy to see these films, all of which are on the P.O.V. public television series lineup this summer. But they're not going to your local cineplex, despite lavish critical acclaim. Several of P.O.V.'s selections debuted at the Sundance Film Festival, the commercial gateway for independent films. Well-Founded Fear (June 5), by Michael Camerini and Shari Robertson, was one of the festival's sensations - for a reason.

The filmmakers had won access to long - forbidden territory (the INS chief hoped to showcase improved procedures). They stayed there long enough to let us view high - stakes drama from both sides. With their respectful choices of framing, contrapuntal editing, and fly - on - the - wall camera, the filmmakers avoid the spectacle of intimacy that is the curse of this genre. The story ends up being about the INS officers - - the overweight, overwhelmed, decent people put in the position of deciding other people's fates three times a day. You can't help asking yourself what you would do - - and what we as a nation should do.

Well-Founded Fear was a must-see at Sundance. But for documentaries, that doesn't translate to a hip indie release at a theater near you. Many award-winning documentaries might never get a mass audience at all, if it weren't for P.O.V., which searches out provocative, opinionated films made by people out of conviction and not careerism. At P.O.V., not only are important subjects addressed as if they really matter, but there's more range of documentary artistic choice here than you'll get by holding your thumb down on the remote for a complete channelsurf.

Pat Aufderheide is a senior editor of In These Times.





 


In These Times © 2000
Vol. 24, No. 14