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After her dad shifts his politics from left to right, his daughter tries to understand what happened.

Robert Carmichael, is a talented cello player in the town of Newhaven. He becomes associated with several other unsavory teenagers and he is soon tempted into the use of hard drugs like cocaine and ecstasy.

A look at the history of black horror films and the role of African Americans in the film genre from the very beginning.

During the '35th Cannes International Film Festival' (14th-26th May 1982), German director Wim Wenders asked a sample of 15 other international film directors to get, each one at a time, into the same hotel room to answer in solitude the same question about the future of cinema, while they were filmed with a 16mm camera and recorded with a Nagra sound recorder. In social sciences the goal of standardization is that each person is exposed to the same question experience, and that the recording setting of answers is the same, too, so that any differences in the answers can be correctly interpreted as reflecting differences between persons rather than differences in the process that produced the answer. The wide sampling frame in "Room 666" included European 'auteurs' and Hollywood directors, narrative and experimental filmmakers, male and female professional film directors that presented their films or were simply present at the 35th Cannes Festival in May 1982. The directors came from France, Italy, Brazil, Lebanon, Germany, Turkey, the Philippines and the USA. This unique documentary shows the complete footage (or selected parts) of the 15 answers that resulted from this 'standardized survey interviews'. The historical value of "Room 666" has increased over time: The 5 directors Rainer Werner Fassbinder, Yilmaz Güney, Maroun Bagdadi, Robert Kramer and Michelangelo Antonioni have died since then in this order. Fassbinder died only a few weeks later on June 10th 1982 and gave his last 'interview' in "Room 666".

An examination into the nature of 1960s-'70s horror films, the artists involved, and how they reflected contemporary society.

From 1970-1977, six low budget films shown at midnight transformed the way we make and watch films.

Pirated satellite feeds revealing U. S. media personalities' contempt for their viewers.

Based on the forthcoming book by Pepi Leistyna, Class Dismissed navigates the steady stream of narrow working class representations from American television's beginnings to today's sitcoms, reality shows, police dramas, and daytime talk shows. Featuring interviews with media analysts and cultural historians, this documentary examines the patterns inherent in TV's disturbing depictions of working class people as either clowns or social deviants - stereotypical portrayals that reinforce the myth of meritocracy. Class Dismissed breaks important new ground in exploring the ways in which race, gender, and sexuality intersect with class, offering a more complex reading of television's often one-dimensional representations. The video also links television portrayals to negative cultural attitudes and public policies that directly affect the lives of working class people. Featuring interviews with Stanley Aronowitz, (City University of New York); Nickel and Dimed author, Barbara Ehrenreich; Herman Gray (University of California-Santa Cruz); Robin Kelley (Columbia University); Pepi Leistyna (University of Massachusetts-Boston) and Michael Zweig (State University of New York-Stony Brook). Also with Arlene Davila, Susan Douglas, Bambi Haggins, Lisa Henderson, and Andrea Press.

VALENTINO'S GHOST: WHY WE HATE ARABS (2015) exposes how U.S. foreign policy in the Middle East is the driving force behind the mainstream media's portrayals of that region and its people, resulting in injustice, bigotry, hatred and wars.

A film that criticises and discussed the Australian media coverage of the first gulf war.

'Project Censored: The Movie' explores media censorship in our society by exposing important stories that corporate media fails to report/under report. Using the media watchdog group, Project Censored, as their road map, two fathers from California decided to make a documentary film that will help to end the reign of Junk Food News that Corporate Media continues to feed the American people.

Have you ever wondered why James Bond is who he is and why he does what he does? Here's a little lighthearted treat for all Bond fans. The analysis, just like the character, is of course fictional, but the principals behind this are real.

A young man is found on the Berlin subway tracks with his head split open and a lethal blood alcohol level of 0.47. Saved by strangers, he is propelled on a global journey that explores the limits of body, mind, spirit and art.

Weight Problem examines whose interests are served by the ways media, culture, and the medical establishment represent issues pertaining to body shape, size, weight, and fat. The film challenges taken-for-granted notions about the so-called 'obesity crisis' and 'epidemic.'

Filmmakers Harun Farocki und Andrei Ujica discuss footage from their documentary Videograms of a Revolution (1992) about the revolution in Romania 1989 with scientists.

Les musiques de James Bond se ressemblent presque toutes . Et le thème musical de "Mourir peut attendre", le nouvel épisode des aventures de 007, n'échappe pas à la règle. Interprété par Billie Eilish, il rappelle les versions de ses prédécesseurs : John Barry, Madonna ou encore Adele. La question qui se pose est simple : pourquoi ? Pourquoi les musiques de la saga "sonnent" pareil ? Pour le comprendre, Le Monde a analysé les vingt-cinq thèmes d'introduction des films avec l'aide du compositeur et universitaire australien Dan Golding. De "James Bond 007 contre Dr No" à "Mourir peut attendre" en passant par "GoldenEye" et "Skyfall", une écoute attentive permet de découvrir le secret qui se cache derrière les musiques "à la James Bond".

As one of pop-culture's oldest and most iconic movie characters, James Bond has both illustrated and influenced western culture for over 50 years. "Progressive Feminism through James Bond" analyzes the James Bond film series and its history conveying sexism and feminism. Emphasis is devoted to current Daniel Craig-era Bond films as being intentionally progressively feminist, an observation that has been overlooked and misinterpreted by audiences. By centering on a misogynist character, the James Bond film franchise serves as an invaluable means to observe changes in cultural attitudes towards feminism. The most recent 007 movie, 'Skyfall' (2012), received widespread criticism from reactionary media and feminist academics alike for being explicitly sexist. The researcher challenges this criticism by analyzing changes made to the James Bond character and the roll of the Bond girl since Craig's debut in 'Casino Royale' (2006). By criticizing the actions of a fictional character whose misogynist actions are part and parcel to his identity, feminist criticism has overlooked the intentions of filmmakers who have accomplished the seemingly impossible task of using a sexist character, James Bond, to convey aspects of progressive feminism. The research concludes that by ignoring and right out challenging many expectations of traditionally sexist Bond films, 'Skyfall' is meant to convey a progressively feminist attitude.

Filmmaker Katie Madonna Lee and writer Louis Jordan discuss the most outrageous made-for-TV movies of the 80's and 90's. The line up includes: True crime and Tori Spelling collide in this based-on-a-true-story made-for-TV movie. Join Louis Jordan and Katie Madonna Lee for an entertaining discussion about one of the most iconic made-for-TV movies of all time: "Death of a Cheerleader" The 1983 made-for-TV movie "Making of A Male Model" stars Jon-Erik Hexum and Joan Collins in a sexy, campy tale about the price of fame. Joan Collins was a former Hollywood actress who became a household name in the 80's playing a glamorous villain on Aaron Spelling's prime-time soap opera "Dynasty." Jon-Erik Hexum was an up-and-coming heartthrob whose life was cut short by an on-set accident with a prop gun just one year after "Male Model" aired. The film serves as a time capsule for Jon-Erik Hexum's beauty, talent and potential. He shines in this fun, campy movie that gender flips the usual cautionary tale of fame-a kind of "Valley of the Ken Dolls." Jeff Conaway co-stars as Chuck, a former super-model who is falling into drug addiction. Like Chuck, Conaway struggled with addiction after his break out role in "Grease." Stay tuned as we deep dive into this fun movie with many tragic off-screen endings.

Across the entire franchise, there's still an unmistakable sound to the music of James Bond. So why does James Bond sound like James Bond? And how do you write a new Bond song?

In this edition of 'Everything Music' we explore 'The James Bond Theme' written by Monty Norman and arranged by John Barry. We will discuss the: Iconic Chords, Choice of Instrumentations, Line Cliches and the Melodic Structure of the Theme.

Slater's involvement with an student activist leads him to embrace his Hispanic heritage.