Friday, Feb 25, 2011
by PopMatters Staff
by Timothy Noah
Slate (24 February 2011)

“In August 2010, a documentary titled A Film Unfinished was released by Oscilloscope, a New York-based independent distributor. The film’s subject is the making of an unfinished Nazi documentary about the Warsaw ghetto that was intended to spread anti-Semitic propaganda. The director, Yael Hersonski, would like A Film Unfinished to be shown in schools to educate children about the Holocaust. But because the documentary includes some horrific footage of death camp atrocities—some of them showing Jews, both dead and alive, stripped naked—the Motion Picture Association of America’s ratings division assigned the documentary an R rating. Oscilloscope appealed the decision, pointing out that a dozen years earlier, Steven Spielberg’s Shoah Foundation had released a Holocaust documentary titled The Last Days that featured similar footage but received a PG-13 rating. It even presented the MPAA with a letter from a Warsaw ghetto survivor who urged that the film be used to educate young people. But the MPAA’s appeals board voted to maintain the R rating, 12-3.”

Latest in Film

The Clerk, RIP
— Scott Timberg (Salon, 18 December 2011)
Frank Miller and the Rise of Cryptofascist Hollywood
— Rick Moody (The Guardian, 24 November 2011)
The 50 Most Special Effects of All Time
— David Fear, Joshua Rothkopf and Keith Uhlich (Time Out, 29 July 2011)
Before Walt Disney: 5 Pioneers of Early Animation
— Maria Popova (The Atlantic, 5 July 2011)
Can Watching ‘Jackass’ Turn You Into One?
— Tom Jacobs (Miller-McCune, 7 June 2011)
Slate's Hollywood Career-O-Matic
— Christopher Beam and Jeremy Singer-Vine (Slate, 6 June 2011)
Filmmaker J. J. Abrams Is a Crowd Teaser
— Frank Bruni (The New York Times Magazine, 26 May 2011)
30 Books That Could Be The Next Harry Potter
— George Wales (Total Film, 25 May 2011)

//Mixed media

Authenticity Issues and the New Intimacies

// Marginal Utility

"The social-media companies have largely succeeded in persuading users of their platforms' neutrality. What we fail to see is that these new identities are no less contingent and dictated to us then the ones circumscribed by tradition; only now the constraints are imposed by for-profit companies in explicit service of gain.

READ the article