securitized links

---Anatomy of an Arrest

---Gilham's "Securitizing America":

"Under the strategy of escalated force police relied on spectacular shows of force that quickly escalated and often turned brutal and occasionally fatal. Frequently, police used force indiscriminately against both violent and non-violent protesters as an alternative to arresting people. By contrast, in negotiated management, the use of force was the tactic of last resort and even then was applied proportionally to threats displayed, and only at those clearly breaking the law (McPhail et al. 1998).

Under strategic incapacitation police have routinely used force selectively against perceived or actual transgressive protesters. Less-lethal weapons such as tear gas, pepper spray, Tasers, rubber bullets, wooden missiles and bean bag rounds are now the weapons of choice. They are less likely to maim or kill, although they have caused serious injury and death. Evidence suggests that police use these weapons as a means to temporarily incapacitate potentially disruptive protesters and repel others away from areas police are trying to defend such as entrances and exits to secured zones (Noakes and Gillham 2007)."

---10 tips for filming protests

---HDR timelapse video

---"What could be more central to Occupy’s guiding philosophy than the idea that the rule of law has been subverted by corporate interests?"

---preparing for the next great depression

---Charles Taylor's problem with film criticism

---Olbermann's thoughts on the clearing of Zuccotti Park

---"What drives the spread of surveillance is not a desire to diminish evil, but the desire to control."

---creating Scarface

---more relevant than ever: One Flew Over the Cuckoo's Nest

---Langley's American Un-Frontiers

---Ohlin's "Our Zombies, Ourselves":

"Zombies, it turns out, have much to tell us about our lives in the 2010s. In the literature of the 1940s and 1950s, as critic Morris Dickstein points out in Leopards in the Temple, the Holocaust and the A-bomb rarely appeared explicitly; they seemed perhaps too big to grasp, and too far removed from the personal experience of many writers. What appeared instead was an undercurrent of anxiety shooting through both mainstream literature and popular culture, sublimated, displaced. Expression of the looming threat often took the form of fantastical creatures, especially in the B-movies and comic books that birthed the gigantic likes of Godzilla and the 50-foot woman.

If postwar fiction and popular culture were haunted by the technologies humans had made and the danger that they might backfire and destroy us completely, our own moment’s fears seem to take on a more manageable, face-to-face, if no less terrifying character. We live in an era of rampant overpopulation, ever-increasing consumption, and limited resources, and our monster of choice, today, is the zombie. The current zombie renaissance — and make no mistake, they are everywhere, from movies like 28 Days Later, Resident Evil, Zombieland, The Walking Dead to the proclamations of the Center for Disease Control, which last spring issued tongue-in-cheek preparedness guidelines for the zombie apocalypse (`If zombies did start roaming the streets, CDC would conduct an investigation much like any other disease outbreak') — is a clear descendent of the kind of displaced cultural anxiety Dickstein diagnoses, but with a difference. Zombies aren’t space invaders or giant insects; they’re not `others' in the way most monsters are. They’re human victims, really, who can’t control what they do. They are uncomfortably, uncannily close to being just like us: our zombies, ourselves."

---Filmmaking techniques by Tim O'Riordan

---Robokopter Zamieski

---Annie Leonard's Story of Broke

---a scene from Wong Kar-wai's In the Mood for Love

---Mike Figgis interviews Jodie Foster

---"Suppressing nonviolent dissent": an anthology

---Linsky's "@longformorg guide to the making of movies"

---trailers for Rampart, Brave, Mirror Mirror, The Iron Lady, and a featurette for The Descendants

---Craig reviews Kellow's Pauline Kael

---an (exclusively male) director's roundtable

---lastly, the political courage of Elizabeth Warren