BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Marxist Education Project - ECPv6.17.4//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://marxedproject.org
X-WR-CALDESC:Events for Marxist Education Project
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Halifax
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20140309T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20141102T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20150308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20151101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20160313T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20161106T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20170312T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20171105T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20180311T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20181104T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20190310T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20191103T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20200308T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20201101T050000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0400
TZOFFSETTO:-0300
TZNAME:ADT
DTSTART:20210314T060000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0300
TZOFFSETTO:-0400
TZNAME:AST
DTSTART:20211107T050000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200924T190000
DTEND;TZID=America/Halifax:20200924T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006766-1600974000-1600981200@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-09-24/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200917T190000
DTEND;TZID=America/Halifax:20200917T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006765-1600369200-1600376400@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-09-17/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200910T190000
DTEND;TZID=America/Halifax:20200910T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006764-1599764400-1599771600@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-09-10/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200904T180000
DTEND;TZID=America/Halifax:20200904T200000
DTSTAMP:20200729T080556Z
CREATED:20200729T080556Z
LAST-MODIFIED:20200729T080556Z
UID:10006769-1599242400-1599249600@marxedproject.org
SUMMARY:Perry Mason and the Case of the Careless Remake
DESCRIPTION:A special presentation with Dennis Broe\nPresented by The Marxist Education Project with Institute for the Radical Imagination \nVia Zoom \nIt’s the third most popular book series of all time\, a show that ran in some form for over 35 years and is now the flagship production for HBO’s summer lineup. \nPerry Mason\, the indefatigable defender of hopeless cases that the police have seemingly wrapped up\, has been reinvented as a no-account Jake Gittes from Chinatown\, a two-bit blackmailer and lost generation PTSD war casualty navigating the streets of 1932 Los Angeles at the height of the depression. Hoovervilles\, the Bonus March\, and the rich in tuxedos with the poor at their feet form the background of the series and suggest our own era where Trumpvilles flourish and will soon expand when unemployment benefits are exhausted. \n \nWe’ll take a critical look at this refashioning of the criminal defense attorney\, with a Della Street who wants equal pay in the law office and an African-American investigator\, the refurbished Paul Drake\, who abandons the very low ceiling of a black beat cop on the LAPD to work elsewhere. \nWe’ll also take up questions of how HBO\, now owned and under the tutelage of AT&T\, the conservative telecom company from Dallas\, may be changing as it becomes the centerpiece of the AT&T/Time Warner streaming service. As well as how the American “period fetish” and faithfulness to the letter but not the spirit of the law of the original plays out in this remake. \nFor those who are able\, the Perry Mason series is available every Sunday from 9 to 10 pm EST for new episodes\, and is available on demand for streaming with many local cable / satellite providers of televised content. \nDennis Broe taught Television Studies at the Sorbonne. He is the author of Birth of the Binge: Serial TV and The End of Leisure\, Maverick or How The West Was Lostand the soon-to-be-published Diary of a Digital Plague Year: Coronavirus\, Serial TV and The Rise of the Streaming Services. His TV criticism appears at Bro on the Global Television Beat. His television\, film\, art and literary criticism also appears in the British newspaper Morning Star and on People’s World and Crime Time. He is an associate editor of Culture Matters. His radio broadcasts on his show Breaking Glass appear on Art District Radio in Paris and on Arts Express in New York on WBAI and across the Pacifica Network.   \nAll tickets are sliding scale. No one is refused admission for inability to pay  
URL:https://marxedproject.org/event/perry-mason-and-the-case-of-the-careless-remake/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Seminars and Talks
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/PerrySnaps.jpg
ORGANIZER;CN="Anti-Bourgeois Film Series":MAILTO:info@marxedprojet.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200903T190000
DTEND;TZID=America/Halifax:20200903T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006763-1599159600-1599166800@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-09-03/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200831T000100
DTEND;TZID=America/Halifax:20200831T235900
DTSTAMP:20201217T162636Z
CREATED:20181223T054436Z
LAST-MODIFIED:20201217T162636Z
UID:10006710-1598832060-1598918340@marxedproject.org
SUMMARY:Multi-Month Pass: Now through Dec 31\, 2020
DESCRIPTION:Support the MEP and save $ for yourself. \nFor a one-time sliding scale fee of $150\, $200\, or $250 attend any and all classes and events of The Marxist Education Project. For $50 or $75 more bring a guest as often as you would like to the classes and events between February 1 and May 31\, 2021. The curriculum has not been decided as of yet but this special price will apply for all that takes place from during the stated four-month period. Anyone can purchase this option and can attend all events until May 31\, even if purchased during December\, 2020 or January\, 2021. \nThe way the calendar works within our WordPress based site may make this confusing. It is a one-time payment good for all events and classes that take place between now and May 31\, 2021. You may also use this course as a contribution button to help The MEP get through this challenging Covid-19 period where much of our constituency have lost income and will during the next months lose unemployment compensation without a lengthy extension/. \n 
URL:https://marxedproject.org/event/4-month-pass-january-21-through-may-20-2019-2020-08-29/2020-08-31/
LOCATION:All Venues
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Marx's Capital,Multi-session Classes,Revolutions Study Group
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2016/12/SocietyNature_BeckyB_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200827T190000
DTEND;TZID=America/Halifax:20200827T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006762-1598554800-1598562000@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-08-27/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200820T190000
DTEND;TZID=America/Halifax:20200820T210000
DTSTAMP:20200814T012608Z
CREATED:20200717T033928Z
LAST-MODIFIED:20200814T012608Z
UID:10006761-1597950000-1597957200@marxedproject.org
SUMMARY:Lit and Film: Noir for the Summer of Covid-19
DESCRIPTION:8 sessions\nvia teleconference on Zoom • participation code with registration\nSliding scale admission for teleconference \nContinuing in the MEP LITERATURE GROUP summer tradition\, we will once again delve into Noir genres– but with a twist! Starting August 6\, we will read four books and watch the movies that are based on them. Please join us for four books with the four movies that resulted from them. \nBOOK 1 Odd Man Out /F. L. Green \nF.L. (Laurie) Green’s novel was published in 1945. It followed upon wartime action by the IRA in Belfast\, in consequence of which Northern Ireland undertook its first and only execution of an IRA member\, 19-year old Tom Williams. In the novel\, an IRA plot goes horribly wrong when its leader\, Johnny Murtah\, kills an innocent man\, and he is gravely wounded. Odd Man Out is Green’s most significant novel. \nMOVIE 1 Odd Man Out /Carol Reed • AUGUST 20\nTakes place largely over the course of one tense night\, Reed’s psychological noir\, set in Belfast\, stars James Mason as a revolutionary ex-con who leads a botched robbery. Injured and hunted by the police\, he seeks refuge throughout the city\, while the woman he loves searches for him among the shadows. Reed and cinematographer Robert Krasker create images of stunning depth for this fierce\, spiritual depiction of a man’s ultimate confrontation with himself. \nBOOK 2 Clean Break /Lionel White • AUGUST 27\n“… none of them are professional crooks. They all have jobs\, they all live seemingly decent\, normal lives. But they all have money problems and they all have larceny in them.” In the opening chapter\, Lionel White sets the stage for the main protagonists of the story: Marvin Unger\, court reporter; George Peatty\, a racetrack cashier and his bored wife\, Sherry; Randy Kennan\, a cop distracted by huge gambling debts; Mike O’Reilly\, a track barman\, regularly bets and loses half his earnings; and Johnny Clay\, just out of jail\, and who has come up with the plan to steal the earnings fromthe Canarsie Stakes. Creating diversions becomes necessary\, including knocking off the favourite in the race (animals lovers beware…). \nMOVIE 2 The Killing /Stanley Kubrick • SEPTEMBER 3\nStanley Kubrick’s account of an ambitious racetrack robbery is one of Hollywood’s tautest\, twistiest noirs. Aided by a radically time-shuffling narrative\, razor-sharp dialogue from pulp novelist Jim Thompson\, and a phenomenal cast of character actors\, including Sterling Hayden\, Coleen Gray\, Timothy Carey\, Elisha Cook Jr.\, and Marie Windsor\, The Killing is both a jaunty thriller and a cold-blooded punch to the gut. And with its precise tracking shots and gratifying sense of irony\, it’s Kubrick to the core. \nBOOK 3 Down There /David Goodis • SEPTEMBER 10\nOnce upon a time Eddie played concert piano to reverent audiences at Carnegie Hall—now he does honky-tonk in a Philly drunk-dive. But then two people walk into Eddie’s life—the first promising Eddie a future\, the other dragging him back into a treacherous past. Down There (bookretitled after film to Shoot the Piano Player) is a bittersweet and nerve-racking exploration of different kinds of loyalty. \nMOVIE 3 Shoot The Piano Player /François Truffaut • SEPTEMBER 17\nFrançois Truffaut is drunk on the possibilities of cinema in this\, his most playful film. Part thriller\, part comedy\, part tragedy\, Shoot the Piano Player relates the adventures of mild-mannered piano player Charlie (Charles Aznavour\, in a triumph of hangdog deadpan) as he stumbles into the criminal underworld and a whirlwind love affair. Loaded with gags\, guns\, clowns\, and thugs\, this razor-sharp homage to the American gangster film is pure nouvelle vague. \nBOOK 4 Friends of Eddie Coyle /George V. Higgins • SEPTEMBER 24\nElmore Leonard said that The Friends of Eddie Coyle was the best crime novel ever written\, though Higgins hated being classified as a crime writer. According to Leonard\, “He saw himself as the Charles Dickens of crime in Boston instead of a crime writer. He just understood the human condition and he understood it most vividly in the language and actions among low lives.” \nMOVIE 4 Friends of Eddie Coyle /Peter Yates • OCTOBER 1\nIn one of the best performances of his legendary career\, Robert Mitchum plays small-time gunrunner Eddie “Fingers” Coyle in an adaptation by Peter Yates of George V. Higgins’s acclaimed novel The Friends of Eddie Coyle. Directed with a sharp eye for its gritty locales and an open heart for its less-than-heroic characters\, this is one of the true treasures of 1970s Hollywood filmmaking—a suspenseful crime drama in stark\, unforgiving daylight. \nWe will attempt to watch together. Those who watch the film on their own are of course welcome to join in the discussions following the films as they are presented.
URL:https://marxedproject.org/event/lit-and-film-noir-for-the-summer-of-covid-19/2020-08-20/
LOCATION:Online Event – Zoom Meeting
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Multi-session Classes
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/07/NoirSummer2020_FB3c.jpg
ORGANIZER;CN="MEP Literature Group":MAILTO:info@marxedproject.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200731T000100
DTEND;TZID=America/Halifax:20200731T235900
DTSTAMP:20201217T162636Z
CREATED:20181223T054436Z
LAST-MODIFIED:20201217T162636Z
UID:10006709-1596153660-1596239940@marxedproject.org
SUMMARY:Multi-Month Pass: Now through Dec 31\, 2020
DESCRIPTION:Support the MEP and save $ for yourself. \nFor a one-time sliding scale fee of $150\, $200\, or $250 attend any and all classes and events of The Marxist Education Project. For $50 or $75 more bring a guest as often as you would like to the classes and events between February 1 and May 31\, 2021. The curriculum has not been decided as of yet but this special price will apply for all that takes place from during the stated four-month period. Anyone can purchase this option and can attend all events until May 31\, even if purchased during December\, 2020 or January\, 2021. \nThe way the calendar works within our WordPress based site may make this confusing. It is a one-time payment good for all events and classes that take place between now and May 31\, 2021. You may also use this course as a contribution button to help The MEP get through this challenging Covid-19 period where much of our constituency have lost income and will during the next months lose unemployment compensation without a lengthy extension/. \n 
URL:https://marxedproject.org/event/4-month-pass-january-21-through-may-20-2019-2020-08-29/2020-07-31/
LOCATION:All Venues
CATEGORIES:Classes/Events,Film Screenings,Literary Studies,Marx's Capital,Multi-session Classes,Revolutions Study Group
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2016/12/SocietyNature_BeckyB_Site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200626T183000
DTEND;TZID=America/Halifax:20200626T210000
DTSTAMP:20200514T150410Z
CREATED:20200227T063324Z
LAST-MODIFIED:20200514T150410Z
UID:10006700-1593196200-1593205200@marxedproject.org
SUMMARY:Final Friday Films: Modern Times
DESCRIPTION:Modern Times\nUSA 87 minutes 1936\nWritten and directed by Charlie Chaplin\nStarring Charlie Chaplin and Paulette Goddard\n \nChaplin does borrow from Rene Clair’s A Nous La Liberte in Modern Times (once also entitled The Masses). Here Chaplin again appears as The Tramp\, although this is the era of sound\, it is essentially a silent film. The borrowing from Clair on being a comedic treatment of worker alienation is clear. Chaplin plays an assembly line worker where he is subjected to being force-fed by a malfunctioning “feeding machine” (cutting the vital minutes of lunch) and an accelerating assembly line where he screws nuts at an ever-increasing rate onto pieces of machinery. Eventually he has a nervous breakdown apparently sabotaging a machine in the process and throwing the factory into chaos. He is then hospitalized. Following his recovery\, the now unemployed factory worker is mistakenly arrested as a communist outside agitator\, the moment displaying Chaplin’s call to workers of the world to unite. Chaplin would leave the US upon the arrival of anti-communist hysteria tenyears later. \nFrom The Guardian of July 14\, 1936\nNAZIS PROHIBIT CHAPLIN FILM\n“Charlie Chaplin’s new film Modern Times has been prohibited in Germany. Reuter was informed at the Propaganda Ministry this afternoon that there was at present no prospect that the picture would be shown in this country. Another Nazi spokesman said that reports from abroad had indicated that the picture had a “Communist tendency” and that this was no doubt the reason why the picture was unacceptable.”
URL:https://marxedproject.org/event/final-friday-films-modern-times/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/02/Modern_Times_p_150_site.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200228T183000
DTEND;TZID=America/Halifax:20200228T203000
DTSTAMP:20200129T033904Z
CREATED:20200102T044856Z
LAST-MODIFIED:20200129T033904Z
UID:10006123-1582914600-1582921800@marxedproject.org
SUMMARY:Mandabi (The Money Order)
DESCRIPTION:Final Friday Film Series\ncontinuing The Anti-Bourgeois Film Series from 2014\nWritten and directed by Ousmane Sembène\nSenegal\, 1968\, 90 minutes\n(In French and Wolof with English subtitles) \n \nThe film is based on Sembène’s novel The Money-Order. It is the director’s first film inhis native Wolof language\, and also the first full-length African language film from West Africa. Since most of the Senegalese population did not understand French\, Sembène wanted to create cinema for Wolof speakers. Sembène’s Mandabi also made for international recognition of his development as a film maker. \nAn unemployed Senegalese man\, Ibrahima Dieng\, lives with his two wives and kids in Dakar. His nephew\, Abdou\, sends him a money order from Paris worth 25\,000 francs\, which he has saved from working as a street sweeper. Ibrahima is to keep some of the money for himself\, save a portion for his nephew\, and give a portion to his sister. \nHowever\, Ibrahima faces numerous difficulties trying to obtain the money order. Not having an ID\, Ibrahima must go through several levels of Senegalese bureaucracy trying to get one\, then failing after spending money he doesn’t have. Then his neighbors go to his house asking for money which brings on more debt. In the end\, he is swindled by Mbaye\, a local businessman\, who promised to cash the money order for him\, but instead sells Ibrahima’s house to a French man while at the same time stealing the money order\, saying that he was pickpocketed. Senegalese neo-realism. \n 
URL:https://marxedproject.org/event/mandabi-the-money-order/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2020/01/MoneyOrderSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20200131T183000
DTEND;TZID=America/Halifax:20200131T210000
DTSTAMP:20200129T031535Z
CREATED:20191230T051654Z
LAST-MODIFIED:20200129T031535Z
UID:10006108-1580495400-1580504400@marxedproject.org
SUMMARY:Film and Discussion: State of Siege
DESCRIPTION:Final Friday Films\nContinuing the Anti-Bourgeois Film Series\n“The problem is not to make political films but to make films politically.” —Godard / Gorin \nFrance\, 1973\, 121 minutes\nDirected by Costa-Gavras\nfeaturing Yves Montand \n \nState of Siege details the overt and covert practices of the Agency for International Development throughout the world\, with a particular emphasis on events that took place in Montevideo\, Uruguay in 1970. The actual taking of supposed American ambassador Daniel Mitrione by Tupamaro guerillas as a hostage for the release from prison of fellow Tupamaros\, details in interviews themany training exercises conducted by American forces in both the US and Latin America\, concerning psychological and physical torture techniques\, which were accompanied by broad austerity measures and implementation of anti-trade union measures and broad militaristic attacks on other working class organizations. \nIn State of Siege\, Mitrione is known as Philip Santore\, is well-played by Yves Montand. The rightist military government of Uruguay would never have allowed Costa-Gavras to film in Uruguay. Instead\, it was filmed in Chile\, in and around Santiago\, and in the coastal cities of Valparaíso and Viña del Mar. during the brief time of Salvador Allende\, just before the 1973 Chilean coup d’état\, planned with Nixon and Kissinger with Pinochet\, in much the same way in which American policy is detailed in the staged interviews in State of Siege. Costa-Gavras would later dramatize the Chilean coup in the film Missing.
URL:https://marxedproject.org/event/film-and-discussion-state-of-siege/
LOCATION:United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/12/MitrrioneQuestioningSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191220T130000
DTEND;TZID=America/Halifax:20191220T193000
DTSTAMP:20191123T134511Z
CREATED:20191123T134511Z
LAST-MODIFIED:20191123T134511Z
UID:10006069-1576846800-1576870200@marxedproject.org
SUMMARY:Bertolucci’s 1900
DESCRIPTION:with Robert DeNiro\, Gerard Depardieu\, Dominique Sanda\, Stefania Sandrelli\, Laura Betti\, Donald Sutherland\, Burt Lancaster\, and Sterling Hayden. \nBoth born on the day of Verdi’s death at the beginning of the 20th Century\, the characters that as adults are played by DeNiro (Alfredo) and Depardieu (Olmo)\, grow up side by side as friends\, and during fascism as class enemies\, in this epic depiction of the class struggles in Italy leading up to the Eurocommunist moment in 1975\, focused primarily on the rise of fascism and the fight that led to end the dictates of the Italian right with Alfredo accommodating the fascists at his estate\, while Olmo organizes and takes part in the broad struggles including the armed resistance. \nThere are few films like 1900. “…told with an unyielding Marxist fervor\, 1900 overflows with an abundant love of life in all its beauty and pain\, sensuality and despair.” —The Los Angeles Times \n“1900 explores a vibrant familial identity existing between a group of socialist farmers\, the landowners they work for\, and fascist factions penetrating rural Parma\, Italy. Its half-century scope provides a raw macro/micro slant on psychological\, generational\, political\, and cultural changes in the region of Bertolucci’s birth. Compared with the contained\, at times claustrophobic\, expressionist style of Last Tango\, 1900 is a 180-degree turn into a wide open direction. For his thirteenth film Bertolucci wanted to express what he saw as Italy’s “multi-culture” society becoming a “mono-culture\,” due to the influence of the industrial revolution\, and capitalism more precisely. The thick-layered chronicle doesn’t sweep across time so much as it escorts the audience through indelible composite events that bristle with personal\, social\, and political characteristics….Since [when it was made] 1900 has come to stand as an organic cinematic journey through chapters of a rich apocryphal history that evinces an ongoing struggle between the world’s rich elite and everyone else.”—Cole Smithey
URL:https://marxedproject.org/event/bertoluccis-1900/
LOCATION:United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/11/Quarto_StatoSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20191025T183000
DTEND;TZID=America/Halifax:20191025T213000
DTSTAMP:20190905T033934Z
CREATED:20190905T033934Z
LAST-MODIFIED:20190905T033934Z
UID:10006669-1572028200-1572039000@marxedproject.org
SUMMARY:Kurosawa’s The Bad Sleep Well
DESCRIPTION:Final Friday Film Series\ndirected by Akira Kurosawa\nJapan\, 1960\, 150 minutes \nOne of three noirs made by Kurosawa\n \nA young executive hunts down his father’s killer in the scathing The Bad Sleep Well. Continuing his legendary collaboration with actor Toshiro Mifune\, Kurosawa combines elements of Hamlet and American film noir to chilling effect in exposing the corrupt boardrooms of postwar corporate Japan. \nThere is one point where a wedding cake arrives\,. It is in the shape of corporate headquarters. A rose protrudes from the office where Furuya\, a former Corporation employee\, committed suicide. Many people believe Furuya\, implicated in a scandal\, killed himself to keep from testifying against his superiors. \nPolice interrupt the wedding to arrest corporate assistant officer Wada (Kamatari Fujiwara) on charges of bribery\, and they question him about a kickback scheme. After Wada is released\, Nishi must prevent him from committing suicide. \nHis motives are not kind. Nishi wants to use Wada and also contract officer Shirai (Ko Nishimura) to exact revenge on the Corporation. He reveals to Wada and Shirai that Furuya was his father. According to Nishi\, he only married Yoshiko to get close to the family.
URL:https://marxedproject.org/event/kurosawas-the-bad-sleep-well/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/09/BadPlanWellSleepSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190927T183000
DTEND;TZID=America/Halifax:20190927T210000
DTSTAMP:20190819T054716Z
CREATED:20190819T054643Z
LAST-MODIFIED:20190819T054716Z
UID:10006666-1569609000-1569618000@marxedproject.org
SUMMARY:Morgan: A Suitable Case for Treatment
DESCRIPTION:Final Friday Films—an anti-bourgeois film series\n“The problem is not to make political films but to make films politically.” —Godard / Gorin \nMORGAN: A Suitable Case for Treatment\nUK\, 1966\, 97 Min\nDirected by Karel Reisz \n \nRed diaper baby Morgan Delt (David Warner) is failing as an artist. Leonie (Vanessa Redgrave)\, his bourgeois wife\, is divorcing him in order to marry fellow bourgeois Charles Napier (Robert Stephens)\, an art gallery owner. Locked into a personal world of fantasy\, Morgan begins an all-out campaign to win back Leonie\, performing all kinds of stunts\, including putting a skeleton in her bed and much else to demonstrate what will ultimately be a meaningless life with her return to a bourgeois existence. When the stunts fail\, Morgan plots to kidnap Leonie\, who still nurtures residual feelings of love tinged with pity for Morgan. The plan fails\, and Morgan is arrested and imprisoned but does not give up—he remains committed to revolutionary ideals. The final scene of the film was a calling to revolutionary youth the world over in 1966\, particularly in England. \n“Released in April 1966 – the month Time magazine’s Swinging London issue was published – His madness\, therefore\, is like the state celebrated by RD Laing: insanity not as a state worthy of condign treatment but as a rebellion\, the only possible act of sanity in a mad\, mad world.”   —Jon Savage\, The Guardian\, February\, 2011
URL:https://marxedproject.org/event/morgan-a-suitable-case-for-treatment/
LOCATION:United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/08/Morgan-Mum-and-Karl.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190726T183000
DTEND;TZID=America/Halifax:20190726T210000
DTSTAMP:20190520T142951Z
CREATED:20190520T142951Z
LAST-MODIFIED:20190520T142951Z
UID:10006616-1564165800-1564174800@marxedproject.org
SUMMARY:Final Friday Film: Happy-Go-Lucky
DESCRIPTION:Written and Directed by Mike Leigh\n(2008 UK 118 mins) \nThirty years old and single\, Pauline “Poppy” Cross shares a London flat with her best friend Zoe\, a fellow teacher. Poppy is free-minded\, high-spirited and kind-hearted. The film opens with Poppy trying to engage a shop employee in conversation. He ignores her\, yet his icy demeanour does not bother her. She maintains her good mood even when she discovers her bicycle has been stolen. Her main concern is not getting a new one or finding the bicycle\, but that she did not get a chance to say goodbye to it. This prompts her to decide to learn how to drive. \nWhen Poppy takes driving lessons for the first time\, her positive attitude contrasts starkly with her gloomy\, intolerant and cynical driving instructor\, Scott. He is emotionally repressed\, has anger problems and becomes extremely agitated by Poppy’s casual attitude towards driving. As Poppy gets to know him\, it becomes evident that Scott believes in conspiracy theories. His beliefs are partly attributable to his racist and misogynistic views\, which make it hard for him to get along with others. Scott seems to be angered by Poppy’s sunny personality and what he perceives as a lack of responsibility and concern for driving safety. Scott is exceptionally irritated by Poppy’s choice of footwear (a pair of high-heeled boots)\, which he feels compromises her ability to drive. From the outset\, he feels Poppy does not take her lessons seriously and is careless. \nFrom The Guardian (UK):\n“Happy Go Lucky has been extravagantly admired since it premiered at the Berlin film festival earlier this year\, and I find myself liking it more and more. Mike Leigh’s trademarked cartoony dialogue\, as ever lending a neo-Dickensian compression and intensity to the proceedings\, is an acquired taste and I have gladly acquired it\, though some haven’t. I am not quite sure what I think about the big\, final confrontation between Poppy and Scott. It is well-acted and composed\, and Marsan is ferociously convincing\, yet the episode is closed off a little too neatly\, and Poppy seems eerily unaffected by this or anything else. The effect is a kind of odd and steely invulnerability: not unattractive exactly\, but disconcerting. \n“Sally Hawkins plays it superbly though: exactly right for the part and utterly at ease with a role that is uniquely demanding. In the factory-farmed blandness of the movies\, Happy-Go-Lucky has a strong\, real taste.” \nLike other wholly original artists\, Mike Leigh has staked out his own territory. His London is as distinctive as Fellini’s Rome or Ozu’s Tokyo. In the 1970s and ’80s his career moved between theatre and making films for BBC Television\, many of which were characterized by a gritty kitchen sink realism style. His well-known films include the comedy-dramas Life is Sweet (1990) and Career Girls (1997)\, the Gilbert and Sullivan biographical film Topsy-Turvy (1999)\, and the bleak working-class drama All or Nothing (2002). His most notable works are the black comedy-drama Naked (1993)\, for which he won the Best Director Award at Cannes.
URL:https://marxedproject.org/event/final-friday-film-happy-go-lucky/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/05/HGL1.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190628T183000
DTEND;TZID=America/Halifax:20190628T213000
DTSTAMP:20190520T012641Z
CREATED:20190520T012535Z
LAST-MODIFIED:20190520T012641Z
UID:10006614-1561746600-1561757400@marxedproject.org
SUMMARY:Final Friday Film: Camp de Thiaroye
DESCRIPTION:Directed by Ousmane Sembène \nFrom a screenplay by Ousmane Sembène and Thierno Faty Sow \n(1987 Senegal 153 mins) \n \n“In this powerful and moving film Sembène\, in collaboration with Thierno Faty Sow\, who co-scripted and co-directed\, reclaims and tells to the world another of those fragments of history concealed by colonialism which he sees it as his task to disinter. Such stories are part of the history not only of Africa\, but of the colonial powers\, in this case France\, as well. “You don’t know natives or the colonies”\, Capt. Raymond is informed when\, at a meeting at the General’s H.Q.\, he insists that the Army should honour its obligations to the tirailleurs. France\, he argues\, cannot successfully reconstruct by “robbing natives”\, particularly those who have\, as he outspokenly reminds the assembled officers\, been fighting the war “in your place\, gentlemen”\, a reminder that the authorities in Senegal initially collaborated with Vichy. Ironically\, it is not his ignorance of “natives or the colonies” that limits Raymond\, but his naivety about his fellow Frenchmen: “An officer who does not keep his word is not worthy to wear the French uniform.” When he hears of the massacre in Diatta’s village he is quick to point out that it occurred in 1942\, under Vichy. (In Sembène’s 1971 film Emitai massacres in the Diola region from which Diatta comes are shown as continuing after the liberation of France\, and De Gaulle’s assumption of power.) Diatta argues that the mentality of colonial armies\, be they French or Nazi\, is the same\, going on to point out that collaborators are surrounding the leader of the Free French and being put in charge of the colonies. Despite his greater historical awareness (Raymond is\, in fact\, often prepared to defer to his erudition) Diatta too is taken in when the General apparently gives in to the tirailleurs‘ demands\, and offers his word “as a general officer”. \n“Secondly\, debate is very important in African cinema. It draws on the political rituals of traditional society\, which\, though feudal\, had its system of checks and balances\, which resulted in some degree of democratic exchange of opinion. In Camp de Thiaroye the tirailleurs use the traditional\, highly rhetorical\, almost theatrical\, mode of debate of their various societies\, but adapt this ritual form to the only language they have in common: the pidgin which the French insultingly call “petit nègre”\, a language which is both a result and a tool of colonial exploitation. Here it is revealed as having a potential for eloquence\, allowing it to become a moving medium for the articulation of feelings\, needs\, grievances and resistance\, and thus ultimately for the development of the tirailleurs‘ collective political awareness and consciousness of themselves as Africans. One consequence of the latter is the decision to choose their own leaders\, selecting a representative from each barracks\, rather than relying on their nonetheless much loved and respected Sergeant-Major\, who has been promoted by the whites. The structures they evolve grow out of their historical situation\, and compare strikingly with the rigid hierarchies of colonialism and the military: “The army is discipline. Obedience to your superiors”\, the General tells them. The formal pageantry of the parade-ground serves to stifle debate\, mask conflict\, hide betrayal and destruction\, whereas the theatrical exchanges of the traditional discourse offer a forum for debate\, evolution and reconciliation.”                    —James Leahy\, Sense of Cinema\, October\, 2003 \nOusmane Sembène was the son of a fisherman\, born in Ziguinchor in Casamance to a Lebou family. From childhood Sembène was exposed to Serer religion especially the Tuur festival\, in which he was made cult servant. Although the Tuur demands offerings of curdled milk to the ancestral spirits (Pangool)\, Sembène did not take his responsibility as cult servant seriously and was known for drinking the offerings made to the ancestors. Some of his adult work draws on Serer themes. His maternal grandmother reared him and greatly influenced him. Women play a major role in his works. \nIn 1944\, Sembène was drafted into the Senegalese Tirailleurs (a corps of the French Army). His later World War II service was with the Free French Forces. After the war\, he returned to his home country and in 1947 participated in a long railroad strike on which he later based his seminal novel God’s Bits of Wood. \n 
URL:https://marxedproject.org/event/final-friday-films-camp-de-thiaroye/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/05/SembenePhoto.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20190426T180000
DTEND;TZID=America/Halifax:20190426T210000
DTSTAMP:20190325T054034Z
CREATED:20190325T054034Z
LAST-MODIFIED:20190325T054034Z
UID:10006040-1556301600-1556312400@marxedproject.org
SUMMARY:Tout Va Bien: Screening with Discussion
DESCRIPTION:Final Friday Films: an anti-bourgeois film series\n“The problem is not to make political films but to make films politically.” —Jean-Luc Godard / Jean-Pierre Gorin\nTOUT VA BIEN\nFrance\, 1972\, 125 Min\nDIRECTED BY Jean-Luc Godard and Jean-Pierre Gorin\nCAST Yves Montand\, Jane Fonda\, Vittorio Caprioli\, Elizabeth Chauvin\, Castel Casti\, Éric Chartier\, Anne Wiazemsky\, et al \nGodard and Gorin’s film\, unpopular and hardly viewed when released\, emerges nearly 50 years later as a film with increasing relevance to the days as lived during this late capitalist period. One can see many of the participants in this film wearing gilets jaunes if the film were being shot today. \nFrom the Criterion re-release: \n“As cinema\, Tout Va Bien is radically simplified and blatantly diagrammatic. After the opening sequence\, the Fonda character arrives at a sausage factory to do a story on modern management techniques. Montand tags along\, and\, as the workers have just staged a wildcat strike\, the visiting celebs soon find themselves “sequestered” with the factory’s clownish boss. The approach is self-consciously Brechtian: The characters frequently address the camera. These characters are characters and the set on which they appear is an obvious set. \nThis two-story\, open construction—evoking the cutaway girls’ school in Jerry Lewis’s The Ladies Man (1961)—is\, if not Vertov’s “factory of facts\,” then at least a factory for making meaning. The comic-book frame allows the filmmakers to analyze the strike as a sort of Rube Goldberg contraption and put a didactic emphasis on working conditions. Tout Va Bien insists on class struggle throughout but is mainly about radicalizing its stars. Their role in the factory is to look and learn. Indeed\, Godard and Gorin upped the class-resentment ante by having the striking workers played not by real workers but by unemployed actors.”              —J. Hoberman\, for Criterion\, Tout Va Bien Revisited \nDuring the coming period\, films will be presented by The Revolutions Study Group of The Marxist Education Project as a continuation of the Anti-Bourgeois Film Series that was started at the Brecht Forum. These films with discussion will take place on the last Friday of each month at 6:00 pm. \nTickets are Sliding Scale \n 
URL:https://marxedproject.org/event/tout-va-bien-screening-with-discussion/
LOCATION:The People’s Forum\, 320 West 37th Street\, New York\, NY\, United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2019/03/Sausage_ToutVaBienSite.jpg
ORGANIZER;CN="Anti-Bourgeois Film Series":MAILTO:info@marxedprojet.org
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20151016T190000
DTEND;TZID=America/Halifax:20151016T213000
DTSTAMP:20151011T155745Z
CREATED:20150921T022853Z
LAST-MODIFIED:20151011T155745Z
UID:10003783-1445022000-1445031000@marxedproject.org
SUMMARY:Resistencia: The Fight for Aguan Valley
DESCRIPTION:A Documentary on Honduran Rural Workers followed by discussion with the filmmaker\n91 mins\, 2015 \nFilm showing on the current struggle in Honduras and discussion with director Jesse Freeston \nWhen a 21st century coup d’etat overthrows the only president they ever believed in\, the farmers take over the plantations. With no plans to ever give them back. \nJune 28th\, 2009. The Honduran people are preparing to vote in the first referendum in the country’s history. But\, instead of waking up to ballot boxes\, they see soldiers carrying out the first coup d’Ätat in Central America in three decades. \nThis is the story of the two thousand farming families who challenged the coup project by taking over the plantations of the most powerful landowner in the country and converting them into worker-run cooperatives. \nShot over four years\, Resistencia is both a testament to the capacity of an organized movement to transform the most fertile land in the country\, as well as an account of the coup regime’s violent attempts to get the land back. \nJesse Freeston is a filmmaker and video-journalist based in Montréal\, Québec. He was a key member of The Real News Network where from 2009 to 2011 he produced more than 100 investigative video pieces on economics\, politics and social movements in North and Central America. Since 2012\, he has directed five documentaries for teleSUR\, the world’s largest public Spanish-language broadcaster. His other video collaborations include working as: a co-producer for Al Jazeera’s Fault Lines\, a member of Montréal’s CUTV news collective during the 2012 ‘Printemps ârable’\, and a shooter/editor for the Montréal chapter of Vice News.\nHe has completed two independent documentaries—the first 2013’s Revolutionary Medicine: A Story of the First Garifuna Hospital (co-directed by Beth Geglia) and in 2015 Resistencia: The Fight for the Aguan Valley was released\, his first feature-length documentary.\nYou can find links to much of his work at jessefreeston.com.
URL:https://marxedproject.org/event/resistencia-the-fight-for-aguan-valley/
LOCATION:United States
CATEGORIES:Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2015/09/ResistenciaForSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20150928T190000
DTEND;TZID=America/Halifax:20150928T213000
DTSTAMP:20150918T124650Z
CREATED:20150913T023138Z
LAST-MODIFIED:20150918T124650Z
UID:10003779-1443466800-1443475800@marxedproject.org
SUMMARY:The Factory\, a film by Rahul Roy
DESCRIPTION:Directed by Rahul Roy\nIndia | 2015 | 132 mins\nA presentation by and discussion with Rahul Roy will immediately follow the presentation of the film \nThe Factory traces the monumental struggle of Indian auto workers of Maruti Suzuki\, Manesar in their historic fight to form a union and the violent repression they faced at the hands of the corporate-sponsored state labor regime. The film focuses on the three year criminal prosecution of hundreds of workers which exposed a widespread system of injustice\, geared to protect the profits of shareholders invested in the global auto industry\, investigating the underbelly of class conflict and the skewed nature of capitalist justice. \nWhat follows is from Scroll.in: \n“The production process had to become a very important element\,” director Rahul Roy says. “That was a huge challenge\, since I didn’t have access to the management. How do you create a narrative around the production process without putting people to sleep?” \nThe fact that the Maruti management obdurately refused to talk to Roy or give him permission to shoot inside the plant also influenced the narrative. The Factory is seen through the eyes of the workers and their supporters. There is no attempt to establish equivalence by seeking the other side of the story. Maruti’s views on the matter come through in indirect ways: through a presentation that plays out on a giant screen as dancers writhe before it in silhouette\, media reports and the legal representations made by the company. Maruti appears in the film as a malevolent presence that instituted an unhealthy work culture to ensure profit at all costs\, actively blocked the workers’ legitimate demands to allow them to form a union\, and influenced villagers living near the plant through corporate social responsibility programs into providing them with muscle power when the workers went on strike. \nSweat and blood\n\nThe Factory is in the same mould as the landmark 1976 documentary Harlan County\, USA\, Barbara Kopple’s exhaustive account of a lengthy and complicated strike by coal mine workers in Kentucky in 1973. Kopple spent a few years with the workers and their families and captured the crests and troughs of the movement. Some of Harlan County\, USA’s most stirring sequences are of the solidarity and courage displayed by the mine workers and their families\, who battle violence\, litigation and changes within the union with utmost clarity about their basic rights and their unquestionable contributions to their employer’s bottomline. \nRahul Roy has previously examined working-class lives in his films Majma\, When Four Friends Meet and The City Beautiful\, but he has mostly been engaged with the informal sector\, such as handloom weavers in The City Beautiful. “Labor has been an abiding interest\, so there is a continuum with my previous films\, but I have always worked with unorganized labor\,” said Roy\, who graduated from the Jamia Milia Islamia University in Delhi in 1987 and was a part of the generation of documentarians who worked on video and investigated the economic and social divisions that opened up in India after the Emergency.  \nThe Factory is one of the several films funded by the Justice Project\, which examines political\, social and economic conflicts across the subcontinent. Filmmakers and researchers in India\, Bangladesh\, Pakistan\, Nepal and Sri Lanka have produced films as well as academic studies on such varied subjects as the Ayodha mosque dispute\, the death of garment workers in Rana Plaza in Bangladesh in 2013\, and post-civil war compensation in Sri Lanka.  \nFor the complete article visit: http://scroll.in/article/731388/a-new-documentary-brings-the-maruti-struggle-alive-through-the-stories-of-its-arrested-workers
URL:https://marxedproject.org/event/the-factory-a-film-by-rahul-roy/
LOCATION:United States
CATEGORIES:Classes/Events,Film Screenings
ATTACH;FMTTYPE=image/jpeg:https://marxedproject.org/wp-content/uploads/2015/09/FactoryImageForSite.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Halifax:20150130T200000
DTEND;TZID=America/Halifax:20150130T213000
DTSTAMP:20150129T014959Z
CREATED:20150113T034430Z
LAST-MODIFIED:20150129T014959Z
UID:10003695-1422648000-1422653400@marxedproject.org
SUMMARY:Concerning Violence: Nine Scenes of Anti-Imperialist Defense
DESCRIPTION:The settler makes history and is conscious of making it. And because he constantly refers to the history of his mother country\, he clearly indicates that he himself is the extension of that mother country. Thus the history which he writes is not the history of the country which he plunders but the history of his own nation in regard to all that she skims off\, all that she violates and starves. \n—Frantz Fanon\, The Wretched of the Earth \nContinuing the reading and writing of Frantz Fanon’s works\, we will open up this winter with a film on the role of violence furthering or hindering liberation. This term begins with the film on January 30 at Interference Archive. \n\n\n\nIn the course of 2014 Interference Archive and the Marxist Education Project held study groups regarding Frantz Fanon. On January 30 we will come together for a screening of Concerning Violence\, based largely on Fanon’s seminal text\, The Wretched of the Earth. We hope this film can advance our discussions forward in light on strategy and tactics within the growing anti-police brutality and militarization campaigns. The screening is also kick off of a six week class on The Wretched of the Earth taking place at the Commons Friday nights for six weeks\, beginning February 6. \nConcerning Violence is a bold and fresh visual narrative on Africa\, based on newly discovered archive material covering the struggle for liberation from colonial rule in the late ‘60s and ‘70s\, accompanied by text from Frantz Fanon’s The Wretched of the Earth. \n\n\n\n\n\n\n  \nContributions accepted  |  No one turned away for inability to pay \n\n\n\n 
URL:https://marxedproject.org/event/fanons-the-wretched-of-the-earth-film-at-interference-archive/
LOCATION:Verso Books\, 20 Jay Street\, Brooklyn\, NY\, 112101\, United States
CATEGORIES:Film Screenings,Seminars and Talks
GEO:40.7040072;-73.986759
X-APPLE-STRUCTURED-LOCATION;VALUE=URI;X-ADDRESS=Verso Books 20 Jay Street Brooklyn NY 112101 United States;X-APPLE-RADIUS=500;X-TITLE=20 Jay Street:geo:-73.986759,40.7040072
END:VEVENT
END:VCALENDAR