I walked in and sat down with a plate of cookies at a recent screening of the documentary, “The Rescue of Joseph Kony’s Child Soldiers,” produced by the Invisible Children activist group. This movie was about Uganda and opened my eyes to the implications of community.

As the movie opened with the words, “Invisible because … no records are kept of their numbers or age” and “Invisible because … their own armies deny they exist,” I quickly finished off the cookies because I knew I couldn’t get emotional with food in my mouth. As expected, the film made me want to cry out in anguish and sorrow. Was it really that good of a movie? The film prompted me, a financially struggling college student, to buy a t-shirt that I vowed to wear the crap out of as well as donate what cash I had on me.

The film revealed a single man rising to power in Uganda and leading a rebel army — the Lord’s Rebel Army (LRA) — which consists of abducted children from five countries surrounding Uganda. The LRA is made up of children as young as 5 years old. They are “abducted” (for lack of a more brutal word) from their homes and families and then indoctrinated into committing murder or, in other cases, used as sex toys. The leader of the LRA, Kony, who is now in his late 40s, surrounds himself with his wives and children, becoming virtually untouchable to outside forces.

To date, an estimated 2,000-plus residents and child soldiers have died in the conflict. To some people, statistics are simply numbers that do not register. Rather than slap in some numbers here, the important thing to realize about the statistics in this film is that the death rate is cringingly high, and the number of abductees is painfully high. It is basically genocide.

“Generations of Ugandan children have not known peace,” a mentor for Ugandan students said to the stunned crowd after the film. “If Bill Gates was killed as a child, where would you all be right now? Without the Wright brothers, many of us would not be here today either.”

The night’s atmosphere changed, however, when I went to talk to Jimmy, an LRA escapee-turned-college-bound Ugandan. The night suddenly changed from a sense of deep urgency and sadness, to extreme urgency and slight humor. As I approached, Jimmy was already in conversation with a blonde girl wearing sweats and a sweatshirt. Her head was cocked and she kept repeating, “uh-huh, uh-huh.”

Jimmy’s voice was low and gentle. I walked up to them and heard the girl say, “But, like, I don’t get it. I know he has a lot of people around him but like, at this point, can’t you just like shoot through them all to get to him?”

I looked at Jimmy, scared to see his reaction to this blatant comment. Jimmy was gracious, however, and explained generously in his soft, accented voice, “No one can kill Joseph Kony because they would have to kill children. And the children close to him do not turn against him because he is their father. Kony has become even more powerful ever since the president of Sudan has joined in supporting him.”

The girl nodded and gave some more “um hmms” and then said, “So is there, like, dancing areas in Uganda because I’m majoring in dance, and I would like really like to go there.”

Did she just say she wanted to vacation in the terrorized country of Uganda? The comment caught Jimmy and me off guard, but instead of getting angry, he laughed and said patiently that there are people and places in Uganda that are beautiful.

To differentiate myself from the slapdash comments from this girl, I asked Jimmy if he was going to continue touring with the Invisible Children roadies group after he enters college. He said he will hopefully continue raising awareness during his college years.

The girl interjected with, “College? Here at Columbia College Chicago?!”

“No…” Jimmy said smiling, “In my own country, Uganda.”

The conversation ended with Jimmy handing us fliers so we can “learn more about what the Invisible Children movement does,” because after that conversation, we obviously needed to educate ourselves. I realized how important it was to donate what I could so that I would not be just another American who watches inhumane atrocities on screen and then returns home to forget.

Later on, Jimmy said that America is the country that will save Uganda, according to Stacy Scott, who also talked to him after the screening. She is part of the Invisible Children Club at Columbia College Chicago, which hosted the event that brought the roadies of the Invisible Children. Jimmy pointed out that Europe and Asia are close to Uganda, yet the United States is the country actually donating money and calling for the salvation of the child soldiers and the demise of Joseph Kony.

At least Jimmy recognizes that not all Americans are dim-witted. To help the child soldiers and other victims in Uganda, you can donate or purchase merchandise from www.invisiblechildren.com. Also, for $35 a month you can pay for a Ugandan student’s education. This last suggestion perplexed me. Could I really shape a whole new population that shares the same values, rules and beliefs? The answer is yes. With $35 a month, one American can raise a community that values education, believes in helping others and teaches peace and not gunfire.

However, doing something for another fellow human being for the sake of being “good” does not interest many people. What I found gripping about the Invisible Children’s donation proposal was the idea that an American could help to create a civilization far away from towering skyscrapers and far away from our paper-doll society in which blatant lies dress up in suits and ties and disappointment comes wrapped in cute presents. I learned that we can help people who live far away from American soil, where  green paper rectangles are dangled above a swamp of ravenous piranhas as bait for an army of hollow, blind slaves.

We can create a community unlike the useless, lazy parasites of American neighborhoods in which jobless beer bellies, 40-year-olds still living with their parents, and bunny-slippered ladies with none or too much makeup are pitied by the many Goodwill stores they slink off to. All of these stores are conveniently located on street corners hundreds of miles nearer to town than the more appropriate discarding areas of the dumps.

With our support, Ugandans could create a new society and not model itself after capitalist America, where gifts are convertibles for speeding past slums and pocket cell phones are used for communicating hate. Instead, gifts are food, family, and friends to be thankful for everyday and not just on Thanksgiving. We could have a part in creating a country in which truth shines without having to be deciphered and disentangled from doubt. We could have a role in creating a nation where what counts, what really matters is what the residents hold dear, and it is all they have — all they really need. Let’s help make a land in which people can start surviving on ships: friendships and love relationships to carry them along. We could have a part in creating something in which time is not confining, manipulative and slippery but, instead, a guiding touch on the back. Uganda could be a place where they will feel back-breaking work, and know their place, exalted in breathing in and out the oxygen they earn. It could be a land in which the volume is always turned up on everything and people feel gratitude for life.

If we helped to alter life in Uganda in this way, with just a small monthly contribution to one Ugandan student, we would perpetuate a chain of peace-minded people on another continent. We could be the builders of a generation concerned not with getting filthy rich but imbued with gratitude.

Mallory Sohmer, a 2006 film studies graduate, screened her documentary “The Living Documents” at the Ferguson Memorial Theatre, 600 S. Michigan Ave., to an audience of approximately 40 people.

“The Living Documents” chronicles a Nicaraguan attorney, Maria Acosta, and the death of her husband, Frank. Acosta is involved in the privatization of land for Nicaraguan natives, thus trying to stop the selling of this land over the Internet. This controversial work is exactly what led to the death of her husband.

After the screening, hosted by the Student Alumni Association, Sohmer discussed the documentary and her reasoning behind it, while also speaking about her post-Columbia career.

According to Sohmer, she got the idea for this documentary while still a student at Columbia. This documentary started out as a project for one of Sohmer’s film classes called Indigenous Film Making.

“We had to come up with stories to write a treatment on,” said Sohmer. “I found an article on Frank’s murder. I graduated and the story stuck with me. This is the kind of work I wanted to do.”

According to Sohmer, “The Living Documents” was three years in the making. During the filming, Sohmer spent a month in Nicaragua conducting interviews and gathering footage.

“It was a great learning experience,” Sohmer said.

Sohmer’s documentary was screened at the Chicago Latino Film Festival and all throughout Nicaragua. It has also been shown numerous times on the Documentary Channel.

During the discussion, students were encouraged to ask Sohmer questions about her film career, and she had much advice to offer.

The number-one advice she shared was to meet with others in your career and to gather a team.

“Build a network of people,” Sohmer said. “Find people who want to do the same projects you want to do.”

Sohmer also said that she wished she had been better rounded in other studies, such as journalism, to help her in film making.

Sohmer has been working freelance for the past year while also building her own client-base. As of now, she has no plans to make another documentary.

Columbia College Chicago‘s International Student Organization wants to celebrate International Education Week (November 15 – 19) in a big way. They are presenting Degrassi: Next Genration’s Shannon Kook-Chun, who plays the openly gay character Zane Park. Kook-Chun will answer questions about his diverse background and how it affects his acting experience.

This event is free and open to the public, but space is limited. Get your ticket at shannonatccchicago.eventbrite.com beforehand to make sure you get in to this free but popular event.

Shannon was born and raised in South Africa before coming to Canada to study at the prestigious National Theatre School of Canada. Upon graduating, he began working immediately. He appeared on stage at the Lorraine Kimsa Theatre for Young People and at the Citadel Theatre in their Dora-nominated production of “The Forbidden Phoenix.” He was next seen at the Factory Theatre in the world-premiere production of “The Madness of the Square.”

Entering the world of film and television proved a natural fit for Shannon and he quickly became sought-after. In less than a year, he shot guest star roles in CBC’s “The Border,” “Being Erica,” “Crash & Burn,” “Aaron Stone” and recurring roles in “Durham County.” He is also featured in an upcoming teaser trailer for a feature entitled “Verona,” directed by Laurie Lynd.

This event is free and open to the public, but space is limited. The [email protected] has more information if you need it.

via An Evening With Degrassi’s Shannon Kook-Chun.

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You and a team make a movie—write, shoot, edit and score it in just 48 hours.

Read Details from the Filmmakers

On Friday night, each team receives a character, a prop, a line of dialogue and a genre, all to include in the movie. And, you guessed it, 48 hours later, the movie must be complete.

Once completed, each movie was shown at a local theater.

This year’s elements included a character, either Duncan or Denise Kerrey, a sales clerk, a mug and this line of dialogue: “I am sure you are mistaken.”

This is a worldwide project, and more than 70 cities were part of the 48 Hour Film Project this year, including Chicago.

The films will be shown over the next few days, and tickets to any session are only $12. Each session features anywhere from 10 to 12 different films. There are several different sessions, including: premieres, best of Chicago, best of the best. See  The 48 Hour Film Project: Chicago for all the details.

Premiere Screenings

• Date: August 17 through 19
• Time: 7 p.m. to 8 p.m. and 8:30 p.m. to 9:30 p.m. each night
• Place: Landmark’s Century Centre Cinema, 2828 N. Clark, Chicago
• Tickets: $12 (purchase tickets)

Notes: The 6th Annual Chicago 48 Hour Film Project screenings will be at the Landmark’s Century Centre Cinema. Landmark’s Century Centre Cinema is a state-of-the-art and architecturally unique facility, and the first all-stadium seating theatre showcasing independent and foreign language films in the Chicagoland area. Featuring convenient validated parking, unobstructed sightlines, Dolby Digital sound and gourmet as well as traditional concessions, Landmark’s Century Centre Cinema is one of the city’s most innovative and exciting theatre locations.

Best of the Chicago 48HFP

• Date: Tuesday, August 24th
• Time: 7pm to 10pm
• Place: Lincoln Hall , 2424 N. Lincoln Avenue, Chicago, IL 60614
• Tickets: $20 (purchase tickets)

Notes: BEST OF THE BEST AWARDS 2010!!!! Who will win for the following categories: Best Film Best Directing Best Acting Best Box Office Receipts Best Writing Best Editing Best Cinematography Best Graphics Best Sound Design Best Use of Prop Best Use of Character Best Use of Dialogue Best Costumes Best Musical Score Best Special Effects

The films are free and open to the public, and after each film their will be an opportunity for discussion. They will be screened in the beautiful Chicago Cultural Center, 78 E. Washington St. on Saturday, August 15, and Sunday, August 22. The films are sponsored by ITVS,  Chicago Foundation for Women, Chicago Department of Cultural Affairs and Chicago Public Media.

From garment workers, to fire fighters, young teens, to daughters whose mothers are in prison, these films provide fascinating glimpses into the lives of women in America today. For more information, contact Naomi Walker, [ITVS] National Community Cinema Coordinator 773-677-9600   [email protected]

We are always looking for quality, low-cost or free events. We encourage you to send us a voice report (call it in at 312 436 1820) if you attend any of these, upload photos, or send us a link to video clips. You can submit the information on any events, and we will the information to our “Look Now” section.

One of the 46000 objects by Rev. Howard Finster

Stranger in Paradise: The Works of Reverend Howard Finster

An evangelistic preacher in paint and self-proclaimed “Man of Visions,” Reverend Howard Finster became one of the most widely known and prolific self-taught artists, producing over 46,000 pieces of art before his death in 2001.

A wide range of objects, paintings, and documentation provide an in-depth survey of Finster’s career, covering the variety of themes of his work, much of it relating to his visionary experiences, including: Visions of Other Worlds, Sermons in Paint, Historical and Cultural Heroes, and his renowned installation environment at The Plant Farm Museum [Paradise Garden].

Dates:
July 24 through September 26

Hours:
Monday – Thursday 8 a.m. to  7 p.m.
Friday 8 a.m. – 6 p.m.
Saturday 9 a.m. – 6 p.m.
Sunday 10 a.m. – 6 p.m.

Admission is FREE.

Location:
Chicago Cultural Center 78 E. Washington St, Exhibit Hall, Chicago, IL 60602

• Thursday, August 12, 12:15 p.m.: Gallery Talk with Michael Bonesteel, author and art historian
• Monday, August 30, 6 p.m.: Film Screening and Panel Discussion of the 30 minute version of the still in progress documentary, I Can Feel Another Planet in My Soul: Strange Visions. Wondrous Art. The Remarkable World of Howard Finster, screens, followed by a panel discussion with film producer Steven Pattie, collector Jim Arient, writer Monica Westin, and moderated by Lanny Silverman, Curator of Exhibitions for the Chicago Cultural Center.
• Thursday, September 2, 12:15 p.m.: Slide Lecture with Lisa Stone, Director of the Roger Brown Study Center 

This exhibition is curated by Glen C. Davies, organized by the Krannert Art Museum, University of Illinois at Urbana-Champaign, and sponsored in part by Fox Development Corporation; Thomas E. Scanlin; Office of the Chancellor, U of I; Office of the Provost and Vice-Chancellor for Academic Affairs, U of I; Illinois Arts Council; Krannert Art Museum Director’s Circle Fund; and Krannert Art Museum Council.

This exhibition is made possible in part by a grant from the National Endowment for the Arts.