Media Collections has Moved Downstairs!!

If you happen to wander by the room formerly known as Media Collections on the third floor, you will see only empty forlorn shelves.  But, no worries!  Those exciting film titles are now available for all students and faculty on the first floor in the shelving “outer” ring around the circulation desk.

The DVD’s and VHS titles, which were once in closed shelves in the Media Collections room are now available for 3 – day check-out by students and faculty.  One can check out up to three titles at a time.  A substantial number of the Media Collections titles have been placed behind the Circulation Desk on permanent reserve in the “Teaching Collection.”  Faculty can check out these titles that are more heavily used to support teaching and learning here at the College.

Come browse the collection and pick out some titles for entertainment or just plain knowledge enhancement with a good documentary.

Diversity Week Films on Demand

In support of Diversity Week, the library would like to inform you of the following media titles that are available in Films on Demand.  Please feel free to view these titles and over 6,000 other videos located in this database.

SGA Media Collection Now Available for Check-out

The Addlestone Library announces the debut of the SGA Media Collection.  The Student Government Association (SGA) Media Collection is a collection of popular video titles available for students to check out from the library.  This media collection is located on the first floor of the library on the Calhoun street side of the Circulation desk and checked out at the Circulation desk.

This collection consists of films and television shows suggested by students for student entertainment similar to what you would find in a “Redbox” including “The Social Network,”, “The Blind Side” and “King of Queens. ”  Please come by and take advantage of this wonderful resource. A preliminary list of the titles in the collection can be found here: SGA Media Collection Title List.

A student may check out up to 3 titles simultaneously for 3 days.  DVDs should be returned to the circulation desk.  Overdue fines are $3.00 per day per title.

SGA DVD titles can be searched in the Addlestone online catalog.

The titles for the SGA Media Collection are purchased from library funds as well as funds donated from the SGA and the Friends of the Library.  We will continue adding to the collection in the coming months.  You may make suggestions for titles to  add to the collection at the SGA Video Request Form.

The International: Film Review

a film review by j. lucas walker
Film Critic of the Addlestone Library

THE INTERNATIONAL was released in the late winter of last year but has lost none of the steely sheer of its timely subject matter.  A big corporate bank and its financial web of pain and deceit rule the day.  Included in the carnage is their own brand of ripple down economics and the collateral damage left in its wake.  This film demands the attention of the political thriller- enthusiast who appreciates multi-layered plot lines and smart film elements.

Big topics in cinema should sometimes be acquiesced with a film that carries the ‘big look’ and director Tom Tykwer (Run Lola Run) delivers.

The story is scattered across many continents which include the cities of Luxemburg, Milan, Istanbul, New York, and Lyon among others.  The chase is on and the pacing is relentless.

Our heroes, Interpol agent (Clive Owen) and Manhattan Assistant DA (Naomi Watts) are after the International Bank of Business and Credit (IBBC).  The executives that are running it are brokering small countries through arms trade, terrorist schemes and the coups that come with it.  The villain of interest who will neatly tie everything together for the Interpol bust is a highly capable and cunning assassin contracted by the IBBC.

It is unfortunate that The International passed under the radar upon it’s release.  The screenplay by Eric Singer throws out a few lines of cliché but for the most part keeps it moving with no nonsense-seriousness.  Pay attention to the details for there are many layers and quite a few players involved.  This is a serious look into the operations of a renegade financial regime and their ceaseless appetite for the power and the glory.  The visual feast that ensues from start to finish is definitely worthy of a look.

The photography balances out the big, bright long wide shots, beautifully framed by big city skylines, with saturated darks in low light shadings to emphasize the sinister back room scheming.  Frank Griebe provides some imaginative camera work throughout.  In one amazing scene he uses a birds eye aerial shot that ultimately renders a political rally crowd as useless against the powers that be as the ones who are in charge of policing the IBBC.

This thriller delivers the whole pie with a mix of Three Days of the Condor,  The French Connection and Coppola’s own The Conversation, useful ingredients for this type of film.  Be sure to keep your eye on the thrilling Guggenheim Museum sequence, one that would make iconic film directors Hitchcock and Peckinpah turn the tombstones with postmortem envy.

— j. lucas walker
Film Critic of the Addlestone Library

This film is part of our Media Collections.
Call Number: PN1995.9.S87 I58 2009


yellow brick road ii

(2006, 75 min.) This inspired and inspiring documentary, created by first-time filmmakers Matthew Makar and Keith Rodinelli, follows a group of young disabled adults as they prepare for a theatre production based on The Wizard of Oz. Their drama group is a component of a Long Island-based program called ANCHOR, an acronym for Answering the Needs of Citizens with Handicaps Through Organized Recreation.  ANCHOR is available to all children and adults who range through the entire spectrum of disability. Because his younger brother Danny is a member of the drama group, Maker had been a volunteer for several previous summers.

During the five-month rehearsal period for Yellow Brick Road, the filmmakers focus on several of the individuals with starring roles in the production — in particular the Tin Man (Dave), the Cowardly Lion (John), and the Wicked Witch (Elizabeth), all three of whom give memorable performances.  Sandy Braun, one of the theatre group’s two managers, is interviewed extensively concerning her philosophy and style of directing.   She is excellent in getting the most out of the actors and treats them with great respect.  However, many will find it somewhat disconcerting that she continually uses the term “kids” when referring to the young adult actors. However, because she comes off as such a mother hen and is not at all patronizing, “kids” in this context is understandable.

Curious as to how many theatre groups use disabled actors, I checked on the homepage of The National Arts & Disability Center.  Most of the groups listed are based in the U.S., with a few international listings.  I was pleased to see the number is more than I would have guessed – 34 as of December 2009.  I hope this is a growing movement, because the actors did a great job and clearly loved what they were doing.  In a society where the disabled are marginalized, succeeding in a production such as this one must be a wonderful boost to one’s self esteem.

While the documentary itself does not show much of the production for which the actors prepare with such determination, the DVD includes a separate short documentary, A Return to Oz. It’s really a treat to watch the actors laughing and crying in recognition as they watch themselves shine on the big screen.  I’m glad to know that Yellow Brick Road played at several film festivals as well as on the Home Box Office channel, and thus the actor’s efforts disseminated into the larger culture.

This documentary will be of interest to Special Education, Theatre, and Sociology professors and students.  It would be fun for undergraduate students to combine Special Education with Theatre courses.  To direct such special productions as these would be such a fulfilling career choice.

– Cathy Evans

Media Collections Final Exam Hours

Media Collections will maintain normal hours through the end of December 12.

Monday – Thursday: 10am – 7pm
Friday: 10am – 5pm
Sunday: 2pm – 7pm

Media Collections will operate with the following hours from December 13 to December 18.

Monday – Friday: 10am – 5pm
Sunday: Closed

Media Collections will be closed after December 18.  We shall open for business in spring semester.  Please see the reference desk for access after this date.



“Give me a child until he is seven, and I will give you the man.” Thus begins the premise of 7-UP, a documentary directed by Paul Almond in 1964. Almond interviewed fourteen British schoolchildren from three different social classes, gauging their views about social class and gender, and questioning them about their future expectations regarding marriage, family, and career. Michael Apted, a crew member on the original film, decided to interview the same children seven years later to see if their views had changed. The documentary was so stunning that Apted has revisited these same people every seven years (49-UP is the most recent installment), asking them about their lives, their families, their jobs, and their children. The entire series provides an amazing window into the developmental process.

I watched the series on sequential evenings last summer while visiting my parents. Despite the fact that we all have different tastes in film, the three of us could hardly wait to watch each installment. As each human being continued to unfold before our eyes like a flower filmed in high speed motion, we worried about some of the people, rejoiced for others, and were quite surprised by some of the changes. I don’t know of any other medium that has so well captured the developmental process of a human being over the course of so many years. Any film in this series, as well as the series as a whole, makes a wonderful classroom tool for psychologists, sociologists, and educators.

Has the original premise of the film held up to scrutiny? It has in some ways, but it could not be known in 1964 that many social movements would arise later in that very era, prompting individuals to question indoctrinated assumptions about class, race and gender. Although today in Great Britain, the class system remains quite intact, the individuals who are portrayed in the UP SERIES are less deeply affected by it than they would have been in previous eras.

– Cathy Evans

Nov 16: Feature Title

Alice Neel

Directed By:Andrew Neel
DVD: 82 min


A look at the life and struggles of being a single mother and female artist, that became one of the great artists of the 20th century, with subjects such as Andy Warhol, Allen Ginsberg, and more.

Special features: Director’s commentary with Hartley Neel and Richard Neel; painted by Alice; Communism and social consciousness; Alice’s apartment; The Porsche story.

ND1329.N36 A45 2008

Subject Areas:
Neel, Alice, 1900-1984.
Portrait painting, American.
Painting, American — 20th century.