A documentary issued to police in the 80’s on how to survive edged-based attacks, primarily blades — with often comical and novel examples.
File under Twitter Tweets
Conjured by o~ SeMeN SPeRmS ~o on June 15, 2016
NY Illustrated – Saturday Night At Fort Apache – March 4, 1973
‘Three types of people use the streets of the South Bronx after dark: Policemen, Criminals, and Potential Victims.’
One in this public affairs series devoted to issues that concern the greater New York area. This program profiles Police Precinct 41 in the South Bronx, nicknamed “Fort Apache” because of the frequency and severity of violent crimes committed in the surrounding area. Narrated by Norman Rose, the program begins with a clip of Sgt. Bill Taylor addressing officers of the precinct’s anti-crime unit. Later, accompanied by Rose, Taylor tracks down and arrests a suspected mugger. In interviews with officers stationed at and previously assigned to the precinct, the following topics are discussed: the high risk of incurring severe injury while on duty and the ability to cope with fear; the reluctance among members of the police force to be assigned to the 41st precinct; completing tenure at the precinct as a step toward promotion; the high incidence of illegal weapons possession among area residents; and the factors linking street crime with drugs and poverty. Also included is footage of a typical night at the Lincoln Hospital emergency room, where the number of people suffering from gunshot wounds and stabbings often exceeds the hospital’s nightly capacity. Among those interviewed are Deputy Inspector Matthew Neary and Officers James Finn, Bob Gardner, and Tony Imbimbo. Commercials deleted. (This series occasionally runs under the title “New Jersey Illustrated” or “Connecticut Illustrated”; series dates unverified.) – The Paley Center For Media
The Police Tapes (1977)
The Police Tapes is a 1977 documentary about a police precinct in the South Bronx. The original ran ninety minutes and was produced for public television; a one-hour version later aired on ABC. It won two Emmy Awards, a Peabody Award, and a DuPont-Columbia University Award for Broadcast Journalism,and became an influence on later television and film dramas.
Filmmakers Alan Raymond and Susan Raymond spent three months in 1976 riding along with patrol officers in the 44thPrecinct of the South Bronx, which had the highest crime rate in New York City. They produced about 40 hours of videotape that they edited into a 90-minute documentary.
The result was what New York Times TV critic John J. O’Connor called a “startlingly graphic and convincing survey of urban crime, violence, brutality and cynical despair”. Cases followed include the discovery of a dead body on the street, the rescue of a mother trapped in her apartment by a mentally ill son, an attempt to negotiate with a woman armed with an improvised flail who refuses to stop threatening her neighbor, and the arrest of a 70-year-old woman accused of hitting her daughter in the face with an axe. There is some introductory narration at the beginning describing the neighborhood and the time the documentary was filmed, but some unifying commentary is provided by an interview with Bronx Borough Commander Anthony Bouza, who ascribes the crime rate in the 44th Precinct to poverty, describes the hardening effects of urban violence on idealistic police officers, and likens himself to the commander of an occupying army, saying “We are manufacturing criminals… we are manufacturing brutality”.
The production was financed by the New York State Council on the Arts and WNET and cost only $20,000, thanks to the use of Portapak tape equipment; it would have cost an estimated $90,000 if film had been used. Special Newvicon tubes in the video cameras allowed them to tape with only streetlights for illumination, making them less conspicuous to subjects who might otherwise have fled from or approached the cameras.
The Police Tapes was an important source for Fort Apache, The Bronx, a 1981 film with Paul Newman and Ed Asner. It influenced the deliberately ragged visual style of the 1980s television police drama Hill Street Blues, which used handheld cameras to provide a sense of realism and immediacy—particularly during the morning roll call in each episode, which was based on a similar scene in The Police Tapes. Robert Butler, who directed the first five episodes, urged the camera operators to avoid carefully composed shots and to move their cameras frequently, telling them “If you’re having trouble focusing, that’s great.” This mock-documentary style, in turn, influenced many other television dramas.
Another line of influence runs from The Police Tapes to the Fox Network reality TV series COPS. COPS, like its predecessor, closely follows police officers, suspects, and crime victims with handheld cameras. According to New York Times film critic Elvis Mitchell, the style of COPS then became part of the visual language of feature films, so that “the DNA of [the Raymonds’] original has found its way into the film mainstream.”
Conjured by o~ SeMeN SPeRmS ~o on May 16, 2014
Accused of sexting a dick pic, police sergeant might have to expose himself to the court for comparison
Because of its prison system, the US is the only country in the world where more men are raped than women
Deadhead serving mandatory double-life term in prison for 5 grams of LSD
8 Tons of Cocaine Goes Up In Flames
Researchers Urge a Return to Butter and Whole Milk
Medical marijuana could be legalized in New York this spring: advocates
New Flu Shot Contains Insect DNA
Discrimination Potential Seen in ‘Big Data’ Use
About one in 25 inmates sentenced to death in the United States was likely wrongly convicted
Scientists have found that mice feel 36% less pain when a male researcher is in the room, versus a female researcher
BAN ALL THE BANKS: Here’s The Wild Idea That People Are Starting To Take Seriously
Shaq, Other Celebrities Use Instagram to Make Fun of Disabled Man’s Appearance
Trans-Pacific Partnership (TPP) trade deal “the largest corporate power grab you never heard of.”
History of erotic depictions
6 Selfies That Got The Criminals Who Took Them Arrested
Energy Drinks, Mark Of The Beast
Conjured by o~ SeMeN SPeRmS ~o on April 29, 2014
It’s Official: America is an Oligarchy and NOT a Democracy or a Republic – Princeton/Northwestern Study washingtonsblog.com/2014/04/oligar…
American Demonology: Obama’s Legion Of Demons, Satanical Army Of Antichrist
China’s air pollution could be intensifying storms over the Pacific Ocean and altering weather patterns in N. America theguardian.com/world/2014/apr…
44 Percent of Twitter Accounts Have Never Tweeted
The 10 Most Horrifying Fast Food Gimmicks of All Time
Criminals using drones to find illegal marijuana farms so they can steal crops
Doctors unable to reattach rapper’s penis
Pharrell’s 24 hour Disney-ass song video is a rip-off
Classified FBI files claim Adolf Hitler escaped by submarine to Argentina
How to mitigate tracking risks: wrap your phone in tinfoil, quit Google
Conjured by o~ SeMeN SPeRmS ~o on April 18, 2014
Pixote: a Lei do Mais Fraco (Portuguese pronunciation: [piˈʃɔtʃi a ˈlej du ˈmajʃ ˈfɾaku], Pixote (small child): The Law of the Weakest) is a 1981 Brazilian drama film directed by Hector Babenco. The screenplay was written by Babenco and Jorge Durán, based on the book A infância dos mortos (The Childhood of the Dead Ones) by José Louzeiro.
The plot revolves around Pixote, a young boy who is used as a child criminal in muggings and drug transport.
After a police round up of street children Pixote is sent to a juvenile reformatory (FEBEM). The prison is a hellish school where Pixote uses glue sniffing as a means of emotional escape from the constant threats of abuse and rape.
It soon becomes clear that the young criminals are only pawns in the criminal, sadistic games of the prison guards and their commander.
When a boy dies of physical abuse by the guards, they frame the lover of the transgendered effeminate boy known as Lilica (Jorge Julião), for the murder. This lover then conveniently also dies, with some help from the guards.
Soon after, Pixote, Lilica and her new lover Dito (Gilberto Moura) find an opportunity to flee from the prison. First they stay at the apartment of Cristal (Tony Tornado), a former lover of Lilica, but when tensions arise they go to Rio for a cocaine drug deal; there, however, they get duped by a showgirl.
After some time bumming around the city, Pixote and his friends go to a club for another drug deal. While there, Pixote finds the showgirl that took their drugs and stabs her.
They become pimps for the prostitute Sueli who is definitely past her prime and is possibly ill from a botched abortion. The group conspires to rob her johns, but when Lilica’s lover Dito falls for Sueli, Lillica leaves. The robbery scheme fails when an American john fights back (because he apparently does not understand Portuguese) so they have to shoot him. In the ensuing fight, Pixote accidentally shoots and kills Dito as well.
Pixote tries to gain comfort from Sueli, treating her as a mother figure, but she rejects him. He leaves and is seen walking down a railway line, gun in hand, away from the camera, his figure disappearing in the distance, out of the film’s view.
Film critic Roger Ebert, who writes for the Chicago Sun-Times, considers the film a classic, and wrote, “Pixote stands alone in Babenco’s work, a rough, unblinking look at lives no human being should be required to lead. And the eyes of Fernando Ramos da Silva, his doomed young actor, regard us from the screen not in hurt, not in accusation, not in regret — but simply in acceptance of a desolate daily reality.”
Critic Pauline Kael was impressed by its raw, documentary-like quality, and a certain poetic realism. She wrote, “Babenco’s imagery is realistic, but his point of view is shockingly lyrical. South American writers, such as Gabriel Garcia Marquez, seem to be in perfect, poetic control of madness, and Babenco has some of this gift, too. South American artists have to have it, in order to express the texture of everyday insanity.”
The New York Times film critic, Vincent Canby, liked the neo-realist acting and direction of the drama, and wrote, “[Pixote], the third feature film by the Argentine-born Brazilian director Hector Babenco, is a finely made, uncompromisingly grim movie about the street boys of São Paulo, in particular about Pixote – which, according to the program, translates roughly as Peewee…The performances are almost too good to be true, but Mr. Da Silva and Miss Pera are splendid. Pixote is not for the weak of stomach. A lot of the details are tough to take, but it is neither exploitative nor pretentious. Mr. Babenco shows us rock-bottom, and because he is an artist, he makes us believe it as well all of the possibilities that have been lost.”
Conjured by o~ SeMeN SPeRmS ~o on November 6, 2013
Conjured by o~ SeMeN SPeRmS ~o on June 6, 2013
Conjured by o~ SeMeN SPeRmS ~o on March 31, 2013
Conjured by o~ SeMeN SPeRmS ~o on February 20, 2013