Karmin performs “Hello” at the Capital Pride Festival
By Metro Weekly Contributor
on
June 11, 2014

Karmin Performs “Hello” at the 2014 Capital Pride Festival in Washington, D.C.
A masked Immigration and Customs Enforcement officer fatally shot a queer woman in Minneapolis after opening fire through the window of her SUV during a confrontation in the street.
Video footage posted online shows two masked ICE officers approaching a Honda Pilot stopped in the middle of Portland Avenue near 34th Street in Minneapolis' Powderhorn neighborhood. One agent can be heard yelling at the SUV's driver -- later identified as 37-year-old Renee Nicole Good -- telling her to "get out of the fucking car" while attempting to open the driver's door, as a second officer stands back.
In late November, the University of Oklahoma placed Mel Curth on administrative leave after the transgender graduate teaching assistant gave a student a zero on an essay about gender roles.
The essay cited the Bible to defend traditional gender roles and described transgender people as "demonic." Curth and the course's instructor, Megan Waldron, said the paper failed to meet basic academic standards due to a lack of empirical evidence. Both noted that the paper cited no scholarly sources and failed to offer an evidence-based critique of the assigned article, which argued that children who do not conform to rigid gender stereotypes are more likely to face bullying and negative mental health outcomes.
Documentaries generally don't need an onscreen host. The camera can play host, and real-life stories can tell themselves, with offscreen prompting from research and production, and shrewd direction and editing providing context.
If a filmmaker wants to put the prompting onscreen, there's a delicate art to inserting themselves or an on-camera host into the story without stealing the spotlight from their subject.
Ryan Ashley Lowery, director and creator of the LGBTQ doc Light Up, is anything but delicate in inserting himself and two on-camera host-interviewers -- Michael Mixx and Maurice Eckstein -- into the film's still-compelling portrait of Atlanta's "community of Black same gender loving men and trans women."

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