Dangerous Minds
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Dangerous Minds
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Vollständig unterstützt English (United States) Teilweise unterstützt Français (Canada) Français (France) Deutsch (Deutschland) हिंदी (भारत) Italiano (Italia) Português (Brasil) Español (España) Español (México)
LouAnne Johnson (book "My Posse Don't Do Homework") Ron Bass (screenplay)
LouAnne Johnson (book "My Posse Don't Do Homework") Ron Bass (screenplay)
LouAnne Johnson (book "My Posse Don't Do Homework") Ron Bass (screenplay)
Michelle Pfeiffer was pregnant during production. Although shot out of sequence like most films, it becomes apparent when methods are used to hide the actress' stomach. Methods such as long skirts and bulky sweaters along with scenes where Pfeiffer is shown carrying large objects were used.
When Raul gets dragged away by the police from his fight with Emilio you can see that his ponytail is ruined, but in the next shot when they got out of the school his ponytail was back.
Mr. Tambourine Man Written and Performed by Bob Dylan Courtesy of Columbia Records By Arrangement with Sony Music Licensing
When this movie was first released, I refused to line up and watch it. I thought it was another of those simplistic and "popular" - love the teacher, fight delinquency - movies. In fact I refused to be taken for granted by clever Hollywood people who, usually, produce very "sweet" and "educative" movies. Well, a couple of years later, while I was refurbishing my own movie collection I stumbled on a special LaserDisc sale and bought this one as well (just to see what all the fuzz about it was really about). First of all, I was amazed to know that it is based on a true story, just like "Lean on me" and what caught my attention was that the teacher in question didn't belong to that profession: she was a discharged and unemployed USMC officer. I expected a war between her and the pupils she would "drill". What I received in return was an education on how one can be prejudiced, in more than just one way... Having served in the Swiss Army and having been a teacher myself, I could really empathize with the Character played by Michelle Pfeiffer. My first teaching approach, unlike hers, was disastrous to say the least... The entire movie deals with LITTLE, REAL, EVERYDAY problems and not with the big issues of life and this is probably why this movie was summarily discarded as being second rate. But when we consider how children consider and perceive our world nowadays, it's exactly what they expect us, the adults, to do as well. That's to say, take our time to explain to them the everyday happenings in their little worlds. Why mom and dad went their separate ways, why do they have to cope with homework they cannot understand and so on and so forth. This movie is a teaching lesson for teachers, not a moralizing or preachy one. It shows us how it should be done, nothing more. In Drama one says "less is more", why shouldn't it apply to life? We always want to set standards and a higher example to the students we are supposed to tutor, but what about our commitment to give them what they really want: lend them an ear when they talk, a heart when they feel sorrow, and sometimes, when required, a firm authority to look up to? Many colleagues I have met have forgotten what teaching is all about. It's not a simple profession to earn your life, it's much more than this, it's a mission, a passion, a drive, a call, just like the one an actor or a director have. In this instance in my own opinion, "Dangerous Minds" has amply achieved its goals. For the detractors of this tiny movie I would suggest to take a better and closer look, they might still learn something... But please, take your time and concentrate on it. This is really not a "Popcorn" and "Beer" movie.
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By what name was Dangerous Minds - Wilde Gedanken (1995) officially released in India in English?
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Eine ehemalige Marine-Lehrerin kämpft in einer innerstädtischen Schule darum, mit ihren Schülern in Kontakt zu kommen. Eine ehemalige Marine-Lehrerin kämpft in einer innerstädtischen Schule darum, mit ihren Schülern in Kontakt zu kommen. Eine ehemalige Marine-Lehrerin kämpft in einer innerstädtischen Schule darum, mit ihren Schülern in Kontakt zu kommen.
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Photo of Mark Stewart by Chiara Meattelli and Dominic Lee
Mark Stewart on Mark Fisher :
“HE CAME FROM THE PRESENT TO SAVE THE FUTURE AND CHANGE THE PAST.”
The question Mark, is this: Where to begin the discussion of the great free-thinker and theorist that was Mark Fisher – when the object was somebody who dealt with the ambiguity of time itself?
Can I outdo the last intellectual missive on the matter? I very much doubt it. Should I want to? If I learnt anything about Mark, I can wholeheartedly say no, I shouldn’t. He would much rather I invest my time reaching the audiences, who as yet, are entirely unaware of both him and his work. Or, better still, devising methods of my own, capable of derailing the deluge of despair, that dictates your cyclical resignation to “ whatever will be, will be ”, as Doris once sang. Mark’s switching of the baton to me, is not a position of privilege that I, and I alone hold, you understand? Mark made the case for all to seize it – and in turn pass it on – if we are to achieve what is required to tack through the ill-wind that blows. And that is poignant. For it was Raymond Briggs, who, with his graphic novel When The Wind Blows (pub. 1982), made his much needed anti-nuclear narrative, accessible to children. Briggs, like Fisher and other great writers, recognised that in order to avert what is seen by some as the inevitable future – one must reach the youngest of audiences. Far too many of those – now in their 40s and 50s – are fully accepting of all that their political ‘leaders’ feed them.
Mark’s work, as well as being a call to arms, is an open invitation to be challenged in order to instil agency, and ignite – with a ferociousness like I have never seen before – an anarchical phenomenon that has reached even the eye of Chile’s president, Gabriel Boric. Therefore, proving itself capable of playing an entirely different game, and winning. Which, in itself, brings me to my penning this and contributing to Niall McCann’s forthcoming film about Mark Fisher’s life & work – Lost Futures . Niall is committed to making Mark accessible to as many and varied an audience as possible. Let’s assist. For every person who’s aware of Mark Fisher’s work, there are infinite others who aren’t. If his unparalleled discourse is to hold the status of his ‘lasting legacy’, which we, his devotees rightly bestow upon him, then it is us – those already well-versed in his vision – who carry the honour of the arduous task of spreading his word. And yes, it will be arduous, but that’s the least we, who claim to admire Fisher, should be prepared to shoulder, if we are worthy of declaring ourselves to be forever changed and inspired by his work. It’s worth remembering the integral role that the blessing and a curse – that is the internet – has to play, in facilitating these necessary connections. When Fisher cast his critique of the net, so ably identifying all its holes, he did so in the hope that it would all be stitched up with better solutions. After all, there is no catch to be had, without the means to captivate what lies beneath. He plunged us to the depths in helping us to understand the effects of social media, so as to provide us with the determination to surface, with all manner of attached material coming up for air with us.
Mark wanted everyone to be in on the act. He was more than capable of disproving his most ardent ‘academic’ critics, but he’d sooner awaken the opposition than rebuke them. He never favoured wallowing in one-upmanship over the wonderment of a new inductee to the cause. Mark knew full well that the most vital respondents to his cries, were not those with enviable résumés they’d had the privilege of designing themselves, but instead those that had theirs dictated to them . The people who’ve spent a life being underestimated for all manner of reasons beyond their control, but most of all, their lack of access to a formal licence to question EVERYTHING. We need them.
Mark talked much about his belief of the links between mental health and circumstance, so if little blue pills that help get it up, or surgeries that leave patients feeling fuller, less flat, are made readily available on the NHS prescriptions list, then shouldn’t Fisher’s back catalogue be on it too? He stabs right at the heart of the mental health plague. No amount of therapy slugs or anti-depressants can better arm the depressed with the tools they need to understand their plight, than Mark Fisher, surely? And where better to reach the afflicted, than the environments that see very little material that speaks to our contemporary natural condition.
I spoke to Niall McCann (director of ‘Lost Futures’) about my writing this piece and he made reference to a quote that Fisher had once said of prisons: “Only prisoners have time to read, and if you want to engage in a twenty year long research project funded by the state, you will have to kill someone.” No greater truth. And right there, lies one of our biggest opportunities, staring us in the face. For as well as the need to reach the youngest of audiences with thought provoking material to avoid the continuation of the status quo, is it not equally important to reach all – who, by definition of their circumstances – are a ‘captive audience’? Prisoners; long-term hospital patients, mental health ward patients; ATU admissions; care home residents? After all, it is they, who tend to have unrivalled lived experience of the effects of privatisation. None of the settings in which these potential audiences reside are considered hip so get overlooked – and so too does the opportunity to learn from those within.
Surely this has to change? How to achieve that? Answers on a postcard to the usual address please, or perhaps better still, a deleted one. See it as a random act of kindness. Remember those? It’s time for retiring ‘radicals’ everywhere, to cast aside the copies of Keep Calm And Colour In Unicorns and instead inundate the mail boxes of anybody and everybody you would ordinarily deem to ‘have nothing in common with’. What’s the alternative? That you continue with a life of blinkered, onanistic self-assurance, immune to the truth of the surrounding landscape? Is this who you want to be? Only satisfied when you’ve fulfilled your own needs, regardless of who or what it denies in the process? It’s time to diversify and digress from the barely tolerated diet, and instead force yourself to swallow your most unpalatable hypocrisies. Break them down with a good glug of acid and permit your imagination to transform them into first class fertile matter, to enable new life to flourish in pastures new.
I asked Bobby Gillespie and Obsolete Capitalism to summarise what they believe to be the essence of Mark Fisher’s work for inclusion in this piece.
“The beauty of Mark Fisher’s laser sharp critique of the destructive effects of life under Neoliberalism, was that it spoke to ordinary people in plain language that went beyond the often-hermetic intellectual world of academia. He is greatly missed. We need more voices like Mark’s, more than ever.”
So, let’s assist in courting the audience Mark craved to reach the most. In another conversation with a friend I’ve recently introduced to Mark’s work, they said: “It feels to me like there is a feast of fawning over Mark’s theories and a famine of practice out there.” A valid point. There are people pushing themselves to continue his praxis – one such example that comes to mind is Oneohtrix Point Never. There are numerous others, but why stop there? What can be gained by knowing much of what is wrong and how it occurred, if we just hoard the horrors in the hope that somebody else will pick up the slack in remedying them? It ain’t gonna happen. Meanwhile, the tendency to promote oneself as one of Fisher’s dedicated disciples to the already switched on, on social media, prevails. Perhaps a sin we are all guilty of to a greater or lesser degree I expect, but as the expression goes: about as much use as an ashtray on a motorbike. If you’re already familiar with Mark Fisher’s work, by now, you might be vexed that I’ve made little or no reference to Capitalist Realism , or Hauntology…etc. Maybe that’s because primarily Mark was my mate. I miss him. And for me, promoting the generosity of Mark Fisher the person, will always come first before his works. Mark gave you those. They are all available to be devoured and shared. Please do. The last word goes to Obsolete Capitalism , proving that although Mark wanted to appeal to everyone, he had a habit of impressing upon some of us an acuity that felt special, and unique to our innermost thoughts and experiences.
“Like other great thinkers of the past – Nietzsche and Deleuze among others – Mark Fisher is a writer with “no mediation”. What is left when he tears away with a simple and definitive gesture, the enveloping screen on which the great epic fable of ‘capitalist realism’ is projected? Only emptiness. Instead of living in an age ‘saturated with history’ as Nietzsche wrote, Fisher has clearly and capably described our age as ‘saturated with emptiness’. While this “emptiness” expands into every corner of capitalism, it also discharges the supposed systemic alternatives opposing it. Helping us in liberation from ‘horror vacui’ and recognising the emptiness in the false fullness of the Real, is his most generous and enduring intellectual legacy.”
A statement about film-in-progress Lost Futures from director Niall McCann :
The video we have produced for “Storm Crow” is an attempt to visualise Mark Fisher’s ideas and combine them with music which comes from a similar place. An experiment in matching his ideas to Mark Stewart’s music in a playful way, recontextualizing old TV advertisements—which both Marks would have grown up watching—zombie movies, along with pivotal social and political moments which helped bring us to what Fisher called “Capitalist Realism” which is the idea that it is now easier to imagine the end of the world, than the end of capitalism.
The vast body of work Fisher left behind explores capitalism’s unassailable role in our lives, the closing off of any sense of a future different from the present, and the effects of this on us as individuals. His writings lifted up the veil and showed the world afresh to his readers, and that’s the core idea in the music video.
The film itself revolves around something which is central to Mark Fisher’s work: the future. When I was young the future was everywhere. It could be anything, it seemed rife with possibilities, for something better. Now, it’s only talked about as a more terrifying version of the present. This is a film about the futures we have lost and how we might start imagining new ones again.
We will use Mark Fisher’s life and his brilliant ideas as a guide through some of the most urgent questions of our time.
‘Storm Crow’ by Mark Stewart also features on On-U Sound’s Pay It All Back Vol 8 compilation. Listen / Order Pay It All Back Vol 8 .
For more information about Lost Futures , a film about Mark Fisher currently in development, head here .
Niall McCann (Redemption Films)
Mark Stewart Official Website
Repeater Books
Obsolete Capitalism
Words by Mark Stewart, June 2022 ©
Big Star’s original lineup. L-R: Andy Hummel, Chris Bell, Alex Chilton, and Jody Stephens.
Listen to the second part of my appearance on the Discograffiti podcast, reviewing the Big Star catalog, at the end of this article. Part one is here .
The following post was first published in 2018; it’s been lightly edited.
Being a big fan of Big Star, I was excited to receive an advance copy of the oral history book, There Was a Light: The Cosmic History of Chris Bell and the Rise of Big Star (HoZac Books). I started flipping through it and was immediately drawn to the story of the Baker Street Regulars. The band existed for a brief period in 1976, and featured two former members of Big Star, Chris Bell and Jody Stephens. Considering this was a seldom discussed part of the Big Star story, I asked HoZac Books if we could run the Baker Street Regulars passages in the book. They not only said “Yes,” but provided us with the majority of the images here—many of which have rarely been seen before. There Was a Light author, Rich Tupica, has even written an introduction just for us.
Chris Bell in Ardent Studios, pre-Big Star.
Often overshadowed by his iconic Big Star bandmate Alex Chilton, the genius of the late Chris Bell wasn’t truly uncovered until years after he was tragically killed in a car wreck in December 1978. The 27-year old remained in obscurity until 1992, when I Am the Cosmos , his posthumously released solo album was finally released to much praise.
Today, Beck and Wilco cover the enigmatic songwriter’s works, while members of R.E.M. still praise his work when asked about their favorite bands—yet at the time of his death, Bell was anything but a rock ’n roll legend. After the release of 1972’s #1 Record , Big Star’s debut LP on Ardent/Stax Records, Chris suffered a bout a clinical depression and heatedly exited the Memphis-based group—the band he masterminded from the ground up. He also had a falling out with Ardent Studios owner and Big Star producer John Fry. His life was in shambles and he realized his dream of breaking Big Star into the mainstream wasn’t going to happen.
Big Star in Alex Chilton’s bedroom, posing for a ‘#1 Record’ promo photo. (Courtesy of Carole Manning)
With Bell out of the picture, Alex Chilton and John Fry took the reins and kept Big Star going for two more equally acclaimed albums, Radio City and Third/Sister Lovers —but with little financial successes, the band fully dissolved.
Meanwhile, Bell not only became a devout born again Christian, he also attempted to launch a solo career. He even moved to London with his older brother David Bell for much of 1975 and pitched his reels of solo material to any A&R rep who’d meet with them. They were ultimately turned down by every label. By 1976, America’s Bicentennial, Chris was back in Memphis living at his parent’s upper-class estate in Germantown.
For money, Bell flipped burgers at his successful father’s fast food chain, while in the evenings he played as a sideman guitar slinger alongside fellow Memphians Van Duren in a sh
Mature et prête pour une belle queue
Asiatiques joueuses
Plan à trois amical