Page 13 - The Michigan Daily - Monday, September 19, 1988 Hillel sponsors forum on cinema The Event: -Shanik-Fleischer Forum for 1988 -'Jews in American Cinema" Film 'Festival The Films: -His People, 7 p.m., September 19 A silent film dealing with the assimilation of immigrant Jews into American culture. Musical accompaniment by Michigan Theater organist John Lauter. 'The House of Rothschild, 3 p.m., September 25 -Crossfire, 7 p.m., September 28 -Marjorie Morningstar, 3 p.m., October 2 -Goodbye Columbus, 7 p.m., October 6 'Next Stop Greenwich Village, 7 ,p.m., October 10 'Annie Fall, 7 p.m., October 12 All films to be shown at the Michigan Theater. Other attractions: -"Jews in American Cinema, 1898- 1988"; Michigan Theater lobby - A photo exhibit which will also include posters and newspaper 'reviews dealing with the Jewish contribution to film. September 19 ~- October 16. -October 11 - Ms. Magazine editor Letty Cottin Pogrebin will give a lecture entitled "From Marjorie Morningstar to Dirty Dancing - Jewish Women in American Film." 7:30 p.m., Angell Hall. -October 15 - A free gala screening of The Chosen - gala Jbecause director Jeremy Paul Kagan and star Rod Steiger will be making guest appearances. 8 p.m., Michigan Theater. -October 16 - Film critic Neil Gabler speaking on "The Movie Moguls," the subject of his newly- published book An Empire of Their =Own:'Flow the Jews Invented Hollywood. Gabler will be joined by film critic Judith Crist, director Arthur Hiller (Love Story), and SUNY professor of English and Humanities Lester Friedman, who will head a panel discussion of "Jews in American Film, 1898- 1988," 3 p.m., Angell Hall Auditorium A. The festival is sponsored by the Program in Judaic Studies and the .Anti-Defamation League of B'nai B'rith - enabling students to see the films at a much-reduced cost of $1.50 - and, even better, all the lectures and appearances are entirely free. -Mark Shaiman Series looks at history of women's art BY LAUREN SHAPIRO THEY sway in the air with arms held high in celebratory song. They twist to their own sensuousness beat, forging through traditional boundaries. They express a voice which has existed unheard. They are some of the figures in works created by Miriam Schapiro, a feminist art- ist who firmly believes that art created by women should be presented uniquely. For the next two weeks, Schapiro addresses this message and other social/political ramifications of women's art in her lecture series RE- VIEWING FEMINIST ART. Schapiro examines women's visual culture from early times to the present explaining, "Now that we women are beginning to document our culture, redressing our trivili- zation and adding our information to the recorded male facts and insights, it is necessary to point out the extraordinary works of art by women which despite their beauty are seen as leftovers of history." Schapiro was one of the first feminist voices to be heard in the artists' arena. She began taking art classes at the Museum of Modern Art and later received a graduate degree in painting from the State University of Iowa in 1945. In the late '60s, Schapiro moved to Cali- fornia with her husband and son to start teaching at the University of California in San Diego. These days, Schapiro speaks out in attempt to unite the world of art - traditionally dominated by men in history of art textbooks - with the emerging women's history of art: "I was trained by men to be an artist, but I learned from women how to be totally expressive, how to allow my female self to have a voice." These days, Schapiro speaks out in attempt to unite the world of art - traditionally dominated by men in history of art textbooks - with the emerging history of women's art: "I was trained by men to be an artist, but I learned from women how to be totally expressive, how to allow my female self to have a voice." One major success for Schapiro has been the creation of "Woman- house", a renovated home in Hol- lywood where she and fellow art instructor Judy Chicago worked with their students to create a suite of rooms which display women's dreams, fantasies and daily realities. Within the last two years, Schapiro Artist Miriam Schapiro, who painted 'Pas a deux' (above) will discuss women's contributions to the art world in a series of free lectures. expanded her interests in women's liberation beyond the art world by creating a poster called "Celebrating Women's Lives" for an abortion rights fundraiser. The poster was given out at the event to holders of benefit tickets and the money raised went to the National Abortion Rights Action League. Like the figures she creates, Schapiro is a decorative assemblage of insight and thought. Her works possess a vitality which can only be equaled by her presence at the University next week. Schapiro has not confined herself to singular top- ics for the lecture series, so each meeting will be executed with a unique format. The Museum of Art will be holding a reception for Miriam Schapiro following the first lecture. The public lecture series "RE- VIEWING FEMINIST ART" will be held on Monday, September 19, Thursday September 22, Friday September 23, Monday, September 26, Tuesday, September 27 and Wednesday, September 28 all meeting at 7:30 p.m. in Angell Hall Auditorium D. The Meeting: The men behind the myths By MARISA ANAYA Patience versus Rage. Endurance versus Retaliation. "We shall overcome!" versus "We shall come over!" Dr. Martin Luther King, Jr. versus Malcolm X. These two dynamic figures face off on stage in Performance Net- work's The Meeting. The title of Jeff Stetson's play seems to be an understatement after witnessing such an impassioned confrontation. The Meeting features two men who dedicated their lives to achieve a common goal - freedom - but whose methods for reaching this goal drastically differed. Performance Network, a non- profit community theatre, presents a fascinating interpretation of Stet- son's provocative play, which imagines the conversation the two men may have had if they had met in a Harlem hotel. Charles Jackson, currently an Assistant Professor of Theatre and director of the Black Theatre Pro- gram at the University, displays his Play marked by conviction, confrontation talent by both directing the play and starring as Malcolm X. Jackson captivates his audience with a compelling performance. We Throughout Malcolm and Mar- tin's encounter they exchange vig- orous dialogue to argue why their own strategy is the only way to free is also filled with a series of silent stare downs when the two men need not say a word to display the tension that exists between them. The The Meeting has its share of funny moments which allow us to see the men behind the public figures. At one point during the discussion Malcolm says, "I had a dream last night ... Oh I'm sorry, that's your line," to which Martin kindly replies, "You can borrow it if you like." The Meeting has its share 'of funny moments which allow us .to see the men behind the public figures. At one point during the discussion Malcolm says, "I had a dream last night ... Oh I'm sorry, that's your line," to which Martin kindly replies, "You can borrow itif you like." Rick Titsworth, a theatre student at the University, completes the cast in the role of Rashad, Malcolin's devoted friend and bodyguard, and also provides much of the comic relief of the production. What begins as a fervent con- frontation becomes a poignant pacification. We see the irony, as Martin says, "Do you think they'll remember us as men and only mdn?" and when Malcolm says, "I hope they remember what I represent." We remember. THE MEETING will be performed at Peformance Network Thursday, September 22 through Sunday, September 25 at 8 p.m. on Thursd4y through Saturday, and 6:30 p.m. on Sunday. Tickets are available at the door for $6 for students and seniors. Read ad We Daiy C~z561 61048 experience his heartfelt anger when he demands with clenched fists that the oppression be stopped "by any means necessary," and also his sensitivity when he gently says to his wife, "Kiss my little girls for me," after learning his house had been bombed. Steve Dixon, who plays King, perfectly echoes the melodious voice that continues to inspire us in tapes of King's timeless speeches. Blacks, or as Dr. King prefers, to free America. Malcolm believes that Martin's rhetoric _ "We will wear you down with our capacity for suffering" - exemplifies weakness, and proudly declares, "Aggression in the name of self-defense is not violence. It's honor." But Martin stands by his conviction that one can indeed "take a stand by sitting down." Malcolm and Martin's "meeting" tension fills the theatre and approaches its climax when their conflict is manifested in one of the simplest forms of struggles - an arm wrestling match. Yes, it is humorous to see Martin Luther King and Malcolm X sweating it out in such a primitive test of strength, but this suggests the futility of their argument since both men are essentially striving for the same goal. Ownthe sky To fly is one thing. To fly with the Marine Corps is something else. They'll show you the meaning of wings. From the wings of the F-18 Hornet to the wings you wear as a Marine aviator, this is flying at its best. And your ticket to fly is your college diploma. If you'd like to be up there, contact your local Marine Officer Selec- tion Officer. 1-800-MARINES. Know every line in Annie Hall? C an you pronounce Truffaut? d Do you agree with our music editor who says, "Lynch is cool"? Do you use the phrase "C apra- esque" in mixed company? if you answered "Yes" to at least one of these, we want you to write for the Daily Arts film Stop by and see a Jostens representative, Monday, Sept. 19-thru Friday, Sept. 23.