Americans rebuild for the 'new urban century'

http://www.cnn.com/2010/LIVING/04/01/infrastructure.rebuild
Americans rebuild for the 'new urban century'
John Blake, CNN
April 1, 2010
STORY HIGHLIGHTS
Rebuilding projects are taking off across America
New projects focus on creating vibrant downtown
The recession is also forcing Americans to rebuild community
Construction worker: "I feel reborn"

(CNN) -- In Charlotte, North Carolina, commuters zip along a sparkling new light rail system into a booming downtown district.

In Sacramento, California, construction workers hammer away at the next generation of green buildings.

And in New York City, rush-hour commuters pedal across popular bike paths that have spread like kudzu across the metropolis.

Those snapshots from cities across America offer a glimpse of the future. Americans are rebuilding their cities and communities to make people, not cars, the center of a more environmentally friendly lifestyle, urban planners and transportation experts say.

"We're creating infrastructure for human beings, rather than automobiles," says Michael Smith, CEO of Center City Partners in Charlotte, a group of business leaders that has helped lead a revival of the city's downtown.

Creating a new infrastructure means new rules, experts say.

What's on the way out: sprawling interstates, suburban living, long car commutes.

What's now in: light rail, green space and vibrant downtown districts.

"As you look at the cities that are going to thrive in the next century, there's a belief that we're entering the urban century," Smith says. "There's a new urbanism that's not about cul-de-sacs or expressways. It's sidewalks, bike paths and parks."

Where America is rebuilding

Smith points to downtown Charlotte as a prime example. During the past decade, downtown Charlotte has added new restaurants, art centers, the soon-to-be-opened NASCAR Hall of Fame and nightspots, Smith says.

There's a sense that America has been built out and spread out too far, and many of us live too far from our neighbors.
--Kathleen Hughes, TV producer

Charlotte's downtown growth was the result of good planning, Smith says. Thirty years ago, the city's business and political leaders decided that Charlotte couldn't sustain its suburban growth. So they began rebuilding downtown and eventually won public support to install a light rail system, he says.

Even the Great Recession couldn't stop Charlotte's downtown revival because the rebuilding projects had so much momentum, Smith says.

"We were fortunate to have 30 cranes swinging in our city center as we moved into the teeth of the recession," Smith says.

What's happening in Charlotte is happening across the country, says Kathleen Hughes, executive producer of "Blueprint America," an ongoing PBS series that looks at the rebuilding of America's infrastructure.

During her research, Hughes says she encountered plenty of communities that are using stimulus money for embracing light rail projects and pushing the revitalization of downtown districts.

"There's a sense that America has been built out and spread out too far, and many of us live too far from our neighbors," Hughes says.

Americans aren't just rebuilding their transportation grid; they're also embracing alternate forms of travel, others say.

Bike lanes are popping up in American cities, says Aaron Naparstek, founder of Streetsblog. It's an online community for the Livable Streets movement, a coalition that seeks to transform cities by improving conditions for cyclists, pedestrians and transit riders.

In cities such as Portland, Oregon, or New York, it's common now to see commuters biking to work, Naparstek says. In New York City alone, 300 miles of bike lanes have been added in the past four years, he says.

Naparstek says he can remember the moment when he thinks Americans' attitude to cars shifted.

"I'm old enough to remember my dad waiting in the gas lines during the first OPEC [Organization of Petroleum Exporting Countries] gas crisis," he says. "To me, that was the beginning of the end for the American romance with the automobile."

Rebuilding values as well as roads

As America rebuilds, new industries arise as well.

I feel reborn. That's what the future is all about, staying green and saving the environment.
--Oscar Ortega, "green builder"

Oscar Ortega was a construction company foreman who made about $70,000 a year before he was laid off at the end of 2007. With a wife and four daughters, he performed odd jobs to stay afloat.

"I tried not to let it affect me," he says. "If I walked around the home moping, it would affect my family. I tried to be as strong as I could."

Then Ortega read about job openings at ZETA Communities, a green construction company in Sacramento, California. ZETA builds "net-zero" energy homes (homes that produce as much energy as they consume by using devices such as solar panels).

Ortega applied and got a call back. Two years later, he's working as a green builder.

"I feel reborn," he says. "That's what the future is all about: staying green and saving the environment. This new construction is the wave of the future. I'm really excited to be a part of it."

Americans are not only rebuilding their cities and homes, they're also rebuilding their sense of community.

The Great Recession has also forced some to rediscover the value of community. Some of this has been done by establishing time banks, where members trade services that are tracked by hours rather than dollar value.

For example, one member of a time bank may provide an hour of tax advice to another. Another may weed a person's garden for an hour. Each hour-long act receives a "time dollar" that can be used to purchase someone else's labor.

Time banks are designed to build community, its founders say. It teaches people that everyone has value, even if they don't have a job. Thirty-five states have time banks, group founders say.

"The idea is that nobody's labor is worth more than anybody else's labor. We're all in this together," says Judith Lasker, a time bank member and a sociology professor at Lehigh University in Pennsylvania who is writing a book about time bank organizations.

Some Americans are rebuilding their sense of values as well.

Matt Fredenberg of Alpharetta, Georgia, seems like a rarity in the Great Recession; he's working in a thriving industry.

Fredenberg helps his mother and sister run a Senior Helpers franchise. The national franchise sends workers to homes to help family members take care of aging relatives. Their services range from light housekeeping to running errands.

Fredenberg, 26, says his family franchise has 120 employees after four years of operation. Business has been so good that he says "we're hiring like crazy."

But Fredenberg is not talking about parlaying his success into buying bigger and shinier toys. He says he wants to learn from the mistakes of his parents' generation.

Fredenberg says he doesn't own a credit card, uses coupons to eat out and shuns buying more than he needs. His friends do the same.

"Even with cars and houses, we realize that you don't have to have the best," he says. "It doesn't have to be brand new and huge."

Though times are now tough, Fredenberg says his generation is confident. Better days are ahead.

"People are willing to sacrifice some luxuries to be more practical," he says. "We'll come out of this. People are willing to do what it takes."

The Holocaust, Tarantino-style

http://www.haaretz.com/hasen/spages/1027043.html

07/10/2008
The Holocaust, Tarantino-style: Jews scalping Nazis
By Assaf Uni
Tags: Israel News, Holocaust

BERLIN - For weeks, Germany's tabloids and culture pages have been preoccupied with Quentin Tarantino's film "Inglorious Bastards," slated to start filming next week in Germany.

While the tabloids are drooling over the movie's star, Brad Pitt, who is moving with his wife Angelina Jolie and their children to a villa close to Berlin ("The most beautiful couple in Wannsee," one headline declared), the serious media is focusing on another angle: Is Germany ready for a Tarantino-style treatment of World War II?

An early draft of the script leaked onto the Internet three months ago suggested the film would contain scenes of bloody vengeance exacted by Jews against Nazis. One campaign would be carried out by Jews in the U.S. Army intent on scalping Nazi soldiers on occupied French soil; another would be a Jewish refugee's revenge against the Nazi officer who murdered her parents.

Pitt is to play Jewish-American Lt. Aldo Raine, the leader of a revenge squad known as "The Bastards," who launch a killing spree in which they hang, torture, disembowel and scalp German soldiers and engrave Swastikas on their foreheads, according to the leaked draft.

The film is raising controversy in Germany, where the subjects of World War II and the Holocaust are usually restricted to historical discourse.

"This is pop culture meeting Nazi Germany and the Holocaust with unprecedented force," said the film critic of SuedDeutche Zeitung, Tobias Kniebe. "The effects of this collision are utterly unpredictable."

German film critics blasted last week's decision to grant the film money from the German Film Fund and another local fund, saying that Germany cannot finance a movie that uses Jewish-Nazi relations as entertainment, especially one by Tarantino.

The SuedDeutche Zeitung warned that the film may be no less explosive than the Hollywood film Valkyrie, starring Tom Cruise, about German officers' abortive attempt to assassinate Hitler toward the end of WWII. The movie, filmed in Germany and scheduled to be released in spring 2009, has already drawn fire from German historians.

"All the German historians and critics who were left gasping for breath by Tom Cruise and his worthy attempts to produce a correct image of Stauffenberg will be so shocked by 'Inglorious Bastards' that they will savage it on the spot," writes Kneibe.

Tarantino's film is not supposed to mix history and fiction, but to offer the pure, hyper-violent entertainment that the American director of "Reservoir Dogs," "Pulp Fiction" and "Kill Bill" is known for.

"It is sort of a spaghetti western set in World War II," Tarantino told the German News Agency DPA. "I am not going to call it this, but if it had a subtitle for it, it would be called, 'Once Upon a Time in Nazi-Occupied France.'"

Films that treat the Holocaust period as pure entertainment could be destructive, says Alexander Kluge, a noted film director and author, who has been dealing with the Holocaust and its memory for more than 50 years.

He cites Swiss-Jewish director Dany Levy's comedy "Mein Fuehrer" as a case in point. This film raised a storm in Germany two years ago, when it portrayed for the first time a neurotic, empathy-evoking Hitler. "Such films can obscure the events' true significance," says Kluge.

Tarantino's film received a 300,000 euro grant from the state of Brandenburg, because it will be filmed in Potsdam's Babelsberg studios. Founded in 1911, this is the world's oldest major film studio. Films including Fritz Lang's "Metropolis" and "The Blue Angel" with Marlene Dietrich were filmed there in the 1920s and 1930s, as were numerous Nazi anti-Semitic propaganda films.

Tarantino's film is also expected to receive 20 percent of its budget from the German Film Fund because it is being filmed in Germany. It is scheduled to be released in June 2009.

Missing scenes from Fritz Lang's Metropolis turn up

http://film.guardian.co.uk/news/story/0,,2288990,00.html

Missing scenes from Fritz Lang's Metropolis turn up after 80 years
Peter Bradshaw: Lost footage could finally make sense of film
Kate Connolly in Berlin
Thursday July 3, 2008

The cinematic world was today celebrating the rediscovery of missing scenes from German director Fritz Lang's legendary silent film Metropolis - thought lost for 80 years, until they were found in the archive of a museum in Argentina.

Key scenes cut from the science fiction picture - either because they were considered to be too brutal or too long - will now be available for the first time since May 1927, when the original version was last shown in Berlin, where it flopped badly.

The head of the Berlin film museum Deutsche Kinematik, Dr Rainer Rother, called the find a "sensational discovery", adding that one of the most famous films of all time "can now be seen through new eyes".

Metropolis, which is set in a futuristic city state and explores the clash between workers and their capitalist exploiters, was at the time one of the most expensive films ever made. Produced in the Babelsberg studios on the outskirts of Berlin, it cost around 7m Reichsmarks, but was hated by critics and the public alike. It was shortened by the American company Paramount Pictures, who considered it impenetrable for the US market, leading to an oversimplification of the plot, the disappearance of key scenes and the sidelining of significant characters.

But the restored version, which has so far been seen by only a handful of film experts and critics in Berlin, is said to throw light on key questions that have puzzled and tantalised generations of film buffs.

The uncut version is said to solve the mystery as to why Maria, the workers' insurrectionist leader, is mistaken by a baying mob for her doppelganger, a female robot.

Schmale, a spy who is sent by the autocratic leader of the futuristic city, Joh Frederson, to pursue his son, Freder, plays a minor role in the cut version, but a significant supporting role in the original. "The role ... can finally be understood," Rother said.

A scene in which children are saved from the workers' underworld is also said to be "much more dramatic" - and more violent - than in the cut version.

The rediscovery, revealed by the newspaper Die Zeit, came to light after Paula Felix-Didier, curator of Buenos Aires' Museo del Cine, acted on a tip-off from a former film club director that the full-length version had been gathering dust in the museum's archive since the early 90s. Fearing that the discovery would not be taken seriously in Argentina, she flew with the footage to Germany this week to present the film to experts who have deemed it to be authentic.

Die Zeit has reconstructed the story of how the film found its way to Argentina. A copy of the longer version of the film was first sent to Buenos Aires in 1928 at the request of the Terra film distribution company. A film critic called Manuel Pena Rodriquez obtained the reels shortly afterwards, selling them in the 60s to Argentina's National Art Fund. A copy of them was passed onto the Museo del Cine in 1992, but their value was not fully realised until now.

Helmut Possman, director of the Friedrich-Wilhelm Murnau Foundation which holds the rights to Metropolis, said the film, which is badly scratched, would be made available to the public after it has been restored. "This material, which we had long considered to be lost forever, will help us to a new understanding of Fritz Lang's masterpiece," he said.

Martin Köerber, who restored a previous version of Metropolis, expressed his delight at the new footage.

He told Die Zeit: "It doesn't matter how bad the condition of the material is, the original intention of the film, including all of its minor characters and subplots, is now once again tangible for viewers. The rhythm of the film has been restored."