Climate change is creating increasingly uncertain futures for people all over the globe. From melting ice caps, to rising sea levels, to wildfires and drought, every community is feeling the impact. We can react to disasters by providing aid and rebuilding, but how can we get out in front of them? Jacqueline McGlade has spent years studying climate change, worked with the United Nations Environment Programme, and is currently a Professor of Resilience and Sustainable Development at the University College London. She discusses how new technology and a growing understanding of the world’s ecosystems can help us adapt. She shares lessons she learned while studying the Inuit of Greenland and living with the Maasai in East Africa and explains how cultures focused on community can thrive in regions most-susceptible to climate change. McGlade argues there are at least seven principles, which if followed, can help build a resilient world.
Esports have come a long way from groups of friends playing video games in the living room. Digital sports now fill arenas and command huge TV ratings, with hundreds of thousands of people watching online. So, what does the future hold for the growing industry? Dave Stewart, the executive producer of Riot Games’ North American League of Legends Championship Series, predicts the audience is only going to get bigger. In a fascinating conversation, Stewart discusses what it takes to put on huge events, like the World Championships that drew thousands of fans to a stadium in China in 2017, and how he plans to keep breaking records. He looks at how producers are taking notes from traditional sports – following player storylines and focusing on the emotions of the competition.
Over the past 30 years, arguably the most significant innovation in environmental policy has been the introduction of policy instruments that rely upon market forces to control pollution. You may know it as “cap-and-trade.” This policy debuted in the Clean Air Act Amendments of 1990 and has since spread from a focus on acid rain in the US to the development of carbon markets around the world. China is the most recent large emitter to announce a national carbon market.
This talk by Dan Dudek at the Bren School of Environmental Science and Management at UC Santa Barbara reviews the major innovations of this policy tool, its migration around the world, and prospects for the future.
Dudek joined the Environmental Defense Fund in 1986. He has participated the development of several environmental initiatives including the Montreal Protocol, the US acid rain program, the Kyoto Protocol, and California’s AB-32. He has been an adviser and consultant to numerous governments and organizations. He has served on the Secretary of Energy’s Advisory Board; US EPA advisory committees; and on two councils that personally advise China’s Premier on environmental issues. He launched EDF’s China Program in 1995 to develop programs for the control of both conventional and greenhouse gas emissions. His work now focuses on India’s air quality problems.
Author and Boston University law professor Pnina Lahav discusses her forthcoming biography, “Golda Meir: Through the Gender Lens.” She explores the first and only woman prime minister of Israel, and her complex relationship with her role as a female leader in a man’s world.
As a child, Golda migrated from Russia to Wisconsin and received conflicting messages about her place in the world. Wisconsin law insisted she had to be educated in school and wouldn’t allow her to work at her mother’s grocery store during the day. However, as a young woman, the message from society was also clear: women were supposed to become wives and mothers – and her parents were eager for her to comply.
Her sister, Sheyna, encouraged Golda to run away from home in order to pursue the life she wanted. Sheyna gave her this advice: “The main thing is, never get excited – always become an act of cooling. This action will bring you good results.” Golda put this advice to use in the many political crises she encountered throughout her adult life.
According to Lahav, Golda had a nuanced view of the division of labor between men and women. During the rise of the feminist movement, many women resented being resigned to the kitchen. However, Golda endorsed kitchen work as a way to contribute to the community. She felt that, in the fullness of time, gender roles would melt away, and she instead focused on the needs of the Jewish people as a whole, as opposed to the needs of women, specifically.
During her long career, when Golda was in favor with the public, she was considered the “grandmother” of the Jewish people. However, according to professor Lahav, when people disagreed with her political strategies, the old gender stereotype kicked in. “They believed it was because she was a woman that many of the harms were visited upon them. A woman is considered nasty, unnecessarily rigid, emotional, capricious, whimsical and unfit for public office. She was not even beautiful and did not dress well, they said – as if that was a necessary qualification for the job.”
To learn more, watch Golda Meir Through a Feminist Lens. Browse related programs in the series Herman P. and Sophia Taubman Endowed Symposia in Jewish Studies.
Contributed by John Menier
The Carsey-Wolf Center at UC Santa Barbara has created a series entitled “Hollywood Berlin,” featuring screenings and discussions of films by five prominent German directors: Werner Herzog, Fritz Lang, Ernst Lubitsch, F.W. Murnau, and Billy Wilder. With the exception of Herzog these artists are representative of the wave of German exiles and immigrants who left Europe in the 1920s and 1930s to work in Hollywood, and counted among their number producers, directors, actors, writers, technicians, and cinematographers. In addition to their professional expertise that generation of émigrés brought European influences to American cinema, as reflected by film noir, increasing sophistication in comedies, and a willingness to address serious social issues.
In the inaugural program of “Hollywood Berlin” celebrated filmmaker Werner Herzog joins Carsey-Wolf Center Director Patrice Petro for a discussion of his film, “Nosferatu the Vampyre,” based on F.W. Murnau’s “Nosferatu, eine Symphonie des Grauens” (“Noserferatu, a Symphony of Horrors”). Upon the release of Herzog’s film in 1979 many critics expressed surprise at his choice of subject matter. Herzog was already well-known as the auteur of idiosyncratic art-house works based on his original screenplays. Pundits assumed that Herzog’s film was simply a remake of Murnau’s 1922 masterpiece, and they were puzzled. As Herzog explains in this program, that assumption was mistaken; his version of “Nosferatu” was intended not as a slavish imitation but as an homage both to Murnau’s film and to a seminal era of German filmmaking. In terms of plot and characters it falls midway between Bram Stoker’s novel “Dracula” and Murnau’s “Nosferatu” (which was an unauthorized version of Stoker’s novel), incorporating elements of both while adding the director’s well-known pictorial sense. Herzog sees his film as providing an explicit link between his generation, the “New German Cinema,” and what he calls “our grandfathers,” those movie-makers whose mass exodus left behind a German film industry that was moribund until the advent of Herzog, Fassbinder, Schlöndorff, Wenders, von Trotta, et al in the late 1960s and 1970s.
Using “Nosferatu” as a jumping-off point for conversation, Herzog elaborates on a variety of topics including his writing process, his relationships with collaborators, the importance of music, and his philosophy concerning the primacy of the image. He also addresses some of the myths and misconceptions (mythconceptions?) that have arisen from his storied career, most of which cast Herzog as an uncompromising artist who undertakes his projects with a humorless, single-minded zeal bordering on madness. While it’s true that the prolific Herzog is passionate about cinema – he once said that “we are starved for images, and it’s my duty to provide them” – he displays a healthy sardonic humor regarding himself and his public image. (“I am not Teutonic. I am Bavarian.”)
Witty, articulate, intellectually rigorous, and disarmingly honest, Werner Herzog is the perfect introduction to a series celebrating the work of German filmmakers past and present.