Film
In their documentary How Democracy Works Now: Twelve Stories, filmmakers Shari Robertson and Michael Camerini provide a behind-the-scenes look at Kansas Republican Party politics and the party's response to the issue of immigration in the early-2000s.
- "Story Three: You Never Know" uses the 2002 Kansas Republican primaries as a case-study for the on-going debates within the Republican party. It focuses on the 2002 trip of David Kensinger, Sam Brownback’s Chief of Staff, from Capitol Hill to guide to three conservative Kansas candidates who challenge mainstream party nominees.
- "Story Four: Sam in the Snow" focuses largely on (then Senator) Sam Brownback's commitment to push forward comprehensive immigration reform in 2002, and the obstacles posed by the creation of the Department of Homeland Security. The film also chronicles his choice between the Senate Judiciary Committee with a likely position as chairman of the Immigration Subcommittee and a coveted seat on the Senate Appropriations Committee. The film's title refers to Brownback.
Read more about this topic: Kansas Republican Party
Famous quotes containing the word film:
“Film as dream, film as music. No art passes our conscience in the way film does, and goes directly to our feelings, deep down into the dark rooms of our souls.”
—Ingmar Bergman (b. 1918)
“All the old supports going, gone, this man reaches out a hand to steady himself on a ledge of rough brick that is warm in the sun: his hand feeds him messages of solidity, but his mind messages of destruction, for this breathing substance, made of earth, will be a dance of atoms, he knows it, his intelligence tells him so: there will soon be war, he is in the middle of war, where he stands will be a waste, mounds of rubble, and this solid earthy substance will be a film of dust on ruins.”
—Doris Lessing (b. 1919)
“The woman’s world ... is shown as a series of limited spaces, with the woman struggling to get free of them. The struggle is what the film is about; what is struggled against is the limited space itself. Consequently, to make its point, the film has to deny itself and suggest it was the struggle that was wrong, not the space.”
—Jeanine Basinger (b. 1936)