About Katti Ritzenhoff: Oil, Acrylic and Water Color Paintings

“Oil, acrylic and water color paintings based in Litchfield, Connecticut.

“Katti Ritzenhoff discovered her passion for painting while on sabbatical from her full time teaching job at Central Connecticut State University. She is now combining her theoretical background in film and media studies as well as visual communication and television production with the creation of new work. Inspired by the French Fauve movement and German expressionist figures like Franz Marc and Ernst Ludwig Kirchner, as well as the Russian Wassily Kandinsky, Ritzenhoff tries to explore using a palette with primary colors.

“The most influential journeys led her in 2018 and 2019 to Namibia and Morocco in Southern and North Africa. Frequent trips to England while on Sabbatical also allowed her to discover the exhibits by Pierre Bonnard, Joaquin Sorolla and Vincent Van Gogh, on view in London. Research on Stanley Kubrick’s films in the London Archives adds to the background of these explorations.

“The first of Ritzenhoff’s painting projects was inspired by a co-edited publication about The Handmaid’s Tale: Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders (with Janis L. Goldie, Rowman and Littlefield, 2019), a grim reminder that women’s and civil rights are at stake in post-9/11 America. The representation of Margaret Atwood’s ‘Offred,’ based on the image of actress Elisabeth Moss in the Hulu TV adaptation, is now used as the cover of the book.

“In April 2020 Ritzenhoff exhibited oil and water color pictures from a recent trip to Colombia at Marty’s Cafe in Washington Depot (in the middle of the coronavirus pandemic).

“One of the goals for the future is to integrate political content into the art work…”  © Katti Ritzenhoff

“Dr. Karen A. Ritzenhoff, Professor, Department of Communication, Central Connecticut State University.  Co-Chair, the Women, Gender, and Sexuality Studies Program, as well as Cinema Studies and the Honors Program.  Co-editor, The Handmaid’s Tale:  Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders.”  –CCSU

“The News is America’s New Religion, and We’re in a Religious War” by Matt Taibbi

When I reached young adulthood in the late 70s, I admired journalists and journalism – even considered it as a possible career choice.  I liked the way journalists appeared to be digging and searching for truth and holding power to account.  Even as a young woman, it made sense to me that we couldn’t really have democracy without the facts, and the role of the “fourth estate” was essential. We’re miles and miles and years and years away from that idyllic vision of the media, but I still think it’s a good idea to keep an image of what the sector could be, and to look for ways to support and strengthen it.

“News in America used to be fun to talk about, fun to joke about, interesting to think about. Now it’s an interminable bummer, because the press business has taken on characteristics of that other institution where talking, joking, and thinking aren’t allowed: church. We have two denominations, both as fact-averse as real churches, as is shown in polls about, say, pandemic attitudes, where Americans across the board consistently show they know less than they think…

“Tales of each other’s stupidity are the new national religion, and especially among erstwhile liberals, we take them more seriously than any religion has been taken in the smart set in a long, long time…By the time Trump arrived, there was only one route left for media companies, who’d lost ad revenue to Internet platforms, to make money: putting content behind a paywall. Essentially, news companies passed a hat and asked for donations, just like churches. Also like churches, they began to sell belief instead of fact. They turned viewers and readers into congregationalists, people who’d be less interested in news than calls to spiritual battle…

“America is a now a nation of warring media faiths, with Fox/OAN/Newsmax preaching a heretic Savanarola-style gospel of corrupt elites lying about everything from election results to vaccine efficacy, while the rival Church of the Mainstream, which describes itself as the (literally) true faith and exclusive arbiter of such things as ‘fact’ and ‘science,’ preaches a coming fascist apocalypse. Its pundits openly rejoice in Covid-19 as an instrument of vengeance against ‘denialism’ and those who don’t ‘believe science,’ and it’s not an accident that people who watch them too much do things like wear masks alone in cars.”  — Matt Taibbi

Summary of All 46 Episodes of The Handmaid’s Tale Hulu TV Series (Seasons 1 to 4)

“The Handmaid’s Tale is an American dystopian drama television series created by Bruce Miller, based on the 1985 novel of the same name by Margaret Atwood. The plot features a dystopian future following a Second American Civil War wherein a totalitarian society subjects fertile women, called ‘Handmaids’, into child-bearing slavery. The series features an ensemble cast, led by Elisabeth Moss, and also stars Joseph Fiennes, Yvonne Strahovski, Alexis Bledel, Madeline Brewer, Ann Dowd, O. T. Fagbenle, Max Minghella, Samira Wiley, Amanda Brugel, and Bradley Whitford.

“The series premiered on April 26, 2017, on Hulu. The second season premiered on April 25, 2018. The third season premiered on June 5, 2019. The fourth season premiered on April 27, 2021.  In December 2020, ahead of the fourth season premiere, Hulu renewed the series for a fifth season.

“As of June 16, 2021, 46 episodes of The Handmaid’s Tale have been released, concluding the fourth season.”  — Wikipedia

The Handmaids Tale Season 4 Recap

@ASoulAFire @JaniceOCG @iamoffred This 90-minute recap of @HandmaidsOnHulu Season 4 by @The_Recaps is a great way to refresh our memories and get ready for the 10/14, 8 pm ET sneak peek of “If America Fails?:  The Coming Tyranny.”  We hope you’ll join us!

WATCH 1:31:08 | The Handmaids Tale Season 4 Recap | The Recaps | Jun 16, 2021

“Border Visions: Identity and Diaspora in Film,” co-edited by Jakub Kazecki, Karen A. Ritzenhoff and Cynthia J. Miller

“Over the last several decades, the boundaries of languages and national and ethnic identities have been shifting, altering the notion of borders around the world. Borderland areas, such as East and West Europe, the US/Mexican frontera, and the Middle East, serve as places of cultural transfer and exchange, as well as arenas of violent conflict and segregation. As communities around the world merge across national borders, new multi-ethnic and multicultural countries have become ever more common.

Border Visions: Identity and Diaspora in Film offers an overview of global cinema that addresses borders as spaces of hybridity and change. In this collection of essays, contributors examine how cinema portrays conceptions of borderlands informed by knowledge, politics, art, memory, and lived experience, and how these constructions contribute to a changing global community. These essays analyze a variety of international feature films and documentaries that focus on the lives, cultures, and politics of borderlands. The essays discuss the ways in which conflicts and their resolutions occur in borderlands and how they are portrayed on film. The volume pays special attention to contemporary Europe, where the topic of shifting border identities is one of the main driving forces in the processes of European unification.

“Among the filmmakers whose work is discussed in this volume are Fatih Akin, Montxo Armendàriz, Cary Fukunaga, Christoph Hochhäusler, Holger Jancke, Emir Kusturica, Laila Pakalnina, Alex Rivera, Larissa Shepitko, Andrea Staka, Elia Suleiman, and István Szabó. A significant contribution to the dialogue on global cinema, Border Visions will be of interest to students and scholars of film, but also to scholars in border studies, gender studies, sociology, and political science.”  — The Publisher

Dr. Karen A. Ritzenhoff, Professor, Department of Communication, Central Connecticut State University.  Co-Chair, the Women, Gender, and Sexuality Studies Program, as well as Cinema Studies and the Honors Program.  Co-editor, The Handmaid’s Tale:  Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders.  — CCSU

“New Perspectives on the War Film,” co-edited by Clémentine Tholas, Janis L. Goldie and Karen A. Ritzenhoff

“In this provocative volume, the authors urge a critical re-evaluation of the war film by highlighting the range of stories it recounts—as well as those it ignores—and the diversity of subjects it brings into focus. The collection encourages a renewed engagement with the genre through attention to perspectives and experiences often imagined to fall outside the frames of war and to conflicts that exceed the conflation of war with state-sponsored combat. In pushing past conventional conceptions of the war film, the book makes a timely and important intervention into our understanding of the complexities of violence both on the screen and beyond it.” (Jonna Eagle, Associate Professor of Film/Media, Department of American Studies, University of Hawaii at Manoa, USA)

“Gives voice to those who have traditionally been marginalized and whose historically silenced stories of war can conceivably provide us with much needed insight in what is arguably a very turbulent time in world affairs…Gathers scholars from diverse disciplinary backgrounds ranging from film and communication studies, American studies, European studies, history, and more…Offers analyses of film and traditions from a global set of sources…

New Perspectives on the War Film addresses the gap in the representation of many forgotten faces of war in mainstream movies and global mass media. The authors concentrate on the untold narratives of those who fought in combat and were affected by its brutal consequences. Chapters discuss the historically under-represented stories of individuals including women, African-American and Indigenous Soldiers. Issues of homosexuality and gender relations in the military, colonial subjects and child soldiers, as well as the changing nature of war via terrorism and bioterrorism are closely analyzed. The contributors demonstrate how these viewpoints have been consistently ignored in mainstream, blockbuster war sagas and strive to re-integrate these lost perspectives into current and future narratives.

“Clémentine Tholas is an Associate Professor of American Studies at Paris III-Sorbonne Nouvelle University, France. Her research interests focus on early motion pictures in the US, namely on WWI cinematic propaganda and the role of silent films as tools of progressivism. Clémentine Tholas published Le Cinéma américain et ses premiers récits filmiques (2014) and co-edited with Karen A. Ritzenhoff a collective volume entitled Humor, Entertainment, and Popular Culture during World War I (Palgrave, 2015).

“Janis L. Goldie is Associate Professor and Chair of the Communication Studies Department at Huntington University at Laurentian, Canada. Her research focuses on the Canadian war film genre and the constructions of the Canadian military in media culture products such as video games, graphic novels and television advertisements. She co-edited with Karen A. Ritzenhoff, The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders (2019).

“Karen A. Ritzenhoff is Professor, Department of Communication at Central Connecticut State University, USA. She is affiliated with the Women, Gender, and Sexuality Studies Program and cinema studies. She recently co-edited with Janis L. Goldie, The Handmaid’s Tale:” Teaching Dystopia, Feminism, and Resistance Across Disciplines and Borders (2019). In 2015 she coedited The Apocalypse in Film with Angela Krewani; Selling Sex on Screen: From Weimar Cinema to Zombie Porn with Catriona McAvoy, and Humor, Entertainment, and Popular Culture during World War I with Clémentine Tholas (published by Palgrave, 2015). Ritzenhoff is also co-editor of Heroism and Gender in War Films (Palgrave, 2014) with Jakub Kazecki.”  — The Publisher

Watch “America’s Fascist Brew; Will America Fail?” Here, Thurs., 10/14/21, 8 pm ET

America’s Fascist Brew; Will America Fail?” – the Sneak Peek is here!  We invite you to join “If America Fails?:  The Coming Tyranny,” hosted by Janice Graham and L. Michelle Odom, in welcoming our guest, Dr. Karen A. Ritzenhoff to a live webcast on Thursday, October 14, 2021 at 8 pm ET.

Dr. Ritzenhoff will share her expertise on “The Handmaid’s Tale” in helping us summarize the four seasons of the Hulu TV series and analyze current threats to democracy in America.

Watch Live Event Options:
(Thursday, 10/14/21 at 8 pm ET)

  1. If America Fails website
  2. Youtube Event Page
  3. Youtube TruthWorks Network Channel
  4. TruthWorks Network Facebook Page

Calls:
After the show, we will take your calls.  Call-in to speak with hosts & guests.
(Thursday, 10/14/21 at 10 pm ET)

  • Call 516-666-9516 and/or join us in the chat room.
  • (Set up account at Blog Talk Radio/TWN Page to enter text-only chat room).

Proud Boys Changing Their Stripes

“A leopard never changes its spots” but apparently Proud Boys do.  It’s a deceptive change, and may mean we need to look more carefully at the behavior to know what we’re seeing, but what also remains true is the wisdom that “actions speak louder than words.”

In this interview with Cassie Miller, a senior research analyst at the Southern Poverty Law Center, who spent years following the all-male extremist group, Proud Boys, we learn:

“While the organization is known for its aggressive, violent nature, Miller is warning that changes are coming and the group is strategizing on a different level. According to Miller, they have also shifted their focal points for political rallies…’They’re simply switching up their organizational style,’ said Miller. ‘Now they are organizing more at a local level, they’re hosting local rallies, or they’re joining into other rallies around political flashpoints like critical race theory or anti-masking’…In addition to the structural changes, the group is also hoping to bring its authoritarian values to the forefront. In short, the goal is to normalize fascism and embrace a form of hierarchical society where white males remain the predominant Americans in positions of power.”  — Meaghan Ellis | AlterNet

“Equal Rights May Ring Hollow”: The Precarious State of Abortion Rights

For context on how widespread the challenge to reproductive rights in the U.S. is today, and a view of what can be done about it, see “Equal Rights May Ring Hollow”: The Precarious State of Abortion Rights by Mindy Roseman and Rachel Rebouché.

“Already, 58 percent of women of reproductive age live in states hostile to abortion rights. After Dobbs, people’s right to an abortion will further turn on their zip codes. Equal rights under the law will ring hollow…The United States could well follow in the footsteps of these countries. The Women’s Health Protection Act (WHPA), passed by the House and before the Senate, protects the right of health care providers to perform and patients to receive abortion care throughout pregnancy. It also preempts many of the state bans and restrictions on the books today.  By passing the WHPA, the United States would join with other democracies that respect the rule of law and are committed to ensuring its equal application to all its residents, no matter their embodiment or location.” — Mindy Roseman and Rachel Rebouché

The Handmaid’s Tale: Season 4 RECAP

“June is on the run, as she and the other Handmaid[s] try to join the resistance and fight back against Gilead!…This is The Handmaid’s Tale Season 4 Recap, Review, Breakdown, Reaction, Timeline, Theories, Finale and Ending Explained. All about The Republic of Gilead, Mayday, and the characters June, Serena, Commander Waterford, Nick, Aunt Lydia, Janine, Commander Lawrence, and more. Spoilers in this sentence [so] don’t read it, but June makes it to Canada! Plus June and Nick kiss!?!?  Plus, June kills Commander Fred Waterford! Catch up before the Season 5 trailer and premiere. A Hulu original series.”  — Man Of Recaps