Category: Cinema, television and theatre

Kingsfield on Higher Options

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| Cinema, television and theatre, Contract

This time last year, I found myself explaining to concerned parents at the Higher Options Fair that law students’ small lecture load does not necessarily mean a small work load. Plus ça change. My colleagues have found themselves explaining much the same thing today at this year’s event. Briefly, law students should spend considerable amounts of time on independent reading, developing research skills (how to find what is relevant) and honing discernment and judgment (how to decide what to use of what is read) – these are all important practice skills which they learn in college.

In the US, variations on the Socratic Method are widely used (and just as widely discussed) in Law Schools to teach these skills, and it is one of the driving dramatic forces in The Paper Chase, a book/movie/tv series on which I have already commented here and here. Its great character was John Houseman‘s inconic Contracts Professor, Charles Kingsfield – the clip below is the first time we meet him in the tv series:

The case being discussed in the clip is Hawkins v McGee 84 N.H. 114, 146 A. 641 (Supreme Court of New Hampshire, 1929) (wikipedia; pdf), and Kingsfield’s victim is James T Hart, the confused first year law student, played by Timothy Bottoms, who is the central character in the series.…

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Seeing justice done?

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| Cinema, television and theatre, Irish Law, judges, Media and Communications, UK Supreme Court

The Supreme Court at the Guildhall, by Stephen Wiltshire via his siteAs the slow march towards a new Supreme Court for the UK nears its destination, the Times has a piece about its newly refurbished premises:

The United Kingdom’s new Supreme Court will open its doors for business on October 1, with the first inbuilt facilities in Britain for broadcasting in court. … Broadcasting and internet arrangements are still to be devised but the three courts (two for the Supreme Court, one for the judicial committee of the Privy Council) can be filmed, a first in England and Wales.

As the BBC story on the completion of the refurbishment emphasises, the “decision to televise events from inside the court’s three chambers is a first for England and Wales”. And the Guardian quotes Jenny Rowe, the Court’s Chief Executive as saying that they are “in advanced discussions with broadcasters about the material they will want to use … If broadcasters wish to show it we will make it available”.

I think that it is a splendid idea. As the Canadian blawgs Slaw and the Court point out, since February 2009, the Supreme Court of Canada has provided live streaming of oral arguments and judges’ questions in authorized cases. The whole experiment is working well, and doing the same in the UK is an excellent development.…

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The Law of Trek

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| Cinema, television and theatre

Star Trek poster thumbnail, via star trek siteI just couldn’t resist this piece by Christine Corcos from the Law & Humanities blog [with added links]:

Re-Examining Star Trek

In his review essay on Star Trek: The Exhibition [link], Edward Rothstein [wikipedia] points out a number of anachronisms and anamolies, most stemming from the original television series and its spin-offs. He notes that mixing reality and pop culture may do neither justice. Points taken. (I saw this exhibition in San Diego). For those of us who grew up on ST: TOS and its offspring and who are fond of the Star Trek mythos, however, this show doesn’t represent the reality or history of space flight. But that, as I understand it, isn’t really the point of Star Trek: The Exhibition. The point is to examine the effect of the show on the generations who have watched and grown up with the show, and the effect of those viewers on Star Trek. See also the program (available on DVD) How William Shatner Changed the World [imdb], based on his book I’m Working On That: A Trek From Science Fiction To Science Fact (2004) [Amazon].

Can one exhibition capture all of that involvement and energy?

…

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How to make Contract Law interesting?

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| Cinema, television and theatre, Contract

This one, from Contracts Prof Blog, speaks for itself:

Relive your 1L Contracts class at home! With better looking people!

A After what has seemed to most Contracts professors an unconscionably long time, the TV series The Paper Chase has finally come out on video.  Technically, it's called "season one" although there was only one season on the original CBS program in 1978-79.  Three additional seasons were run on Showtime starting in 1983, which allowed the protagonist, "Mr. Hart," to graduate Harvard in only four years.

On the Amazon web site (linked above) you can see a riveting clip dealing with (among other things) whether one who performs the service requested by a reward offer can recover if he was unaware of the reward.  The growing tension among the students who offer different answers is . . . palpable. 

It doesn't get any better than this.

[Frank Snyder; h/t Scott Burnham]

My previously declared interest is here.…

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Justice in Measure For Measure

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| Cinema, television and theatre
Shakespeare, via Wikipedia
Image via Wikipedia

I have already glanced at the legal issues in The Merchant of Venice on this blog; but Shakespeare dealt with issues of justice and mercy in many other plays as well. Consider for example Measure for Measure (wikipedia | full text | Project Gutenberg), which juxtaposes imperfect justice on earth with merciful justice in heaven. Christine Corcos on the Law and Humanities Blog writes about a fascinating analysis of the play from a legal perspective (with added links):

Justice in “Measure For Measure”

John V. Orth, University of North Carolina, Chapel Hill, School of Law, has published “‘The Golden Metwand’: The Measure of Justice in Shakespeare’s Measure for Measure,” in the Adelaide Law Review. Here is the abstract.

Measure for Measure, one of Shakespeare’s problem plays, is a dark comedy depicting Duke Vincentio’s effort to restore respect for the law after a period of lax enforcement. Peopled with a wide variety of law-enforcers and law-breakers, the play implicates numerous legal issues and has consequently attracted the attention of lawyers and judges. In the eighteenth century Sir William Blackstone contributed notes on the play, while in the twentieth century judges have quoted from it in their judicial opinions.

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Blessed are the cheesemakers

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| Cinema, television and theatre, General

Monty Python‘s Life of Brian

Scene II, the Sermon on the Mount, from the perspective of back of the crowd, where Jesus can barely be heard over the hubub:

GREGORY: What was that? …
MAN #1: I think it was ‘Blessed are the cheesemakers.’ …
MRS. GREGORY: Ahh, what’s so special about the cheesemakers?
GREGORY: Well, obviously, this is not meant to be taken literally. It refers to any manufacturers of dairy products.

Inspired by Cheese maker settles case over ingredient claim…

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Witnessing in The Accused

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| Cinema, television and theatre

'The Accused' movie poster, via Wikipedia.From the Law and Humanities blog (links added):

Witnessing in The Accused

Posted by Christine Corcos

Jessica A. Silbey, Suffolk University Law School, has published “A Witness to Justice,” in Studies in Law, Politics, and Society: A Special Symposium Issue on Law and Film (Austin Sarat, ed. 2009), pp. 61-91. Here is the abstract [see Bepress | SSRN]:

In the 1988 film The Accused [trailer here], a young woman named Sarah Tobias is gang raped on a pinball machine by three men while a crowded bar watches. The rapists cut a deal with the prosecutor. Sarah’s outrage at the deal convinces the assistant district attorney to prosecute members of the crowd that cheered on and encouraged the rape. This film shows how Sarah Tobias [played by Jodie Foster in an oscar-winning role], a woman with little means and less experience, intuits that according to the law rape victims are incredible witnesses to their own victimization. The film goes on to critique what the right kind of witness would be. This article explains how the film The Accused is therefore about the relationship between witnessing and testimony, between seeing and the representation of that which was seen.

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