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The Right to Listen | The New Yorker
“n 2016, during one of the first shoots for “What Is Democracy?,” I stood near Miami Beach, asking people to share their political opinions on camera. Three middle-aged men on vacation from New Jersey sat down on a park bench to chat. They sang the praises of a Republican candidate for President named Donald Trump, and offered their thoughts about immigration (bad), taxes (too high), and police violence against black people (not a problem). It was only a few minutes before one of them mentioned free speech. “Here, we have freedom to express,” he said, of the United States. “Like when Joe was just explaining about his racism, six large black men walked by. I thought there might be a problem. Not in this country! They heard it, it’s democracy. Joe can say whatever he wants.” What made America great, they suggested, was every individual’s right to say anything, without reserve and without inviting a response. This was a conception of democratic life that centered on self-expression, with listening left out. In its version of democracy, speech need only go one way.

The men on the bench were hardly unique in overlooking listening as an important component of democracy. As an activist on the left, I long assumed that my role consisted entirely of raising awareness, sounding alarms, and deploying arguments; it took me years to realize that I needed to help build and defend spaces in which listening could happen, too. As citizens, we understand that the right to speak has to be facilitated, bolstered by institutions and protected by laws. But we’ve been slow to see that, if democracy is to function well, listening must also be supported and defended—especially at a moment when technological developments are making meaningful listening harder.

By definition, democracy implies collectivity; it depends on an inclusive and vibrant public sphere in which we can all listen to one another. We ignore that listening at our peril. Watching “What Is Democracy?” today, I find that the answer lies not just in the voices of the people I interviewed. It’s also in the shots of people listening, receptively, as others speak.”
astrataylor  2020  listening  democracy  freedomofspeech  organizing  activism  power  speech  whatisdemocracy?  filmmaking  documentary  voices  gender  marginalization  politics  collectivism  collectivity  inclusivity  technology  facebook  forums  speaking  institutions  law  legal  constitution  us  facilitation  awareness 
19 days ago by robertogreco
Figures & Fictions: Santu Mofokeng - YouTube
“Mofokeng lives in Johannesburg where he began his career as a photojournalist. But he has long been engaged with the poetic and symbolic potential of black and white photography. As he has noted: ‘My approach has always been based on poetry and philosophy, in standing back. I don’t believe in one truth: I like to look at things from many sides.’

The series Chasing Shadows documents a set of caves used both as a Christian prayer site and a place of traditional healing. Mofokeng’s concern with the rituals, costume and ceremonies is balanced with personal interest, in a portrait of his brother, seeking a cure for AIDS. Another series, Child-Headed Households, registers the blight of AIDS without depicting it directly. Here, Mofokeng frames the new reality of families formed of sibling communities who fare for themselves in impoverished circumstances.

Interviewed by Tamar Garb, South Africa, 2010

This film was originally produced as part of a series for the Figures & Fictions: Contemporary South African Photography exhibition on display 12 April – 17 July 2011.”

[via: https://twitter.com/ztsamudzi/status/1221806667211214853

https://twitter.com/ztsamudzi/status/1221799429927161856
"I went to bed having just heard about Santu Mofokeng’s passing & woke up thinking about him. He was a man with extraordinary vision, an extraordinary ability to capture a layered subject within layered materiality. He showed us time and again that the camera can capture spirit."]
santumofokeng  photography  southafrica  capitalism  photojournalism  apartheid  2010  townships  soutafrica  johannesburg  life  poverty  class  race  movement  spirit  spirits  spirituality  society  socialissues  aesthetics  documentary  stories  meaning  storytelling  captions  meaningmaking  perception 
25 days ago by robertogreco
No Animal Should Have to Die Alone - YouTube
“Alexis Fleming owns a hospice where she provides palliative care to more than 90 terminally-ill animals. Some of the dogs, sheep, chicken, pheasants, and pigs that Fleming has rescued were abandoned by their owners and left to die in a shelter. Others were discarded by farmers due to a disease or disability and would have met their end at the slaughterhouse. Thanks to the self-sacrificing and endlessly compassionate Fleming, these animals now have a chance to experience love and to die in peace without suffering.”

[See also: https://crannog.weebly.com/
https://www.theatlantic.com/video/index/604498/crannog/

"When Alexis Fleming adopted her pit bull, Maggie, the dog had been severely neglected. Fleming, who comes from a family of dairy and sheep farmers, decided to move somewhere more rural in her native Scotland so that she could give Maggie the care and attention she needed. The dog eventually recovered from her history of abuse, and Fleming and Maggie enjoyed seven years together. Then, in 2015, Maggie experienced unexpected complications from surgery, and Fleming, who wasn’t nearby, had to make the difficult decision to end her pet’s life.

“I couldn’t be with Maggie when she died,” Fleming wrote on her website, “so I decided that, in her memory, I would build a home for other animal-folk who found themselves in need of a friend and home as their lives wind down.”

Isa Rao’s poignant short documentary Crannog follows Fleming at her sanctuary, where she provides palliative care for more than 90 terminally ill animals. Some of the dogs, sheep, chicken, pheasants, and pigs that currently live at the Maggie Fleming Animal Hospice were abandoned by their owners and left to die in a shelter. Others were discarded by farmers due to a disease or disability and would have met their end at the slaughterhouse.

“Alexis has created a tiny safe space where animals can live and die in peace while experiencing kindness—often for the first time in their lives,” Rao told me. “To her, there is no difference between human and animal suffering.”

Fleming is herself no stranger to suffering. She has Crohn’s disease, an incurable affliction of the digestive tract. A few years ago, she was given just weeks to live. After a successful major surgery, she’s now doing better, but she lives with a range of symptoms, including debilitating fatigue and extreme chronic pain. In Crannog, Fleming is shown caring for a dying sheep despite her own physical pain. Her compassion and self-sacrifice seem to know no bounds.

While filming, Rao was taken by the bond she observed between Fleming and the farm animals at the sanctuary. “It was the first time that I ever saw sheep, pigs, and even chickens come up to a person to receive back scratches,” she told me. “They nuzzled their snouts and beaks into her arms. They wanted to be close to her.” Fleming knows each animal’s personality intimately and attends to their individual preferences.

Behavioral and neuroscientific studies clearly indicate that a wide range of animals, including pigs, cetaceans like dolphins, and birds, exhibit evidence of consciousness. Rao, who has a doctoral degree in cognitive neuroscience, said that while these findings may seem intuitive to people who own pets, many people experience cognitive dissonance when it comes to considering the feelings of farm and wild animals.

“A lot of us would agree that many animals are conscious beings and can feel pain, but we at the same time often just accept animal suffering as something normal,” she said. “We still do not give animals the same consideration as humans, in particular in death and sickness. If we want to be ethically consistent, we should treat farm and wild animals with at least the same dignity and respect as we treat our pets. We need to treat them as living creatures that can feel and should not be exploited—whose lives have value, whose suffering should be avoided.”"]
multispecies  morethanhuman  2020  documentary  farms  chickens  animals  human-animalrelationships  human-animalrelations  sheep  pigs  illness  care  caring  isarao  alexisfleming  compassion  pheasants  dogs 
6 weeks ago by robertogreco
Approaching The Elephant roams the chaotic halls of a free school
"The Teddy McArdle Free School in New Jersey doesn’t look, sound, or operate like most people’s idea of a school. There are no desks, no grades, no exams. The classes themselves are voluntary, with students urged to study what interests them most. (For many of the preteen attendees, that list includes working with power tools, making paper airplanes, and running wild through the halls.) Everything is decided upon as a group, from rules to curriculum to disciplinary measures, and the kids’ votes count as much as the adults’. All of this may sound like a recipe for disaster, but there is method to the madness: Like the more than 250 other free schools in the world, Teddy McArdle was built on a belief that education should be democratic, individual passions should be fostered, and children should have a say in their own upbringing. But there’s a big gulf separating a good idea in theory and a successful one in practice.

With Approaching The Elephant, director Amanda Rose Wilder documents the first full year at Teddy McArdle, following an inaugural class of about a dozen students and the patient instructors overseeing their veritable daylong free period. Shooting in “Academy Ratio” black-and-white, in the fly-on-the-wall observational mode of Frederick Wiseman, Wilder captures the bumps and grinds of this educational experiment—the randomly attended lessons, the conflict resolution, the vote sessions that often devolve into screaming matches. The footage, edited by Actress director Robert Greene, coheres into what feels like one long, chaotic school day. You can practically feel the pulse of grown-up veins, the fraying of last nerves.

In other words, those seeking a cogent argument in favor of the free school model won’t find it here. The filmmaking mirrors the non-interference policy of the program: In addition to employing no dates, no name tags, and no talking-head interviews, Wilder declines to include statistics, or really anything that would place Teddy McArdle in the context of other schools (beyond an opening block of text tracing the free school philosophy back to early-20th-century Barcelona). What we get instead is a portrait of the sheer difficulty in establishing a democratic organization, especially when its prospective practitioners are between 5 and 12 years old. The kids love the meetings, where they get to loudly voice their opinions, but their passion rarely seems to extend to the learning process. Part of the problem, in this case, is that most of the students come from more conventional classroom environments, and hence treat Teddy McArdle like little more than a blessed alternative—all recess, no homework. Some of them, like a young girl who hesitates to use a saw because her parents probably wouldn’t let her, seem too indoctrinated by authority to embrace the guiding principles.

“Characters” gradually emerge before Wilder’s camera, the kids revealing themselves as troublemakers or team players, suited to the program or decidedly not. But it’s an adult personality that comes into sharpest focus: Alexander Khost, the school’s founder, bristles under the pressure of monitoring (without controlling) an unruly student body; the ideals of Teddy McArdle often seem in direct conflict with the difficulty in realizing them. Does a firm belief that school should be an encouraging, not discouraging, institution outweigh the property damage some of the rowdier kids cause? How does one honor a system of absolute voting rights when the need to overrule a foolish decision presents itself? Khost believes in treating children as equals, but more often than not, he sinks to their level instead of bringing them up to his—especially late in the film, when the behavior of a delinquent student provokes this once-bullied mentor to throw a tantrum and launch an expulsion crusade. (As in the lightly fictionalized The Class, there’s the troubling suggestion that some kids will have to fail for the others to succeed.)

At one point, Khost openly admits that it will probably be two decades—enough time for these first few groups of students to grow up and enter the “real world”—before they’ll know if the Teddy McArdle methodology is a sound one. It’s hard not to wonder what a longer filming commitment, à la Hoop Dreams, might have revealed about the sustainability and value of free schools. But as a microcosmic study of democratic growing pains, Approaching The Elephant is both gripping and often dryly, shockingly hilarious. When Khost is forced to honor a call for meeting and humor debate as to whether jumping off school property is an unalienable right, the occasional absurdity of what he’s sanctioned becomes painfully clear. Wilder gets the same impression across a few minutes earlier, during a long shot of the head instructor chastising a young boy for striking him while another writes “fuck” on a chalkboard nearby… and misspells it to boot. At least one lesson gets imparted within the walls of Teddy McArdle: Get the kinks out before inviting a camera to film your venture."
aadowd  amandarosewilder  approachingtheelephant  2015  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
Approaching the Elephant | A documentary film by Amanda Rose Wilder
“Year one at the Teddy McArdle Free School in Little Falls, New Jersey, where all classes are voluntary and rules are determined by vote. Wilder is there from the beginning to end of the school year, documenting and observing founder Alexander Khost, eleven-year-old Jiovanni, seven-year-old Lucy, along with an entire indelible cast of young personalities as they form relationships, explore their surroundings and intensely debate rule violations, until it all comes to a head. APPROACHING THE ELEPHANT is a vivid portrait of unfettered childhood and human relationships.”
amandarosewilder  approachingtheelephant  2015  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
True/False Diary 1: Approaching The Elephant, Demonstration, Sacro GRA | Filmmaker Magazine
"Halfway through, it’s too early to take the overall temperature of True/False 2014 in its 11th year (my fifth attending, each year with the hotel paid; full disclosure). All smooth so far, though it’s early going, so let’s forego atmospherics at this point and jump into one of the festival’s world premieres, Approaching The Elephant. (“Thanks for everyone being here for basically the highlight of my life,” director Amanda Rose Wilder said in her introduction.) The subject is “free schools”: further left on the continuum than Montessori, and (at least as practiced by the subject school’s founder Alex Khost) an exercise in allowing children to set the educational agenda so they can discover their own identities and regard/empathize others as distinct individuals in their own valuable right.

Khost started the Teddy McArdle Free School in Little Falls, NJ in 2007. In Approaching the Elephant, the nascent institution’s first year is ruthlessly edited into initially disorienting black-and-white shards of faces, hands and bodies in close-up destructive action by festival mascot/director Robert Greene (director of big-time premiere Actress, to be covered in my next post). The film approximates the subjective chaotic world of children given the rare freedom to figure out what they want to do (namely, rage) in an ambiguously structured environment. “There’s definitely a certain amount of ‘is this really working,’” Khost concedes in a rare adults-only chat moment, but concludes it’ll take 20 years to find out.

Kids screaming all sound the same at first; it takes time for the film to unveil the ethical duel taking place between two of them. Jiovanni’s a long-haired wild child, prone to standing in the hallway and disruptively blaring a saxophone for attention. He’s dangerously close to being a bully, and regular foil Lucy doesn’t like it, though she’s not sure where the lines of permissible behavior should be drawn. At one of the school’s administrative meetings (a proto city council gathering, with points of order and votes on the issues of the day), she first voices her opposition to any school rule that would outlaw violent games, then turns around and proposes a rule that saying “stop” requires that someone else stop their negative actions.

Jiovanni’s meandering attempts at playing the piano increasingly dominate the soundtrack, drowning out others as a neat way of demonstrating how his individual presence threatens to extinguish the group project. There’s a scene where, after being chewed out for essentially being a total jerk, he sullenly refuses to admit fault. It took me straight back to third grade; for former problem kids like me, I suspect it’ll be hard not to look at Jiovanni and guiltily admire his relentless free spirit instincts. His repeated disruptions lead another child to yell at him in a meeting for taking every chance he’s given and throwing it away, a speech that’s remarkably similar to an intervention meeting or adult speech canceling a friendship with a self-destructive person.

Approaching The Elephant‘s adolescents are smarter than 80% of the regulars at my local, but intelligence won’t save them; this is a democracy in inaction. The kids do learn to have meetings and lay down the law for themselves, but it’s a victory of attrition against a charistmatic negative force. “Why are you mean?” Lucy asks. “Because I’m bored,” says Giovanni with the candor of self-aware self-destroyers who know exactly who their enablers are. The film works as a parodic demonstration of a nascent democracy, as a portrait of feckless youth, and a study in how charismatic jerks abuse their leeway; it’s a multivalent winner, all the better for its deliberate, focused confinement to one space."
vadimrizov  amandarosewilder  approachingtheelephant  2015  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
“To Film Children in Ways You Don’t Usually See on Film”: Amanda Rose Wilder on Approaching the Elephant | Filmmaker Magazine
"A gripping, obsessively watchable observation of adolescent behavior set free, first time feature filmmaker Amanda Rose Wilder’s Approaching the Elephant finds its inspiration in the inaugural semester of New Jersey’s Teddy McArdle Free School. Following co-founder Alex Khost, a wide-eyed, determined optimist who dreams of (and gets his chance to) run a not-entirely-anarchistic Free School, the film immerses itself amongst the young children experiencing a drastically unfamiliar educational environment. Neither polemical condemnation nor evidence of its success, Wilder’s camera observes the “experiment’s” highs and lows, as school rules/punishments are democratically voted on by the students.

Lovingly photographed (post-converted to black-and-white) and framed in the 4X3 aspect ratio, Approaching the Elephant opens Friday as part of IFP’s Screen Forward series. I spoke with 2013 Independent Filmmaker Lab alum Wilder about her interest in Free Schools, her favorite scene in the film, and always remaining a watchful observer.

Filmmaker: As a first time feature filmmaker, you possess a striking assuredness in your work, and one that feels well versed in documentary history. Who are some of your cinematic influences?

Wilder: I have quite a few. When it comes to filmmakers, I have to cite the Maysles, the Dardennes, Frederick Wiseman, and John Cassavetes. Other detached snippets from filmmakers, such as a camera motion in a Glauber Rocha film or a short by Jerzy Skolimowski, are also influential. There are some strange things too, like Field of Dreams and Gene Wilder in Charlie and the Chocolate Factory. I’m also inspired by poetry and short stories — specifically, for this film, by J.D. Salinger and Roald Dahl.

Filmmaker: The clarity of your images is quite invigorating. What camera did you use? What made you want to shoot in 4X3?

Wilder: The DVX100. It’s still a great camera, and I like how the 4×3 aspect ratio frames people’s bodies. Approaching the Elephant is very involved with people.

Filmmaker: The film opens by noting the history of the Free Schools movement and how they came to popularity. What was your way into the subject? Had you been wanting to observe a Free School in action? Or did The Teddy McArdle Free School specifically pique your interest?

Wilder: I’d visited Summerhill, the longest running free school, when I was ten. My dad is an elementary school teacher and wanted to see what it was like. It was an experience that stuck in my mind. Then I went to an alternative school, Marlboro College, where I switched my focus from poetry to documentary. After I graduated, my film professor, Jay Craven, a Vermont-based filmmaker and producer of Approaching the Elephant, asked if I wanted to make a film with him exploring alternative education. I said yes, and that summer I attended an education conference where I met Alex Khost, who was about to start Teddy McArdle 20 minutes from where my mom lives in New Jersey. Alex was a person I felt I wanted to follow, and I asked him if I could visit on their first day. He went back to those who were involved at the time, and they voted that I could. On the first day I met Lucy and Jiovanni, who were to become the two other main people in the film, and got the sense that this school was going to allow me to film children in ways you don’t usually see on film. I also felt strongly that, beyond any agenda, there was a story.

Filmmaker: The film features numerous seasonal activities that feel rightly commonplace at an elementary school, i.e. a garage sale, a talent show, etc. These events indicate the passing of time, the progression of a full school year. Was it always your intent to observe this “experiment” from the fall through the summer?

Wilder: Yes, while days flow together, there is a clear passage of time. It was less about executing a predetermined intent than letting my developing interests and the unfolding story guide what was filmed. Beginning on the first day of school and ending on the last made sense, story-wise.

Filmmaker: Stationed in the school’s parking lot, you employ numerous establishing shots of the school, a prominent white cross displayed on its roof. It doesn’t seep into the narrative necessarily, but your camera features consistent reminders that this is a religious institution first.

Wilder: Well, there’s humor there, that this radically alternative school was renting space from a church. It’s just one of those details you could never make up, or I couldn’t. I love the cross shots. I wouldn’t want to run too far with it, it’s great as just a visual, but you certainly could – is this a story of heaven or hell, which is which, inside the school or the world surrounding? etc. The reality is that many free schools are housed, at least at first, in churches because of the relatively low cost of rent.

Filmmaker: One particularly striking sequence features the kids in shop class, using sharp saws to cut wood and hammers to strike down nails. Your camera gets dangerously close to the action, and I cringed at the potential danger prevalent throughout. And yet you always refrain from getting involved and imposing onto their world. How quickly did the students grow comfortable with you? Did you have a large crew?

Wilder: Not at all. Recently whenever I’m at screenings, I stay until the end of this first woodworking scene you’re talking about and then leave. Honestly I am a little tickled by audiences’ gasps and exclamations. I know that at that point in the film people are hooked into the story and weighing what’s going on. At no time did I ever feel the kids were being unsafe with the woodworking tools. Mostly they were using coping saws, from which the worst you can get is a minor cut. Organized sports are probably more dangerous!

Maybe it’s something about the closeness and low angle of one of the shots in that scene that scares people. A big issue in the film is safety – a determinant that has so much to do with what children can and cannot do and how they live their lives. My acceptance at Teddy McArdle was immediate. This was a new and small group, and everyone was very open. Two factors that probably helped a lot were, 1) everyone was very engaged with what they were doing, and 2) I was a one-person crew, operating camera and sound.

Filmmaker: You often position your camera down the end of a school hallway, observing from afar the rambunctious, uninterrupted (and often unsupervised) activity of the students roaming about. The camera is the watchful eye that’s never acknowledged. Was this your intent?

Wilder: I think it’s more my personality than intent. I love to observe, to move an audience through a story by how I move the camera and then with the editing. Some filmmakers like to be in the foreground, which is fine, but that’s just a different kind of person than me.

Filmmaker: In many ways, the film is about the silent reactions of others. You continuously cut to the face of a student in the room who is not the focal point of the discussion, the most poignant example of this being one you showcase on the film’s official poster: Jiovanni stares off into the distance as his fellow classmates debate whether or not to expel him.

Wilder: Thanks! That’s a nice observation. The film focuses on three people but relies just as much, if not more so, on the watchful observations of others, on what’s going on with someone’s hands as much as their face, processing as much as talking. As the narrative barrels forward, it sort of momentarily hovers in these moments and you can feel a sort of collective thinking.

Filmmaker: Some have used Lord of the Flies as a reference when describing the film, but the film feels more like a courtroom drama, a 12 Angry Men for first time jurors learning how to mature and respect their fellow man. You watch them closely as they become frustrated with the burden of decision-making and the grayness involved in doing what’s right. What drew you to featuring these key organized meetings?

Wilder: There is a lot of woodworking and meetings in the film because I found the meat of the story there. I’ve never gotten through William Golding’s Lord of the Flies, as I find the tone so disparaging of the kids. I haven’t seen 12 Angry Men. Are there any women in it? You really can’t deny the importance of Lucy in Approaching the Elephant.

Filmmaker: Speaking of Lucy, in one scene, she takes Alex to “court” and is confused when she discovers a loophole in the rules: since Alex is the grownup, he has the final say. Lucy struggles internally with her disappointment here, as she discovers a hidden bifurcation of student and teacher lines.

Wilder: It’s my favorite scene. I love how Alex and Lucy treat each other with complete respect, and yet at the same time firmly stand by their points. When we shot this, he was 32 and Lucy was seven. For people who aren’t used to treating kids as equals, it’s quite a mind warp. Lucy is such a force.

Filmmaker: Your editor and co-producer Robert Greene has been quite vocal about recognizing the performance-based aspects of documentary subjects. With that in mind, Jiovanni emerges from this film as a troubled but fascinating character, a misguided rebel who, by the film’s conclusion, encounters an unfortunate fate at the hands of his peers. Could you speak a little bit about what his presence brings to the film?

Wilder: I felt Jiovanni’s presence the minute I met him. He is one of those magnetic and fascinating figures, up against certain challenges and who you can’t help but hope succeeds. But will he? In this way, in my mind, Jiovanni is very much a young version of Alex. And Lucy exists in a different sphere. A.S. Neill, who started Summerhill said, “A child’s wish to be an adult is a power wish.” Lucy’s approach to this wish, to be as strong as Alex (and Jiovanni) is very different than Jiovanni’s approach, who bucks the… [more]
amandarosewilder  approachingtheelephant  2015  erikluers  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
The School Where Children Can Do Whatever They Want (Pretty Much) - VICE
“Amanda Rose Wilder’s new documentary Approaching the Elephant follows a year at the Teddy McArdle Free School in suburban New Jersey, an alternative elementary school organized around the principles of self-regulation. Named for a child prodigy from a J.D. Salinger story, Teddy McArdle consists of about a dozen students, several teachers, and no mandatory classes. At first glance, the school day seems to be improvised from moment to moment, with the adults relying on suggestion and a loose parliamentary style of rule-making to channel the students’ energies around one project or another for the day, or not. The school seems to operate in a limbo between class and recess.

At the center of this activity is the school’s founder Alex Khost, an endlessly energetic and patient man in his early 30s who hated school as a child and is determined to create something better as an adult. Much of the drama revolves around two of his pupils: Jiovanni, a sensitive and creative 11-year-old boy who often becomes a disruptive and destructive presence, and Lucy, an outspoken and critical seven-year-old, who swings back and forth between being attracted to Jio and being bullied by him. In one of the film’s most memorable scenes, Lucy tells Alex, “I don’t like the things he does, but it’s boring when he’s not here,” more or less framing everyone’s relationship with Jiovanni. Can Alex’s radical vision for a new kind of school deal with a bright, charismatic kid who won’t cooperate?

A disciple of the Maysles Brothers and their Direct Cinema revolution of the 1960s, Rose Wilder found a perfect subject in the Teddy McArdle Free School for her fast-moving, observational style, which arrives free of commentary or context in a timeless black-and-white presentation. This stylistic choice feels important, because it helps release the film from the realm of current events and moves it closer to a timeless study of childhood, capturing something raw and elemental about how children are that isn’t specific to any decade. No matter your opinions on education or your personal experience of childhood, you’ll find it hard to experience Approaching the Elephant without feeling affected.

VICE: How did you come across the Teddy McArdle Free School and why did you decide to make a film there?

Amanda Rose Wilder: I started the film when I graduated from college, about eight years ago. Before that, my main interest was poetry and then I sort of transitioned over to film, and I found Direct Cinema to be sort of an interesting mirror of poetry in film. I remember watching the Maysles Brothers’ Gimme Shelter and thinking about how you can unpack that film unendingly. It’s fun to unpack in the way that a poem is fun to unpack. Meeting Alex Khost had everything to do with my interest in making a film about the school because he was so open and charming. Opening the school really mattered to Alex. He’d been bullied and hated going to school when he was young, and didn’t want his newborn son to have to go through the same experience. I was excited by the idea of people starting something new and mostly doing it on their own, and I wanted to see it unfold. The individuals at Teddy McArdle and what happened between them are really the story.

One of things I was most impressed by was how the school charges its students with running an active democracy in order to get anything done. The idea that students and teachers are equal and have the same degree of power in the school sounds simple and appealing on the surface. Over the course of the film, you begin to appreciate how heavy this responsibility is, and it’s incredible to watch children work to deal with it. It’s very different from the traditional American public-school experience, which is not very democratic at all, or only in highly mediated and controlled situations.

There is a scene where Lucy calls a meeting on Alex for harassment—actually, for not allowing her to jump off of a storage bin—for making a rule by himself instead of voting on it as a democratic community. It’s such a mind warp because both Lucy and Alex are treating each other with such respect as equals, and yet she’s seven and he’s 31. For me, the movie is about kids making real decisions for themselves. Most of the time when you see a movie where this happens, it’s not about kids in school but kids who live on the street, like the documentary Streetwise. The free school model allowed me to capture something about childhood that you aren’t often allowed to see. The tensions and fighting and bullying, which exist in all schools, but the community and joy and inspiration as well.

The way the students and teachers resolve their problems with Jiovanni, the most disruptive kid in the school, was really surprising. Having to collectively decide whether or not to expel a disruptive classmate is not a situation that most elementary schools place their students in. By the time we arrive at this scene, you have to be impressed at how proactive the Teddy McArdle kids need to be in order to maintain a school that functions at all.

There have been conflicting reactions to how the narrative of the film unfolds. Some people see the school as dissolving into chaos, and some people see the school coming together and starting to work in functional way. For me, the school was like a family at that point. Everyone really cared about Jiovanni, the student who they had to make a huge decision about whether or not to expel, who had been given months and months of second chances. I was myself expelled from high school and it was such a different experience, a one-strike-and-you’re-out kind of thing. Jiovanni himself completely understood what was happening to him.

At screenings of the film, Alex is sometimes asked what he would have done differently. While many things could have been done differently, it’s hard to really do something for the first time again, you know what I mean? Everyone has a first time, and it’s always imperfect. I like that about the film, that it shows imperfections and shows people not always acting the best. Not every documentary has to be about a perfect hero. Alex does behave heroically at times, but he’s human and he has flaws, we all do.

What’s your hope for the film? What do you hope people see and take away from it? Can it contribute to a larger conversation about education or politics or life?
I think that whenever you’re filming something, you are promoting it in some way. What I hope the movies promotes is someone like Alex trying something new, and not necessarily doing it right the first time. Giving something new a shot. I remember meeting Alex and how his face was so alive and so excited when he was talking about starting this new and different school. I would rather film someone like that than someone who’s been doing the same thing for years and looks dead. I have my own feelings about free schools, but the movie is more about childhood in general and touches on larger questions about democracy and community. Lucy and Jiovanni are examples of how a child can be scary and inspiring all at once. Kids need to make mistakes and do things wrong and cry. Just like adults do. Focusing on two people who are under ten and showing all the qualities of their personalities was important for me, showing the rawness and messiness of childhood.”
amandarosewilder  approachingtheelephant  2015  matthewcaron  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
A Filmmaker Follows Education Without Required Classes — Even Math : NPR
“”So you don’t have to do math?” asks a child early on in the documentary Approaching the Elephant. His teacher, Alex, has just explained one of the rules of the Teddy McArdle Free School, where this student and a dozen or so others (who, from the looks of it, range in age from around five to ten) are now enrolled. There are no required classes and almost no prescribed rules. Instead, kids can focus on whatever interests them and teachers and students propose and vote on rules together.

So no, nobody at Teddy McArdle has to do math if they don’t want to, a piece of news that’s heralded with cries of “yay” and “awesome.”

Approaching the Elephant documents Alex’s attempts to implement this radical teaching philosophy during Teddy McArdle’s first year of classes, which began in September 2007. Director Amanda Rose Wilder came to the school with no crew, handling camera duties solo, an approach that undoubtedly helped foster the film’s immersive feel.

At a superficial level, the film continuously flirts with chaos. Its aspect ratio is narrow and confining. For much of the movie, we’re surrounded by the cacophony of shrills, yells and arguments and the unspecified noise that inevitably ensues when you allow kids to do almost whatever they want. The camera, right in the thick of things, sticks mainly to close-ups of the teachers’ and students’ faces. Very rarely does Wilder pull back into wide shots for a breather.

And on several levels, that’s just not the kind of movie Approaching the Elephant is. It’s not a documentary that takes that wider view and hopes to enlighten us about the principles of the Free School or argue for its merits or deficiencies. As edited by Robert Greene—who also edited Listen Up Philip, directed the fantastic documentary Actress and helps give Approaching the Elephant its entrancing, tight, whirlwind rhythm—the final effect ends up closer to 2012’s Leviathan than Waiting for Superman. It’s a visceral, experiential, and absorbing viewing experience, not an educational issue doc.

That said, beneath Approaching the Elephant’s manic surface lies an elementary structure provided by its focus on two students: Lucy and Jiovanni. Lucy is outspoken and, in some ways, a model student for the free school. At one point, she goes so far as to debate Alex about whether he has the right, in the name of safety, to unilaterally forbid students to jump off a filing cabinet onto a mattress. “What you decide by yourself, I’m not going to listen to it,” Lucy says, and in the context of this school, the argument has some merit.

Jiovanni is the troublemaker—rambunctious, angry and, in many cases, a bully. He particularly enjoys tormenting Lucy, and the two repeatedly wind up in emergency conflict resolution meetings. (Everything at the school is handled democratically, so when a student feels hurt, threatened, or insulted they can call an emergency meeting where all sides present their side of the story. Later, if necessary, a jury made up of students and teachers decide whether a punishment is merited.)

Eventually, as the misconducts pile up, Alex and others wonder whether Jiovanni can handle the freedoms that the Teddy McArdle School offers. The movie’s lingering question, though, is more general. With every new fight, yelling match, and emergency meeting, the school and its pedagogical experiment seems to inch closer to implosion. You begin to imagine the kind of disaster, the kind of injury, that might shut it down completely. You begin to expect it. It’s exhausting.

It’s also brilliant. Without delivering lectures about the tenets of the free school philosophy (we enter having been told only that it originated among Spanish anarchists in the early 20th century and that there over 250 free schools in the world today), Wilder initiates us into the tensions that produce its existential crises. Having created a space where children can express themselves with nearly no restrictions, Alex and the other teachers then must try to create some structure, some habitat for learning, without imposing a system. (The movie’s mixture of order and chaos, in this sense, mirrors the school.)

Another essential component of free school philosophy is respect—Alex continuously implores the kids to treat each other like human beings. But while that extends to how Alex hopes to interact with the students as well—as one adult among others rather than as a teacher enforcing edicts—the situation at times seems to backfire, pushing everyone toward bickering and petulance.

There are times when you see the benefits of Alex’s approach. By the end of the film, many of the students, who in meetings regularly propose and debate potential rules and practices for the school, are arguing their opinions with impressive eloquence and confidence.

But there’s also a moment where Alex, frustrated by the kids’ continuous misbehavior, threatens to quit the school. “I don’t like being around people who are mean to other people,” he tells the students. That makes you wonder whether teaching elementary school is really for him. It also highlights how, at least in the vision offered by Approaching the Elephant, Teddy McArdle seems persistently embroiled in conflicts.

Alex and other teachers offer a number of reasons for this frustration: that the kids, unaccustomed to their freedom, are taking advantage of it until they become bored (one person calls it the “gangster phase” of the school’s development); that the school needs a few years before its merits will be evident; that, because it’s an alternative school, the school attracts not just children who might benefit from its approach but also those who haven’t succeeded in other settings and are looking for any other option.

Wilder never declares which of these might be most true. She in fact shot two years of footage at Teddy McArdle, staying on until the school shut down in 2009, but her decision to focus only on the inaugural year was astute. It not only focuses the film, but also leaves us absorbed in the primal battle we’ve witnessed between well-intentioned philosophy and human nature. There’s no closure or natural victor. Only Alex talking about the changes he hopes to make in the school’s second year and the thought, in the back of our heads, that at no point in the movie did we see any of the kids doing math.”
amandarosewilder  approachingtheelephant  2015  tomashachard  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
Getting Real With The Director of Must-See Documentary ‘Approaching the Elephant’ | BlackBook
“Imagine the scene of a group of precocious schoolchildren having a democratic meeting about who has the right to a piece of wood—each as expressive in their righteous anger or inquisitive silence, while patiently awaiting the final verdict—and you’ll begin to understand the allure of Approaching the Elephant, one of the finest American documentaries in recent memory. The feature debut by Amanda Rose Wilder depicts the inaugural year of the Teddy McArdle Free School in New Jersey, where director Alex Khost and his colleagues teach art history, woodworking, a variety of instruments, and whatever else the kids decide they want to do that day. It’s a bustling, genuinely curious portrait of communal education that seems incredibly generous, exciting, and even a little scary all at once.

Elephant is reminiscent of the films of Frederick Wiseman and the Maysles Brothers, which observe American institutions with patience and a deep faith in their subjects that feels wholly unburdened by commercial concerns. We’re never told how to watch these incredibly engaging children, much as they occasionally develop Brat Pack-esque roles and behaviors. A vague love story develops between fiery blonde Lucy and surly Jiovanni, who roughly function as protagonists under Wilder’s solitary roving camera—until Khost, the viewer and their fellow classmates are forced to accept that not all children thrive under these circumstances.

Shot nearly eight years ago, converted to black-and-white and pieced together by reliably efficient editor Robert Greene (Actress, Listen Up Philip), the film finally opens today for a weeklong run at the IFP Media Center in DUMBO. I had the pleasure of speaking with Ms. Wilder about the origins and inspiration behind the film, and how the subjects responded to it many years later.

How did you first conceive or become involved with this project?

My dad is an elementary school teacher and was always interested in more progressive, unconventional models. He took me once to visit Summerhill, which is the longest-running and most famous free school in the UK. That was my first interaction with free schools, and it was a memorable experience—but he wanted to know if I wanted to enroll there, and it was way out over the ocean. I didn’t really get it at the time, that school could be riding horses all day.

Then he moved with my stepmom to Missouri, and I went on my own volition to a prep school in Connecticut. I had a bad experience in boarding school and didn’t really understand what prep culture was. Ultimately, I think bad experiences are good for you, but I kind of went the opposite way in college. I went to Marlboro in Vermont, which is more progressive—you design the last two years of your education and plan a concentration, which is more like a graduate program than a B.A. That’s where I switched over from poetry to documentary, and my thesis was on “the documentary poem”.

That’s when I became obsessed with the Maysles brothers, and the idea of observational filmmaking as this art, or poetry. And then my film professor, Jay Craven, a filmmaker who makes films about regional Vermont stories, asked if I wanted to make a movie with him exploring progressive education in some way. He raised some money for that and then asked if I wanted to go to this alternative education conference called Aero, and so after I graduated I went there and did all these interviews, and one of those people that I just met on the street was Alex [Khost], who was just about to start Teddy McArdle. It was going to be 20 minutes from where my mom was living, and I was sort of in transition, so I decided to shack up with my mom and basically film there the whole year. I shot about 178 hours the first year, and then 40 or 50 hours the year afterward.

Was your aesthetic for this film inspired by any particular films or filmmakers?

The Maysles were my first real film influence. When I saw Gimme Shelter for the first time, I watched it straight through again a second time, and just recognized something in it that I thought—that’s the kind of film I want to to make. I guess to me, direct cinema is related in a lot of ways to poetry, in that it’s about so many things—it’s so fun to unpack a film.

Richard Brody wrote a capsule review [in the New Yorker] that sort of criticized the fact that I wasn’t a presence in the film. It had me thinking a lot about being a presence, and obviously there’s a strong tradition in direct cinema of not really being present. People talk to you, and you kind of cut that out. But what I always liked about the Maysles’ films is that the filmmaker is…not in the foreground, but very much present. So much is [about] the eye of the camera and also the editor, which is how it was for this film as well. Robert Greene realized that I’m much more of a shooter, and that I needed someone who complements my talents with other necessary ones.

I was able to shoot a second camera with Albert Maysles and edit that material, to watch his footage and mine side-by-side, which was definitely a learning experience. Sean [Price] Williams, the cinematographer, who was also working with the Maysles at the time—I would go see films with him, and that’s how I originally met Robert, outside of Anthology Film Archives years and years ago.

There was some narrative influence as well. Le Fils by the Dardenne brothers is also very much about woodworking and a man-boy relationship and the idea of a naturalistic narrative, which breaks from the direct cinema form a little bit.

It reminded me a bit of Allan King’s Warrendale, in terms of the proximity you had to these kids, and with caregivers trying to contain the emotions of so many different troubled children all at once.

Yeah, there’s that whole alternative community. And you’re just constantly back and forth in Warrendale, whether their methods are horrible or their methods are working—which I think is a good place to put a viewer in.

During that scene where they hold a meeting to discuss Lucy’s harassment, I noticed how you were able to maneuver around the room to focus on each of the participants, while also getting that great insert of Olivia playing with Alex’s keys. These moments never feel hurried or strained. Was your filmmaking mostly intuitive, or did you have a game plan when dealing with these group sequences?

I think there were a lot of elements of Teddy McArdle that helped make it a consistent place for observational filmmaking—one being that it was really limited to one space. A lot of the movie takes place in maybe three rooms, and there were always a lot of people sitting around talking, so it was very easy to just be behind people. And I was there on the first day of school, so I think that helped. I think being there from the outset really helped people [get used to it], and that it was just me.

I think it was mostly working instinctually. I would get there and I would pick up on a conversation across the room, and I would go over and listen…I was always trying to find scenes, or shots that I felt captured me. Then there were scenes that I knew were going to happen, or there was a little bit more preconceived thinking, and that was one of those scenes. Alex knew that I was interested in filming that scene [once the hearing was called], and he approached me and said, why don’t we do this one now.

Another example is the scene at the end where they decide what to do with Jiovanni ultimately. I guess I sort of gathered in my head who I would want to focus on, and just remind myself not to get too distracted and bounce around a whole lot.

That was one thing I always noticed about Al Maysles was how patient he would be [with his subjects]. The best cinematographers always sort of inspire you. I remember watching this Glauber Rocha movie, where during a sewer scene, there was a shot I really liked where the camera just sort of moved forward into people talking. And in the sewer scene [in Approaching the Elephant] where Lucy’s talking into Olivia’s ear, I just moved in and picked up that shot. I decided to re-enact it in that moment.

I was also curious what the “inappropriate movies” were that Jiovanni was cited for watching at his hearing at the end.

That’s a good question! I can’t actually answer that. I don’t think it was sexual in nature. I think it was more like there was a rule for younger kids, like 5 years old who were more scared by violent things, and he just wasn’t respecting those rules.

Have any of the kids seen the film? It would be fascinating if you did a kind of Chronicle of a Summer-style screening for all of them together, and filming their reactions.

They’re all 16 to 17 years old now, and we had a screening for people in the film about a month before it premiered at True/False last year. Jiovanni flew up from Florida, where I am now, and he stayed with us in Brooklyn a few days ahead of screening the movie at Lucy’s house. That was neat, and I did really want to film at that time, because we had Alex and Jiovanni—who’s taller than Alex now!—and he works at the Indy 500 racetrack. But I did feel like it was important to have some time with him without filming, and to get to know each other better, since in a way I didn’t really get to know him as a person without the camera in hand.

Alex and I talk about what an interesting film it would have been to have made about the last year of our lives together. We’ve done all the Q&As together, in Copenhagen, Italy, elsewhere. I’ve definitely heard all the people’s impressions of the movie, which are so varied.

But most [of the participants] have seen it, and I think everyone likes it, thinks it’s a good or great film. Lucy loves it, I think, though she says she remembers she had more fun, and wished I had included more fun moments.

It looked like she was having fun to me!

She really did seek out attention from the boys, which was fun a lot of the time, and then it crossed the line. She… [more]
amandarosewilder  approachingtheelephant  2015  micahgottlieb  teddymcardlefreeschools  summerhill  freeschools  democraticschools  alexkhost  film  documentary  education  unschooling  schools  schooling  children 
6 weeks ago by robertogreco
CHOMSKY & MUJICA by Saul Alvidrez — Kickstarter
"“CHOMSKY & MUJICA” is the movie of the most important intellectual of our times and the most beloved politician in the world, Noam Chomsky and Pepe Mujica; an unprecedented encounter full of wisdom.

This documentary, especially made for the younger generations, is a beautiful and urgent message to humanity. Explore love, life, freedom, power and the biggest challenges of the 21st century with two extraordinary characters that had never crossed paths before.

The historic encounter was filmed at the home of the former Uruguayan President José “Pepe” Mujica, in Montevideo, Uruguay. In there, Noam, Pepe, and their wives Valeria and Lucia, had a lovely family weekend to know each other, enjoy a delicious barbeque, share incredible life experiences and engage in very deep conversations that will never be forgotten.

SOBRE EL DOCUMENTAL:
“CHOMSKY & MUJICA” es la película del intelectual más importante de nuestros tiempos y el político más querido del mundo, Noam Chomsky y Pepe Mujica; un inédito encuentro lleno de sabiduría.

Este documental, especialmente dirigido a las generaciones más jóvenes, es un bello y urgente mensaje a la humanidad. Explora el amor, la vida, la libertad, el poder y los principales retos del siglo XXI junto con dos extraordinarios personajes que nunca antes habían cruzado sus caminos.

El histórico encuentro fue filmado en la casa del ex presidente uruguayo José “Pepe” Mujica, en Montevideo, Uruguay. Ahí, Noam, Pepe, y sus esposas Valeria y Lucía, tuvieron un encantador fin de semana para conocerse, disfrutar de una deliciosa parrillada, compartir experiencias increíbles y también entablar profundas conversaciones que jamás serán olvidadas."
noamchomsky  josémujica  documentary  film  2019  saúlalvídrezruiz 
11 weeks ago by robertogreco
La Hora de los Hornos - Parte 1 - Neocolonialismo y violencia : Free Download, Borrow, and Streaming : Internet Archive
“La Hora de los Hornos - Parte 1 - Neocolonialismo y violencia

La Hora de los Hornos, es un film argentino realizado en 1968 por los cineastas Fernando “Pino” Solanas y Octavio Getino, integrantes en ese entonces del Grupo de Cine Liberación.

El film está dividido en tres partes:
1) “Neocolonialismo y violencia”
2) “Acto para la liberación”, dividido a su vez en dos grandes momentos “Crónica del peronismo (1945-1955)” y “Crónica de la resistencia (1955-1966)” [https://archive.org/details/ActoParaLaLiberacion ]
3) “Violencia y liberación” [https://archive.org/details/ViolenciaYLiberacion ]

El narrador es el locutor y actor Edgardo Suárez.

Esta película recién pudo ser estrenada formalmente en la Argentina en 1973 debido al contexto político de aquella época (para entonces ya había ganado varios premios en Europa).

En 1989 fue reestrenada y en 2008 reeditada en una versión extendida.”

[”La Hora de los Hornos, es un film argentino realizado en 1968 por los cineastas Fernando “Pino” Solanas y Octavio Getino, integrantes en ese entonces del Grupo de Cine Liberación.

Este film está dividido en tres partes: “Neocolonialismo y violencia”; “Acto para la liberación”, dividido a su vez en dos grandes momentos “Crónica del peronismo (1945-1955)” y “Crónica de la resistencia (1955-1966)”; “Violencia y liberación”. El narrador es el locutor y actor Edgardo Suárez.

Esta película recién pudo ser estrenada formalmente en la Argentina en 1973 debido al contexto político de aquella época (pero para entonces ya había ganado varios premios en Europa).

En 1989 fue reestrenada y en 2008 reeditada en una versión extendida.”
https://es.wikipedia.org/wiki/La_Hora_de_los_Hornos

“The Hour of the Furnaces (Spanish: La hora de los hornos) is a 1968 Latin American film directed by Octavio Getino and Fernando Solanas. ‘The paradigm of revolutionary activist cinema’,[1] it addresses the politics of the 'Third worldist’ films and Latin-American manifesto of the late 1960s. It is a key part of the 'Third Cinema’, a movement which emerged in Latin America around the same time as the film’s release."
https://en.wikipedia.org/wiki/The_Hour_of_the_Furnaces ]

[via:
(quotes)https://www.instagram.com/p/B3SjqOEgZm2/
(poster) https://www.instagram.com/p/B3SiGr0gCD_/ ]
neocolonialism  violence  latinamerica  1968  fernandosolanas  pinosolanas  octaviogetino  film  documentary  cheguevara  frantzfanon  disobedience  capitalism  cia  us  imperialism  edgardosuárez  thehourofthefurnaces  lahoradeloshornos  revolution  activism  politics  thirdcinema  peronismo  brasil  brazil  argentina  resistance  liberation  freedom  1973  2008  1989  history 
october 2019 by robertogreco
David F. Noble: A Wrench in the Gears - 1/8 - YouTube
davidnoble  power  education  progressive  corporatism  highered  highereducation  documentary  rules  schools  schooling  deschooling  unschooling  cv  learning  howwelearn  howweteach  teaching  activism  authority  abuse  academia  resistance  canada  us  lobbying  israel  criticalthinking  capitalism  experience  life  living  hierarchy  oppression  collegiality  unions  self-respect  organizing  humanrights  corporatization  luddism  automation  technology  luddites  distancelearning  correspondencecourses  history  creditcards  privacy  criticaltheory  criticalpedagogy  attendance  grades  grading  assessment  experientialeducation  training  knowledge  self  self-directed  self-directedlearning  pedagogy  radicalpedagogy  alienation  authoritarianism  anxiety  instrinsicmotivation  motivation  parenting  relationships  love  canon  defiance  freedom  purpose  compulsory  liberation 
july 2019 by robertogreco
Arthur Jafa: Not All Good, Not All Bad on Vimeo
"We went to Los Angeles and visited the winner of the prestigious Venice Biennale's 2019 Golden Lion, American artist and filmmaker Arthur Jafa. In this extensive interview, he talks about black identity in connection with his critically acclaimed video ‘Love is the Message, The Message is Death’, which became a worldwide sensation.

“I’m trying to have enough distance from the thing, that I can actually see it clearly. But at the same time, be able to flip the switch and be inside of it.” Jafa describes how he has rewired himself to push towards things that disturb him. He grew up in the Mississippi Delta, one of the poorest regions in America, and admires the fearless and relentless pictures from that region by Danish photographer Jacob Holdt in ‘American Pictures’ (1977): “They exist outside of the formal parameters of art photography. I think they exist outside of journalism. They’re something else.”

Since childhood, Jafa has collected images in books, as if he was window-shopping, “compiling things that you don’t have access to.” The act of compiling and putting things together helps him figure out “what it is you’re actually attracted to.” When he “strung together” ‘Love is the Message, The Message is Death’, it was engendered by the explosion of citizen cellphone-documentation – the point in time where people discovered the power of being able to document. Jafa comments that his “preoccupation with blackness is fundamental philosophical” rather than political, and considers ‘whiteness’ a “pathological construction that’s come about as a result of a lot of complicated things.” In continuation of this, Jafa is against “highs and lows,” and some of the power of the work, he finds, is that it doesn’t make those distinctions. Instead of doing hierarchies, it accepts that opposites don’t have to negate each other, and tries to understand the diversity, differentiation and complexity in the world: “It’s not all good, it’s not all bad.”

Arthur Jafa (b. 1960) is an American Mississippi-born visual artist, film director, and cinematographer. His acclaimed video ‘Love Is the Message, The Message Is Death’ (2016), shows a montage of historical and contemporary film footage to trace Black American experiences throughout history. Jafa has exhibited widely including at the Hirshhorn in Los Angeles, Institute of Contemporary Art in Boston, Tate Liverpool in Liverpool and Serpentine Galleries in London. His work as a cinematographer with directors such as Spike Lee and Stanley Kubrick has been notable, and his work on ‘Daughters of the Dust’ (1991) won the ‘Best Cinematography’ Award at Sundance. In 2019, Jafa was awarded the Golden Lion for best artist at the Venice Biennale for his film ‘The White Album’. Jafa has also worked as a director of photography on several music videos, including for Solange Knowles and Jay-Z. Jafa co-founded TNEG with Malik Sayeed, a “motion picture studio whose goal is to create a black cinema as culturally, socially and economically central to the 21st century as was black music to the 20th century.” He lives and works in Los Angeles.

Arthur Jafa was interviewed by Marc-Christoph Wagner at his studio in Los Angeles in November 2018. In the video, extracts are shown from ‘Love Is the Message, The Message Is Death’ (2016) by Arthur Jafa. The seven-minute video is set to Kanye West’s Ultralight Beam.

Camera: Rasmus Quistgaard
Produced by: Marc-Christoph Wagner
Edited by: Roxanne Bagheshirin Lærkesen
Copyright: Louisiana Channel, Louisiana Museum of Modern Art, 2019

Supported by Nordea fonden"
arthurjafa  art  film  filmmaking  identity  blackness  whiteness  photography  imagery  collection  images  books  compilation  compiling  access  collecting  collections  documentation  documentary  complexity  video  montage  marc-christophwagner  childhood  mississippi  bernieeames  distance  survival  experience  culture  mississippidelta  seeing  perspective  democracy  smarthphones  mobile  phones  cameras  jacobholdt  clarksdale  tupelo  patriarchy  race  racism  billcosby  duality  hitler  thisandthat  ambiguity  barackobama  keepingitreal  donaldtrump  diversity  hope  hierarchy  melancholy  differentiation  audience  audiencesofone  variety  canon 
july 2019 by robertogreco
Patricio Guzmán - Capturing Reality
“Our Own Take on Reality

The Great Archive of Humanity

The Battle of Chile: Continuing the Debate

Reality is Chaos

The Battle of Chile: Bringing Order to Chaos

The Music of Everyday Life

The Battle of Chile: Chris Marker to the Rescue”
patricioguzmán  chile  film  filmmaking  documentary  thebattleofchile  reality  humanity  everyday  chrismarker  storytelling  noticing  seeing  attention 
june 2019 by robertogreco
About | Capturing Reality | NFB
[project site: https://capturingreality.nfb.ca/ ]

“Filmmakers have been turning their cameras on the real world since the time of the Lumière Brothers — and the documentary genre has sparked impassioned creative debate ever since.

What comes into play when filmmakers set out to represent reality? What ethical concerns arise when portraying real people on screen? How does music condition our emotional response to film?

From cinema-vérité pioneers Albert Maysles, Joan Churchill and Michel Brault to maverick moviemakers like Errol Morris and Nick Broomfield, and socially engaged directors like Kim Longinotto, Patricio Guzmán and the legendary Alanis Obamsawin — some of the doc world’s brightest lights reflect upon the unique power of the genre in in this interactive companion to Pepita Ferrari’s 2008 feature documentary of the same name.

Ferrari interviewed 38 documentarians to make the feature version of Capturing Reality, amassing over 80 hours of footage with master filmmakers from around the world. The interactive documentary showcases 163 interview clips curated from this footage that can be navigated by topic or theme. Viewers can navigate freely through the content or watch all of the interviews with a particular filmmaker or those related to a specific topic.

Originally built in FLASH and released in 2008, this project was rebuilt using Wordpress and re-released for web and mobile in 2018.”
nfb  nbc  documentary  film  filmmaking 
june 2019 by robertogreco
Shipbreakers - YouTube
"This feature documentary profiles a bustling Indian shantytown where 40,000 people live and work in the most primitive conditions."
documentary  video  towatch  india  shipbreaking  nfb  nfbc 
june 2019 by robertogreco
Riding Bikes With Candy Colored Rims In Oakland [Documentary] - YouTube
"We spent the day with the Original Scraper Bike Team. Scraper Bikes -- coined by Tyrone “Baybe Champ” Stevenson Jr. because of their resemblance to modified “scraper” cars with large chrome rims -- began appearing on East Oakland’s streets in the early 2000s, when the Bay Area’s Hyphy movement had become a national phenomenon. Hidden inside a DIY bike shop on the corner of 50th and International Boulevard, Grit “mobs” with some of Oakland’s youth re-aligning bike forks, twisting handlebars, and raising seat posts barely high enough to reach. The result? A movement that is changing the bike game as we know it."

[Se also:
"SCRAPER BIKE - Trunk Boiz" (2007)
https://www.youtube.com/watch?v=geIsWq5xOSE ]
oakland  scraperbikes  bikes  biking  2015  documentary  2007 
may 2019 by robertogreco
Eat White Dirt
[Streaming here:
https://www.thirteen.org/programs/reel-south/reel-south-eat-white-dirt/ ]

[Trailer: https://vimeo.com/38115198 ]

[See also:
https://en.wikipedia.org/wiki/Kaolinite
https://en.wikipedia.org/wiki/Geophagia
https://en.wikipedia.org/wiki/Medicinal_clay
https://en.wikipedia.org/wiki/Pica_(disorder)

"The American South Is Still Eating White Dirt: Geophagy, the technical term for deliberately eating earth, soil, or clay, sounds like a terrible idea. Yet in many parts of the world, this is not considered strange or rare, but a culinary past time."
https://www.vice.com/en_us/article/pgxwvk/the-american-south-is-still-eating-white-dirt

"The Old And Mysterious Practice Of Eating Dirt, Revealed"
https://www.npr.org/sections/thesalt/2014/04/02/297881388/the-old-and-mysterious-practice-of-eating-dirt-revealed ]
dirt  whitedirt  geophagy  film  documentary  food  pica  south  americansouth  nutrition  clay  health  medicine 
may 2019 by robertogreco
‘People are finally talking about class’: Astra Taylor on US democracy, socialism and revolution | Film | The Guardian
"Astra Taylor hasn’t always been interested in democracy. “There was this vagueness about the word that just seemed to be not just corruptible but almost inherently corrupt,” says the writer, film-maker and activist. “I was attracted to words like liberation, emancipation, equality, revolution, socialism. Any other word would get my pulse going more than democracy.” For her, democracy was a word imperial America used to sell free markets and push its agenda.

Yet Taylor, a lifelong activist, says that she also always felt there was “a contradiction” inherent in democracy that puzzled her. For all the cynicism the word attracted, she could see there was power in an idea meant to strengthen the people, a power that she explores in her new documentary, What Is Democracy?, and her upcoming book, Democracy May Not Exist, But We’ll Miss It When It’s Gone.

In the US, the election of Donald Trump in 2016 sundered the body politic, while that same year, the Brexit referendum split the UK. Trump has used his office to undermine the media, the legal system, the electoral process itself and anyone who questions his will – all while praising dictators and suggesting the US may one day have “a president for life”.

Russia has shown how foreign powers can use technology to hack democracy, the economic success of China’s one-party capitalism has demonstrated a different model, and the seemingly unstoppable rise of the 1% has laid bare how big money skews the system.

The D word really started to grip Taylor while she was writing her previous book, The People’s Platform, a critique of Silicon Valley’s self-interested “utopianism”, published in 2014. “I wanted to look at what a ‘democratic internet’ would look like,” she says. “Not an empty, Silicon Valley-type democracy, but a real one.”

Then there was her work with Occupy. In 2011, New York’s Zuccotti Park, a grim sunken square near Wall Street, became the focal point of a leaderless movement calling for change. Exactly what it wanted or how it would get it never really seemed clear, but the movement swept the US and the world. Occupy protests spread to 951 cities in 82 countries.

Critics were, and still are, cynical about Occupy. History may be kinder. “We are the 99%,” shouted the activists. The 1% had taken the reins of power. That idea has stuck and can be seen in most progressive political campaigns today, down to the eschewing of corporate cash for the small donations that are funding US politicians including Democratic presidential hopefuls Bernie Sanders, Beto O’Rourke and Elizabeth Warren.

Taylor also co-founded the Debt Collective, which grew out of Occupy; this buys student and medical debt on the debt markets and forgives it. It has wiped out $1bn (£770m) of debts so far and helped put student debt on the political agenda.

Occupy was “a shitshow – that’s a technical term,” says Taylor. Zuccotti Park was as divided by its constantly percussive drum circle as it was by its politics. “I love democracy more than I hate the drum circle,” read one sign in the park. Many Occupy activists were reluctant to engage with the existing system or even agree to properly define what changes they wanted, she says. There was a failure to translate protest into action. Democracy can’t be a place where “everyone has a voice but no one has any responsibility,” she says.

Taylor’s experience did get her thinking more about democracy. “There was this call for ‘real democracy’. So when you say that then you obviously believe there is ‘fake democracy’.”

In her new film and book, Taylor traces democracy back to its origins in Athens (a patriarchal slave state – we should have seen trouble coming) and then quizzes a diverse group of people, from the academic Cornel West to Syrian refugees and Trump-supporting Florida teens, asking what they now think of the word. The result? It’s not clear what any of us think democracy is or should be, or even if true democracy has ever existed (Taylor thinks not, although she thinks of democracy as a dynamic evolving concept that has yet to be achieved, and is more interested in exploring what the idea means to others than giving her own tight definition). That is Taylor’s aim: to make us think, to ask new questions and hopefully come up with new answers.

She is excited by some of the recent political shifts in the US. “For the first time in my life people are talking about class,” she says. “It’s just ridiculous that this was an unspeakable concept for so long – that is why we are in the predicament we are in.”

She is heartened to see a new generation of politicians, including Alexandria Ocasio-Cortez, talking about “democratic socialism”. The S word was a no-no in US politics for generations, one that had “this sort of dated ring”, Taylor says. Now it is “something new, something that’s never been tried. Something in the future.”

While there has been plenty of bad news for democracy in recent years, there is no doubt that politics is changing. More women, more people of colour, teachers, LGBTQ candidates and people from low-income backgrounds are running for office, and winning. A new generation of activists are interested in union organising and strikes.

“People are thinking about power and how to take it, whereas the previous generation was more ambivalent about it, more anarchistic. Occupy was in that mould. There was a refusal to make demands – to do so was to legitimise the state,” she says.

And now? “You have millennials who are cheering on labour struggles. That’s amazing.”

While Taylor is hopeful change will come, she is wary of the powerful forces ranged against it and the left’s ability to mess it up. Nor does she think a “democratic socialist” future – if it’s even possible – would provide all the answers.

“We don’t live in an infinite world,” she says. Even a more equitable system would have to deal with inequality, not least in a world facing apocalyptic climate change. “To me, democratic socialism would just mean more interesting democratic dilemmas. We would no longer be arguing over whether billionaires should exist or be abolished – they should be abolished – but there are still so many questions,” she says.

Taylor is ready to ask those questions. Hip and lanky, she is the nice cool kid, the one in the band whose books and records you wanted to borrow, and who would let you. On top of her other work, Taylor is a musician who has played with her partner Jeff Mangum’s band, Neutral Milk Hotel. She’s a vegan who lives in Brooklyn (if this wasn’t obvious), and one of those interviewees who asks as many questions as she answers.

Her enquiring nature comes from her childhood. Born in Canada and raised in the other Athens, in the US state of Georgia, Taylor was “unschooled” – meaning she was allowed to learn, or not, when and how she liked and was never forced to go to school. The freedom inspired her. At 16, she enrolled at the University of Georgia, then quit for Brown, the elite Rhode Island university that counts John D Rockefeller Jr, the New York Times publisher AG Sulzberger and the actor Emma Watson among its alumni. She quit Brown too, deciding unschooling was a lifelong commitment.

The idea of unschooling is “built on a quite romantic notion of human nature”, she says. “That human beings are intrinsically good and curious and ambitious. Very Rousseau.”

She doesn’t think this is a good model for everyone. Some people need more structure, more guidance. “It’s almost rebellious of me that so much of my work as an adult activist is focused on public education, free public education,” she laughs.

But she believes in the ideas at the heart of unschooling – continual learning, encouraging curiosity, taking education outside the classroom and the school year and embracing trust. They are models we need now, she says, as we question a concept that many of us take for granted even as we worry about its future.

“For many, many students now education is anti-democratic,” she says. “It’s just a curriculum geared at essentially encouraging them to accept their lot in life.”

The decline in liberal arts and the rise of “practical” degrees in subjects such as pharmacology, nursing and construction management, she says, suggest a society that is tailoring people to the workplace rather than encouraging them to think about the big issues, while saddling them with major debts.

There is a structural reason for this, says Taylor. “I feel pretty pulled when young people ask me what to study, because I think they should study Plato and Rousseau. But not if it’s going to lead them to a lifetime of debt servitude. You can’t help but think of your education as something that needs a return on investment when it’s costing you $35,000 a year.”

Her book and film are an argument for the case that “of all academic disciplines, the one that demands to be democratised is political philosophy, which is basically the asking of the questions: how do we want to live? How should we live? What kind of people should we be? How should we govern ourselves? This is something that increasingly only the elites get to carve out time to think about. That is really a tragedy.”"
astrataylor  class  socialism  capitalism  democracy  2019  corruption  ows  occupywallstreet  activism  studentdebt  film  filmmaking  documentary  unschooling  publiceducation  education  curiosity  freedom  rousseau  plato  philosophy  debt  debtservitude  politics  policy  learning  howwelearn  donaldtrump  organizing  ancientgreece  athens  cornelwest 
april 2019 by robertogreco
Trinh T. Minh-ha on Vimeo
"Trinh Minh-ha operates on the boundary of documentary, experimental and traditional film, focusing on several powerful themes. As well as the status of women in society, she examines the life of migrants, portraits of whom she depicts in the background of the dynamic relationship between traditional and modern societies. The artist calls these figures the “inappropriate/d other”, and says in one of her interviews: “We can read the term “inappropriate/d other” in both ways, as someone whom you cannot appropriate, and as someone who is inappropriate. Not quite other, not quite the same.”

However, anyone expecting objective documentaries in this exhibition will be surprised. Trinh Minh-ha draws on her own experience, transforming the personal into the public and socially engaged, and in this way her films becomes “poetic-political” works. The artist’s sensitivity and empathy is not simply a way of presenting political themes in a user-friendly way, but is also manifest in unobtrusively recurring motifs of love and friendships.

What are the most powerful impressions we receive from films by Trinh Minh-ha? Firstly, there is a balance to her treatment of themes that offers the viewer the possibility of examining things from many different perspectives. Then there is the persistence with which she attempts to offer a three-dimensional image of “those others”.

However, even upon a first viewing our attention is caught by something else. Trinh Minh-ha works with the viewer’s senses, which she attempts to provoke into total vigilance. The sounds and music she uses are not any in any sense background, but at certain moments take over the narrative role, at others withdraw discreetly in order to allow the actors themselves to speak. The combination of stylised interviewers and theatrical scenes, modified in the postproduction stage by archival materials and linear film narration, along with sounds and suggestive colours, creates an almost synaesthetic experience, in which words express the same as sounds and colours. However, concentration on the part of the viewer is essential. How, otherwise, might they perceive all these levels simultaneously with the same intensity? How can such films be shown in a gallery? How does one create an environment in which the visitor does not just gaze, but accepts the role of a genuine film audience? Walls and chairs soundproofed in soft foam and the proximity of the screen will perhaps make it easier to accept the role of attentive viewers, who will insist on following a film from beginning to end."
trinhminh-ha  2015  film  documentary  migration  othering  vigilance  sensitivity  empathy  society  others  appropriate  inappropriate  innappropriated  gaze  concentration  attention 
april 2019 by robertogreco
A Place of Rage - Wikipedia
"A Place of Rage is a 1991 film by Pratibha Parmar. The film includes interviews of Angela Davis, June Jordan, Trinh T. Minh-ha, and Alice Walker.[1] It discusses and asks for political action regarding racism and homophobia, linking the two issues together.[2] It was created to be aired on British television and it is 52 minutes long.[3]

The main interviews of Davis, Jordan, and Walker were filmed in the present day. Davis and Jordan discuss the effects of Rosa Parks, Fannie Lou Hamer, and other activists; as well as women's roles in black churches during the Civil Rights Movement and the outcome of the 1960s Black Power movement.[3] Parmar took a 1970 prison interview of Davis and intercuts scenes of poetry of June Jordan.[1] The documentary also uses music from the Staple Singers, Neville Brothers, and Janet Jackson as well as documentary scenes of the 1960s.[3]

The film title originates from how the interview subjects say there was a "place of rage" within black people in the 1960s where they collected anger from being oppressed and released it against the persons oppressing them. The interview subjects stated that by the 1990s this shifted to a sense of defeatism and internal repression characterized by drug use and resignation.[3]"

[on demand: https://vimeo.com/ondemand/aplaceofrage

"A PLACE OF RAGE, an exuberant award-winning documentary a film by Pratibha Parmar made its debut in 1991 yet it's content is still one of the richest and most cherished with interviews from Angela Davis, June Jordan and Alice walker. A celebration of the contributions and achievements of prominent African American women, the film features Angela Davis, June Jordan and Alice Walker. Within the context of civil rights, black power, lesbian and gay rights and the feminist movement, the trio reassesses how women like Rosa Parks and Fannie Lou Hamer revolutionized American society and the world generally.

‘A Place of Rage documents the lives and politics of three African-American women. Weaving a narrative of spiritual awakenings, political consciousness and poetry through powerful imagery of Angela Davis speaking, Alice Walker reading and June Jordan teaching, A Place of Rage works like a narrative poem. It takes is title from a statement from June Jordan where she tries to articulate how her poetry and her pedagogy emerges from a ‘place of rage” and builds into some other kind of articulation. The film is moving in its quiet intensity and fascinating in its portrait of three powerful Black artists.’
Judith Halberstam, Professor of English,Gender Studies and American Studies and Ethnicity USC.

Pick of the Week. L.A. Weekly July 1992
Winner of The Best Historical Documentary from the National Black Programming Consortium, 1992.

"This lyrical film begins the much needed exploration of the African-American women who sustained and inspired the Civil Rights Movement of the 60's. By shining an intimate light on some of our best known artists / activists Parmar eloquently reveals the power and poetry of the hidden faces. Her film is a visual embrace of who black women really are. " Jewelle Gomez

"A complex image is created of the times, its ideas, emotions, victories and losses...the kind of analysis historical documentaries on African American life sorely need." - Collis Davis, Afterimage"]

[via: https://finalbossform.com/post/184255759875/trinh-t-minh-ha-in-a-place-of-rage-1991-dir ]
pratibhaparmar  angeladavis  junejordan  trinhminh-ha  alicewalker  1991  racism  race  homophobia  rosapark  fannielouhamer  activism  civilrightsmovement  oppression  blackpower  civilrights  feminism  intersectionality  pedagogy  aplaceofrage  documentary  politics  poetry  blackpantherparty  blackpanthers 
april 2019 by robertogreco
Agnès Varda's Ecological Conscience
"“Existence isn’t a solitary matter,” says the shepherd to the wanderer in Agnès Varda’s 1985 film, Vagabond. This vision of collectivity, the belief that we are all in it together, recurs throughout Varda’s films, from her early, proto–New Wave La Pointe Courte (1954) to her acclaimed Cléo from 5 to 7 (1961) to her most recent film, Faces Places (2017), made in collaboration with the young French street artist JR. (Filmmaking isn’t a solitary matter, either.) “This movie is about togetherness,” she told New York Magazine. Watching Faces Places, I couldn’t help thinking about Varda’s 2000 film, The Gleaners & I. Both are road-trip movies in which Varda interviews the kinds of people we don’t often see in movies—farmers, miners, dockworkers, and their wives. Both films proceed by chance, gleaning whatever they happen upon. But though The Gleaners is now seventeen years old, old enough to drive a car and almost old enough to vote, it’s feeling as fresh and relevant as if it had been made in parallel to Faces Places. It rewards rewatching.

The Gleaners & I is a documentary about the time-honored act of gathering what other people have abandoned or thrown away. Gleaning is most often associated with what’s been left behind after a harvest; think of that famous Millet painting, The Gleaners (1857), which you can find in the Musée d’Orsay. The women—gleaners used to be mainly women—bend over to collect the bits of wheat the harvesters have left on the ground; they gather what they find in their aprons. It looks like back-breaking work. “It’s always the same humble gesture,” Varda comments in voice-over: to stoop, to glean.

Today, they tell Varda, harvesting is more efficient because it’s done by machines, leaving less for gleaners to pick up. In her film, Varda interviews present-day glâneurs; some glean to survive, some out of principle (“Salvaging is a matter of ethics with me,” says a man who’s eaten mostly garbage for ten years), others just for fun. One woman Varda interviews demonstrates how they used to do it: with a sweeping extension of her torso she gathers ears of corn into her apron. It was a social occasion, when all the women in the neighborhood would get together and, afterward, go back to the house for a coffee and a laugh.

Varda enlarges the concept of the glâneur to include people like the artist Louis Pons, whose work is assembled from trash, from forgotten things, from pens, empty spools, wires, cans, cages, bits of boats, cars, musical instruments: “He composes,” Varda says, “with chance.” Or to Bodan Litnianski, the Ukrainian retired brickmason-turned-artist who built his house (which he calls “Le palais idéal”) from scraps he found in dumps—dolls, many dolls, and toy trucks and trains and hoses and baskets and plastic fronds—effectively brickmasoned into place. “C’est solide, eh.” Litnianski died in 2005, but there’s a corresponding figure in Faces Places who made me sit up in recognition.

All of the gleaners Varda speaks with are appalled at the amount of waste our culture produces—especially food waste. “People are so stupid!” says a gleaner who strides around his village in Wellies, going through the garbage for food, freegan-style. “They see an expiration date and think, Oh I mustn’t eat that, I’ll get sick! I’ve been eating garbage for ten years and I’ve never been sick.” Back in Paris, Varda interviews people who come around after the market’s been through, to save money. “You should see what they get rid of,” one says. “Fruit … vegetables … cheese, but that’s rare.” His entire diet, it seems, comes from eating the castoffs from the market and the boulangeries. Varda, intrigued by him, follows him back to the shelter where he lives and volunteers as a French teacher to immigrants.

The urban gleaner has often gone by another name: the chiffonnier, or rag picker. Until the 1960s, you could still hear his cry in the streets of Paris: “chiiiiiiiiiffonnier!” Baudelaire, in Les fleurs du mal, sees them “bent under piles of rubbish, jumbled scrap,” collecting “the dregs that monster Paris vomits up.” The rag picker moves through the city on foot, like the flaneur, collecting what it has cast off. Other cities have long had this tradition—the raddi-wallah in India, for instance (which can refer to both the scrap collector or the place where the scraps are brought). In Paris, the chiffonniers, like self-employed sanitation workers, went through the trash, separating out what was useful from what was not, collecting rags, rabbit skins, bits of metal, scraps of paper, bones, glass, yarn, fabric, old clothes, all manner of chemical compounds, anything that could be repurposed, reused, repackaged, or transformed into something else. “Very little went to waste, in Baudelaire’s Paris,” notes the scholar Antoine Compagnon in his recent book on the chiffonnier. Georges Lacombe’s 1928 short silent film, La zone, shows the process of rag picking and what happens to the detritus they collect. They would drag this in bags or in wheelbarrows to a collection point, of which there were many in the city; the rue Mouffetard, on the Left Bank, was the center of this reselling (side note: Varda made a short film about this street, 1958’s Opera Mouffe). The metal, of course, would be taken to factories where it was melted down and turned into other things made of metal. How many lives has metal had, how many shapes has it taken? How many more lives does any object have before it eventually finds its way to some landfill?

Today, this canny recycling spirit lives on in the brocantes, which you can find around town on any weekend afternoon. In among the real antique dealers, you can find people selling all the bits and bobs of things they don’t want or they found in their basements, laid out on tables or blankets. They are “objets that can be found nowhere else: old-fashioned, broken, useless, almost incomprehensible, almost perverse,” as André Breton writes in Nadja, visiting the flea market at Clignancourt. How many different people have made use of the same cast-off calculator, the little porcelain dish, the copy of a minor album by Renaud?

The threat to the environment posed by waste is incredibly pressing; the need to recycle is a question of ethics. If we must consume, let us consume each other’s castoffs. “All these old things,” Baudelaire noticed back in 1857, “have a moral value.” This is the ethos of The Gleaners. Yet it’s difficult to watch the film at times, to be reminded that others are living off what some of us throw away so carelessly, something Varda’s literary kindred spirit, Virginie Despentes, has also managed to do in her recent masterpiece, Vernon Subutex. But neither Varda nor Despentes sentimentalizes this cycle; the gleaners Varda interviews are gleeful. If there’s anyone to pity here, it’s us, paying retail, paying anything: we’re the suckers. Varda helps us see the hyperactive cycle of our materialism and, through the act of glanage, shows us a way to consume less and to engage with our environments more.

Before I watched the film, my suburban ways clung to me. Everything had to be new, of course. I’d never gotten out of the car to pick up some apples from the ground, or brought in a piece of furniture from the street. (I think of Patti Smith in Just Kids, scrubbing with baking soda the mattress she and Robert Mapplethorpe found in the street. She had that pluck and resourcefulness.) Even after it, I’m not sure I would go rummaging through the garbage after the market had finished. But Varda helped me see myself as not only a consumer but a participant in some greater cycle of custodianship. As Varda films people recuperating the copper coils from inside television sets that have been abandoned, or finding old refrigerators and repairing them, or turning them into very chic bookshelves, she seems to be asking us not to limit ourselves to accepting products as they’re offered to us commercially but that we take them apart, turn them into other things, that we imagine new uses for them, even, and especially, when they seem to be useless."
2017  agnèsvarda  environment  sustainability  film  laurenelkin  gleaners  waste  documentary  observation  noticing  women  gender  glâneurs  scraps  scavenging  chiffonnier  recycling  reuse  classideas 
march 2019 by robertogreco
The Truth About Wasabi - YouTube
"Have you ever eaten wasabi?

If you answered “yes” to that question, you are likely mistaken. Most sushi eaters—even in Japan—are actually being served a mixture of ground horseradish and green food coloring splashed with a hint of Chinese mustard. Worldwide, experts believe that this imposter combination masquerades as wasabi about 99% of the time.

The reason boils down to supply and demand. Authentic wasabi, known as Wasabia japonica, is the most expensive crop to grow in the world. The temperamental semiaquatic herb, native to the mountain streams of central Japan, is notoriously difficult to cultivate. Once planted, it takes several years to harvest; even then, it doesn’t germinate unless conditions are perfect. Grated wasabi root loses its flavor within 15 minutes.

The Japanese have grown wasabi for more than four centuries. 75-year old Shigeo Iida, the eighth-generation owner of his family’s wasabi farm in Japan, takes pride in his tradition, which is profiled in Edwin Lee’s short documentary "Wasabia Japonica," co-produced by Japan Curator. “Real wasabi, like the ones we grow, has a unique, fragrant taste that first hits the nose,” Iida says in the film. “The sweetness comes next, followed finally by spiciness.” Read more: https://www.theatlantic.com/video/index/585172/wasabi-fake/ "
wasabi  film  documentary  farming  japan  2019  agriculture  food  classideas 
march 2019 by robertogreco
Social_Animals — Official Movie Website
[See also:
https://www.youtube.com/watch?v=s0X-XEcmmFc
https://www.instagram.com/social_animals/ ]

[via: https://twitter.com/mattthomas/status/1105495955988795392 ]

"A daredevil photographer, an aspiring swimsuit model, and a midwest girl next door are all looking for the same things from their Instagram account–a little love, acceptance and, of course, fame. And they’ll do just about anything to get it. With an observational eye Social Animals peeks into the digital and real worlds of today’s image-focused teenager, where followers, likes and comments mark success and self worth."

[See also:
https://variety.com/2018/film/news/instagram-star-documentary-social-animals-gravitas-ventures-1203078409/
https://www.theverge.com/2018/3/12/17105364/social-animals-documentary-teens-instagram-interview-sxsw-2018
https://www.hollywoodreporter.com/review/social-animals-1091000
https://theplaylist.net/social-animals-review-20180309/ ]
film  social  media  instagram  youth  teens  towatch  2018  2019  via:mattthomas  documentary  internet  srg  edg 
march 2019 by robertogreco
On M.I.A. | Momtaza Mehri | Granta
"To upwardly ascend from child refugee to Central Saint Martins art-school archetype is a kind of science fiction. Bored with both bourgeoisie navel-gazing and hackneyed postcolonial theory, M.I.A. was introduced to the ethical conundrum of the refugee artist long before she hit the headlines. Her cousin was killed the very week she graduated. They had played together as children before their paths diverged. She left for London. He joined the Tamil Tigers. Nothing elicits the gnawing bottomlessness of survivor’s guilt more than the death of someone who could have so easily been you. Caught in the immediacy of her grief, M.I.A. has spoken of the obscenity of preparing for a film-making career catered to the intelligentsia that ‘only 30 people would get to see at the Institute of Contemporary Art’. This is an existential crisis I know only too well. Grappling with what it means to be the one on this side of the waters is a life-long contortion act. I can’t remember a time before it. We are always in conversation with what it means to be the ones who escaped. Aged fifteen, my first pay packet from my weekend job went to my cousins in Mogadishu. I remain consumed by a sense of duty that overwhelms my belief in art’s redemptive capacity, in its ability to affect real change in the lives of those left behind both here and elsewhere. This guilt propelled M.I.A. out of England (the Land of the Spice Girls as she calls it) and towards a homecoming. In true gap-year fashion, she turned to the subcontinent to find her bearings. Intending to film a documentary on the fate of her cousin, she travelled to Sri Lanka in 2001. There, her artistic vision was crystallized amid the stories of relatives who had survived the unimaginable. She had always known what she had wanted to say. Now, she had a better idea of how to say it."



"Matangi/Maya/M.I.A. is a portrait of a survivor. A bona fide hustler. The M.I.A. that dazzled me. The M.I.A. that tapped into the alienation I wore like a scarlet letter. The M.I.A. who grew up with a similar slideshow of night terrors. From secretly taping Lynn Hirschberg during the Infamous Truffle Fries Incident to sending a private detective to steal her footage back from Loveridge when she suspected that he had sold her out, I shared her justified paranoias. To a generation haunted by debt and seemingly immortal warmongers, Fuck The New York Times is not just a T-shirt slogan. It’s a lifestyle. So much of what divides us from those we have left behind is dumb luck. M.I.A. has survived civil war, art school, misrepresentation, the Bush years, hatchet jobs, censorship, irrelevance, a louch into anachronism in the eyes of a generation that demands piously intersectional sound bites from its stars, the NFL, jealous lovers and the heartache of intending more than she could ever deliver. We are lucky that she has. We are lucky to have her."
mia  culture  documentary  film  music  politics  refugees  momtazamehri  2018 
february 2019 by robertogreco
Inequality - how wealth becomes power (1/2) | (Poverty Richness Documentary) DW Documentary - YouTube
"Germany is one of the world’s richest countries, but inequality is on the rise. The wealthy are pulling ahead, while the poor are falling behind.

For the middle classes, work is no longer a means of advancement. Instead, they are struggling to maintain their position and status. Young people today have less disposable income than previous generations. This documentary explores the question of inequality in Germany, providing both background analysis and statistics. The filmmakers interview leading researchers and experts on the topic. And they accompany Christoph Gröner, one of Germany’s biggest real estate developers, as he goes about his work. "If you have great wealth, you can’t fritter it away through consumption. If you throw money out the window, it comes back in through the front door,” Gröner says. The real estate developer builds multi-family residential units in cities across Germany, sells condominium apartments, and is involved in planning projects that span entire districts. "Entrepreneurs are more powerful than politicians, because we’re more independent,” Gröner concludes. Leading researchers and experts on the topic of inequality also weigh in, including Nobel-prize winning economist Joseph Stiglitz, economist Thomas Piketty, and Brooke Harrington, who carried out extensive field research among investors from the ranks of the international financial elite. Branko Milanović, a former lead economist at the World Bank, says that globalization is playing a role in rising inequality. The losers of globalization are the lower-middle class of affluent countries like Germany. "These people are earning the same today as 20 years ago," Milanović notes. "Just like a century ago, humankind is standing at a crossroads. Will affluent countries allow rising equality to tear apart the fabric of society? Or will they resist this trend?”"

[Part 2: https://www.youtube.com/watch?v=cYP_wMJsgyg

"Christoph Gröner is one of the richest people in Germany. The son of two teachers, he has worked his way to the top. He believes that many children in Germany grow up without a fair chance and wants to step in. But can this really ease inequality?

Christoph Gröner does everything he can to drum up donations and convince the wealthy auction guests to raise their bids. The more the luxury watch for sale fetches, the more money there will be to pay for a new football field, or some extra tutoring, at a children's home. Christoph Gröner is one of the richest people in Germany - his company is now worth one billion euros, he tells us. For seven months, he let our cameras follow him - into board meetings, onto construction sites, through his daily life, and in his charity work. He knows that someone like him is an absolute exception in Germany. His parents were both teachers, and he still worked his way to the top. He believes that many children in Germany grow up without a fair chance. "What we see here is total failure across the board,” he says. "It starts with parents who just don’t get it and can’t do anything right. And then there’s an education policy that has opened the gates wide to the chaos we are experiencing today." Chistoph Gröner wants to step in where state institutions have failed. But can that really ease inequality?

In Germany, getting ahead depends more on where you come from than in most other industrialized countries, and social mobility is normally quite restricted. Those on top stay on top. The same goes for those at the bottom. A new study shows that Germany’s rich and poor both increasingly stay amongst themselves, without ever intermingling with other social strata. Even the middle class is buckling under the mounting pressure of an unsecure future. "Land of Inequality" searches for answers as to why. We talk to families, an underpaid nurse, as well as leading researchers and analysts such as economic Nobel Prize laureate Joseph Stiglitz, sociologist Jutta Allmendinger or the economist Raj Chetty, who conducted a Stanford investigation into how the middle class is now arming itself to improve their children’s outlooks."]
documentary  germany  capitalism  economics  society  poverty  inequality  christophgröner  thomaspiketty  brookehrrington  josephstiglitz  neoliberalism  latecapitalism  brankomilanović  worldbank  power  influence  policy  politics  education  class  globalization  affluence  schools  schooling  juttaallmendinger  rajchetty  middleclass  parenting  children  access  funding  charity  charitableindustrialcomplex  philanthropy  philanthropicindustrialcomplex  status  work  labor  welfare  2018  geography  cities  urban  urbanism  berlin  immigration  migration  race  racism  essen  socialsegregation  segregation  success  democracy  housing  speculation  paulpiff  achievement  oligarchy  dynasticwealth  ownership  capitalhoarding  injustice  inheritance  charlottebartels  history  myth  prosperity  wageslavery  polarization  insecurity  precarity  socialcontract  revolution  sociology  finance  financialcapitalism  wealthmanagement  assets  financialization  local  markets  privateschools  publicschools  privatization 
january 2019 by robertogreco
Hafu | the mixed-race experience in Japan
"Synopsis

With an ever increasing movement of people between places in this transnational age, there is a mounting number of mixed-race people in Japan, some visible others not. “Hafu” is the unfolding journey of discovery into the intricacies of mixed-race Japanese and their multicultural experience in modern day Japan. The film follows the lives of five “hafus”–the Japanese term for people who are half-Japanese–as they explore what it means to be multiracial and multicultural in a nation that once proudly proclaimed itself as the mono-ethnic nation. For some of these hafus Japan is the only home they know, for some living in Japan is an entirely new experience, and others are caught somewhere between two different worlds.

According to the Japanese Ministry of Health, Labor and Welfare, one in forty-nine babies born in Japan today are born into families with one non-Japanese parent. This newly emerging minority in Japan is under-documented and under-explored in both literature and media. The feature-length HD documentary film, “Hafu – the mixed-race experience in Japan” seeks to open this increasingly important dialogue. The film explores race, diversity, multiculturalism, nationality, and identity within the mixed-race community of Japan. And through this exploration, it seeks to answer the following questions: What does it mean to be hafu?; What does it mean to be Japanese?; and ultimately, What does all of this mean for Japan?

Narrated by the hafus themselves, along with candid interviews and cinéma vérité footage, the viewer is guided through a myriad of hafu experiences that are influenced by upbringing, family relationships, education, and even physical appearance. As the film interweaves five unique life stories, audiences discover the depth and diversity of hafu personal identities."

[See also:

"Project Hafu
🎌A community for the rare and wonderful Japanese hafu 💖🇯🇵"
https://www.instagram.com/projecthafu/

"Hāfu2Hāfu
Worldwide 📸 project about #hāfu, or mixed 🇯🇵 identity.
Everybody has one identity related question for you.
All 📸 by @tetsuromiyazaki"
https://www.instagram.com/hafu2hafu/

Hāfu2Hāfu
https://hafu2hafu.org/

"Hāfu2Hāfu is a unique project photographing hāfu (mixed roots people with one Japanese parent) from every country in the world and sharing their most significant questions about identity, sense of belonging or growing up with two different cultures.

Every portrayed hāfu was asked:

“What is the one question you would like to ask other half Japanese?”
Hāfu2Hāfu wants to give hāfu, inside and outside of Japan a voice, bring them closer together and create more understanding for their identity issues by facilitating (online) dialogues with their peers, families, friends, classmates and colleagues.

In order to present a complete image of being hāfu, Hāfu2Hāfu will try to document portraits and questions of hāfu of different ages, genders, places of residence and of all 192 combinations of nationalities with Japanese (there are 193 sovereign countries)."

"A mission to capture the full range of half-Japanese experience — in 192 photos"
https://www.japantimes.co.jp/community/2017/10/08/issues/mission-capture-full-range-half-japanese-experience-192-photos/ ]
afu  japan  japanese  ethnicity  identity  srg  instagram  photography  mixed-race  film  documentary 
january 2019 by robertogreco
Jonestown Part 1: Who was the Peoples Temple leader Jim Jones? - YouTube
"A documentary on the 40th anniversary of the largest murder-suicide in American history, when over 900 members of the Peoples Temple consumed a deadly cyanide-laced drink on the orders of leader Jim Jones."

"Jonestown Part 1: Who was the Peoples Temple leader Jim Jones?"
"Captivated by the charismatic style of Pentecostal and Methodist preachers, Jones became a preacher himself and founded his ministry, the Peoples Temple."
https://www.youtube.com/watch?v=_0B1sMfxWYw

"Jonestown Part 2: How Jim Jones rose to power within his Peoples Temple"
"Jones promoted social justice, racial and class equality and desegregation. But some of his former followers said he paid lip service to those ideas to lure people in."
https://www.youtube.com/watch?v=bWtH6VIfnAQ

"Jonestown Part 3: Jim Jones was 'a predator,' ex-members allege"
"Former Peoples Temple members said Jones became extreme, manipulating his congregants with blackmail and administering humiliating beatings to those who displeased him."
https://www.youtube.com/watch?v=JUrd0h8-a6A

"Jonestown Part 4: Ex-members claim Jim Jones practiced faux suicides"
"At the Peoples Temple base in California, former members said Jones would talk about planning for death and ask them whether their movement was worth dying for."
https://www.youtube.com/watch?v=zco4jN7zouI

"Jonestown Part 5: Jim Jones sets up Jonestown compound in Guyana"
"In 1976, about 50 of Jones' followers left California to help him build his "utopia" vision deep in the jungles of the South American country."
https://www.youtube.com/watch?v=NveT_KQeu5w

[Full video:
https://abc.go.com/movies-and-specials/truth-and-lies-jonestown-paradise-lost ]
jonestown  documentary  2018  socialjustice  history  sanfrancisco  cults  religion  race  class  desegregation  equality  gender 
november 2018 by robertogreco
The Radical Tactics of the Offline Library on Vimeo
[parts of the video (from the introduction): "1. Libraries existed to copy data. Libraries as warehouses was a recent idea and not a very good one 2. The online world used to be considered rhizomatic but recent events have proven that it is actually quite arboretic and precarious. 3. A method of sharing files using hard drives is slow, but it is extremely resilient. This reversalism is a radical tactic agains draconian proprietarianism. 4. There are forces and trends that are working against portable libraries."]

[Book is here:
http://networkcultures.org/wp-content/uploads/2014/06/NN07_complete.pdf
http://networkcultures.org/blog/publication/no-07-radical-tactics-of-the-offline-library-henry-warwick/ ]

"The Radical Tactics of the Offline Library is based on the book "Radical Tactics: Reversalism and Personal Portable Libraries"
By Henry Warwick

The Personal Portable Library in its most simple form is a hard drive or USB stick containing a large collection of e-books, curated and archived by an individual user. The flourishing of the offline digital library is a response to the fact that truly private sharing of knowledge in the online realm is increasingly made impossible. While P2P sharing sites and online libraries with downloadable e-books are precarious, people are naturally led to an atavistic and reversalist workaround. The radical tactics of the offline: abandoning the online for more secure offline transfer. Taking inspiration from ancient libraries as copying centers and Sneakernet, Henry Warwick describes the future of the library as digital and offline. Radical Tactics: Reversalism and Personal Portable Libraries traces the history of the library and the importance of the Personal Portable Library in sharing knowledge and resisting proprietarian forces.

The library in Alexandria contained about 500,000 scrolls; the Library of Congress, the largest library in the history of civilization, contains about 35 million books. A digital version of it would fit on a 24 TB drive, which can be purchased for about $2000. Obviously, most people don’t need 35 million books. A small local library of 10,000 books could fit on a 64 GB thumb drive the size of a pack of chewing gum and costing perhaps $40. An astounding fact with immense implications. It is trivially simple to start collecting e-books, marshalling them into libraries on hard drives, and then to share the results. And it is much less trivially important. Sharing is caring. Societies where people share, especially ideas, are societies that will naturally flourish."
libraries  henrywarwick  archives  collection  digital  digitalmedia  ebooks  drm  documentary  librarians  alexandriaproject  copying  rhizomes  internet  online  sharing  files  p2p  proprietarianism  sneakernet  history  harddrives  learning  unschooling  property  deschooling  resistance  mesopotamia  egypt  alexandria  copies  decay  resilience  cv  projectideas  libraryofalexandria  books  scrolls  tablets  radicalism  literacy  printing  moveabletype  china  europe  publishing  2014  copyright  capitalism  canon  librarydevelopment  walterbenjamin  portability  andrewtanenbaum  portable  portablelibraries  félixguattari  cloudcomputing  politics  deleuze  deleuze&guattari  web  offline  riaa  greed  openstudioproject  lcproject 
november 2018 by robertogreco
“Minding the Gap,” Reviewed: A Self-Questioning Documentary About What Happened to a Group of Young Skaters | The New Yorker
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
'Minding the Gap': How Bing Liu Turned 12 Years of Skate Footage into the Year's Most Heartfelt Doc
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  webapps  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
“I Had a Moral Crisis”: Bing Liu on Minding the Gap, Personal Doc Voiceovers and Cycles of Abuse | Filmmaker Magazine
[Carol Black: https://twitter.com/cblack__/status/1052995478583836672

2-step lesson for teachers:

1. Watch this documentary about the kids who will NEVER adapt well to authoritarian environments like school. https://www.youtube.com/watch?v=n5Vm_Awe3bw

2. Read how this skater kid learned to make brilliant films through self-directed learning, mentorships, discovery.

Through a slow process of experimentation, improvisation, exploration, director Bing Liu evolved from a skater kid with a video camera into a deep, accomplished filmmaker. https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
As a teen-ager, a decade ago, in the small city of Rockford, Illinois, Bing Liu filmed himself and his friends skateboarding. He shot much of his footage while skating alongside them, and, as a result, the skating sequences of his documentary “Minding the Gap” (which opens today in theatres and streams on Hulu) have a surging, gliding, soaring, joyously speedy energy that offers a hypnotic whirl and rush. Those images of skating, however, are merely the background and context for the film, and the diverting thrill that they offer is crucial to the film’s substance. That substance—domestic trauma, systemic racism, and economic dislocation—is also the very stuff of society, and the near-at-hand intimacy gives rise to a film of vast scope and political depth.

Allowing his film to unfold over years of shooting and editing and re-editing, Liu uncovered the hidden depth and dimension in his subject matter.
https://www.newyorker.com/culture/the-front-row/minding-the-gap-reviewed-a-self-questioning-documentary-about-what-happened-to-a-group-of-young-skaters
“Minding the Gap” builds Liu’s investigations, and the personal and ethical considerations that they entail, into the film. What he discovers—and films—of his friends’ present-day lives disturbs him, and Liu grapples with his own conflicts even while filming himself grappling with them. The details of the film make for an exemplary work of reporting. Liu’s clear revelation of specific yet complex events brings out psychological causality and logical connections but doesn’t impose a narrative; rather, the drama crystallizes as the events unfold. It’s a documentary in which the very nature of investigation is established—intellectually, aesthetically, and morally—by way of the personal implication of the filmmaker in the subject, of the filmmaker’s own need to make the images, to talk with the participants, to get beyond the surfaces of the settings. “Minding the Gap” is a personal documentary of the highest sort, in which the film’s necessity to the filmmaker—and its obstacles, its resistances, its emotional and moral demands on him—are part of its very existence.

Learning technical skills from online forums and by emulating filmmakers who inspired him, Liu was then able to allow the personal, emotional story to emerge. https://filmmakermagazine.com/105737-i-had-a-moral-crisis-bing-liu-on-minding-the-gap-personal-doc-voiceovers-and-cycles-of-abuse/#.W8i8by-ZMWo
Filmmaker: I had seen part of a cut that you had about a year ago. What I remember is, there was a lot more voiceover and the structure was different. There was a scene in the first ten minutes where you’re going to meet your mom to do the interview about you being abused by your stepfather, and you’re being interviewed in the car on the way: “So how do you feel about this?” At a certain point, obviously a lot of those things changed. Documentary editing processes are inherently long and complicated, but I’d love it if you could talk about thinking through some of those changes.

Liu: I didn’t begin the film wanting to be in the film. My background is, I got a camera to make videos when I was 14. I watched movies that inspired me, like Waking Life, Kids and Gummo. Some of my first shorts when I was a teen were this sort of Slacker plot where I follow people around Rockford as they interact with each other. The structure is based off of hand-offs, to give you a slice of community and the people in it. Anyway, I learned cinematography and editing through going to forums. There’s this website called Skate Perception that was kind of the Reddit for skate media makers all over the country. This was in the 2000s, when the internet was still finding its identity in many ways. It no longer exists; forums aren’t really a thing, for the most part.

“I didn’t go to film school, because everybody that I worked with in film was like: if you go to school, don’t go to school for film.” https://nofilmschool.com/2018/08/minding-gap-bing-liu-interview
NFS: How did you develop your unconventional aesthetics over time, starting from such a young age?

Liu: It was a mix of just emulating other creators and films that I was watching and also just going online and learning. By the time I was 16, I had a camera that I could set exposure and color temperature and with ND filters on it. By the time I was 17, I had a 24p camera and I was building my own dollies, so it was sort of just like exploring and emulation of what was happening at the time, which was a mix of the internet connecting more people, and also the DIY-style filmmaking that was growing with the advent of DSLR shooting video. I never really saw a career in film as a viable thing. I thought making films was just what I did.
"The Glidecam was freeing because you can run down stairs when you get good enough at it, and even jump over things with the cameras."

NFS: How did you transition to realizing that you could actually do this professionally?

Liu: It was when I got a job as a PA when I was 19 and I was like, “Oh, I can get paid $50 a day to like fetch coffee and carry heavy camera cases around for 14 hours.” It was less about the $50 and more about the “Oh, you can do this.”

NFS: That's what we're always telling people who want to break into the business: just get on set.

Liu: Yeah, I didn't go to film school, because everybody that I worked with in film was like: if you go to school. don't go to school for film, and so I went to school for literature.
]
bingliu  mindingthegap  film  filmmaking  documentary  srg  unschooling  deschooling  authority  authoritarianism  school  schooling  schools  learning  skating  skateboarding  self-directed  self-directedlearning  howwelearn  canon  video  domesticviolence  2018  carolblack  teaching  howweteach  schooliness  online  internet  web  domestictrauma  economics  rustbelt  society  childabuse  children  teens  youth  streetculture  illinois  rockford  friendship  parenting  dropouts  aesthetics  filmschool  emulation  cinematography 
october 2018 by robertogreco
Future Shock Documentary (1972) - YouTube
"'Future Shock' is a documentary film based on the book written
in 1970 by sociologist and futurist Alvin Toffler. Released in 1972,
with a cigar-chomping Orson Welles as on-screen narrator, this piece of futurism is darkly dystopian and oozing techno-paranoia."
alvintoffler  1972  film  towatch  futureshock  documentary  orsonwells  futurism  1970s 
september 2018 by robertogreco
Homelands Productions
"Homelands Productions is an independent, nonprofit journalism cooperative. Our work brings the voices of ordinary people to tens of millions of listeners, viewers, readers, students, and teachers around the world.

Since our founding in 1989, we have reported from more than 60 countries, produced nine special series for public radio and television, and won 22 national and international awards.

We work in radio, video, photography, print, and on online platforms. We also teach, speak, write books, consult, and serve as fiscal sponsor for projects that move us."
documentary  journalism  media  nonprofit  ruxandraguidi  bearguerra  radio  video  srg  photography  photojournalism  nonprofits 
september 2018 by robertogreco
Fonografia Collective
[via: https://clockshop.org/project/south-of-fletcher-fonografia-collective/ ]

"Fonografia Collective believes in empathetic and culturally-sensitive documentary storytelling about everyday people around the world. We find and craft compelling stories about human rights, politics, the environment, and social issues (or any combination thereof) and share them with the general public using radio, oral histories, photography, the printed word, multimedia, public installations, gatherings and events.

Since 2005, we've been working together to advance our vision of a more inclusive and diverse approach to nonfiction storytelling, focusing on communities across the U.S. and Latin America that are often underrepresented or misunderstood by the mainstream media or the public. As consultants with a variety of institutions, nonprofits, and individuals, we strive to do the same. We also run Story Tellers, a social media platform connecting storytellers from around the world to gigs, funding, collaboration opportunities, and to one another.

We are producers and board members of Homelands Productions, a 25 year-old independent documentary journalism cooperative. Until Spring 2017, we collaborated with public radio station KCRW on a year-long multimedia storytelling series about aging called "Going Gray in LA." At present, we are developing a storytelling project about the Bowtie in conjunction with Clockshop, an arts organization in Los Angeles, and California State Parks.

*******

Bios

Ruxandra Guidi has been telling nonfiction stories for almost two decades. Her reporting for public radio, magazines, and various multimedia and multidisciplinary outlets has taken her throughout the United States, the Caribbean, South and Central America, as well as Mexico and the U.S.-Mexico border region.

After earning a Master’s degree in journalism from U.C. Berkeley in 2002, she assisted independent producers The Kitchen Sisters; then worked as a reporter, editor, and producer for NPR's Latino USA, the BBC daily news program, The World, the CPB-funded Fronteras Desk in San Diego-Tijuana, and KPCC Public Radio's Immigration and Emerging Communities beat in Los Angeles. She's also worked extensively throughout South America, having been a freelance foreign correspondent based in Bolivia (2007-2009) and in Ecuador (2014-2016). Currently, she is the president of the board of Homelands Productions, a journalism nonprofit cooperative founded in 1989. She is a contributing editor for the 48 year-old nonprofit magazine High Country News, and she also consults regularly as a writer, editor, translator and teacher for a variety of clients in the U.S. and Latin America. In 2018, she was awarded the Susan Tifft Fellowship for women in documentary and journalism by the Center for Documentary Studies at Duke University.

Throughout her career, Guidi has collaborated extensively and across different media to produce in-depth magazine features, essays, and radio documentaries for the BBC World Service, BBC Mundo, The World, National Public Radio, Marketplace, Canadian Broadcasting Corporation, Orion Magazine, The Walrus Magazine, Guernica Magazine, The Christian Science Monitor, National Geographic NewsWatch, The New York Times, The Guardian, Virginia Quarterly Review, and The Atlantic, among others. She’s a native of Caracas, Venezuela.

*

Bear Guerra is a photographer whose work explores the human impact of globalization, development, and social and environmental justice issues in communities typically underrepresented in the media.

In addition to editorial assignments, he is consistently working on long-term projects, and collaborates with media, non-profit, and arts organizations, as well as other insititutions. His photo essays and images have been published and exhibited widely, both in the United States and abroad.

He was a Ted Scripps Fellow in Environmental Journalism for the 2013-2014 academic year at the University of Colorado - Boulder; a 2014 Mongabay Special Reporting Initiative Fellow; as well as a 2014 International Reporting Project Health and Development Reporting Fellow. In 2012, he was chosen as a Blue Earth Alliance project photographer for his ongoing project "La Carretera: Life Along Peru's Interoceanic Highway". Other recognitions have included being selected for publication in American Photography (2005, 2015, 2016) and Latin American Fotografía (2014, 2016, 2017); an honorable mention in the 2012 Photocrati Fund competition for the same project. Bear has also been a finalist for a National Magazine Award in Photojournalism (2010).

A native of San Antonio, TX, Bear is currently based in Los Angeles.

For more information, a CV, or to order exhibition quality prints please contact Bear directly.

Editorial clients/publications (partial list): The New York Times, The Wall Street Journal, Bloomberg BusinessWeek, Le Monde, The Atlantic, Orion Magazine, The Boston Globe Magazine, Virginia Quarterly Review, OnEarth, ProPublica, National Public Radio, BBC's The World, California Watch, High Country News, Quiet Pictures, Texas Monthly, Time.com, Earth Island Journal, O Magazine, Glamour, Ms. Magazine, NACLA Magazine, Yes! Magazine, SEED Magazine, The Sun, The Walrus, Guernica, and others.

Nonprofit/NGO clients & other collaborators: International Rescue Committee, Doctors Without Borders, Lambi Fund of Haiti, Children's Environmental Health Institute, Community Water Center, Environmental Water Caucus, Collective Roots, Other Worlds Are Possible, Immigration Justice Project/American Bar Association, Fundacion Nueva Cultura del Agua (Spain), Chinatown Community for Equitable Development, St. Barnabas Senior Services, Jumpstart, Global Oneness Project, Quiet Pictures."
bearguerra  ruxandraguidi  radio  photography  audio  storytelling  everyday  documentary  humanrights  politics  environment  society  socialissues  print  multimedia  oralhistory  art  installation  gatherings  events  inclusion  inclusivity  diversity  nonfiction  latinamerica  us  media  losangeles  kcrw  fronterasdesk  sandiego  tijuana  kpcc  globalization  sanantonio  fonografiacollective  srg  photojournalism 
september 2018 by robertogreco
The Tables on Vimeo
"A look at the powerful connection between a pair of outdoor ping pong tables in the heart of New York City and the unlikely group of people they’ve brought together, from homeless people to investment bankers to gangbangers."

[via: https://kottke.org/18/08/the-community-of-the-tables ]
film  documentary  tabletennis  pingpong  2018  nyc  parks  publicspaces  bryantpark 
september 2018 by robertogreco
We Don’t Play Golf Here and Other Stories of Globalization. on Vimeo
"Using Mexico as an example of what much of the Third World has experienced, the filmmakers show how foreign investment in export factories distort both the culture and environment."
mexico  thirdworld  capitalism  globalization  footbal  futbol  golf  film  documentary  culture  environment  2014  inequality 
august 2018 by robertogreco
In A Dream | A Film By Jeremiah Zagar
[via: http://www.firstshowing.net/2018/sundance-interview-minding-the-gap-director-bing-liu-on-doc-films/ ]

"The story of Julia Zagar and her husband Isaiah, a renowned mosaic artist, who for the past 30 years has covered more than 40,000 square feet of Philadelphia top to bottom with tile, mirror, paint, and concrete."

[See also: https://en.wikipedia.org/wiki/In_a_Dream_(film) <--- needs final ) for URL to work]
film  documentary  towatch  jeremiahzagar  mentalilliness  art  artists  philadelphia  juliazagar  isaiahzagar  2008 
august 2018 by robertogreco
Resurrect Dead - Trailer
[Here, for now: https://vimeo.com/139745603 ]

"Strangeness is afoot. Most people don't notice the hundreds of cryptic tiled messages about resurrecting the dead that have been appearing in city streets over the past three decades. But Justin Duerr does. For years, finding an answer to this long-standing urban mystery has been his obsession. He has been collecting clues that the tiler has embedded in the streets of major cities across the U.S. and South America. But as Justin starts piecing together key events of the past he finds a story that is more surreal than he imagined, and one that hits disturbingly close to home."
toynbeetiles  documentaries  documentary  film  justinduerr  streetart  towatch  arnoldtoynbee 
august 2018 by robertogreco
Croatia: The Team That Stopped Football Coming Home - YouTube
"Croatia's run to the final of the 2018 World Cup isn't a simple success story. There's a dark side off the pitch, and for some fans the glory so far has been an escape from reality. This is the truth behind their incredible run in Russia."

[via: "Another wee push for my new documentary in case you missed it earlier and want something to watch that isn’t English punditry. This is the real story behind Croatia’s World Cup run 🇭🇷🇭🇷🇭🇷"
https://twitter.com/_LauraBrannan/status/1017090711248883722

via: "If you're fed up with reading about #Cro & the politics of football, watch this @COPA90 documentary by @_LauraBrannan. Captures the atmosphere, the issues & the difference between 'ordinary' & 'organised' fans. Most importantly, my friend @Aleksandarevic is in there! #ENGCRO" https://twitter.com/DarioBrentin/status/1017097087840849920 ]
croatia  soccer  football  documentary  politics  2018  nationalism  laurabrannan  worldcup 
july 2018 by robertogreco
Harvest of Empire – Harvest of Empire
[Available on YouTube, for now: https://www.youtube.com/watch?v=UyncOYTZfHE ]

[See also: https://en.wikipedia.org/wiki/Harvest_of_Empire:_A_History_of_Latinos_in_America ]

"The Untold Story of Latinos in America

“We are all Americans of the New World, and our most dangerous enemies 
are not each other, but the great wall of ignorance between us.”
Juan González, Harvest of Empire

At a time of heated and divisive debate over immigration, Onyx Films is proud to present Harvest of Empire, a feature-length documentary that reveals the direct connection between the long history of U.S. intervention in Latin America and the immigration crisis we face today.

Based on the groundbreaking book by award-winning journalist and Democracy Now! Co-host Juan González, Harvest of Empire takes an unflinching look at the role that U.S. economic and military interests played in triggering an unprecedented wave of migration that is transforming our nation’s cultural and economic landscape.

From the wars for territorial expansion that gave the U.S. control of Puerto Rico, Cuba and more than half of Mexico, to the covert operations that imposed oppressive military regimes in the Dominican Republic, Guatemala, Nicaragua and El Salvador, Harvest of Empire unveils a moving human story that is largely unknown to the great majority of citizens in the U.S.

As Juan González says at the beginning of the film “They never teach us in school that the huge Latino presence here is a direct result of our own government’s actions in Mexico, the Caribbean and Central America over many decades — actions that forced millions from that region to leave their homeland and journey north.”

Harvest of Empire provides a rare and powerful glimpse into the enormous sacrifices and rarely-noted triumphs of our nation’s growing Latino community. The film features present day immigrant stories, rarely seen archival material, as well as interviews with such respected figures as Nobel Peace Prize Laureate Rigoberta Menchú, the Reverend Jesse Jackson, ACLU Executive Director Anthony Romero, Pulitzer Prize-winning writer Junot Díaz, Mexican historian Dr. Lorenzo Meyer, journalists María Hinojosa and Geraldo Rivera, Grammy award-winning singer Luis Enrique, and poet Martín Espada."
film  documentary  us  history  immigration  latinamerica  puertorico  mexico  guatemala  honduras  juangonzález  cuba  nicaragua  elsalvador  rigobertamenchú  jessejackson  anthonyromero  junotdíaz  lorenzomeyer  maríahinojosa  geraldorivera  2011  martínespada  luisenrique  dominicanrepublic  latinos  imperialism  politics  policy  foreignpolicy  braceros  wwii  ww2  civilrights  race  racism  migration  communism  redscare  centralamerica  caribbean  colonialism  socialism  capitalism  fidelcastro  rafaeltrujillo  spanish-americanwar  inequality  exploitation  sugar  cotton  revolution  resistance  fulgenciobatista  dictatorships  oppression  deportation  texas  california  newmexico  arizona  mexican-americanwar  nevada  colorado  florida  nyc  óscarromero  harrytruman  democracy  jacoboárbenz  unitedfruitcompany  eisenhower  cia  intervention  maya  ethniccleansing  land  ownership  civilwar  iran-contraaffair  ronaldreagan  sandinistas  contras  war  bayofpigs  refugees  marielboatlift  1980  jimmycarter  language  spanish  español  miami  joaquínbalaguer  hectortruji 
july 2018 by robertogreco
Nations and Migrations | cinema politica
"Working with the curatorial guideposts of mobility, origins, community and belonging, Cinema Politica has selected a program of independent film and videos that highlight issues of nationhood and migration from both a historical and contemporary perspective.

Canada is one of the most culturally and ethnically diverse places on the planet. Since the country's much-debated official policy of Multiculturalism was formed into policy over three decades ago, the Canadian “national project” as articulated through successive federal governments, has taken on as many forms as there are critical responses. Whereas Multiculturalism began with the promise of recognition and celebration of diversity (racial, religious and cultural), we have now moved into an era that Indigenous scholar Sean Glenn Coulthard has framed as “beyond recognition.”

The assertion of minority populations to determine their own social realities, institutions, cultural expression, political identification and imagined futures, amounts to a fierce reworking of what has been derisively dubbed Canada's "Benetton-Multiculturalism." Add to this the arrival of thousands of “new Canadians” each year, many of whom are refugees and who become migrant workers, and the old notion of nation-building demands a shift to one of nations-building in a new inclusive context of pluralism.

Following this, Nations & Migrations is a project that contributes to shifting political discourse and grassroots organizing engaged in articulating and building alternative visions and communities to the mainstream, liberal notion of what it means to be "Canadian." By privileging voices (in film and speech) from the peripheries of this ongoing discussion Nations & Migrations looks at troubling topics like Islamophobia, xenophobia, racism, chauvinist nationalism and more. But the project also explores important collective struggles around social justice, migrant rights and anti-racism work across the country and beyond.

Whether it's #BlackLivesMatter, #IdleNoMore, #MigrantWorkersJustice or #NoOneIsIllegal, Canada's social movement fabric is rich, diverse and very much engaged. It is our hope that Nations & Migrations can pull togetehr some of the multi-facted threads and provide a platform for critical, engaged and movement-based discourse on these important issues.

Using film screening events as spaces for public dialogue, independent films as the generative spark, and guest speakers (including artists) as mediators in the discourse, we hope to contribute a unique, timely and urgent creative program of film and video devoted to these multifarious topics and issues.

Nations & Migrations is comprised of three main components, the first of which is our "Comfortable Truths" campaign (#comfortabletruths), which launches November 28th, 2016. The second component involves 4-6 "groundswell screening events" at locations across Canada, held between November 2016 and February 2017. The third is the continuing discussion online, across all the platforms we all know and love!"



"Comfortable truths" are mainstream attitudes and ideas about nationhood, belonging and identity that, despite not being true (such as "immigrants have it easy in Canada"), have become so engrained in the Canadian imaginary and mainstream culture that they become orthodoxy. As part of Cinema Politica's Nations & Migrations project we reached out to activists and artists across the country and asked them to share their thoughts and reactions to these so-called truths. Watch this space as we continue to add new responses to "comfortable truths."

[via: https://www.lokidesign.net/projects/#/nations-migrations/
https://www.cinemapolitica.org/special-events/nations-and-migrations/ ]

[See also:
https://www.cinemapolitica.org/blog/network/cinema-politica-launches-nations-migrations
https://vimeo.com/195690433 ]
borders  canada  migration  refugees  film  race  racism  xenophobia  documentary  nations  cinemapolitica  bodies  resistance  body 
july 2018 by robertogreco
cinema politica | screening truth to power
" "Cinema Politica successfully delivers independent art to the eyes and ears of the public." -Mark Achbar, director of The Corporation

CINEMA POLITICA is a Montreal-based media arts, non-profit network of community and campus locals that screen independent political film and video by Canadian and international artists throughout Canada and abroad. We believe in the power of art to not only entertain but to engage, inform, inspire, and provoke social change. Cinema Politica is the largest volunteer-run, community and campus-based documentary-screening network in the world. All screenings are by donation.

Cinema Politica is committed to supporting alternative, independent, and radical political film and video, and the artists who dare to devote time, passion and resources to telling stories from the margins. We program works that feature under-represented characters and tell stories which confront and challenge conventional fiction and documentary narratives.

With continued support from the Canada Council for the Arts, Cinema Politica is able to focus on independent Canadian filmmakers whose work explore political issues and stories of oppression and resistance that are excluded from the mainstream media.

Cinema Politica also relies on the essential contributions of audiences and local members while building an international alternative distribution and exhibition network for independent political film and video.

To read more from various media who have covered Cinema Politica, visit our media page."

[via: https://www.lokidesign.net/projects/#/nations-migrations/
https://www.cinemapolitica.org/special-events/nations-and-migrations/ ]
film  montreal  canada  socialchange  documentary  activism  narrative  politics  art  towatch  cinemapolitica 
july 2018 by robertogreco
DERC - Digital Ethnography Research Centre | Melbourne
"The Digital Ethnography Research Centre DERC focuses on understanding a contemporary world where digital and mobile technologies are increasingly inextricable from the environments and relationships in which everyday life plays out. DERC excels in both academic scholarship and in our applied work with external partners from industry and other sectors.

The Digital Ethnography Research Centre DERC focuses on understanding a contemporary world where digital and mobile technologies are increasingly inextricable from the environments and relationships in which everyday life plays out. DERC excels in both academic scholarship and in our applied work with external partners from industry and other sectors.

DERC approaches this world and how we experience it through innovative, reflexive and ethical ethnographic approaches, developed through anthropology, media and cultural studies, design, arts and documentary practice and games research.

Our research is incisive, interventional and internationally leading. Going beyond the call of pure academia we combine academic scholarship with applied practice to produce research, analysis and dissemination projects that are innovative and based on ethnographic insights.

DERC partners and collaborates with a range of institutions in Australia and globally, including other universities, companies and other organisations. This includes collaborative research projects, conferences, symposia and workshops, and international visits, fellowships and publications.

DERC members are aligned into Labs to represent their research interests, DERC Labs include:

• Data Ethnographies Lab
• Design+Ethnography+Futures (D+E+F) Lab
• Bio Inspired Digital Sensing-Lab (BIDS-Lab)
• Migration and Digital Media Lab

WHAT IS DIGITAL ETHNOGRAPHY?

Recognising the differential meanings and uses of the term ethnography across and between academic disciplines, DERC utilises a broad definition of ethnography that views ethnography as an approach for understanding the world that cannot be reduced to a single method. Through DERC, our aim is to engage in research and conversations that are committed to the following:

• transdisciplinary research that is inquiry-based;
• engagement with empirical research and/or materials;
• socially and historically contextualised analyses;
• comparison across local, national, regional and global frames.

DERC welcomes partnerships and collaborations with national and international centres with expertise in digital media and ethnography. Through research, workshops, talks and publications, we collectively seek to critically engage with and push the boundaries of ethnographic practice in, through and around digital media. To learn more about our perspectives on Digital Ethnography see our Introduction (Horst, Hjorth & Tacchi 2012) and articles by Sarah Pink and John Postill in the Special Issue of Media International Australia published in 2012."
ethnography  digital  digitalethnography  anthropology  online  web  internet  design  culture  documentary  games  gaming  videogames  transdisciplinary  inquiry  materiality  sarahpink  johnpostill 
may 2018 by robertogreco
Véréna Paravel and Lucien Castaing-Taylor - documenta 14
"Few filmmakers in recent years have managed to combine formal innovation with a programmatic stance toward filmmaking quite like Véréna Paravel and Lucien Castaing-Taylor. In the process of reinventing the relationship between their two fields of inquiry, anthropology and cinema, they have established an experimental laboratory and school at Harvard University, the Sensory Ethnography Lab. The films coming out of the lab take a decentered, nonanthropocentric approach to the visual practice of the moving image. Their camera does not focus primarily on humans as privileged actors in the world but rather on the fabric of affective relations among the natural elements, animals, technology, and our physical lifeworlds.

Their “nonnarrative epics” are meditative, trance-like journeys into unseen and alien aspects of our environments; they unearth a different order for the principles of knowledge and cinematographic language, one that is nonsignifying and nonhierarchical. Paravel and Castaing-Taylor’s Leviathan (2012), for instance, is a vertigo-inducing study of the human relationship to the sea, filmed by equipping a fishing boat with numerous cameras and devices. The decentering achieved in the film evokes mythologies of the sea, while also addressing urgent contemporary concerns regarding the place of the human in the cosmos and within a future ecology.

Paravel and Castaing-Taylor, born in 1971 in Neuchâtel, Switzerland, and in 1966, in Liverpool, respectively, are premiering two new film installations at documenta 14. In Somniloquies (2017), their camera moves over sleeping, unguarded naked bodies while a soundtrack relays the sleep talk, nocturnal speculations, and orated dreams of Dion McGregor, a gay American songwriter whose hallucinatory, salacious, and sadistic dreams were recorded by his New York roommate over a seven-year period in the 1960s. Their second installation focuses on the controversial figure of Issei Sagawa, who gained notoriety in 1981 when, as a graduate student in Paris, he murdered a fellow student and engaged in acts of cannibalism. After his release from a mental institution, Sagawa returned to Japan, and later appeared in innumerable documentaries and sexploitation films. In contrast to earlier journalistic documentaries on Sagawa, the film by Paravel and Castaing-Taylor suspends moral judgment and explores a realm that eludes classification as either “documentary” or “pure fiction,” to instead chart the ambiguous territory between crime, fantasy, and social realities, between an individual and the economy of his public persona. Theirs is a filmmaking that ultimately renders the elements of nature and culture …

—Hila Peleg"
vérénaparavel  luciencastaing-taylor  film  cinema  sensoryethnography  documenta14  hilapeleg  filmmaking  ethnography  anthropology  documentary  isseisagawa  sagawa  dionmcgregor  senses  visualethnography  somniloquies  narrative  nature  animals  multispecies  bodies  non-narrative  sensoryethnographylab  body 
may 2018 by robertogreco
Uranium: Twisting the Dragon's Tail | PBS
"Host and physicist Dr. Derek Muller unlocks the mysteries of uranium, one of the Earth’s most controversial elements. Born from the collapse of a star, uranium has brought hope, progress and destruction. It has revolutionized society, from medicine to warfare. It is an element that has profoundly shaped the past, will change the future and will exist long after humans have left the Earth."
classideas  science  documentary  uranium  radiation  aborigines  australia  physics 
may 2018 by robertogreco
Self-Taught
"What happens to those kids who didn’t go to school or experienced non-traditional educations once they become adults? Are they “successful” in life? Can they get into college if they choose to follow that route? How do they make a living, get jobs or start their own businesses? And how do they define success for themselves?

Self-Taught will follow a number of adult self-directed learners as they go about their lives. We will immerse ourselves in their daily activities to see how they make a living, and how they feel about it. The questions guiding this film will explore how these individuals measure their success, and if they feel their non-traditional education helped or hindered them as adults.
Throughout the film, we’ll also hear from experts with extensive experience in child development, psychology, brain science and education and delve into what it means to be a self-directed learner, and we’ll examine the differences between extrinsic and intrinsic motivation and how that guides our choices through life."
self-directed  self-directedlearning  unschooling  learning  howwelearn  documentary  film  towatch  jeremystuart  motivation  life  living  deschooling  education  autodidacts 
february 2018 by robertogreco
Metrograph Celebrates the Inventive Truth-Telling of St. Clair Bourne | Village Voice
"Let the Church is so free of form and spirit that, presented without context, it could easily be seen as a fictional piece. It is not clear how much the scenes are staged, or, indeed, whether they are staged at all. Right from the first interaction, in which what seems to be a religious teacher laboriously explains the purpose of a sermon, there is a distance with the people filmed (broken on occasion by extreme zooming and direct address), as well as a writtenness and theatricality in the dialogue that can be delightfully confusing. What one learns while watching Bourne is that there are many ways to enter a subject, and one mustn’t refrain from exploring them, especially not in the name of nonfiction convention."



"Bourne conveys the collective through the individual: What do these voices reveal of the state of mind of the subject, and how do they mirror that of an entire community?"



"There are individuals who have been burdened with what Frantz Fanon has described, in Black Skin White Masks, as the “colossal task to make an inventory of the real.” Fanon was of course one of them, and so was Bourne.

The task is even more herculean when the reality has been so intensely erased and distorted, including by the very medium in which Bourne decided to express himself. Hence the extreme sensitivity and curiosity that animates his body of work, which belongs — right next to the early literature of enslaved Africans, the films of Oscar Micheaux, the novels and essays of Toni Morrison, James Baldwin, and Zora Neale Hurston — on the shelves of every Black family, its images ornating the minds and memories of every Black child. Much like the Martinican psychiatrist did with philosophy, poetry, and psychoanalysis, St. Clair Bourne utilized the tools of television and cinema to uncover the multitudinous facts of Blackness — and to send his people many love letters."
fantasylla  2018  stclairbourne  film  documentary  blackness  filmmaking  frantzfanon  zoranealehurston  jamesbaldwin  tonimorrison  realism  dialogue  breakingform  form 
february 2018 by robertogreco
Danos EsColaterais - da Vinculação à Desescolarização - YouTube
"Uma viagem percorrendo as actuais ameaças ao bom desenvolvimento das nossas crianças. Começando pelos problemas de vinculação, resultantes maioritariamente da institucionalização precoce, passando aos danos causados pela escolarização forçada e pelo arsenal pedagógico que a acompanha. Apresenta-se a desescolarização como via para uma sociedade mais justa, em que crianças e adultos podem viver vidas mais felizes, empáticas, solidárias e preenchidas.

Keywords: unschooling, ensino doméstico, teoria da vinculação, attachment parenting, desescolarização, ensino doméstico

Autoria: Agnes Sedlmayr & Álvaro Trindade"
unschooling  education  learning  portugal  film  documentary  to  watch  álvarotrindade  agnessedlmayr  deschooling  parenting  2016  schools  schooling  schooliness  howwelearn  children 
january 2018 by robertogreco
Worlds of Ursula K. Le Guin by Arwen Curry — Kickstarter
"Worlds of Ursula K. Le Guin, a feature documentary, explores the remarkable life and legacy of the groundbreaking 88-year-old author."
ursulaleguin  documentary  towatch  film 
december 2017 by robertogreco
Kwasi Boyd-Bouldin | Bio, Media, and Published Work
"Kwasi Boyd-Bouldin (b. 1977) is a Los Angeles based photographer whose work focuses on the urban environment and how a neighborhoods physical composition reflects the lives of it’s inhabitants. He is best known for The Los Angeles Recordings, an ongoing documentary project comprised of photo essays about L.A.’s rapidly changing urban landscape. He has also recently collaborated with KCET in the creation of In Plain Sight, a series photographing locations of police violence and was one of Time Magazine’s 12 African American Photographers to Follow in 2017."
photography  losangeles  landscape  documentary  urban  urbanism  cities  lawenforcement  police  kwasiboyd-bouldin 
november 2017 by robertogreco
Deep Snow Press | The School
"The School: Humanity’s New Future

In the foothills of the highest mountain in Europe, in a valley with glacier-fed springs, surrounded by ancient megaliths and natural power spots, there lies a school where the future of humanity is now being forged. A bright future.

A dream? A reality!

For three decades now a Russian visionary Mikhail Shetinin has been shattering both mainstream and ‘alternative’ views on education, while creating humanity’s new future. At his School, the children have designed, built, and decorated their own campus. They cover the entire high-school curriculum in one year and get official Master’s degrees by the time they are seventeen. They cook their meals, do administrative work, and write their own textbooks. They contemplate the meaning of the Universe and swim in mountain streams. They dance, draw, sing, and pick strawberries in the surrounding fields. They can shoot from an automatic rifle and fight with swords. They master ancient folk crafts by awakening their ancestral memory, which goes deeper than any written history now known to us. The girls choose not to wear miniskirts, make-up, or flashy jewelry. They have no interest in TV or video games. They do not prepare themselves for ‘life’ — they live every moment they breathe. They do it all with a mission to reclaim our true essence and to bring back to planet Earth the era of awareness and peace... The School will fill you with tremendous inspiration as you witness the enormous creative power revealed in each human being.

Get a glimpse of the fourth dimension!

We have carefully prepared a “3 in 1” version of this remarkable documentary. It includes the DVD with two versions of the film: with English subtitles (preserving the beautiful Russian soundtrack and the resonant voices of the children) and with English dubbing. Plus, included is a 16-page full-color booklet with the full transcript of the film (you’ll want to refer to it again and again), and with never-before-published photographs of the School! All-region DVD (NTSC). Running time: information-packed 30 min, distilled from hundreds of hours of footage.



The School is just so out of the ordinary, we now receive a stream of inquiries from people aged 8 to 73, wanting to enroll in this School! This was our own instant reaction too, age notwithstanding. You certainly won’t find another place like that anythere on the Earth. Teenage children having a strong desire to be in the School are welcome to visit it in the summertime. The location of the School is given in the film. Knowledge of at least some Russian is strongly recommended! There is no formal admission process, everything depends on the child’s own desire and ability to establish a connection with Mr. Schetinin and the students."
schools  education  learning  documentary  unschooling  deschooling  mikhailshetinin  freeschools  russia  alternative  via:cervus 
september 2017 by robertogreco
Center for Documentary Studies at Duke University
"The Center for Documentary Studies (CDS) is dedicated to documentary expression and its role in creating a more just society. A nonprofit affiliate of Duke University, CDS teaches, produces, and presents the documentary arts across a full range of media—photography, audio, film, writing, experimental and new media—for students and audiences of all ages. CDS is renowned for innovative undergraduate, graduate, and continuing education classes; the Full Frame Documentary Film Festival; curated exhibitions; international prizes; award-winning books; radio programs and a podcast; and groundbreaking projects."
srg  duke  documentary  wendyewald 
august 2017 by robertogreco
Scene on Radio – A Podcast from the Center for Documentary Studies at Duke University
"Scene on Radio is a podcast that asks, How’s it going out there? And leaves the studio to find out, capturing the sounds of life happening and telling stories that explore human experience and American society.

Produced and hosted by John Biewen, Scene on Radio comes from the Center for Documentary Studies at Duke University (CDS). It features a mix of Biewen’s work for CDS, new and old, and some of the best audio works produced by students in the Center’s undergraduate, graduate, and continuing education courses."

[via: "Episode 33: Made in America (Seeing White, Part 3)"
http://podcast.cdsporch.org/episode-33-made-in-america-seeing-white-part-3/

"Chattel slavery in the United States, with its distinctive – and strikingly cruel – laws and structures, took shape over many decades in colonial America. The innovations that built American slavery are inseparable from the construction of Whiteness as we know it today. By John Biewen, with guest Chenjerai Kumanyika."

via: "Also, the Duke University podcast series Seeing White is incredible. I learned so much from the handful of episodes I've listened to so far."
https://tinyletter.com/jomc/letters/lovely-as-a-slender-little-poisonous-mushroom ]

[See also:
"Episode 31: Turning the Lens (Seeing White, Part 1)"
http://podcast.cdsporch.org/episode-31-turning-the-lens-seeing-white-part-1/

"Events of the past few years have turned a challenging spotlight on White people, and Whiteness, in the United States. An introduction to our series exploring what it means to be White. By John Biewen, with special guest Chenjerai Kumanyika."]



"Episode 32: How Race Was Made (Seeing White, Part 2)"
http://podcast.cdsporch.org/episode-32-how-race-was-made-seeing-white-part-2/

"For much of human history, people viewed themselves as members of tribes or nations but had no notion of “race.” Today, science deems race biologically meaningless. Who invented race as we know it, and why? By John Biewen, with guest Chenjerai Kumanyika."

[many more parts in the series]
srg  documentary  podcasts  whiteness  race  us  racism  history  2017  johnbiewen 
august 2017 by robertogreco
UnionDocs
"UnionDocs (UNDO) is a non-profit Center for Documentary Art that presents and produces pioneering records of reality.

We bring together a diverse community of activist artists, experimental media-makers, dedicated journalists, big thinkers, and local partners. We are on a search for urgent expressions of the human experience, practical perspectives on the world today, and compelling visions for the future."
documentary  nyc  archives  documentation 
august 2017 by robertogreco
No Man's Land - YouTube
"No Man's Land follows Moroccan Jewish activist and former Israeli Black Panther leader Reuven Abergel as he leads a tour of Musrara neighborhood in Jerusalem. Using the historical landscape of the city, Reuven recounts the history of the Israeli Black Panthers, a protest group started by Mizrahi Jews from the Middle East and North Africa struggling against Israeli state violence against their communities. In the process he also illustrates why he believes anti-Mizrahi racism in Israel is deeply connected to the dispossession of Palestinians."
towatch  reuvenaberge  documentary  activism  jerusalem  blackpantherparty  blackpanthers  israel  palestinians  palestine  northafrica  middleeast 
august 2017 by robertogreco
Kedi
[Trailer: https://vimeo.com/87816089
https://www.youtube.com/watch?v=zgYAuo9UYoE

"KEDI is a documentary feature focusing on the millions of street cats that live in one of the world's most populated cities and the people who love and care for them. It is a profile of an ancient city and its unique people, seen through the eyes of the most mysterious and beloved animal humans have ever known, the Cat."]

[See also:

"Ode To The Street Cat: 'Kedi' Follows Istanbul's Famous Felines"
http://www.npr.org/2017/02/15/515188621/ode-to-the-street-cat-kedi-follows-istanbuls-famous-felines

"The street cats of Istanbul have a hit with the documentary 'Kedi'"
http://www.latimes.com/entertainment/movies/la-et-mn-kedi-cats-turkey-20170221-story.html ]
film  cats  documentary  multispecies  cities  animals  classideas  pets  human-animalrelations  human-animalrelationships  2016 
july 2017 by robertogreco
History of the typewriter recited by Michael Winslow on Vimeo
"“The History of the Typewriter recited by Michael Winslow” is a 21 minutes long film made by Ignacio Uriarte."
classideas  michaelwinslow  documentary  film  ignaciouriarte  typewriters  machines 
july 2017 by robertogreco
Oral History Summer School
"Oral History Summer School was established in Hudson, New York, in 2012, as a rigorous training program to help students from varied fields––writers, social workers, radio producers, artists, teachers, human rights workers––make use of oral history as an ethical interview practice in their lives and work (Read More: What is Oral History?).

Spanning the realms of scholarship, advocacy, media-making, and art, OHSS is a hands-on program, which means that students conduct interviews, design projects, produce radio documentary, and archive their recordings while learning the theoretical underpinnings of the field. We also offer advanced training in the form of focused workshops including those on memory loss, mixed ability interviewing, oral history-based documentary film, ethnomusicology, family history, and trauma. We're a cross-disciplinary program with a strong belief that the field is best defined and explored with the guidance of instructors from the field of oral history and from adjacent fields/pursuits: social work, disability studies, ethnomusicology, trauma studies, grassroots organizing, medicine, documentary film, and more.

Our students have come from Italy, Australia, Germany, Switzerland, China, Canada, Spain, Turkey, Brazil, Panama, and all over the United States. OHSS alumni have gone on to apply their oral history training to exhibitions, policy work, branding, art projects, and research, as well as collaborations with community organizations, institutions, and schools. You can read more about our alumni network and their accomplishments, here, and in OHSS Alumni newsletters I (2014) and II (2016).

In summer 2016, we will will offer our first workshop in Chicago, with the Studs Terkel Radio Archive and Chicago Torture Justice Memorials. Our first online class will be offered in 2016 and Oral History Winter School will return to Hudson in January 2017. Read more about our workshops, here."
oralhistory  storytelling  training  sfsh  professionaldevelopment  classideas  writing  humanrights  ethnomusicology  traumastudies  grassroots  organizing  documentary  film  audio  radio  squarespace 
july 2017 by robertogreco
CHECK IT
"At first glance, they seem unlikely gang-bangers. Some of the boys wear lipstick and mascara, some stilettos. They carry Louis Vuitton bags, but they also carry knives, brass knuckles and mace. As vulnerable gay and transgender youth, they’ve been shot, stabbed, and raped.

Once victims, they’ve now turned the tables, beating people into comas and stabbing enemies with ice picks. Started in 2009 by a group of bullied 9th graders, today these 14-22 year old gang members all have rap sheets riddled with assault, armed robbery and drug dealing charges.

Led by an ex-convict named Mo, Check It members are now creating their own clothing label, putting on fashion shows and working stints as runway models. But breaking the cycle of poverty and violence they’ve grown up in is a daunting task.

Life for the Check It can be brutal, but it’s also full of hope and an indomitable resilience. At its heart, CHECK IT explores the undying friendship that exists between these kids – an unbreakable bond that is tested every day as they fight to stand up for who they are in a community relentlessly trying to beat them down. "

[See also:
"Louis C.K. Releases LGBT Gang Documentary ‘Check It’"
https://variety.com/2017/film/news/louis-c-k-releases-check-it-documentary-black-gay-gang-1202485039/

[Louis CK Trailer:
https://www.youtube.com/watch?v=auaKQx0pVE0 ]
film  documentary  washingtondc  towatch  ganges  transgender  gay  lgbtq  2016 
july 2017 by robertogreco
A Year Without Eric Garner on Vimeo
"Eric Garner's death in 2014 at the hands of the NYPD helped spark a nationwide movement for police reform. One year later, his family has settled a wrongful death lawsuit with New York City, but they aren't satisfied that justice has been served.

Credits:
Director / Producer - Fazeelat Aslam
Producer - Jimmy Goldblum
Cinematographer - Naveen Chaubal
Editor - Adam Weber
AJ+ Senior Commissioning Producer - Jeff Seelbach"
ericgarner  2015  film  documentary  jimmygoldblum  fazeelataslam 
july 2017 by robertogreco
Fazeelat Aslam
"Fazeelat Aslam is a documentary filmmaker, correspondent and journalist. She was a co-producer for the documentary short, "Saving Face,” which won the 2012 Academy Award and 2013 Emmy for “Best Documentary". She is also the co-producer on "Tomorrow We Disappear," a documentary which premiered in competition at the 2014 Tribeca and Hot Docs Film Festival. She Fazeelat has produced for international organizations such as The New York Times, Channel 4 UK, and Al Jazeera. Her work in the United States spans from BuzzFeed to AJ+, The Intercept's Field of Vision, HBO, PBS Frontline, and Dan Rather. She worked as a producer and correspondent for the second season of VICE on HBO and VICE News.

Born in Lahore, Pakistan, Fazeelat attended Wellesley College where she double majored in Media Studies and Gender Studies. "
srg  fazeelataslam  film  documentary  journalism  filmmaking 
july 2017 by robertogreco
TOMORROW WE DISAPPEAR
"When their land is sold to developers, the magicians, acrobats, and puppeteers of Kathputli Colony must find a way to unite --
or splinter apart forever.

Tomorrow We Disappear is a feature length documentary about the last days of Kathputli, a hand-built artist colony hidden away in the alleyways of New Delhi. Spanning three years, the film follows Puran the Puppeteer, Rahman the Magician, and Maya the Acrobat as they approach their looming eviction."
film  documentary  towatch  india  kathputli  puppetry  artists  newdelhi  magicians  acobats  evicition  development 
july 2017 by robertogreco
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