{"title":"Erin Espelie","authors":"Scott MacDonald","doi":"10.1093/oso/9780190052126.003.0012","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0012","url":null,"abstract":"Artist/scientist Erin Espelie was trained at Cornell University as a biologist, but turned down opportunities to study biology at the graduate level at Harvard and MIT in order to explore the New York City theater scene, before finding her way into independent, “avant-garde” filmmaking, first exploring her interests in biology and the history of science in a series of short films, then producing the remarkable essay-film The Lanthanide Series (2014), which explores the importance of the “rare earths” (the elements with atomic numbers 57–71) for modern communication and informational technologies. The imagery for The Lanthanide Series was recorded, almost entirely, off the reflective surface of an iPad. In her work as a moving-image artist, Espelie combines poetry, science, environmental politics, and modern digital technologies within videos that defy traditional knowledge categories. She is currently editor in chief for Natural History magazine and a director of the NEST (Nature, Environment, Science & Technology) Studio for the Arts at the University of Colorado-Boulder.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126522127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Betzy Bromberg","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0018","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0018","url":null,"abstract":"Following a transformative experience while filming in the catacombs in Paris, Betzy Bromberg radically changed her approach to filmmaking, and in recent years has produced feature-length, 16mm films with accompanying music, by exploring minute spaces within the gardens around her home in Tujunga, California. The most recent of the films, Voluptuous Sleep (2012) and Glide of Transparency (2017), are simultaneously landmarks of cine-abstraction and intimate portraits of familiar spaces—a kind of visual music, accompanied by sound and music by Robert Allaire, Dane Davis, and others, including Bromberg.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"76 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126204956","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Carlos Adriano","authors":"Scott MacDonald","doi":"10.1093/oso/9780190052126.003.0015","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0015","url":null,"abstract":"When Bernardo Vorobow—Brazil’s “Mr. Cinematheque” and filmmaker Carlos Adriano’s life partner and filmmaking collaborator—died, Adriano struggled to recover from his loss by making what became a series of cine-elegies that reflect on his life with Vorobow and their immersion in world cinema of all kinds. Adriano recycles image, sound, and poetry from a wide variety of films and writers into complex and engaging montages that are simultaneously deeply personal and cine-globally aware—poignant and challenging homages to Vorobow and to the creative spirit energizing Adriano’s recovery from his loss (and, as is clear in his most recent video, his discovery of a new partner). This is the first career interview with Adriano, who is dedicated to honoring, and creating, Brazilian contributions to world film history.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"7 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129409317","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Documentary Educational Resources","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0020","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0020","url":null,"abstract":"Any important contribution to the history of cinema requires more than accomplished filmmakers. Indeed, filmmaking accomplishment itself is nearly always dependent on the availability of exhibition venues and distribution organizations. Documentary Educational Resources (DER) is a crucial distributor for a wide range of ethnographic films from across the world. Founded by John Marshall and Timothy Asch in 1971 in order to make their own films available, DER now makes available to colleges and universities, schools, and festivals, eight hundred films by hundreds of nonfiction filmmakers from across the globe who are committed to cinema as a form of cultural education and immersion. This interview with the three women who have served as DER’s executive directors over recent decades traces the evolution of a model independent distributor.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"102 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123288544","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Nikolaus Geyrhalter","authors":"Scott MacDonald","doi":"10.1093/oso/9780190052126.003.0006","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0006","url":null,"abstract":"This is the first career interview with Austrian documentary filmmaker Nikolaus Geyrhalter, whose films, like those of Fred Wiseman, often focus on cultural institutions, though with a radically different sensibility. Geyrhalter’s most widely known film in the United States is Our Daily Bread (2005), his astonishing documentation of mass food production within the European community. Geyrhalter’s films are visually rigorous and formal—he was a photographer before he turned to filmmaking and is his own cinematographer. His films have explored cultural realities far and wide, from the aftermath of the Balkan wars of the 1990s to the plight of workers laid off from an Austrian factory during the years after the factory closed. His most elaborate film is Elsewhere (2000), a global survey of the edges of modern life and cultural transformation at the moment of the new millennium. The recent Homo Sapiens is a panorama of ruined places and landscapes across the planet at the dawn of the Anthropocene.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"44 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116895889","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Ron Fricke","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0002","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0002","url":null,"abstract":"This is the first substantive, career interview with Ron Fricke, whose “world films” offer spectacular panoramas of modern place and life. After shooting Koyaanisqatsi (1984) with Godfrey Reggio, Fricke directed and filmed his own films, beginning with the Imax-format film Chronos, which was a popular offering in several museums of natural history. Chronos was followed by the first two parts of Fricke’s world-film trilogy: Baraka (1992) and Samsara (2011). In order to make his films, Fricke has pioneered new technologies that have made time-lapse, 70mm and Imax-format shooting more flexible. Fricke’s films evoke and often document global spiritual practices. His own practice seems much influenced by a Buddhist sensibility that has become increasingly evident in every film he has made.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129005683","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Bill Morrison","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0007","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0007","url":null,"abstract":"This is the first extensive interview with the “Orpheus of nitrate,” Bill Morrison, whose forte is finding interesting imagery, often imagery with obvious film decay, in celluloid film archives, then fashioning this material into works of his own. Morrison has explored American archives—most often, the paper print collection in the Library of Congress and the Moving Image Research Collections housed at the University of South Carolina, which archive the outtakes of the newsreels Fox Movietone produced for theatrical exhibition between 1928 and 1963; and recently, a collection of early silent films unearthed in the permafrost in Dawson City, Canada. Morrison is particularly drawn to moments when obvious film decay seems related to the content or implications of the imagery that remains uncorrupted. Morrison’s breakthrough feature, Decasia (2002), like nearly all his subsequent works, was produced in collaboration with accomplished composer/musicians from around the world. Morrison’s films are to be understood as image-music experiences.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132984891","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Lois Patiño","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0010","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0010","url":null,"abstract":"This is the first extensive, career interview in English with Lois Patiño. After several years making films and installation work about mental illness and the moment of death, Patiño found his métier as a landscape artist, focusing on landscape as a spiritual entity. Patiño works in the tradition of place-oriented cinema pioneered by Larry Gottheim, James Benning, Sharon Lockhart, and Peter Hutton. In Patiño’s films human beings are seen as parts of the landscape, sometimes in a more literal sense, as in Costa da morte (2013) his feature about the Galician coast of Spain, and at other times in more mythic senses. Patiño’s films are stunningly beautiful and demonstrate that digital filmmaking can compete with even the most visually remarkable celluloid works.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"27 6","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131721746","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Dominic Gagnon","authors":"S. Macdonald","doi":"10.1093/oso/9780190052126.003.0011","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0011","url":null,"abstract":"This is the first career interview with French Canadian Dominic Gagnon, whose controversial work has been a crucial contribution to a recent tendency within the history of found-footage film (or recycled cinema) of mining YouTube and similar sites to find raw material for new, feature-length works. Gagnon is drawn to YouTube postings that are edgy (and often quickly suppressed) by the host sites: postings by conspiracy theorists, teenagers facing “the end of the world,” and most recently postings garnered with the directional keywords “north” and “south.” Gagnon’s of the North (2015) has been particularly provocative, since it recycles many postings by indigenous individuals in the Canadian north. Gagnon’s feature-length videos are vivid, engaging, often troubling panoramas of internet “territories.”","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128934565","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
{"title":"Craig Johnson","authors":"Scott Macdonald","doi":"10.1093/oso/9780190052126.003.0016","DOIUrl":"https://doi.org/10.1093/oso/9780190052126.003.0016","url":null,"abstract":"Craig Johnson was the “third man” in what has become one of the legendary ethnographic adventures and bodies of ethnographic cinema: the series of films about the indigenous Yanomamö living in the highland jungles of southern Venezuela, produced by anthropologists Napoleon Chagnon and Timothy Asch. Johnson, who took sound for the canonical The Ax Fight (1974) and other Yanomamö films, and edited some of them, had never spoken publicly about his involvement in and thoughts about his early filmmaking adventure, until this interview. In the years following his disenchantment with the Yanomamö project, Johnson worked on various films and now, through his Interpret Green, develops and constructs interactive installations for museums.","PeriodicalId":340006,"journal":{"name":"The Sublimity of Document","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2019-08-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"133333908","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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