There’s a tragicomic absurdity to the setting and to the deconstructive activity: the ship breakers tearing apart these beached behemoths, ripping away the plates of steel to be rendered into new steel (to be used perhaps in new ship construction) while other men bail with their hands the measly remnants of petroleum in the bilges and dispose of it in a hole which could easily be mistaken for a hole in the ground. Summaries. And with The first shot does a variety of things very economically: it sets up the The film brings up disquieting issues about the aesthetics of political commitment and involvement and the ethics of art and representation. A woman assembles a circuit breaker, and women and children are seen picking through debris or playing in it.
It all comes down to GNP, GDP, NMP or some other quantifiable measure of economic output because on both sides the underlying social systems have become irrelevant—a historical coming together of opposites where life is conceived of exclusively in terms of economic indicators. Manufactured Landscapes is a 2006 feature-length documentary film about the work of photographer Edward Burtynsky. As a result of the zoom, the objects acquire an abstract, undifferentiated nature and lose their identity as objects; I can’t help but think in terms of the reverse of film grain: it’s as if she’s turning the meaning of film grain on its head. It’s likely not about discipline, order or control but about one-upmanship.
This also reinforces the key visual theme of the documentary: the subject losing itself within the totality as a metaphor for the individual losing his/her identity within the social mass—the individual as a speck on the macro-landscape of industrialization. It’s as if our electric energy generating water resources, like our oil, have also peaked.
Internationally acclaimed for his large-scale photographs of “manufactured landscapes”—quarries, recycling yards, factories, mines and dams—Burtynsky creates stunningly beautiful art from civilization’s materials and debris.
Oftentimes one can tell whether a film is “really worth” watching by the time the first shot and the first cut are done. The presentation of large-scale processes throughout the documentary also serves as examples of paradigmatic syllogisms or analytical schema that can be applied to other wide-spread yet hidden processes like deforestation, depletion of fish stocks, industrial agriculture, strip mining, the junkification of space with satellites, etc.The contrasting sequence of the breaking up of oil tankers on the shores of Chittagong in Bangladesh is reminiscent of 19th century photos of whales being flensed in order to render their blubber into oil (another exhausted oil resource) and the carrying away of the steel plates reminds me of entomological nature films depicting ants in single file carrying pieces of leaves to their hill.
Historically, the emergence and conception of Chinese Communism was very different from Soviet Communism, and its current implementation is perhaps too large a conception for us to fathom—yet again, it’s the enormity of the endeavor! In China, workers gather outside the factory, exhorted by their team leader to produce more and make fewer errors. 49) In Manufactured Landscapes, he captures the scope of these consumed or discarded places – the mines, the quarries, the oil fields, and recycling centers – to stunning effect, reminding me of industrial civilization’s ability to shape and transform landscapes (and by extension the oceans and the atmosphere) on a global scale.
disaster for the Chinese—don’t worry, the crew says, the “photographer’s eye” will make everything look beautiful! It calls attention to the fact that we are looking at a photograph within a film but also at how different film is from photography—the possibilities of temporally unfolding narrative, camera movement and montage endow film with expressive possibilities unavailable to photography. Manufactured Landscapes is a 2006 feature-length documentary film about the work of photographer Edward Burtynsky.It was directed by Jennifer Baichwal and is distributed by Zeitgeist Films.It was the first of three documentary collaborations between Baichwall and Burtynsky, followed by Watermark in 2013 and Anthropocene: The Human Epoch in 2018. manufactured landscapes essay scholarships Mba Analysis Essay.
The images of people dismantling their homes and lives are reminiscent of images of coolies working in the open pits of the Panama Canal or even the indentured laborers of One could say that these images are simply a metaphoric depiction of humans as economic entities subsumed to the greater interests of the social, but doesn’t all this represent a radical devolution in the conception of what being human is about? Still, there’s a duplicity to the approach which possibly represents the price to pay when working with the devil.
MANUFACTURED LANDSCAPES is a visually mesmerizing documentary that is part artist portrait, part social documentary. gesture the big boys of Hollywood could get away with in the grand days of cinema when they could claim a cast of thousands and back it up with a plenitude of real extras and not cgi warriors.
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