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Streaming Manufactured Landscapes Online.
Movie Title: Manufactured Landscapes Manufactured Landscapes is available for streaming or downloading. |
I didn’t know what to inquire of after the opening 8-minute tracking shot spanned a Chinese factory’s worthy length. “Manufactured Landscapes” is about the work of Canadian photographer Edward Burtynsky, but this film is unlike any other I’ve seen on the subject of an artist and his work. Burtynsky has made a name -and many glowing photographs- in “industrial landscapes”. Struck by the ways in which new humanity has transformed Earth’s landscape, he seeks out “the largest industrial incursions” he can pick up. His photographs are appealing and surprisingly pleasing representations of the heart of modernization and globalization.
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Director Jennifer Baichwal accompanied Burtynsky on several trips to Asia, observing the artist at work and allowing a movie camera to peek the industrial landscape as he does. This gives the photographs context that they don’t normally have, and Burtynsky takes the opportunity to comment in a spare narration. Baichwal wisely subscribes to the same philosophy as Burtynsky in never interpreting or demystifying the photos. I was pleasantly surprised to inspect how many of Burtynsky’s photographs are presented in the film and amazed at how well the movie footage supports and directs the viewer into them.
After photographing extraction industries for 10 years, Burtynsky turned his attention to China, where all those materials coalesce and are turned into products we seize. We go with him as he documents the speedily changing landscapes at a factory, a village that recycles “e-waste”, a shipyard, coal mine, the wonderful Three Gorges Dam, and China’s fastest-growing city, Shanghai. A short bound to a shipwrecking beach in Bangladesh is particularly unbelievable. “Manufactured Landscapes” showed me things I had never seen before. And it is suppose honest to indicate them without judgment.
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The DVD (Zeitgeist 2007) : Bonus features include 5 additional scenes, a theatrical trailer, and 3 featurettes. “Discussion with the Director and Edward Burtynsky” (19 min) is very worthwhile. Richard Goddard interviews Baichwal and Burtynsky about questions of authorship, perspective, what the film brings to the photos, and touches on the controversial aspects of the Burtynsky’s photos. “Al Gore at the Nashville Film Festival” (9 min) records the traditional Vice President’s speech as he presents Baichwal with an award. “Mini-Interview with the Cinematographer/Collaborator” (5 min) talks with Peter Mettler about working with both a photographer and a director. Subtitles are available for the film in English SDH.
Jennifer Baichwal’s documentary is a companion to distinguished artist Edward Burtynsky’s large-scale photographs depicting man’s violent alteration of natural environments. Burtynsky achieved notoriety when he documented mine tailings, rail cuts, quarries and oil refineries, mostly located in North America. Baichwal shows Burtynsky at a lecture and exhibition of this material then travels to Asia with him to document the process of creating art based on China’s industrial revolution. Manufactured Landscapes opens with an fantastic tracking shot from the sidelines of a factory so immense that the shot lasts eight minutes. There are sparkling views of recycling yards and mountains of electronic refuse. Manufactured Landscapes takes us to the location of the Three Gorges Dam, 50% bigger than any previous such project, and to the ruins of the eleven cities that had to be demolished to effect its construction possible. In Bangladesh, we notice an state that’s become the final resting state for traditional oil tankers, which are being scrubbed elegant of oil by teenagers. The central theme of Manufactured Landscapes is that the things we’ve reach to regard as indicative of progress and human advancement have created a broad dependence on the extraction of natural resources that undermines the health of our planet and consequently our gain. Beinchwal’s documentary doesn’t need to lecture because the visual evidence is so compelling and, ironically, so glowing.
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