Manufactured Landscapes | |
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Directed by | Jennifer Baichwal |
Produced by | Nicholas de Pencier Daniel Iron Jennifer Baichwal |
Starring | Edward Burtynsky |
Cinematography | Peter Mettler |
Edited by | Roland Schlimme |
Music by | Dan Driscoll |
Production companies | |
Release date |
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Running time | 90 minutes |
Country | Canada |
Languages | English French |
Manufactured Landscapes is a 2006 Canadian documentary film about the industrial landscape photography of 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.
The film involves the photographs and videos of photographer and visual artist Ed Burtynsky's trip through landscapes that have been altered by large-scale human activity, captured with Super 16 mm film. [1] Most of the photographs featured in the film are pieces that are exhibited all over the world and are taken with a "large format field camera on large 4x5-inch sheet film and developed into high-resolution, large-dimension prints (of approximately 50x60 inches)" [2] While some would call the work beautiful, his main goal was to challenge notions while raising questions about the interplay of environmental ethics and aesthetics. The footage was compiled from a trip to China where Burtynsky visited factories which Western society has come to rely on for most of its appliances, including a factory that produces most of the world's supply of clothes irons, which is one kilometre in length and employs 23,000 workers. The film also features the Three Gorges Dam, which, along with being the largest dam in the world, has uprooted more than one million people and flooded 13 cities, 140 towns and 1350 villages since the beginning of its construction in 1994. [3] Unlike most documentaries, there is very little commentary, which allows viewers to take in the images and try to make sense of what they're seeing, while at the same time the film "tries to shift our consciousness about the world and the way we live in it". [1]
Jennifer Baichwal elaborated on the film's minimal commentary and its connection to the film's overall message in a Q&A with Film Forum, noting that "...if the film was didactic it would imply an easy answer . . ." [4] With this statement, the film does not propose a concrete solution to human environmental impact, but rather asks the viewer to consider the many contributing factors.
Since its debut at the Toronto International Film Festival in 2006, the film has received generally positive reviews. Lisa Schwarzbaum of Entertainment Weekly gave the film an "A" and said "The opening tracking shot through a Chinese factory where 23,000 employees make most of the world's irons is a stunner." [5] The review that appeared in the Boston Globe said the film "begs to be hung on the wall, studied, absorbed, and learned from" and also "taken as a whole, Manufactured Landscapes is a mesmerizing work of visual oncology, a witness to a cancer that's visible only at a distance but entwined with the DNA of everything we buy and everywhere we shop." [6] Ken Fox of TV Guide gave the film four stars and said, "Jennifer Baichwal's important, disquieting documentary offers the strongest reminder since Born into Brothels that art can serve a crucial, consciousness raising purpose." [7] Kenneth Baker of the San Francisco Chronicle said "the viewer soon realizes that [Baichwal] shares Burtynsky's astonishment and concern over the scale, tempo and irreversibility of postmodern humanity's global frenzy of production and consumption", and also that the film "leaves its audience with many troubling questions." [8] Ella Taylor of LA Weekly named it the 2nd best film of 2007 (tying with The Host ), and Joe Morgenstern of The Wall Street Journal named it the 8th best film of 2007. [9]
Although most have praised the film, there has been some negative reception. Michael Phillips of the Chicago Tribune praised the opening shot, but said "the rest of director Baichwal's picture feels constrained and rather dutiful, no matter how passionate these people are about what they're observing." [10]
As of April 2012, the film had an average score of 79 on Metacritic based on 16 reviews. On Rotten Tomatoes 84% of critics had given the film a "fresh" rating based on 61 reviews.
The 31st Toronto International Film Festival ran from September 7 to September 16, 2006. Opening the festival was Zacharias Kunuk and Norman Cohn's The Journals of Knud Rasmussen, a film that "explores the history of the Inuit people [sic] through the eyes of a father and daughter."
Edward Burtynsky is a Canadian photographer and artist known for his large format photographs of industrial landscapes. His works depict locations from around the world that represent the increasing development of industrialization and its impacts on nature and the human existence. It is most often connected to the philosophical concept of the sublime, a trait established by the grand scale of the work he creates, though they are equally disturbing in the way they reveal the context of rapid industrialization.
Lake Ontario Waterkeeper (LOW) is a Toronto-based environmental justice advocacy group founded in 2001, with Lake Ontario, the Great Lakes Basin, and allied waterways at heart. It is a licensed member of the New York–based Waterkeeper Alliance, and a registered Canadian charity. Lake Ontario Waterkeeper was founded by environmental lawyer Mark Mattson, and Krystyn Tully. In November 2017, Lake Ontario Waterkeeper, Fraser Riverkeeper, North Saskatchewan Riverkeeper and its digital platforms were all consolidated under the name “Swim Drink Fish”.
Daniel Iron is a Canadian film and television producer. After his company Foundry Films was acquired by Blue Ice Group, he became president of production of that company.
Peter Mettler is a Swiss-Canadian film director and cinematographer. He is best known for his unique, intuitive approach to documentary, evinced by such films as Picture of Light (1994), Gambling, Gods and LSD (2002), and The End of Time (2012). "His peripatetic lens is ever gravitating toward outsiders in search of ecstatic states," writes José Teodoro in Brick, "strange spectacles that defy straightforward documentation, and sacred places that promise some metaphysical deliverance. There are precedents for his methodologies—the films of Chris Marker and Werner Herzog come to mind—but Mettler’s gifts as an open and unobtrusive interviewer and his capacity to discover shared sensibilities between people of vastly diverse cultures and creeds feels singular."
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Jennifer Baichwal is a Canadian documentary filmmaker, writer and producer.
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Watermark is a 2013 Canadian documentary film by Jennifer Baichwal and Edward Burtynsky. It concerns the history and use of water. Burtynsky was previously the subject of Baichwal's 2006 documentary, Manufactured Landscapes. The film features water use practices around the world, including multiple scenes in China and the United States, as well as segments shot in eight other countries. In China, the film chronicles the building of the Xiluodu Dam and flooding of its reservoir.
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Nicholas de Pencier is a Canadian cinematographer and filmmaker. The spouse and professional partner of filmmaker Jennifer Baichwal in Mercury Films, he is the cinematographer and producer on most of her films as well as codirector of the films Long Time Running. and Anthropocene: The Human Epoch. He was also solo director of the 2016 documentary Black Code.
Anthropocene: The Human Epoch is a 2018 Canadian documentary film made by Jennifer Baichwal, Nicholas de Pencier and Edward Burtynsky. It explores the emerging concept of a geological epoch called the Anthropocene, defined by the impact of humanity on natural development.
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Let It Come Down: The Life of Paul Bowles is a Canadian documentary film, directed by Jennifer Baichwal and released in 1998. The film is a portrait of American writer and composer Paul Bowles.
Into the Weeds is a Canadian documentary film, directed by Jennifer Baichwal and released in 2022. The film centres on Dewayne "Lee" Johnson, the California man whose health problems after longterm exposure to glyphosate in the herbicide product Roundup led to the landmark Johnson v. Monsanto Co. court case.
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