DOCSLIB.ORG

River Festival

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
River Festival Gila Conservation Coalition presents 11th annual river festival finding balance in a changing world peter bill peter SEPTEMBER 24–27, 2015 Silver City / Gila River Gila National Forest 575.538.8078 www.gilaconservation.org 11th annual river festival finding balance in a changing world From the beginning, nature has been in a constant state of flux, and as human society evolved, it too changed continuously, yet the equilibrium between nature and culture was always maintained. However, for the first time in human history, our enormous and impressive technological advances appear to have broken our traditional bond with the natural world. We are confident in our seeming invincibility and our belief that technology trumps nature. But as environmental catastrophes pile up and climate change threatens life as we know it, many are questioning our “apartness” and acknowledge that contemporary society is out of balance with nature. Given this conundrum, some fundamental questions require thoughtful consideration. What does our current imbalance mean for our rivers and watersheds? How have indigenous cultures traditionally related to their surroundings and watersheds? How do we balance humanity’s needs and desires while living within the confines of the natural world and with respect for other living things? What are some alternative visions for the future and for getting back into equilibrium? As we explore the inherent tension between modern society and the natural world that sustains us, what are the implications of this tension for the Gila River? Can we envision and realize a future that regains balance and protects New Mexico’s last wild river? Cover art: Gila Planet by Peter Bill Brochure design & layout: Sarah Johnson Printed by Signature Offset using 100% recycled paper & soy inks 2 P LANNIng Your Trip TV RA EL TIME Mogollon Box Day Use Area ~ 30 miles, 45 minutes Woodrow Ruin ~ 30 miles, 45 minutes from TNC’s Gila Farm ~ 30 miles, 45 minutes Silver City to Gila Bird Area ~ 30 miles, 45 minutes Gila Lower Box ~ 1.5 hours each way Bear Mountain ~ 8 miles, 15 minutes LODGING he lovingly restored historic Murray Hotel in downtown Silver City Tis offering discounted rates of $84 per night for Gila River Festival guests. Call 575-956-9400 or email [email protected] by September 1 to obtain this special rate. www.murray-hotel.com. For other options, see the Silver City Arts and Cultural District website at http://silvercitytourism.org/lodging-main or call 575-538-5555. For camping in the Gila National Forest, see their website at www.fs.usda. gov/gila or call 575-388-8201. See the Silver City Arts and Cultural District website at http://silvercitytourism.org/camping or call 575-538-5555 for more camping ideas. FESTIVAL FOOD Silver City has many excellent restaurants. Visit http://silvercitytourism.org/ grab-a-bite for suggestions. The following downtown restaurants are offer- ing special festival discounts (coupon on page 37): Curious Kumquat ~ Little Toad Creek Brewery Silver City Food Co-op Market Cafe ~ Vicki’s Eatery Facebook “f” Logo CMYK / .eps Facebook “f” Logo CMYK / .eps Visit us on Facebook! www.facebook.com/GilaRiverFestival 3 fees & Registration Gila River Festival field trips and workshops have limited space and require pre-registration and a fee. Please register by September 17 to guarantee your participation. You may register online with payment via PayPal or mail in the registration form with your payment. Events fill up quickly; please register early to avoid disappointment. Late arrivals will be accepted at the event site as space permits. Please leave your pets at home. Carpooling is encouraged. Field trips proceed rain or shine. Sorry, no refunds if you’ve registered and paid for a field trip and decide at the last minute not to at- tend. Note: Events at Western New Mexico University and in downtown Silver City do not require registration. Name(s) Address City State Zip Phone Email NUmber EVENT OF PEOPLE Fee TOTAL THA URSD Y 9/24 Apache Art $20 Bear Mountain Fossils $16 Take Back the Rain $16 Gila River Native Flora $16 FRA ID Y 9/25 The Gila’s Birds $16 Upper Gila Archaeological Sites $16 Take Me to the River $20 Pipe Dream? Or Nightmare? $16 Monitoring the River $16 4 NUmber EVENT OF PEOPLE Fee TOTAL SAATURD Y 9/26 Fly Fishing Class $20 Kayak the Gila $85 Remembering Ed Abbey Brunch $25 Michael Berman Studio Tour $25 Help protect the Gila River by becoming a member of the Gila Conservation Coalition at an introductory cost of only $10! $10 TOTAL EncLOSED $ Events at Light Hall are wheelchair accessible. For questions about handicapped access for other events, please call the Gila Conservation Coalition at 575-538-8078. Festival registration, information, and sales (Thursday & Friday): Light Hall, Western New Mexico University, College Avenue & B Street. Festival information (Thursday thru Saturday):Silver City Visitors’ Center, 201 N. Hudson. Fee waiver: Most Festival activities require a registration fee. A small number of fee waivers are available in return for volunteering during the Festival. For more information, contact the Gila Conservation Coalition at 575-538-8078. Evening events at Western New Mexico University have a suggested donation at the door, but no one will be turned away for lack of funds. Make checks payable to Gila Conservation Coalition and send to 305A N. Cooper St., Silver City, NM 88061. For more information, email: [email protected] or call 575-538-8078. Credit card payment and online registration available at www.gilaconservation.org/wp/?page_id=245 5 M AJOR Sponsors Anonymous Center for Biological Diversity Dennis Weller Photography Fort Sill Apache Tribe Gila Haven Gila/Mimbres Community Radio—KURU Gila Native Plant Society Heartpath—Meyoni Heartwoods KUNM McCune Charitable Foundation Murray Hotel New Mexico Humanities Council & the National Endowment for the Humanities New Mexico Wilderness Alliance Pitchfork Ranch Rio Grande Chapter of the Sierra Club Sandra & Glenn Griffin/Gila Tree Thinners Stream Dynamics, Inc. T & E, Inc. Western New Mexico University New Media iDEA Lab Gila/Mimbres Community Radio Heartwoods Heartpath–Meyoni Gila N y a t t i e i v c e o P l a n t S Anonymous Gila Haven Pitchfork Ranch I T S L L R A O P F A C E H H E T Partially funded by sandra & glenn griffin Silver City Lodger’s Tax gila tree thinners T & E, Inc. 6 S PONSORS Ann McMahon Photography—www.AnnMcMahon.com Axle Canyon Ecological Preserve—www.axlecanyon.com Bob Garrett & Mary Hotvedt Bob Wilson & Lisa Houston Carol Morrison & Larry McLaud Far Flung Adventures Gila Wild Defense Fund High-Lonesome Books Shelby Hallmark & Lindee Lennox Sierra Club Southern New Mexico Group Single Socks—A Community Thrift Store Southwestern New Mexico Audubon Society Vicki Allen, LISW, Individual, Child and Couples Therapist Western Institute for Lifelong Learning F RIENDS Adobe Whitewater Club of New Mexico Anonymous Bob O’Keefe Conservation Voters New Mexico Education Fund Curious Kumquat Desert Woman Botanicals First New Mexico Bank Guadalupe’s Lone Mountain Native Plant Nursery Mary Burton Riseley Melvyn Gelb & Mary Ann Finn Patrick Conlin, Realtor Pauline & Richard Matthews Regalos de la Tierra Pottery Co. Richard Mahler, Relham LLC Rio Grande Chapter of the Sierra Club Robert Pittman & Kathleen Wigley Ron Henry Ronald Parry Silver City Food Co-op Syzygy Tileworks TheraSpeech W. Jay Garard DDS FETV S I AL OrganIZERS Gila Conservation Coalition Gila Resources Information Project Upper Gila Watershed Alliance SPECIAL THANKS All of our presenters and volunteers Peter Bill Nancy Kaminski Monsoon Puppet Theater Linda Hannan Bikeworks Little Toad Creek Brewery & Distillery Vicki’s Eatery 7 Schedule Overview EVENT TIme LOCATION/MeetING PLACE Fee Thursday 9/24 Apache Art 7:15 a.m.–2:00 p.m. Silver City Visitors’ Center 7:00 a.m. $20 Bear Mountain Fossils 8:00 a.m.–noon Silver City Visitors’ Center 7:45 a.m. $16 Diversion on the Gila 9:30–10:30 a.m. WNMU Light Hall FREE Effects of a Diversion on Fish 10:45–11:45 a.m. WNMU Light Hall FREE Gila Time-Lapse Film Fest 1:00–2:30 p.m. WNMU Light Hall $5 Take Back the Rain 1:00–4:00 p.m. Silver City Visitors’ Center 12:45 p.m. $16 Gila River Native Flora 1:15–5:00 p.m. Silver City Visitors’ Center 1:00 p.m. $16 Fort Sill Apache Tribe’s Return to Gila Homelands 3:00–4:00 p.m. WNMU Light Hall FREE Keynote: Take a Walk on the Wild Side 7:00–8:30 p.m. WNMU Light Hall $10 Film: Koyaanisqatsi 8:30–10:30 p.m. WNMU Light Hall $5 Friday 9/25 The Gila’s Birds 7:45 a.m.–1:00 p.m. Silver City Visitors’ Center 7:30 a.m. $16 Upper Gila Archaeology 8:00 a.m.–noon Silver City Visitors’ Center 7:45 a.m. $16 Take Me to the River 8:30 a.m.–4:00 p.m. Silver City Visitors’ Center 8:15 a.m. $20 The Changing River 9:30–10:30 a.m. WNMU Light Hall FREE Creating Water Supply Resilience 10:45–11:45 a.m. WNMU Light Hall FREE Pipe Dream? Or Nightmare? 1:00–5:00 p.m. Silver City Visitors’ Center 12:45 p.m. $16 Monitoring the River 1:30–5:00 p.m. Silver City Visitors’ Center 1:15 p.m. $16 No Maps, No Management 2:00–3:00 p.m. WNMU Light Hall $5 Sacred Water 3:15–5:15 p.m. WNMU Light Hall $5 Gila River Art Show Reception 5:30–7:00 p.m.
Load more

Recommended publications
  • Neo-Modern Contemplative and Sublime Cinema Aesthetics in Godfrey Reggio’S Qatsi Trilogy
    Art Inquiry. Recherches sur les arts 2016, vol. XVIII ISSN 1641-9278 / e - ISSN 2451-0327219 Kornelia Boczkowska Faculty of English Adam Mickiewicz University in Poznań [email protected] SPEEDING SLOWNESS: NEO-MODERN CONTEMPLATIVE AND SUBLIME CINEMA AESTHETICS IN GODFREY REGGIO’S QATSI TRILOGY Abstract: The article analyzes the various ways in which Godfrey Reggio’s experimental documentary films, Koyaanisqatsi (1982), Powaqqatsi (1988) and Naqoyqatsi (2002), tend to incorporate narrative and visual conventions traditionally associated with neo-modern aesthetics of slow and sublime cinema. The former concept, defined as a “varied strain of austere minimalist cinema” (Romney 2010) and characterized by the frequent use of “long takes, de-centred and understated modes of storytelling, and a pronounced emphasis on quietude and the everyday” (Flanagan 2008), is often seen as a creative evolution of Schrader’s transcendental style or, more generally, neo-modernist trends in contemporary cinematography. Although predominantly analyzed through the lens of some common stylistic tropes of the genre’s mainstream works, its scope and framework has been recently broadened to encompass post-1960 experimental and avant-garde as well as realistic documentary films, which often emphasize contemplative rather than slow aspects of the projected scenes (Tuttle 2012). Taking this as a point of departure, I argue that the Qatsi trilogy, despite being classified as largely atypical slow films, relies on a set of conventions which draw both on the stylistic excess of non-verbal sublime cinema (Thompson 1977; Bagatavicius 2015) and on some formal devices of contemplative cinema, including slowness, duration, anti-narrative or Bazinian Realism.
    [Show full text]
  • UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations
    UC Santa Barbara UC Santa Barbara Electronic Theses and Dissertations Title Unstill Life: The Emergence and Evolution of Time-Lapse Photography Permalink https://escholarship.org/uc/item/2q89f608 Author Boman, James Stephan Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA Santa Barbara Unstill Life: The Emergence and Evolution of Time-Lapse Photography A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Film and Media Studies by James Stephan Boman Committee in charge: Professor Janet Walker, Chair Professor Charles Wolfe Professor Peter Bloom Professor Colin Gardner September 2019 The dissertation of James Stephan Boman is approved. ___________________________________________________ Peter Bloom ___________________________________________________ Charles Wolfe ___________________________________________________ Colin Gardner ___________________________________________________ Janet Walker, Committee Chair March 2019 Unstill Life: The Emergence and Evolution of Time-Lapse Photography Copyright © 2019 By James Stephan Boman iii ACKNOWLEDGMENTS I would like to thank my friends and colleagues at UC Santa Barbara, including the fellow members of my cohort—Alex Champlin, Wesley Jacks, Jennifer Hessler, and Thong Winh—as well as Rachel Fabian, with whom I shared work during our prospectus seminar. I would also like to acknowledge the diverse and outstanding faculty members with whom I had the pleasure to work as a student at UCSB, including Lisa Parks, Michael Curtin, Greg Siegel, and the rest of the faculty. Anna Brusutti was also very important to my development as a teacher. Ross Melnick has been a source of unflagging encouragement and a fount of advice in my evolution within and beyond graduate school.
    [Show full text]
  • American Auteur Cinema: the Last – Or First – Great Picture Show 37 Thomas Elsaesser
    For many lovers of film, American cinema of the late 1960s and early 1970s – dubbed the New Hollywood – has remained a Golden Age. AND KING HORWATH PICTURE SHOW ELSAESSER, AMERICAN GREAT THE LAST As the old studio system gave way to a new gen- FILMFILM FFILMILM eration of American auteurs, directors such as Monte Hellman, Peter Bogdanovich, Bob Rafel- CULTURE CULTURE son, Martin Scorsese, but also Robert Altman, IN TRANSITION IN TRANSITION James Toback, Terrence Malick and Barbara Loden helped create an independent cinema that gave America a different voice in the world and a dif- ferent vision to itself. The protests against the Vietnam War, the Civil Rights movement and feminism saw the emergence of an entirely dif- ferent political culture, reflected in movies that may not always have been successful with the mass public, but were soon recognized as audacious, creative and off-beat by the critics. Many of the films TheThe have subsequently become classics. The Last Great Picture Show brings together essays by scholars and writers who chart the changing evaluations of this American cinema of the 1970s, some- LaLastst Great Great times referred to as the decade of the lost generation, but now more and more also recognised as the first of several ‘New Hollywoods’, without which the cin- American ema of Francis Coppola, Steven Spiel- American berg, Robert Zemeckis, Tim Burton or Quentin Tarantino could not have come into being. PPictureicture NEWNEW HOLLYWOODHOLLYWOOD ISBN 90-5356-631-7 CINEMACINEMA ININ ShowShow EDITEDEDITED BY BY THETHE
    [Show full text]
  • Points in Recent History
    San Francisco Contemporary Music Players Performers: Points in Recent History Tod Brody, flute Monday, November 8, 2010, 8 pm Peter Josheff, clarinet Herbst Theatre Jacob Zimmerman, saxophone David Tanenbaum, guitar Michael Seth Orland, piano Dominique Leone, keyboard JÉRÔME COMBIER Regina Schaffer, keyboard Essere pietra (To Be Stone) (2004) Loren Mach, percussion (Combier) (Approximate duration: 6 minutes) William Winant, percussion (Cage, Glass) Susan Freier, violin Heurter la lumière encore (To Hit the Light Again) (2005) Nanci Severance, viola United States premiere Stephen Harrison, cello (Approximate duration: 5 minutes) 2 JOHN CAGE Robert Shumaker, Recording Engineer Seven (1988) San Francisco Contemporary Music Players Co-Commission 2 This project has been made possible by the National Endowment for the Arts as part of American Masterpieces: Three Centuries of Artistic Genius. (Approximate duration: 20 minutes) Tonight’s performance is supported in part by the National Endowment for the Arts and the Wells Fargo Foundation. Intermission Tonight’s performances of Heurter la lumière encore and Essere pietra are sup- ported in part by The French-American Fund for Contemporary Music, a program of FACE with support from Cultural Services of the French Embassy, CulturesFrance, SACEM and the Florence Gould Foundation. GABRIELE VANONI Space Oddities (2008) Tonight’s performance of music by Gabriele Vanoni is made possible in part West Coast premiere by the generaous support of the Istituto Italiano de Cultura. (Approximate duration: 8 minutes) Tod Brody, flute PHILIP GLASS Music in Similar Motion (1969) (Approximate duration: 15 minutes) Program Notes (b. 1947) best known for his nature-inspired sculptures and mixed- media work. Two other artists of Combier’s own generation also had JÉRÔME COMBIER (b.
    [Show full text]
  • Philip Glass: a Catalogue of the Orchestral and Choral Music
    PHILIP GLASS: A CATALOGUE OF THE ORCHESTRAL AND CHORAL MUSIC 1963: Convention Overture 1960s: Arioso No.2 for string orchestra 1967: Piece for chamber orchestra 1969/81:“Music in Similar Motion” for chamber orchestra: 12 minutes + (OMM cd) 1981: “Facades” for Two Saxophones(or Flutes) and String Orchestra: 7 minutes + (several recordings) 1982: “Koyaanisqatsi: Life out of Balance” for chorus, ensemble and orchestra 1983: “Company” for string orchestra: 8 minutes + (EMI, Virgin and Naxos cds) “Glass Pieces” for orchestra Prelude and dance from the Opera “Akhnaten” for orchestra 1984: “The Olympian: Lighting of the Torch and Closing” for orchestra and chorus: 5 minutes “the CIVIL warS – the Cologne Section ” for orchestra with optional mixed chorus Two Interludes from “the CIVIL warS – the Rome Section” for orchestra: 9 minutes + (Nonesuch cd) 1985: “Phaedra” for string orchestra and percussion: 13 minutes “Runaway Horses from Mishima” for string orchestra and harp 1986: “In the Upper Room” for chamber orchestra: 45 minutes 1987: Violin Concerto No.1: 30 minutes + (DGG, Telarc, RCA and Naxos cds) “The Light”-a Symphonic Portrait for orchestra: 24 minutes + (Nonesuch and Naxos cds) 1988: “The Canyon”-a Symphonic Episode for orchestra: 18 minutes + (Sony cd) 1989: “Itaipu”-a Symphonic Portrait for chorus and orchestra: 38 minutes + (Sony cd) 1990: “Passages” for chamber orchestra: 56 minutes “Mechanical Ballet” from the Opera “The Voyage” for orchestra + (Nonesuch cd) 1991: Interlude from “Orphee” for chamber orchestra: 6 minutes + (Nonesuch
    [Show full text]
  • The Historical Thought of Film: Terrence Malick and Philosophical Cinema
    The Historical Thought of Film: Terrence Malick and Philosophical Cinema A dissertation presented to the faculty of the College of Fine Arts of Ohio University In partial fulfillment of the requirements for the degree Doctor of Philosophy Steven M. Rybin June 2009 © 2009 Steven M. Rybin. All Rights Reserved. 2 This dissertation titled The Historical Thought of Film: Terrence Malick and Philosophical Cinema by STEVEN M. RYBIN has been approved for the School of Interdisciplinary Arts and the College of Fine Arts by Vladimir L. Marchenkov Associate Professor of Interdisciplinary Arts Charles A. McWeeny Dean, College of Fine Arts 3 ABSTRACT RYBIN, STEVEN M., Ph.D., June 2009, Interdisciplinary Arts The Historical Thought of Film: Terrence Malick and Philosophical Cinema (484 pp.) Director of Dissertation: Vladimir L. Marchenkov Previous scholarly work on the director Terrence Malick has argued that his films – Badlands (1973), Days of Heaven (1978), The Thin Red Line (1998) and The New World (2005) – are, in varying ways, philosophical. This assessment is usually made via an analysis of the films in relation to a single philosophical metatext (frequently the work of Martin Heidegger) that transcends the concrete historical situation of both the given film and the historically existing viewer. This study seeks to intervene in this critical literature by theorizing an approach for understanding Malick’s films as works that do not merely illustrate already articulated philosophical themes but that rather function, in dialogue with the spectator, as an invitation to generate creative and historically situated meaning. The film medium, this study argues, is uniquely philosophical in that it exists in time (via the gradual entropy of the celluloid film print) as does the finite, historically embodied spectator.
    [Show full text]
  • Symphony Box NOTES
    Notes on Philip Glass’s Symphonies By Richard Guérin For a very long time in the 20th century composers more or less ceased to compose in the antiquated form of the symphony. There were a number of very practical reasons why composers, Philip Glass included, neglected the form. To some degree, it has come as a surprise to Glass himself that this body of work has evolved to such a degree. In interviews, the self-described “theater composer” seems to not know what quite to make of or how to talk about this now large group of musical children which he has brought into this world. Now with all ten symphonies in view, composed over a period of two decades, we can begin to see how they take their place in the greater musical world and what role these pieces play in the composer’s own creative output. By the 1960s when Philip Glass was coming of age as a composer the world of new classical music was largely controlled by the European avant-garde. For more than half a century a certain brand of modern music rose to primacy and had deep influence over the programming in concert halls and opera houses on both sides of the Atlantic. It’s fair to say that traditional classical music audiences generally felt forsaken by this turn of historical events. The pleasure principle in music that had existed for over 400 years had been discarded. The music which was being composed by living composers of the approved international style of the time, made no attempt to consider likes or dislikes of the classical music loving public.
    [Show full text]
  • LACMA Public Programs February 2014
    ^ music, film, and education LACMA Public Programs February 2014 Off-Site: Family Day – Kaz Oshiro: The Art of Looking – Ancient Conversation: Franklin Sirmans All You Need is Love: Valentine’s Day Chasing Ghosts America and Trevor Schoonmaker Tours and Dinner Talks & Courses Exhibition Walkthrough with Carol Vernon and Anthony Hernandez Thursday, February 6, 2014 | 7 pm Resnick Pavilion, Free, no reservations Carol Vernon, daughter of late collectors Marjorie and Leonard Vernon, and artist Anthony Hernandez lead a walkthrough of the exhibition See the Light—Photography, Perception, Cognition: The Marjorie and Leonard Vernon Collection . LA PRINT: 4.0 Saturday, February 8, 2014 | 1 pm Brown Auditorium, Free, no reservations Presented by LACMA's Prints and Drawings Council, LA Print returns for the fourth year as LA PRINT: 4.0, bringing together guests from Cirrus Editions, Edition Jacob Samuel, El Nopal Press, and Intellectual Property Prints. The group discusses their engagement with digital technology with individual presentations, followed by a Q&A on this issue, and on its impact on fine-art printing. Art + Technology Workshop: Derelict Electronics with Ryan Jordan Sunday, February 9, 2014 | 11 am LACMA, Art of the Americas Building, Balch Research Library Free and open to the public; ticket required Note: This program is now full. To add your name to the waiting list, please email [email protected] and provide your name, address, and phone number. Requests are accommodated on a first-come, first-served basis. We will contact you should a spot become available. Learn how to build crude transistors, amplifiers, solar cells, and diodes with raw minerals and detritus.
    [Show full text]
  • Film Music and Film Genre
    Film Music and Film Genre Mark Brownrigg A thesis submitted for the degree of Doctor of Philosophy University of Stirling April 2003 FILM MUSIC AND FILM GENRE CONTENTS Page Abstract Acknowledgments 11 Chapter One: IntroductionIntroduction, Literature Review and Methodology 1 LiteratureFilm Review Music and Genre 3 MethodologyGenre and Film Music 15 10 Chapter Two: Film Music: Form and Function TheIntroduction Link with Romanticism 22 24 The Silent Film and Beyond 26 FilmTheConclusion Function Music of Film Form Music 3733 29 Chapter Three: IntroductionFilm Music and Film Genre 38 FilmProblems and of Genre Classification Theory 4341 FilmAltman Music and Genre and GenreTheory 4945 ConclusionOpening Titles and Generic Location 61 52 Chapter Four: IntroductionMusic and the Western 62 The Western and American Identity: the Influence of Aaron Copland 63 Folk Music, Religious Music and Popular Song 66 The SingingWest Cowboy, the Guitar and other Instruments 73 Evocative of the "Indian""Westering" Music 7977 CavalryNative and American Civil War WesternsMusic 84 86 PastoralDown andMexico Family Westerns Way 89 90 Chapter Four contd.: The Spaghetti Western 95 "Revisionist" Westerns 99 The "Post - Western" 103 "Modern-Day" Westerns 107 Impact on Films in other Genres 110 Conclusion 111 Chapter Five: Music and the Horror Film Introduction 112 Tonality/Atonality 115 An Assault on Pitch 118 Regular Use of Discord 119 Fragmentation 121 Chromaticism 122 The A voidance of Melody 123 Tessitura in extremis and Unorthodox Playing Techniques 124 Pedal Point
    [Show full text]
  • Sublime Cinema: Experiential Excess and Embodied Spectatorship
    SUBLIME CINEMA: EXPERIENTIAL EXCESS AND EMBODIED SPECTATORSHIP IN GODFREY REGGIO’S QATSI TRILOGY by Adam Bagatavicius B.F.A. (honours), Concordia University, 2011 A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in THE FACULTY OF GRADUATE AND POSTDOCTORAL STUDIES (Film Studies) THE UNIVERSITY OF BRITISH COLUMBIA (Vancouver) August 2015 © Adam Bagatavicius, 2015 Abstract Certain aesthetic experiences resonate so profoundly that they can trigger extreme psychophysiological and emotional responses in the spectator. In this thesis I will explore how Godfrey Reggio's Koyaanisqatsi (1982), Powaqqatsi (1988), and Naqoyqatsi (2002) exemplify that the stylistic excess of non-verbal cinema can produce a sublime degree of experiential response by way of embodied spectatorship. I will use the observable elements of special effects, cinematography, and music in each film to locate sublime responses as palpable points of affective rupture where audiovisual stimuli results in psychophysiological emotional responses (visual hapticity, synesthesia, kinesthesia). The broader goal of defining “sublime cinema” is to a) reify how this mode of filmmaking relates to aspects of the Digital Age we are all a part of, and b) work towards an analytical methodology that might be applied to other experimental films in order to gauge at which point audiovisual content becomes fully embodied experience. First I will sketch out the genealogy of Reggio’s filmmaking style, reevaluate Kristin Thompson’s conceptualization of excess in relation to non-narrative cinema, integrate Vivian Sobchack’s research on embodied spectatorship, and unpack the sublime in order to define it cinematically. Second, I will focus on how special effects and cinematographic techniques (slow motion, time lapse, digital manipulation, and camera movement) activate the sublime aspect of an image.
    [Show full text]
  • Philip Glass and Kronos Quartet Michael Riesman, Conductor
    FEBRUARY 9 7:30 PM Dracula Philip Glass and Kronos Quartet Michael Riesman, conductor 1982 First fi lm score, for Godfrey Reggio’s Koyaanisqatsi: 1984 Life Out of Balance, is released. “My fi rst work in Completes the Portrait Trilogy: which social issues became the core subject.” Einstein/Satyagraha/Akhnaten. 18 TICKET SERVICES 919.843.3333 #GLASSAT80 Within the world of classical music, Philip Glass are his scores for The Thin Blue Line and The Hours, is celebrated for his operas, symphonies, and in which the composer’s brooding harmonies concertos. But in the rest of the world, his name is and rhythmic churn form an essential part of the synonymous with film music. Whether in art flicks drama. By the early 2000s, Glass was ubiquitous on like Godfrey Reggio’s Qatsi trilogy or mainstream soundtracks, and even made a brief cameo in the movies from The Truman Show to Fantastic Four—or The Truman Show as the in-house keyboardist for the knockoffs of his trademark arpeggios that grace the reality television program that the film depicts. many a television commercial—Glass’s music forms the soundtrack of the twenty-first century. “What the music is Though the composer had already established himself in the worlds of dance and theater, he doing is gathering had not considered writing for film before Reggio the attention of the reached out to him about Koyaanisqatsi in the early 1980s. In the 1982 film, slow motion footage of viewer. What the cities and landscapes build into a haunting critique images are doing of modern life; Glass’s monumental score provides gravitas and artistic unity to the imagery.
    [Show full text]
  • From Post-Industrial City to Postmetropolis: the Representation of Urban Change in Non-Fiction Film (1977-2010)
    2015 6 Xosé Iván Villarmea Álvarez From post-industrial city to postmetropolis: the representation of urban change in non-fiction film (1977-2010) Departamento Filología Inglesa y Alemana Director/es García Mainar, Luis Miguel Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral FROM POST-INDUSTRIAL CITY TO POSTMETROPOLIS: THE REPRESENTATION OF URBAN CHANGE IN NON-FICTION FILM (1977 -2010) Autor Xosé Iván Villarmea Álvarez Director/es García Mainar, Luis Miguel UNIVERSIDAD DE ZARAGOZA Filología Inglesa y Alemana 2014 Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento Director/es Tesis Doctoral Autor Director/es UNIVERSIDAD DE ZARAGOZA Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es Departamento de Filología Inglesa y Alemana Universidad de Zaragoza From Post‐Industrial City to Postmetropolis: The Representation of Urban Change in Non‐Fiction Film (1977‐2010) Iván Villarmea Álvarez Director: Luis Miguel García Mainar 2 Table of Contents Acknowledgements 7 Abstract / Resumen 9 Introduction. Place, Images and Meanings 13 · A Short Spatial Autobiography 13 · Places of Memory 14 · A Matter of Approach 15 · An Economic and Aesthetic Cycle 18 · A World-Systems Approach 23 · Subjects for Further Research 24 1. On City and Cinema 29 · From Post-Industrial City to Postmetropolis 29 · The Social Production of Space 31 · Space and Place 35 · The City in Film 36 3 · The Historical Value of Film 38 · The Identity Value of Film 40 · The Expressive Value of Film 41 · Voyeurs, Walkers and Drivers 43 2. Documentary Film at the Turn of the Century 47 · Aesthetic Functions and Modes of Representation 49 · The Objectivity Crisis 52 · Subjectivity in Documentary Film 54 · Space in Documentary Film 55 3.
    [Show full text]