Godfrey Reggio Director / Film Director Estados Unidos / United

Total Page：16

File Type：pdf, Size：1020Kb

Godfrey Reggio Director / Film Director Estados Unidos / United

N. GODFREY REGGIO P. DIRECTOR / FILM DIRECTOR P. Estados Unidos / United States TUTOR / EXPERT Cofundó La Clínica de la Gente, que Co-founded the Clínica de la Gente, which gave proporcionaba atención en Santa Fe, y La Gente, support to people in Santa Fe, and La Gente, proyecto comunitario en el norte de Nuevo communitarian project in the North of New México. En 1963 cofundó Young Citizens for mexico. In 1963 he co-founded Young Citizens for Action, proyecto comunitario para miembros de Action, communitarian project for young gang bandas juveniles en Santa Fe. En 1972 y también members in Santa Fe. In 1972, also in Santa Fe, en Santa Fe, fundó el Institute for Regional he founded the Institute for Regional education, Education, fundación no lucrativa para el nonprofit foundation for the development of desarrollo de los medios de comunicación, las communication media, the arts, the social artes, la organización social y la investigación. organization, and the research. Godfrey has got Reggio se ha involucrado en causas políticas involved in progressive political causes. He has progresistas, ha trabajado para la American Civil worked for the American Civil Liberties Union Liberties union y coorganizado una campaña and collaborated organizing a multimedia multimedia sobre la invasión de la intimidad campaign about the invasion of privacy and the y el uso de la tecnología para controlar la use of technologies to control conducts of people. conducta. Reside en Nuevo México. Actualmente He lives in New mexico, and now he is working se ocupa de un film de carácter narrativo que on a narrative film that explores the negative explora el impacto negativo del consumismo impact of consumerism and fundamentalism in y el fundamentalismo en el mundo. En 2006 the world. In 2006 he participated in the project participó en el proyecto Stock Exchange of Stock exchanges of Visions. His Trilogy Qatsi: Visions. Es muy conocida su trilogía Qatsi: Koyaanisqatsi, Powaqqatsi and Naqoyqatsi. Koyaanisqatsi, Powaqqatsi y Naqoyqatsi. The names come from the language hopi: Los títulos provienen de la lengua hopi: Koyaanisqatsi = unbalanced life, Powaqqatsi = life Koyaanisqatsi = vida desequilibrada, Powaqqatsi in transformation, and Naqoyqatsi =life as a war. = vida en transformación, y Naqoyqatsi = vida In 1995 he directed a short film, Evidence that como guerra. En 1995 dirigió un cortometraje presented, as the trilogy Qatsi, the sound track titulado evidence, que presentaba, como la composed by Philip Glass. He has also directed trilogía Qatsi, una banda sonora compuesta por Anima Mundi. Godfrey spent 14 years fasting, in Philip Glass. Ha dirigido también Anima mundi. silence and praying, trying to become a monk with Reggio pasó catorce años de ayuno, silencio y the Christian Brothers, a catholic order, Roman- oración, tratando de convertirse en monje de los Apostolic, until he changed path to moved into Christian Brothers, una orden católica, romana cinematography. y apostólica, hasta que abandonó esa senda para dedicarse al cine. Pag. 84.

Copy Link

Recommended publications

Kings of Lies False Memories Records/Sonic Rendezvous Kings of Lies Is
Kings of Lies False Memories Records/Sonic RendezVous Kings of Lies is the name of the band featuring Francis Kuipers, a Dutch / English artist, musician and composer, as well as writer and poet. During his many travels, he collected and studied ethnic and experimental music. This resulted in a still ongoing interest and research into sound and music. He created a unique and comprehensive archive of sounds. At this time, Francis mainly lives and works in Italy and the Netherlands. It is worth mentioning that the music of Kings of Lies is a hybrid of various music styles. The background of the band members, Francis Kuipers - voice, guitar, Franc auf dem Brinke - drums and Sam Tjioe - bass, is very different. The main influence is, of course, that of Francis Kuipers, author of the songs and lyrics. He comes from a tradition of folk and blues. Franc auf dem Brinke not only has a jazz background but is as well influenced by Cuban and Brazilian music. Sam Tjioe played in rock and punk bands and is also responsible for the production of the album. Perhaps even more important than the music, and certainly just as important, are the lyrics. These are primarily poetic; this can be traced back to Francis performing in duo with Beat Generation poet Gregory Corso for a number of years until Corso's death. Kings of Lies can hardly be described as performing love songs. In other times, a few of the numbers might have been labeled protest songs. According to their author they are ironic stories that challenge the prevailing morality of our times, characterized by intolerance, economic opportunism and the return of religion.
[Show full text]
GODFREY REGGIO (Director, Koyaanisqatsi) Is a Pioneer of a Film Form That Creates Poetic Images of Extraordinary Emotive Impact
GODFREY REGGIO (Director, Koyaanisqatsi) is a pioneer of a film form that creates poetic images of extraordinary emotive impact. Reggio is best known for the Qatsi Trilogy – essays of image and music, speechless narrations which question the world in which we live. Born in New Orleans in 1940, Reggio entered the Christian Brothers, a Roman Catholic Pontifical Order, at age 14 and remained as a monk until 1968. In 1963, he co-founded Young Citizens for Action, a community organization of juvenile street gangs. Reggio co-founded La Clinica de la Gente and La Gente, a community organizing project in Northern New Mexico’s barrios. In 1972, he co- founded the Institute for Regional Education in Santa Fe, a nonprofit organization focused on media, the arts, community organization and research. In collaboration with the New Mexico Chapter of the American Civil Liberties Union, Reggio co- organized a multimedia public interest campaign on the invasion of privacy and the use of technology to control behavior. Reggio’s collaboration on Koyaanisqatsi with Ron Fricke (Director of Photography) and Philip Glass (Composer) gained an international audience, critical acclaim and launched the Qatsi Trilogy. Koyaanisqatsi has been played live over 200 times in venues worldwide. Reggio’s collaborations with Philip Glass, include: Koyaanisqatsi (1982), Powaqqatsi (1988), Naqoyqatsi (2002), Anima Mundi (1992), Evidence (1995) and Visitors (2013). In 1993, Reggio was invited by Luciano Benetton and Oliviero Toscani to develop a new school “to smell the future” – an enterprise of exploration and production in the arts, technology and mass media. Called Fabrica – Futuro Presente, it opened in the middle of the ‘90s in Treviso, Italy.
[Show full text]
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM
Advance Program Notes Powaqqatsi: Life in Transformation Philip Glass Ensemble Friday, November 1, 2013, 8 PM These Advance Program Notes are provided online for our patrons who like to read about performances ahead of time. Printed programs will be provided to patrons at the performances. Programs are subject to change. CENTER FOR THE ARTS AT VIRGINIA TECH presents POWAQQATSI LIFE IN TRANSFORMATION The CANNON GROUP INC. A FRANCIS FORD COPPOLA and GEORGE LUCAS Presentation Music by Directed by PHILIP GLASS GODFREY REGGIO Photography by Edited by GRAHAM BERRY IRIS CAHN/ ALTON WALPOLE LEONIDAS ZOURDOUMIS Performed by PHILIP GLASS and the PHILIP GLASS ENSEMBLE conducted by Michael Riesman with the Blacksburg Children’s Chorale Patrice Yearwood, artistic director PHILIP GLASS ENSEMBLE Philip Glass, Lisa Bielawa, Dan Dryden, Stephen Erb, Jon Gibson, Michael Riesman, Mick Rossi, Andrew Sterman, David Crowell Guest Musicians: Ted Baker, Frank Cassara, Nelson Padgett, Yousif Sheronick The call to prayer in tonight’s performance is given by Dr. Khaled Gad Music Director MICHAEL RIESMAN Sound Design by Kurt Munkacsi Film Executive Producers MENAHEM GOLAN and YORAM GLOBUS Film Produced by MEL LAWRENCE, GODFREY REGGIO and LAWRENCE TAUB Production Management POMEGRANATE ARTS Linda Brumbach, Producer POWAQQATSI runs approximately 102 minutes and will be performed without intermission. SUBJECT TO CHANGE PO-WAQ-QA-TSI (from the Hopi language, powaq sorcerer + qatsi life) n. an entity, a way of life, that consumes the life forces of other beings in order to further its own life. POWAQQATSI is the second part of the Godfrey Reggio/Philip Glass QATSI TRILOGY. With a more global view than KOYAANISQATSI, Reggio and Glass’ first collaboration, POWAQQATSI, examines life on our planet, focusing on the negative transformation of land-based, human- scale societies into technologically driven, urban clones.
[Show full text]
Godfrey Reggio Interview
Godfrey Reggio Interview Godfrey Reggio Spring 2003 Godfrey Reggio could be described, simply, as a documentarian. However, his exper- imental, non-narrated films go far beyond the simplistic mode of information-based moving pictures. Instead of numbers, charts and equations we are presented with inscrutable human faces, immersed in the technological world through which they travel. Stunning natural oases of water and land barricade the ominous enormity of industrialism, which crashes and storms with the surges of Phillip Glass’ minimalist orchestral score. Challenging, but never high-minded, encompassing but never eli- tist, Reggio has finally concluded the Qatsi trilogy (Koyaanisqatsi, Powaqqatsi and Naqoyqatsi) with the theatrical release of Naqoyqatsi. Each film deals with, respec- tively, the perspectives as regards technology within the first world, the third world and the digital world, to be very brief. Reggio has worked in a “non-ideological, mutual aid collective”, founded 33 years ago, that operated without wage labor and focused on living life creatively. Its mem- bers have managed to retain creative control over their films despite substantial con- tracts with MGM, which has released the Qatsi DVDs. He and his teams’ creative approach to cataloguing and debunking the industrial division of labor is unprece- dented in the documentary tradition. Reggio’s work, in particular Koyaanisqatsi, is notable to Green Anarchists as one of the first films to question technology asato- tality. In his own words, “The idea was to mainline in the vascular structure ofthe beast this form, which was created by technology, to question technology. In other words, these are not environmental films, these are films more about the presence of technology as a new and comprehensive host of life and three different points of view about it.” The current film, Naqoyqatsi, will finish its theatrical run on January 24 and arrive in a three-DVD set with the rest of the films in 2004.
[Show full text]
PHILIP GLASS PHILIP GLASS ● Words XXXXXXXX XXXXXXX Cover Words JULIAN DAY
● PHILIP GLASS PHILIP GLASS ● WORDS XXXXXXXX XXXXXXX cover WORDS JULIAN DAY HE ART of GLASS Composer Philip Glass couple of summers ago I was sitting in a hot Brooklyn backyard among musicians from sparked the musical A MATA, a festival for young composers that revolution of minimalism Philip Glass helped set up in the ’90s. As cold drinks were gratefully drained I found myself chatting to a – then pronounced it dead. cheery man who introduced himself as Glass’s tour But, at the age of 75, he is manager. At one point he drew from his back pocket a crumpled sheet of paper that on close inspection still propelled by the manic yielded a long list of cities and dates. energy of those early works, “This,” he declared, “is Phil’s schedule. Right now he ought to be in a cab in Kuala Lumpur heading towards as Julian Day discovered the concert hall. In a few hours’ time he’ll be on a plane to Tokyo. He hits London the following morning then flies on to LA. He plays here in New York next week.” This has been the way of life for Glass for as long as anyone can remember. At 75, an age when many have long retired and hit the golf courses of Florida, he’s on the go as much as ever. Even with the bulge of birthday events already scheduled, 2012 is pretty much business as usual – a constant stream of performances, commissions, collaborations and obligatory chats to the press. It’s almost as if Glass’s early minimalist works – all giddying arpeggios and whirring electric scales – were somehow just winding him up for a life of perpetual motion, in the studio, on stage, on the road and in the air.
[Show full text]
NZIFF 2019 Wellington Programme
WELLINGTON 26 JULY – 11 AUGUST 2019 BOOK AT NZIFF.CO.NZ NZIFF0719_WELLINGTON-1.indd 1 19/06/19 2:40 PM Join our newsletter or follow us on social media, to keep up with the centenary programme of events. @mccahonhouse mccahonhouse.org.nz mccahon100.org.nz MH1425FANZIFF0719_WELLINGTON-1.indd McCahon100 NZIFF ad.indd 2 2 12/06/1919/06/19 5:362:40 PM 48th Wellington International Film Festival Presented by New Zealand Film Festival Trust under the distinguished patronage of Her Excellency The Right Honourable Dame Patsy Reddy, Governor-General of New Zealand 26 JULY – 11 AUGUST 2019 EMBASSY THEATRE PENTHOUSE CINEMAS ROXY CINEMA LIGHT HOUSE CINEMA CUBA PROUDLY SUPPORTED BY LIGHT HOUSE CINEMA PETONE SOUNDINGS THEATRE, TE PAPA CITY GALLERY WELLINGTON READING CINEMAS, PORIRUA General Manager: Sharon Byrne Programmer: Sandra Reid Programme Manager: Michael McDonnell Assistant to the General Manager: Caroline Palmer Communications Manager: Melissa Booth Publicist: Sally Woodfield Wellington Festival Manager: Elizabeth Ireland Animation NOW! Programmer: Malcolm Turner All Ages Programmer: Nic Marshall Incredibly Strange Programmer: Anthony Timpson Publications Manager: Tim Wong Programme Consultant: Chris Matthews Content Manager: Ina Kinski Content Assistant: Lauri Korpela Technical Adviser: Ian Freer Online Content Coordinator: Sanja Maric Audience Development Coordinator: Emma Carter Guest Coordinator: Lauren Day Social Media Coordinator: David Oxenbridge Communications Assistant: Lynnaire MacDonald Communications Assistant (Auckland): Camila
[Show full text]
1 a Cinema of Sentience: the Simian Gaze in Godfrey Reggio's Visitors
A Cinema of sentience: The Simian Gaze in Godfrey Reggio’s Visitors Not the final version. This is the accepted version, accepted for publication Feb. 6, 2017 pending future revisions. Corey Kai Nelson Schultz University of Southampton ABSTRACT This article analyzes the moving portraits and the gazes of a female lowland gorilla named Triska in the film Visitors (Godfrey Reggio, 2013). By examining the formal qualities of her filmic portrayal and the biological and emotional affects portraits and gazes potentially have on the human viewer, I propose that Triska’s gazes create a ‘cinema of sentience’ that not only represent Triska as a sentient being, but affect an awareness of her sentience and subjectivity. I argue that Reggio’s filmic portraits of Triska do not position the viewer as superior to her – our gazes do not conquer or consumer her, and they do not sentimentalize her – rather, her gazes serve to equalize her for the viewer at the level of representation as well as affect, by encouraging the audience to experience a sense of affective empathy for the gorilla and her subjectivity, and to feel the sentience of the non-human Other. In the filmic encounters with Triska, humans become aware of both their humanity and their animality, producing affective moments where biology and philosophy collide – an affective encounter that questions our cognitive philosophical assumptions about what it means to be human and what it means to be animal and simian. 1 KEYWORDS Affect; gaze; film phenomenology; cinema of sentience; portraits; subjectivity. Introduction The word ‘gaze’ is defined as ‘a steady intent look’ (Oxford Dictionary of English 2012).
[Show full text]
~Lag(8Ill BAM 2000 Spring Season Is Sponsored by B~ ~L1 Snri Og Sp;:),On
March 2000 Brooklyn Academy of Music 2000 Spring Season BAMcinematek Brooklyn Philharmonic 651 ARTS Saint Clair Cemin, L'lntuition de L'lnstant, 1995 ~lAG(8Ill BAM 2000 Spring Season is sponsored by B~ ~L1 Snri og Sp;:),on Brooklyn Academy of Music Bruce C. Ratner Chairman of the Board Karen Brooks Hopkins Joseph V. Melillo President Executive Producer in association with Pomegranate Arts Inc. presents Philip on Film Running times: BAM Howard Gi lman Opera House Anima Mundi & Anima Mundi & Music for Film March 21, 2000, at 7:30pm Music for Film will Koyaanisqatsi/Live! March 22, 2000, at 7:30pm run for approximately Powaqqatsi/Live! March 23 & 24, 2000, at 7:30pm 90 minutes, with one Dracula: The Music and Film March 25, 2000, at 7:30pm & 20-minute intermis March 26, 2000, at 3pm sion; Koyaanisqatsi will run for approxi Original Music by Philip Glass mately 85 minutes, with no intermission; Performed by Philip Glass Powaqqatsi will run and the Philip Glass Ensemble: Lisa Bielawa , Dan Dryden , for approximately Jon Gibson , Philip Glass , Richard E. Peck Jr., Michael Riesman , 102 minutes, with no Eleanor Sandresky, & Andrew Sterman intermission; Dracula: The Music and Film with guest musicians will run for approxi Frank Cassara , Alexandra Montano, Valerie Naranjo, & Peter Stewart mately 80 minutes, with no intermission. Sound Design Kurt Munkacsi Musical Director Michael Riesman Production Management Pomegranate Arts, Inc. 17 Philip on F;ilm For the Philip Glass Production Stage Manager Doug Witney Ensemble Live Monitor Mix Steve Erb Assistant Sound Engineer Kevin Reilly Music Production Euphorbia Productions Music Publishing Dunvagen Music Publishing Press Representation Annie Ohayon Media Philip Glass and the Ensemble wish to thank Ladd Temple, Uoyd Trammel, John Fera, and the Peavey Corporation for their generous support and the use of the DPMC8X keyboards.
[Show full text]
Naqoyqatsi - a Film by Godfrey Reggio, Music by Philip Glass
Naqoyqatsi - a film by Godfrey Reggio, music by Philip Glass http://www.spiritofbaraka.com/naqoy.aspx Spirit of Baraka Celebrating nonverbal films like Baraka, Koyaanisqatsi, Microcosmos and the people who made them Translate: Bookmark: Buy Baraka DVD Buy the DVD on sale. Free shipping. Order now and save. Low prices. www.amazon.com Philip Glass Huge selection, great deals on Philip Glass items. shopping.yahoo.com Richard "Dickie" Landry "Solo" is the saxophonist, composer and visual artist's first CD! www.waydowninlouisiana.com Glass Radio - Free Listen to Philip Glass Free Unlimited Listening! www.pandora.com Baraka 1 of 12 3/5/08 12:41 PM Naqoyqatsi - a film by Godfrey Reggio, music by Philip Glass http://www.spiritofbaraka.com/naqoy.aspx Home Shop Naqoyqatsi Newsletter Movie :: Images :: Discuss :: Reviews Films details Introduction Baraka Naqoyqatsi, Godfrey Reggio's third part of the Qatsi trilogy. Samsara Naqoyqatsi is he final part of the Qatsi Koyaanisqatsi Chronos trilogy, in which Godfrey Reggio expresses Koyaanisqatsi technology and more modern times. Different in content to Koyaanisqatsi and Powaqqatsi Powaqqatsi. Naqoyqatsi Microcosmos Naqoyqatsi has been made many years after the rest of the films features in this Winged Migration web site. Due to legal reasons Naqoyqatsi Dogora was delayed as the legal rights over Buy Now Dogora Ata Whenua Koyaanisqatsi where resolved. Godfrey Choose your country below Atlantis Reggio clearly wanted to make Naqoyqatsi different to Koyaanisqatsi and Powaqqatsi. Lucky People Centre International Naqoyqatsi doesn't contain beautiful Anima Mundi images of North America, empty housing 1 Giant Leap projects or mines in Brazil that we saw in Koyaanisqatsi and Powaqqatsi.
[Show full text]
Time, Speed and Western Movies 577
Massimo Moraglio TIME, SPEED FILM& TV REVISITED AND WESTERN MOVIES Revisiting Koyaanisqatsi (1982) Koyaanisqatsi (United States, 1982), 85 min., director and producer: Godfrey Reggio, screenplay: Ron Fricke, Michael Hoenig, Godfrey Reggio, Alton Walpole, music: Philip Glass, cinematography: Ron Fricke. Koyaanisqatsi is a cult American movie and a reference point for many viewers. A strong critique of modernity, a manifesto against industrialization, as well as an artist’s view of the brutality of humankind against nature, its enthralling rhythm and music, sub- lime images and powerful message are still striking today, 35 years after its production. And, in many respects, the movie has become a cultural landmark about the use of modern technology and the destruction of the natural landscape.1 It is, perhaps, time to review the movie once more, offering different angles of inter- pretation and historicization. In this paper, I look at Koyaanisqatsi in the context of the American tradition of Western movies, dealing with gendered and racialized perceptions 1 Koyaanisqatsi was part of the Qatsi trilogy, which includes two other movies, Powaqqatsi (1988) and Naqoyqatsi (2002), both likewise with music by Philip Glass. Here, I focus only on Koyaanisqatsi, due to its greater success as well as its novelty. Zeithistorische Forschungen/Studies in Contemporary History 14 (2017), S. 575-581 © Vandenhoeck & Ruprecht GmbH & Co. KG, Göttingen 2017 | ISSN 1612-6033 (Print), 1612-6041 (Online) DOI: http://dx.doi.org/10.14765/zzf.dok.4.1079 576 MASSIMO MORAGLIO of nature and Native Americans. Additionally, following the title’s meaning (›Life out of Balance‹ is the accepted translation of the original Hopi-language word Koyaanisqatsi), I interpret the powerful rhythms of the movie using Paul Virilio’s ›dromology‹ (reflect- ing on speed as a political tool) and Enzo Tiezzi’s concept of diverging historical and biological times.
[Show full text]
Music with Repetitive Structures, Complexity of Music Scores and Algorithms in Computational Music Composition, Using Philip Glass’ Fa¸Cades As Case Study
Music with Repetitive Structures, Complexity of Music Scores and Algorithms in Computational Music Composition, Using Philip Glass' Fa¸cades as Case Study Pedro Pestana1 and Dinis Pestana2 1 CEAUL | Centro de Estat´ısticae Aplica¸c~oesda Universidade de Lisboa Portuguese Catholic University { School of the Arts, CITAR, Porto, and Lus´ıadaUniversity, Lisboa, Portugal (E-mail: [email protected]) 2 CEAUL | Centro de Estat´ısticae Aplica¸c~oesda Universidade de Lisboa CFCUL | Centro de Filosofia das Ciênciasda Universidade de Lisboa (E-mail: [email protected]) The new musical style that Glass was evolving was eventually dubbed minimalism. Glass himself never liked the term and preferred to speak of himself as a composer of music with repetitive structures. Much of his early work was based on the extended reiteration of brief, elegant melodic fragments that wove in and out of an aural tapestry. Or, to put it another way, it immersed a listener in a sort of sonic weather that twists, turns, surrounds, develops. in Biography, [5]. Abstract. Repetitive structures in the soprano saxophones, violas/synthesizer and violoncelli in the full score of Philip Glass' Fa¸cades [4] are investigated assimilating similar music bars with the axial-diagonal self-affine cartoons as defined by Man- delbrot [7], [8] to construct very general multi-fractals. Transition matrices of order 1 Markov chains are used to simulate surrogates of phrases of the same piece, to investigate whether in this minimalist setting we ob- tain (i) an exact reproduction of the original, or (ii) something that though different sounds a pleasant variation.
[Show full text]
Philip Glass on Composing for Film and Other Forms: the Case of Koyaardsqatsi
FALL 1990 301 Philip Glass on Composing for Film and Other Forms: The Case of Koyaardsqatsi An Interview by Charles Merrell Berg Philip Glass is a man of many musical hats. He's a prize-winning composer. He's also a concert performer whose electronic keyboards are an integral part of his theatrical and concert performances. And, as leader of the Philip Glass Ensemble, the acclaimed musical group he formed in the 1970s to play his own works, he's a highly successful entrepreneur.1 Glass is also a visionary whose basic concepts of artistic creation are centered in collaborative dynamics, a process standing in marked contrast to the Romantic tradition's emphasis on solitary creation by an individual genius, a notion still very much alive in such premises as cinema's auteur theory.2 Glass, as I will suggest, can also be thought of as a member of the vanguard of contemporary performance artists. The positioning of Glass as a performance artist is based in large part on Philip Auslander's seminal article, "Going with the Flow: Performance Art and Mass Culture,"3 as well as a brief consideration of Glass's prolific and multifacetèd career, and most significantly, in terms of the interview which follows, an examination of Glass's involvement with Koyaanisqatsi: Live, the multi-media performance event featuring Godfrey Reggio's 1983 film and Glass's "live music" score which toured throughout the United States in the Fall of 1987. Charles (Chuck) Merrell Berg is Director and Professor of Film Studies in the Department of Theatre and Film, University of Kansas-Lawrence.
[Show full text]