Not important. Do yourself a favour and skip over this movie at all costs. "Manufactured Landscapes" is a moderately interesting documentary about Edward Burtynsky who specializes in taking photographs of industry and … Please click the link below to receive your verification email. She ends up revealing the limits of the photographic frame and its square aspect ratio within the rectangular frame of the movie, sometimes in limbo or as a hung image at an exhibit.
October 19, 2007 It’s likely not about discipline, order or control but about one-upmanship. And according to engineers, it will be the largest dam that will ever be built on Earth—this would imply that there aren’t many more sites left and to me it has a ring of finality to it. Vote in Round 4 of the DC Heroes Showdown but it’s kinda late in the day for such a distanced approach to what’s being done to the planet. Still, there’s a duplicity to the approach which possibly represents the price to pay when working with the devil. | 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. The economic cost of stopping the massive number of production lines in order to get the workers to pose for a photograph on the main drag of the industrial park is something that one would never be able to get away with in a Western economy—unless of course we were talking about the military. “Manufactured Landscapes” is an absorbing if unsettling documentary about the work of the Canadian photographer Edward Burtynsky. Manufactured Landscapes is possibly the dullest, most painfully boring movie I've ever had to endure. Burtynsky and Baichwal logically go on to show the two alternatives: coal and water. 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. All rights reserved. December 6, 2007 Just below that it reads "Ticket Confirmation#:" followed by a 10-digit number. As a TV commercial Producer/Director he’s worked on over 300 retail commercial advertising campaigns and on-air promotions. Photographer Edward Burtynsky explores the subtle beauty amid the waste generated by slag heaps, dumps and factories.
Approximately 8 minutes. In contrast, if China is the heart of globalization, oil is its oxygen—it’s what allows it to pump out manufactured product while pumping back raw materials and junk for recycling, to be processed, assembled and pumped out. You've gotta be kidding me. By opting to have your ticket verified for this movie, you are allowing us to check the email address associated with your Rotten Tomatoes account against an email address associated with a Fandango ticket purchase for the same movie.Verified reviews are considered more trustworthy by fellow moviegoers.They won't be able to see your review if you only submit your rating.They won't be able to see your review if you only submit your rating. Like the woman chipping away at computer chips for their metallic content who doesn’t ask herself whether the chips are Mac or PC, there seems to be no difference between Socialist or Capitalist exploitation of humans, whether it’s an Orwellian or Stalinist rewriting of history. Burtynsky avoids any political content to his work, but it's hard not to feel anxious and sad at the spectacle of the rapid industrialization and urbanization of the world's most populous nation. February 28, 2008 November 17, 2011 There is nothing wrong with Baichwal's camerawork, with a fascinating opening eight-minute shot of it roaming across a Chinese factory floor, particularly stunning - but everything lacks depth. 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? This film says nothing and does nothing, but takes a shocking amount of time to do this in. But what does the documentary say about these events, or even about his photo's?
It simply shows. As urgent as "Manufactured Landscapes" might try to be, there is little here that we have not seen before. That seems like quite an accomblishment to me. How many, you may ask?