Dances of the Kwakiutl - Robert Gardner (1951) DVDRip VO

Duración: 9 min.
Idioma: Ingles.
País: USA

Director: Robert Gardner

Synopsis:
Dances of the Kwakiutl is composed of fragments filmed in 1950 in Fort Rupert, British Columbia. They were made during a performance by those still familiar with the tradition of 'Hamatsa' or cannibal dancing. This type of dance was brought to impressive artistic heights by the Kwakiutl people of the Northwest coast.

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Grazie mille a Zebra!

African Carving: A Dogon Kanaga Mask (1974)

Idioma/Language: Ingles/English
Thomas Blakely and Eliot Elisofon
in collaboration with Robert Gardner for The Film Study Center at Harvard University
color, 19 min, 1974

The Kanaga mask is used in deeply sacred rituals by the Dogon people of Mali. Carving this mask is as important a ritual as the ceremonies in which the mask is used. The carver, a blacksmith, finds the proper tree and, in a secret cave outside the village, he shapes the mask with gestures which repeat the movement of the dancers who will wear it. When a dancer wears the Kanaga mask he becomes the Creator symbolically. He touches the ground with his mask and directs a soul to Heaven. Although these dances are now frequently performed for the public, the meaning of Kanaga is retained by the Dogon who fear, respect and depend on the power of the mask.

This film contains Dama dance material from the Wunderman Foundation.

Film Festivals, Screenings, Awards
Forum for Visual Anthropology, Switzerland, 2009






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Contributo di Zebrasauro! Grazie Mille! ;)

ESPECIAL ALAN LOMAX

NO DISPONIBLE - NOT AVAILABLE

Summary

Alan Lomax is a legendary figure in American folk music circles. Although he published many books, hundreds of recordings and dozens of films, his contributions to popular and academic journals have never been collected. This collection of writings, introduced by Lomax's daughter Anna, reintroduces these essential writings. Drawing on the Lomax Archives in New York, this book brings together articles from the 30s onwards. It is divided into four sections, each capturing a distinct period in the development of Lomax's life and career: the original years as a collector and promoter; the period from 1950-58 when Lomax was recording thorughout Europe; the folk music revival years; and finally his work in academia.

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Devil Got My Woman - Blues At Newport 1966 (2001)

Runtime: 60 minutes
Language: English
Country: USA
Color: Black & White
IMDb Link: N/A

Director: Alan Lomax
Cast:
Skip James
Howlin' Wolf
Rev. Pearly Brown
Son House
Bukka White

Description: The Newport Folk Festival has long been known for its contribution to spreading the gospel of traditional American song. This 1966 performance from the festival was manufactured by celebrated archivist Alan Lomax. He created a juke joint atmosphere complete with flowing liquor and this film documents all the action. The juke joint setting may add considerable flavour, but even without the theatrics the footage of the blues legends stands on its own. Prime performances are delivered by Son House, Bukka White, Howlin' Wolf, Reverend Pearly Brown, and Skip James. Between songs the Wolf taunts Bukka and as the music plays the audience dances at a fever pitch.

LINKS DE DESCARGA - DONWLOAD LINKS:
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CONTRASEÑA/PASSWORD: BlueMoon


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Screening Room: Alan Lomax (1975)

Runtime: 71
Language: English
Country: USA
Color: Color

Director: Robert Gardner
Cast:
Robert Gardner
Alan Lomax

Description:

Alan Lomax spent over six decades working as a musicologist, author, record producer, filmmaker, concert promoter, singer, photographer, and network radio host to promote knowledge and appreciation of the world's folk music. As an anthropologist of the performing arts he produced a multimedia database called The Global Jukebox, which surveys the relationship between dance, song, and human history. He was a lifelong advocate for "cultural equity," proposing to reverse the centralization of communications and secure a valid forum for the expressive arts of all indigenous cultures. Alan Lomax appeared on Screening Room in August 1975 to discuss the theory of Choreometrics and show the film Dance and Human History.

This DVD should be marketed as “Dance and Human History: Movement Style and Culture #1, with commentary from the filmmaker and Robert Gardner.” It is a helpfully tracked, digitized, commercial-free episode from a1970s Boston television program called “Screening Room,” where filmmaker Robert Gardner invited fellow filmmakers, intellectuals, or scholars to discuss their work or that of other filmmakers and to submit to his artful questioning between film-viewing (‘screening room’) segments. In this episode from 1975, ethnomusicologist Alan Lomax is the guest and viewers are treated to a partitioned screening of his path-breaking 40 minute film Dance and Human History: Movement Style and Culture #1, accompanied by short interludes of Gardner/Lomax discussion before and after each segment. It is a kind of ‘lecture-demonstration’ version of the film. Skillful editing keeps viewers attention away from the fact of Gardner’s smoking most of the time.

This is the only separate DVD of Dance and Human History available for new purchase now, though a videotape of it appeared in 1990, and many libraries own it. A blurb describing the film on the Alan Lomax (now Cultural Equity) website says, “This introduction to Choreometrics illustrates important scales by which dance can be measured, then utilizes the scales to classify dance into ethnographic regions. Also analyzes the influence of economic productivity and the division of labor between the sexes on dance.” The film was the first in a series of four, now called “Rhythms of Earth,” and it is offered for sale only as one of a boxed set of four DVDs from the Association for Cultural Equity web site. The commentary interwoven into the Screening Room showing of the film, here under review, will be important to today’s audiences as an aid to better understanding what Lomax was aiming to do by helping to develop the movement measurements of Choreometrics, which enable analysis of gestures across cultures. The final talk segment of the TV show introduces his concept of ‘cultural equity,’ which can be further explored on the culturalequity.org website.

Digging into original scholarly reviews of the film reveals that while many welcomed it, in certain circles it was criticized as being far less detailed in its analyses than it could have been. It appears simplistic, with its focus on five kinds of movement (three for limbs and two for torso) where the full Choreometrics scale allows for 200, and possibly ‘racist,’ though the latter would never have been Lomax’s intent. Lomax comes across in this DVD as a popularizer of cross-cultural news, teaching just enough in this film to communicate a basic message, to validate a method of research and theorizing, and to ensure that anyone who sees the film will see the world anew because of it.

That ethnographic films were made of people in cultures worldwide while they were at work and while they danced and that these were then were studied by people trained to look for patterns of movement is a fact we can celebrate as the world's cultures become ever more homogenized. Lomax clearly demonstrates his main points in this film: movement is expressive of culture as surely as spoken language is. It can be analyzed and patterns of cultural movement can be seen that indicate that a culture’s dances mimic and stylize its movements in daily life. More broadly applied, these patterns can be compared across cultures and large ‘movement families’ can be seen to exist. The commentary provided by the interview segments with Gardner helps to clarify Lomax’s motives and achievements.

Libraries that have seen steady use of the videotape of the Lomax film should buy this DVD, which offers insights from the filmmaker not available elsewhere, even if they are also considering buying the boxed set mentioned above.

About the Screening Room series

In the early 1970s a group of idealistic artists, lawyers, doctors and teachers saw an opportunity to change commercial television in Boston and the surrounding area. It would require years of litigation up to and including the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. Screening Room was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980.

Screening Room was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard's Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include Dead Birds (1964), and Forest of Bliss (1986).

LINKS DE DESCARGA - DOWNLOAD LINKS:
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CONTRASEÑA/PASSWORD: NINGUNA /NONE

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The Land Where The Blues Began (1979)

Runtime: 59
Language: English
Country: USA
Color: Color
IMDb Link: not listed

Director: Alan Lomax & John Bishop & Worth Long
Cast:
Sam Chatmon, Jack Owens & Bud Spires, Eugene Powell (Sonny Boy Nelson), Belton Sutherland, Othar Turner, Napoleon Strickland, and Joe Savage

Description:


In 1978, Alan Lomax, Worth Long, and John Bishop took portable video cameras deep into The Land Where the Blues Began and collaborated with the Mississippi Authority for Educational Television to produce this program.

As Alan Lomax 's articulated the mission:

Today we give a platform to this vital folk culture and its creators. These people witnessed the birth of the blues. They lived them. This haunting music, laughing at life’s ironies, and set to a dancing beat. This amazing mix of Europe and Africa is America’s most distinctive song style. It’s also the product of the folk culture of the Mississippi Delta.

We visit picnics and revivals. We meet the black pioneers who helped to carve Mississippi out of the wilderness with their work on farm, river, railroad and levee, creating a new music out of their loneliness and their deprivation. Music that, once heard, can never be forgotten.



The program features performances by Sam Chatmon, Jack Owens & Bud Spires, Eugene Powell (Sonny Boy Nelson), Belton Sutherland, Othar Turner, Napoleon Strickland, adn Joe Savage.

Finished in 1979 and broadcast on PBS in 1980. the program won awards and played in numerous festivals. In 1990 was broadcast again on PBS, re-edited as part of the American Patchwork series.

LINKS DE DESCARGA - DOWNLOAD LINKS:
http://rapidshare.com/files/326928292/Land.Where.Blues.1979-SMz.part1.rar
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CONTRASEÑA/PASSWORD:
www.surrealmoviez.info

gracias a Poenir y Tangopete

Land-Divers of Melanesia (1972)

Runtime: 32
Language: English voiceover
Country: USA
Color: Color
IMDb Link: http://www.der.org/films/landdivers-of-melanesia.html

Director: Kai Muller & Robert Gardner

Description:

On the island of Pentecost in the New Hebrides archipelago, a few hundred Melanesians maintain a traditional life thanks to their geographic isolation and to the leaders who have resisted Christianity, schools and cooperatives. Bunlap, where this film was shot, is the largest and most important community of these people.

To ensure a good yam crop, men of Pentecost Island in Melanesia attach vines to their ankles and dive headlong from a wooden tower over 100 feet tall, a ritual referred to as Naghol or land-diving. Those who dive say the fall clears their mind. The vines are relatively elastic and the ground is softened so injury is rare. For Pentecost Islanders the annual dive takes an appropriate place among other rituals and ceremonies such as blessing the taro crop, circumcising young boys and feasting with relatives, all of which keep them in touch with the forces that control the world in which they live.

Today this ritual has become a tourist attraction for many Westerners, much to the chagrin of anthropologists, and package land diving tours can be arranged throughout the yam harvest season.








































LINKS DESCARGA - DOWNLOAD LINKS:
http://www.fileserve.com/file/DSNhyvg

CONTRASEÑA - PASSWORD: NINGUNA/NONE

gracias a Poenir

Screening Room: Jean Rouch (1980)

Runtime: 78 Min.
Language: English
Country: USA
Color: Color
IMDb Link: http://www.der.org/films/screening-room-jean-rouch.html

Director: Robert Gardner
Cast:
Jean Rouch
Robert Gardner


Description: Jean Rouch appeared on Screening Room in July 1980 and screened Les Maitres Fous as well as several film excerpts including Rhythm of Work and Death of a Priest. Over a period of five decades Jean Rouch made many films about the Songhay and Dogon of West Africa. He also made, with Edgar Morin, the classic documentary, Chronicle of a Summer about the lives of Parisians. Rouch Frequently traveled with his films, showing and talking about them to a wide audience.

Regarded as one of the fathers of "Direct Cinema" and considered one of the most influential documentary makers of the twentieth century, his films are very difficult to find, particularly in North America. Since his tragic death in Africa in 2004, DER has honored his work with a Tribute Site and is in the process of acquiring films by Rouch in addition to the three, Les Maitres Fous, Jaguar and The Lion Hunters which we already distribute as well as four films about Rouch: Jean Rouch and His Camera in the Heart of Africa, Rouch's Gang, Conversations With Jean Rouch, and this DVD from Screening Room. -der.org

About the Screening Room series:

In the early 1970s a group of idealistic artists, lawyers, doctors and teachers saw an opportunity to change commercial television in Boston and the surrounding area. It would require years of litigation up to and including the Supreme Court, but the case was won and the Channel 5 license was given to WCVB-TV. Screening Room was one of several programs offered in an effort to provide alternative television viewing. The idea behind Screening Room was to give independent filmmakers an opportunity to discuss their work and show it to a large urban audience. Nearly 100 ninety-minute programs were produced and aired between 1973 and 1980.

Screening Room was developed and hosted by filmmaker Robert Gardner, who at the time, was Director of Harvard's Visual Arts Center and Chairman of its Visual and Environmental Studies Department. His own films include Dead Birds (1964), and Forest of Bliss (1986).

LINKS DE DESCARGA - DOWNLOAD LINKS:

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Rivers of Sand - Gardner (1974)

Runtime: 84
Language: English & Hamar with English hardsubs
Country: USA | Ethiopia
Color: Color
IMDb Link: http://www.imdb.com/title/tt0072088/

Director: Robert Gardner

Description:

Statement by the filmmaker:

My first choice as a title for the film that became Rivers of Sand was Creatures of Pain. Though it seemed at the time to evoke most aptly the central theme of the work, I was persuaded by friends not to use it. They felt, perhaps correctly, that it was too somber, too susceptible to wrong interpretation. But what I heard in those words is what I felt as I made the film: the anguish of an ordeal and a process by which men and women accommodate each other in the midst of conflict and tension caused by fidelity to their culture's values.

The people portrayed in this film are called Hamar. They dwell in the thorny scrubland of southwestern Ethiopia, about one hundred miles north of Lake Rudolph, Africa's great inland sea. They are isolated by some distant choice that now limits their movement and defines their condition. At least until recently, it has resulted in their retaining a highly traditional way of life.

Hamar women eagerly accept their ritual whipping when boys come of age. Part of that tradition was the open, even flamboyant, observance of male supremacy. In their isolation, they seemed to have refined this not uncommon principle of social organization into a remarkably pure state. Hamar men are masters and their women are slaves. The film tries to disclose the effect on mood and behavior of lives governed by the idea of sexual inequality.

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The Nuer - Gardner (1971)

Runtime: 73
Language: Nuer | English voiceover
Country: Sudan
Color: Color
IMDb Link: http://anonym.to/?http://www.der.org/films/the-nuer.html

Director: Hillary Harris & Robert Gardner

Description:

The Nuer call themselves Naath. Only their immediate neighbors, the Dinka, Shilluk and Arabs, call them Nuer. Most foreigners, which includes those with whom the Nuer neither fought nor traded, are called Bar which means 'almost entirely cattleless'. Those foreigners who live even more remotely and include Europeans are called Jur which means 'entirely cattleless', a most unthinkable state indeed.

The people of Ciengach, where the film was made, are the Eastern Jikany, one of about a sixteen distinct tribes of Nuer. Twenty-five years ago E.E. Evans Pritchard estimated the total population of Nuer to be around a quarter of a million. Since then the number has undoubtedly dwindled considerably due to warfare, civil strife, sickness, drought and the general abandonment of traditional lifeways.

However, those who still called themselves Naath did so with an extraordinarily vivid image of themselves as superior people living a superior life. Furthermore, it was impossible not to see that their lives were inextricably tied to their herds. Ciengach is a perfected plan for co-posperity of cows and humans.

It cannot be said that filming the Nuer was an easy task, but visually it was always absorbing. They were seldom resentful as was the rule with the Islamicized Afar in the Danakil Desert to the Northeast. On the contrary, the Nuer had a real, even exaggerated, sense of their importance. They considered themselves handsome and displayed their elegance with pride.

Nuer existence has, consistent with life led on a flood plain, an almost tidal rhythm due largely to the movement of cattle into and out of the villages. At almost precisely 10:30 in the morning cows and bulls began to groan, stand up and in other ways indicate that the time had come for them to be released and on their way to graze. Within moments the entire herd was sounding a unified complaint. Men and boys then slipped the tethers from their necks and the flow of cattle began. Five more minutes and the village was virtually silent. The herd had receded toward the river and to whatever grass the younger men could find. So the days passed into twilights of returning herds and men and the nights were filled with stars and an almost intoxicating 'bucolia.'

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Dead Birds - Gardner (1965)

Runtime: 83 (+ approx. 65 in extra features)
Language: English (Narrated Voiceover), Dugu Dani
Country: USA | Papua New Guinea
Color: Color
IMDb Link: http://www.imdb.com/title/tt0059091/

Director: Robert Gardner

Description:

“When I walked away from watching Dead Birds I almost seemed to stagger inside myself! Today I am still jarred by it and still trying to understand the guilty significance of what it tells us about ourselves. The terrible thing is that they remind us so much of ourselves. It is unlike any other movie I have ever seen... Robert Gardner’s film is dazzling!” — Robert Lowell

“The filming of Dead Birds is a genuine breakthrough in our capacity to record and communicate! It binds the distant past and the future towards which men are moving...” — Margaret Mead

“Films like Dead Birds... ...are sublime and beautiful poems in which each society Gardner films becomes a metaphor for the tenderness and cruelty of all human existence, the tenderness and cruelty we are all capable of recognizing when we look deep into our own hearts. Gardner's “ethnographic” films are about people he does not claim to especially to love. The human need for love, which is the other face of the human resistance to loving and being loved, is the subject of his films...” — William Rothman in Documentary Film Classics

“Life in the New Guinea highlands, including warfare, pig exchange, agriculture, and domestic life has been beautifully depicted.” — Tom Driver in Liberating Rites: Understanding the Transformative Power of Ritual

Dead Birds is a film about the Dani, a people dwelling in the Grand Valley of the Baliem high in the mountains of West Papua. When I shot the film in 1961, the Dani had a classic Neolithic culture. They were exceptional in the way they dedicated themselves to an elaborate system of ritual warfare. Neighboring groups, separated by uncultivated strips of no man's land, engaged in frequent battles. When a warrior was killed in battle or died from a wound and even when a woman or a child lost their life in an enemy raid, the victors celebrated and the victims mourned. Because each death needed to be avenged, the balance was continually adjusted by taking life. There was no thought of wars ever ending, unless it rained or became dark. Wars were the best way they knew to keep a terrible harmony in a life that would be, without them, much drearier and unimaginable.

Dead Birds has a meaning that is both immediate and allegorical. In the Dani language the words refer to the weapons and ornaments recovered in battle. Their other more poetic meaning comes from the Dani belief that people, because they are like birds, must die.

Dead Birds was an attempt to film a people from within and to see, when the chosen fragments were assembled, if they could speak not only about the Dani but also about ourselves.

The linked archive includes the remastered Dead Birds and the following extra features:

* • 6 sequences of edited scenes cut from the first answer print of Dead Birds with original narration and a commentary by Robert Gardner and Lucien Taylor.
* • An audio track of commentary by Robert Gardner and Ross McElwee.
* • A French language track narrated by Jean Rouch.
* • A gallery of photographs shot during the making of Dead Birds and accompanied by excerpts read by Robert Gardner from his field journals.
* • An excerpt from a television interview featuring a conversation about Dead Birds between Octavio Paz, William Alfred and Robert Gardner.
* • 2 sequences from a black and white print of Dead Birds made at the time of the film 's release. These are accompanied by a conversation by Robert Gardner and Lucien Taylor.
* • Previously unreleased outtakes from the archive of footage shot for Dead Birds.


LINKS DE DESCARGA - DOWNLOAD LINKS:

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Altar of Fire - Gardner (1976)

Runtime: 45
Language: English voiceover narration
Country: USA
Color: Color
IMDb Link: http://www.imdb.com/title/tt0074124/

Director: Robert Gardner

This film records a 12 day ritual performed by Mambudiri Brahmins in Kerala, southwest India, in April 1975. This event was possibly the last performance of the Agnicayana, a Vedic ritual of sacrifice dating back 3,000 years and probably the oldest surviving human ritual. Long considered extinct and never witnessed by outsiders, the ceremonies require the participation of seventeen priests, involve libations of Soma juice and oblations of other substances, all preceded by several months of preparation and rehearsals. They include the construction, from a thousand bricks, of a fire altar in the shape of a bird.

Around 1500 B.C., nomads who spoke an Indo-European language entered India and evolved a complex ritual involving the cults of fire and Soma, a hallucinogenic plant that grew in the Western Himalayas. Their Vedic language developed into Sanskrit, the classical language of Indian civilization. Among the later religions of India, Hinduism accepted and Buddhism rejected the Vedic culture. But both retained many of its ritual forms and recitations. Some of these have traveled all over Asia. Agni, the fire, is still worshipped with the help of Vedic mantras in Japanese Buddhist temples. In India itself, the preservation of the Agnicayana, though partly explained by the extraordinary conservatism of the Vedic Brahmins and their dedication to the culture of their spiritual ancestors, remains one of the miracles of history.

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Deep Hearts - Gardner (1981)

Rating: unrated
Runtime: 50
Language: English voiceover narration
Country: USA
Color: Color
IMDb Link: http://www.der.org/films/deep-hearts.html

Director: Robert Gardner

Description:

Deep Hearts is a film about the Bororo Fulani, a nomadic society located in the central portion of the Niger Republic of Africa. The title is a reference to an important aspect of these people's thought and demeanor.

The Bororo are immensely beautiful. They are also extremely envious of each other's looks. This envy accounts for their truly suspicious nature; one which leads quickly to feelings of fear. They are particularly fearful of being 'devoured' by both the eyes and mouths of those around them with whom they compete as beautiful creatures. The concept of a deep heart is useful because it accommodates their fears by providing a metaphysical space in which to hide their true feelings.

Deep Hearts describes the Gerewol, an occasion during the rainy season when two different and competing lineages come together at a designated watering place to choose the most 'perfect' Bororo male. It is close to being a physical and moral beauty contest in which the winner, selected by a maiden of the opposing lineage, is acclaimed the 'bull.' The film is also an attempt to let this ceremony of the Bororo be a way of speaking to the larger question of choice itself, something which confronts all human beings at all times.

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Ika Hands - Gardner (1988)

Runtime: 58
Language: English voiceover narration
Country: USA
Color: Color
IMDb Link: http://www.der.org/films/ika-hands.html

Director: Robert Gardner

Description:

In the highlands of Northern Columbia the Ika live a strenuous and isolated life, economically dependent on small gardens and a handful of domestic animals. They are thought to be descendants of the Maya who fled from the turmoil of Central American High Civilization’s warring states to the remote valleys of Colombia’s Sierra Nevadas. The Ika still inhabit a spectacular but demanding terrain extending between five and fifteen thousand feet, an almost vertical geography through which they move with prodigious ease.

Their lives are filled with a multitude of tasks, which they perform with a rare dexterity and purpose. Their labors, though they belong to two quite separate realms - the practical and the spiritual - contribute equally to the well being of everyone. Both days and nights are long and arduous. Indeed, the central figure in Ika Hands, Mama Marco, is a man whose priestly calling is simply another career undertaken in addition to that of farmer and householder.

Ika society is the result of quite distinct cultural choices, of what seem to have been decisions by generations of individuals to persevere with tradition and to resist the compelling alternatives offered by a ubiquitous modernity.

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The Hunters - Gardner & Marshall (1957)

Runtime: 72
Language: English, !Kung
Country: USA
Color: Color
IMDb Link: http://www.imdb.com/title/tt0392137/

Director: Robert Gardner & John Marshall

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The Screening Room with John Marshall

Documentary filmmaker, John Marshall, discusses his Pittsburgh Police film series films with host, Robert Gardner, Harvard Law Professor, James Vorenberg, and police major, Frank Kessler. Screening Room was a 1970s Boston television series that for almost ten years offered independent filmmakers a chance to show and discuss their work on a commercial (ABC-TV) affiliate station. The series was developed and hosted by filmmaker Robert Gardner (Dead Birds, Forest of Bliss), who was Chairman of the Department of Visual and Environmental Studies and Director of the Carpenter Center for Visual Arts at Harvard for many years.

Screening Room; entre Jean Rouch y Robert Gardner!

Documentary filmmaker, John Marshall, discusses his Pittsburgh Police film series films with host, Robert Gardner, Harvard Law Professor, James Vorenberg, and police major, Frank Kessler. Screening Room was a 1970s Boston television series that for almost ten years offered independent filmmakers a chance to show and discuss their work on a commercial (ABC-TV) affiliate station. The series was developed and hosted by filmmaker Robert Gardner (Dead Birds, Forest of Bliss), who was Chairman of the Department of Visual and Environmental Studies and Director of the Carpenter Center for Visual Arts at Harvard for many years.