Michael Glawogger does for documentary film what Ryszard Kapuściński did for journalism: He reinvents it as something immersive, meditative, and poetic. His films
condense themes of staggering complexity—economics, labor, sex—into
meticulous vignettes of everyday life. Although he has occasionally been
derided for aestheticizing poverty, there's little doubt that his
audacious style is compelling. Nobody who has seen Megacities,
his 1998 film about globalization, can forget those feverish New York
City scenes of a hustler shooting dope and robbing his john at
knifepoint, just as nobody who has watched Workingman's Death (2005), his portrait of contemporary physical labor, can shake its images of a Nigerian slaughterhouse awash in blood.
Your resource for news, research, opinion and comment in the world of Criminology and Criminal Justice, brought to you by the Criminology Library, Centre for Criminology & Sociolegal Studies, University of Toronto
Michael Glawogger's "Whores' Glory"
Michael Glawogger does for documentary film what Ryszard Kapuściński did for journalism: He reinvents it as something immersive, meditative, and poetic. His films
condense themes of staggering complexity—economics, labor, sex—into
meticulous vignettes of everyday life. Although he has occasionally been
derided for aestheticizing poverty, there's little doubt that his
audacious style is compelling. Nobody who has seen Megacities,
his 1998 film about globalization, can forget those feverish New York
City scenes of a hustler shooting dope and robbing his john at
knifepoint, just as nobody who has watched Workingman's Death (2005), his portrait of contemporary physical labor, can shake its images of a Nigerian slaughterhouse awash in blood.
Subscribe to:
Post Comments (Atom)
No comments:
Post a Comment