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Waste land

著者: Lucy WalkerJoão JardimKaren HarleyAngus AynsleyHank Levineすべての著者
出版: [London] : Arthouse Films : distributed by Entertainment One, 2011.
エディション/フォーマット:   DVD : NTSCカラー放送システム : Englishすべてのエディションとフォーマットを見る
データベース:WorldCat
概要:
Brooklyn-based artist Vik Muniz grew up poor in Brazil. This film follows him as he returns to Rio de Janeiro, specifically to Jardim Gramacho, or "Garbage Garden." The world's largest landfill, it receives 7,000 tons daily, an astonishing 70% of all Rio's garbage. "We are not pickers of garbage; we are pickers of recyclable materials," says Tião, a catadore, or trash picker who thinks of himself and his fellows as  続きを読む
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詳細

ジャンル/形式: Feature films
Documentary films
Nonfiction films
Exhibitions
関連の人物: Vik Muniz
資料の種類: Videorecording
ドキュメントの種類: 視覚資料
すべての著者/寄与者: Lucy Walker; João Jardim; Karen Harley; Angus Aynsley; Hank Levine; Dudu Miranda; Pedro Kos; Moby.; Vik Muniz; Almega Projects (Firm); 02 Filmes (Firm); Entertainment One (Firm)
OCLC No.: 768472373
言語注記: In English and Portuguese with optional English and French subtitles.
注記: Originally produced as a motion picture in 2009.
Special features: Featurettes Waste land: Beyond Gramacho (ca. 16 min.); An untold story (9 min.).
著作権: Cinematography, Dudu Miranda; editor, Pedro Kos; music, Moby.
パフォーマー Vik Muniz.
物理形態: 1 videodisc (ca. 99 min.) : sd., col. with b&w sequences ; 4 3/4 in.
詳細: DVD; NTSC; 1.78:1 widescreen presentation; Dolby Digital 5.1, 2.0 Dolby Digital stereo.
責任者: Almega Projects presents an Almega Projects and 02 Filmes production ; directed by Lucy Walker ; co-directed by João Jardim, Karen Harley ; produced by Hank Levine, Angus Aynsley.

概要:

Brooklyn-based artist Vik Muniz grew up poor in Brazil. This film follows him as he returns to Rio de Janeiro, specifically to Jardim Gramacho, or "Garbage Garden." The world's largest landfill, it receives 7,000 tons daily, an astonishing 70% of all Rio's garbage. "We are not pickers of garbage; we are pickers of recyclable materials," says Tião, a catadore, or trash picker who thinks of himself and his fellows as environmentalists. The catadores have a union, which has built a recycling center, medical clinic, day care and skills-training centers, and community lending library of discarded books for their members. Muniz photographs a number of the catadores, reworks the photographs with garbage, and auctions several in London. Believing in the transformative power of art, Muniz donates the proceeds to the catadores who posed, in recognition of their lives, in honor of the dignity of their work.

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