I V A A S K S

Documenting The Masses

— @IvaRad on Twitter.

Tagged Animation:

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

Nov 19
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

In Approaching the Other ::: http://vimeo.com/21785266

there is a specific line of conduct that feels appropriate to me. 

When filming, I tend to have a certain need to identify with the person I happen to be documenting.  Whether I agree with their ideas, behaviors or beliefs falls irrelevant and my main goal becomes the search for common ground.  Of course this approach turns questionable when you’re sitting with a George Bush let’s say…and quite probably it might not be the right approach. But…there is an instinctive urge for understanding that is permanently present.  Perhaps, every documentary filmmaker feels the same?

Recently, in reading articles by Allan Sekula and Walter Benjamin, I’ve been pondering a lot about the portrayal of the subject in documentary film, the subject, “the other”…that is, the danger of “othering”, portraying the subject as the victim, someone outside of and unrelated to the viewer, a call for pity.  The aim then becomes to do the opposite…and the question becomes, how?

I’m working on a documentary about a talented composer with a challenging mental condition, Ben…Everything about it is new : Ben and I have become friends, there is an open dialogue of how my eye perceives him to be and how he creates his image…and then also what his parents perceive him to be.  There spontaneously came to be a close examination of Ben’s portrayal, in which all the above truths have to be represented.  It’s really an interesting situation, a challenging one and I’m enjoying it immensely. Having been asked to produce a manifesto in relation to my work, I decided to incorporate some of the points I’ve come to find important in approaching the subject (with echoes of Benjamin and Sekulla)…here are some thoughts that come up.

Oh and before I forget…See Abbas Kiarostami’s Close Up - it’s on Netflix…beautifully crafted and quite poetic. Also, quite different but extremely intense and powerful, Harlan County U.S.A. by Barbara Kopple.  

And lastly, Following Crickets is Airing on PBS on Saturday April 2nd at 11pm - Yey!

Mar 14
In Approaching the Other ::: http://vimeo.com/21785266
there is a specific line of conduct that feels appropriate to me. 
When filming, I tend to have a certain need to identify with the person I happen to be documenting.  Whether I agree with their ideas, behaviors or beliefs falls irrelevant and my main goal becomes the search for common ground.  Of course this approach turns questionable when you’re sitting with a George Bush let’s say…and quite probably it might not be the right approach. But…there is an instinctive urge for understanding that is permanently present.  Perhaps, every documentary filmmaker feels the same?
Recently, in reading articles by Allan Sekula and Walter Benjamin, I’ve been pondering a lot about the portrayal of the subject in documentary film, the subject, “the other”…that is, the danger of “othering”, portraying the subject as the victim, someone outside of and unrelated to the viewer, a call for pity.  The aim then becomes to do the opposite…and the question becomes, how?
I’m working on a documentary about a talented composer with a challenging mental condition, Ben…Everything about it is new : Ben and I have become friends, there is an open dialogue of how my eye perceives him to be and how he creates his image…and then also what his parents perceive him to be.  There spontaneously came to be a close examination of Ben’s portrayal, in which all the above truths have to be represented.  It’s really an interesting situation, a challenging one and I’m enjoying it immensely. Having been asked to produce a manifesto in relation to my work, I decided to incorporate some of the points I’ve come to find important in approaching the subject (with echoes of Benjamin and Sekulla)…here are some thoughts that come up.
Oh and before I forget…See Abbas Kiarostami’s Close Up - it’s on Netflix…beautifully crafted and quite poetic. Also, quite different but extremely intense and powerful, Harlan County U.S.A. by Barbara Kopple.  
And lastly, Following Crickets is Airing on PBS on Saturday April 2nd at 11pm - Yey!
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.
WATCH IT HERE : https://vimeo.com/53804072
In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.
Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.
I’ve been deeply impressed by two films recently, one fiction and documentary.
Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.

At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?
What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.

At the other end…
In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.

Enjoy.

WATCH IT HERE : https://vimeo.com/53804072

In April I took a little trip down the Mexico. I purposely left the camera at home and brought only a sound recorder and the sick addictive device that is the iphone. The idea was to not spend the entire trip behind the camera lens but to discover what could be created as an alternative…So, I resorted to my other (neglected) loves, illustration, photography and animation. It”s what a day in a small Mexican town felt like.

Last night Union Docs hosted a beautiful screening of shorts by the Brooklyn Filmmakers Collective, it included my short Gawking Red.

I’ve been deeply impressed by two films recently, one fiction and documentary.

Leo Carax's Holy Motors is a must see, a very Brechtian approach to filmmaking. The viewer is never relaxed into a passive indulgence, but is continuously interrupted by new possibilities. The film is densely layered; it addressed our voyeuristic society, our need for sensationalism, how and why we are entertained. It very much comments on acting, roles and audience.


At the same time watching it, the viewer is trying to decipher between multiple realities, that on film and their own. What is real and for who?

What is beautiful and who decides it is so? It also brings to mind the idea of hybrid identities and as Audre Lorde would say, the possibility of being and assuming multiple identities at the same time.


At the other end…

In his 10 advice tips for aspiring filmmakers, the brilliant Russian documentary filmmaker Viktor Kossakovsky says “Don’t film if you want to say something – just say it or write it. Film only if you want to show something, or you want people to see something. This concerns both the film as a whole and every single shot within the film.” Michael Glawogger's Workingman’s Death is a perfect example.  The film covers volumes with its succinct simplicity. Just brilliant.


Enjoy.

In Approaching the Other ::: http://vimeo.com/21785266
there is a specific line of conduct that feels appropriate to me. 
When filming, I tend to have a certain need to identify with the person I happen to be documenting.  Whether I agree with their ideas, behaviors or beliefs falls irrelevant and my main goal becomes the search for common ground.  Of course this approach turns questionable when you’re sitting with a George Bush let’s say…and quite probably it might not be the right approach. But…there is an instinctive urge for understanding that is permanently present.  Perhaps, every documentary filmmaker feels the same?
Recently, in reading articles by Allan Sekula and Walter Benjamin, I’ve been pondering a lot about the portrayal of the subject in documentary film, the subject, “the other”…that is, the danger of “othering”, portraying the subject as the victim, someone outside of and unrelated to the viewer, a call for pity.  The aim then becomes to do the opposite…and the question becomes, how?
I’m working on a documentary about a talented composer with a challenging mental condition, Ben…Everything about it is new : Ben and I have become friends, there is an open dialogue of how my eye perceives him to be and how he creates his image…and then also what his parents perceive him to be.  There spontaneously came to be a close examination of Ben’s portrayal, in which all the above truths have to be represented.  It’s really an interesting situation, a challenging one and I’m enjoying it immensely. Having been asked to produce a manifesto in relation to my work, I decided to incorporate some of the points I’ve come to find important in approaching the subject (with echoes of Benjamin and Sekulla)…here are some thoughts that come up.
Oh and before I forget…See Abbas Kiarostami’s Close Up - it’s on Netflix…beautifully crafted and quite poetic. Also, quite different but extremely intense and powerful, Harlan County U.S.A. by Barbara Kopple.  
And lastly, Following Crickets is Airing on PBS on Saturday April 2nd at 11pm - Yey!
In Approaching the Other ::: http://vimeo.com/21785266
there is a specific line of conduct that feels appropriate to me. 
When filming, I tend to have a certain need to identify with the person I happen to be documenting.  Whether I agree with their ideas, behaviors or beliefs falls irrelevant and my main goal becomes the search for common ground.  Of course this approach turns questionable when you’re sitting with a George Bush let’s say…and quite probably it might not be the right approach. But…there is an instinctive urge for understanding that is permanently present.  Perhaps, every documentary filmmaker feels the same?
Recently, in reading articles by Allan Sekula and Walter Benjamin, I’ve been pondering a lot about the portrayal of the subject in documentary film, the subject, “the other”…that is, the danger of “othering”, portraying the subject as the victim, someone outside of and unrelated to the viewer, a call for pity.  The aim then becomes to do the opposite…and the question becomes, how?
I’m working on a documentary about a talented composer with a challenging mental condition, Ben…Everything about it is new : Ben and I have become friends, there is an open dialogue of how my eye perceives him to be and how he creates his image…and then also what his parents perceive him to be.  There spontaneously came to be a close examination of Ben’s portrayal, in which all the above truths have to be represented.  It’s really an interesting situation, a challenging one and I’m enjoying it immensely. Having been asked to produce a manifesto in relation to my work, I decided to incorporate some of the points I’ve come to find important in approaching the subject (with echoes of Benjamin and Sekulla)…here are some thoughts that come up.
Oh and before I forget…See Abbas Kiarostami’s Close Up - it’s on Netflix…beautifully crafted and quite poetic. Also, quite different but extremely intense and powerful, Harlan County U.S.A. by Barbara Kopple.  
And lastly, Following Crickets is Airing on PBS on Saturday April 2nd at 11pm - Yey!

In Approaching the Other ::: http://vimeo.com/21785266

there is a specific line of conduct that feels appropriate to me. 

When filming, I tend to have a certain need to identify with the person I happen to be documenting.  Whether I agree with their ideas, behaviors or beliefs falls irrelevant and my main goal becomes the search for common ground.  Of course this approach turns questionable when you’re sitting with a George Bush let’s say…and quite probably it might not be the right approach. But…there is an instinctive urge for understanding that is permanently present.  Perhaps, every documentary filmmaker feels the same?

Recently, in reading articles by Allan Sekula and Walter Benjamin, I’ve been pondering a lot about the portrayal of the subject in documentary film, the subject, “the other”…that is, the danger of “othering”, portraying the subject as the victim, someone outside of and unrelated to the viewer, a call for pity.  The aim then becomes to do the opposite…and the question becomes, how?

I’m working on a documentary about a talented composer with a challenging mental condition, Ben…Everything about it is new : Ben and I have become friends, there is an open dialogue of how my eye perceives him to be and how he creates his image…and then also what his parents perceive him to be.  There spontaneously came to be a close examination of Ben’s portrayal, in which all the above truths have to be represented.  It’s really an interesting situation, a challenging one and I’m enjoying it immensely. Having been asked to produce a manifesto in relation to my work, I decided to incorporate some of the points I’ve come to find important in approaching the subject (with echoes of Benjamin and Sekulla)…here are some thoughts that come up.

Oh and before I forget…See Abbas Kiarostami’s Close Up - it’s on Netflix…beautifully crafted and quite poetic. Also, quite different but extremely intense and powerful, Harlan County U.S.A. by Barbara Kopple.  

And lastly, Following Crickets is Airing on PBS on Saturday April 2nd at 11pm - Yey!