Lucien Castaing-Taylor
Historia
Lucien Castaing-Taylor (born 1966, Liverpool, United Kingdom) is an anthropologist and artist who works in film, video, and photography.
Castaing-Taylor received his B.A. at The University of Southern California and his Ph.D. at The University of California, Berkeley. Since 2002 Castaing-Taylor has taught at Harvard University, where he is Director of the Sensory Ethnography Lab. His works include In and Out of Africa, which he made with Ilisa Barbash in 1992. It is an ethnographic video about issues of authenticity, taste, and racial politics in the African art market that won eight international awards. He also recorded the film Sweetgrass (2009), which is described as "an unsentimental elegy at once to the American West and to the 10,000 years of uneasy accommodation between post-Paleolithic humans and animals." He is the founding editor of the American Anthropological Association’s journal Visual Anthropology Review (1991–94).
Sound
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Editor
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Director of Photography
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Camera Operator
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Producer
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Director
Five centuries ago, anatomist André Vésale opened up the human body to science for the first time in history. Today, De Humani Corporis Fabrica opens the human body to the cinema. It reveals that human flesh is an extraordinary landscape that exists only through the gaze and attention of others. As places of care, suffering and hope, hospitals are laboratories that connect every body in the world.
Producer
Constructed from the audio archive of the 1961 Harvard Peabody Expedition to Netherlands New Guinea: In the encounter with the Hubula people, this work reflects a parallaxing image of the histories of field recording, ethnographic film, and colonialism.
Director of Photography
En 1981, Issei Sagawa fue detenido en París mientras trataba de deshacerse del cadáver de una de sus compañeras en la Sorbona, a la que había asesinado y devorado. Declarado mentalmente incapaz, regresó a Japón como un hombre libre y aún expresa su deseo de comer carne humana. Un documental ganador del premio Orizzonti en Venecia, que se introduce en la intimidad y la compleja psique del caníbal.
Producer
En 1981, Issei Sagawa fue detenido en París mientras trataba de deshacerse del cadáver de una de sus compañeras en la Sorbona, a la que había asesinado y devorado. Declarado mentalmente incapaz, regresó a Japón como un hombre libre y aún expresa su deseo de comer carne humana. Un documental ganador del premio Orizzonti en Venecia, que se introduce en la intimidad y la compleja psique del caníbal.
Editor
En 1981, Issei Sagawa fue detenido en París mientras trataba de deshacerse del cadáver de una de sus compañeras en la Sorbona, a la que había asesinado y devorado. Declarado mentalmente incapaz, regresó a Japón como un hombre libre y aún expresa su deseo de comer carne humana. Un documental ganador del premio Orizzonti en Venecia, que se introduce en la intimidad y la compleja psique del caníbal.
Sound
En 1981, Issei Sagawa fue detenido en París mientras trataba de deshacerse del cadáver de una de sus compañeras en la Sorbona, a la que había asesinado y devorado. Declarado mentalmente incapaz, regresó a Japón como un hombre libre y aún expresa su deseo de comer carne humana. Un documental ganador del premio Orizzonti en Venecia, que se introduce en la intimidad y la compleja psique del caníbal.
Director
En 1981, Issei Sagawa fue detenido en París mientras trataba de deshacerse del cadáver de una de sus compañeras en la Sorbona, a la que había asesinado y devorado. Declarado mentalmente incapaz, regresó a Japón como un hombre libre y aún expresa su deseo de comer carne humana. Un documental ganador del premio Orizzonti en Venecia, que se introduce en la intimidad y la compleja psique del caníbal.
Director
A two-channel installation utilizing both digital video and 16mm film, Commensal focuses on the controversial figure of Issei Sagawa, who gained notoriety in 1981 when, as a graduate student in Paris, he murdered a fellow student and engaged in acts of cannibalism. After his release from a mental institution, Sagawa returned to Japan, and later appeared in innumerable documentaries and sexploitation films. In contrast to earlier journalistic documentaries on Sagawa, the film suspends moral judgment and explores a realm that eludes classification as either “documentary” or “pure fiction,” to instead chart the ambiguous territory between crime, fantasy, and social realities, between an individual and the economy of his public persona.
Cinematography
Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.
Editor
Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.
Director
Works with sound recordings of Dion McGregor, who became famous for talking in his sleep.
Producer
Maya is a photographer. She takes photos related to the eyeball. Kunio is a neurosurgeon and an independent documentary film director. He is interested on making a documentary about Maya. A mysterious eyeball collector watches for Maya's own eyeballs.
Director
“Ah humanity! reflects on the fragility and folly of humanity in the age of the Anthropocene. Taking the 3/11/11 disaster of Fukushima as its point of departure, it evokes an apocalyptic vision of modernity, and our predilection for historical amnesia and futuristic flights of fancy. Shot on a telephone through a handheld telescope, at once close to and far from its subject, the audio composition combines excerpts from Japanese genbaku film soundtracks, audio recordings from scientific seismic laboratories, and location sound.”—Ernst Karel, Verena Paravel & Lucien Castaing-Taylor
Combining high definition and Super 8 footage, Lampedusa is composed of interwoven narratives based on a series of real events. In 1831, a volcanic island suddenly erupted from the sea a few kilometers off the southern coast of Sicily. An international dispute ensued, as a number of European powers laid claim to this newfound “land”. The island receded below sea level six months later, leaving only a rocky ledge under the sea…
Producer
A throng of believers all crowd together in front of a stage. The speeches have ended. They are enraptured. The 'new' Indonesia.
Director
A short companion to Leviathan, set inside the fishing vessel.
Producer
A documentary about a group of pilgrims who travel to Nepal to worship at the legendary Manakamana temple.
Editor
En las mismas aguas donde el Pequod de Melville persiguió a Moby Dick, somos testigos del choque colaborativo entre el hombre, la naturaleza y la máquina. Filmada en doce cámaras – fijas y lanzadas, pasadas de pescador a cineasta – éste es un retrato cósmico de uno de los quehaceres más antiguos de la humanidad. (FILMAFFINITY)
Director of Photography
En las mismas aguas donde el Pequod de Melville persiguió a Moby Dick, somos testigos del choque colaborativo entre el hombre, la naturaleza y la máquina. Filmada en doce cámaras – fijas y lanzadas, pasadas de pescador a cineasta – éste es un retrato cósmico de uno de los quehaceres más antiguos de la humanidad. (FILMAFFINITY)
Producer
En las mismas aguas donde el Pequod de Melville persiguió a Moby Dick, somos testigos del choque colaborativo entre el hombre, la naturaleza y la máquina. Filmada en doce cámaras – fijas y lanzadas, pasadas de pescador a cineasta – éste es un retrato cósmico de uno de los quehaceres más antiguos de la humanidad. (FILMAFFINITY)
Writer
En las mismas aguas donde el Pequod de Melville persiguió a Moby Dick, somos testigos del choque colaborativo entre el hombre, la naturaleza y la máquina. Filmada en doce cámaras – fijas y lanzadas, pasadas de pescador a cineasta – éste es un retrato cósmico de uno de los quehaceres más antiguos de la humanidad. (FILMAFFINITY)
Director
En las mismas aguas donde el Pequod de Melville persiguió a Moby Dick, somos testigos del choque colaborativo entre el hombre, la naturaleza y la máquina. Filmada en doce cámaras – fijas y lanzadas, pasadas de pescador a cineasta – éste es un retrato cósmico de uno de los quehaceres más antiguos de la humanidad. (FILMAFFINITY)
Director
Exploring the intersection between experimental documentary and ethnographic anthropology, this short film silently follows a herd of sheep and a faceless cowboy through magic hour in Montana. A Western without guns or dames, just the open country, man and the animal world are left behind.
Director
In the monumental American West, we are acoustic eavesdroppers on a man petting his herding dog, while we are visual witnesses to the progress of their charges, as apparently infinite as Rabelais' "moutons de Panurge," across a mythic landscape.
Sound
A static camera records the coming of day as a flock of sheep cross the titular stream in a painterly pastoral to restore the senses through a tradition of old.
Camera Operator
A static camera records the coming of day as a flock of sheep cross the titular stream in a painterly pastoral to restore the senses through a tradition of old.
Editor
A static camera records the coming of day as a flock of sheep cross the titular stream in a painterly pastoral to restore the senses through a tradition of old.
Cinematography
A static camera records the coming of day as a flock of sheep cross the titular stream in a painterly pastoral to restore the senses through a tradition of old.
Director
A static camera records the coming of day as a flock of sheep cross the titular stream in a painterly pastoral to restore the senses through a tradition of old.
Director
An unsentimental elegy to the American West, Sweetgrass follows the last modern-day cowboys to lead their flocks of sheep up into Montana's breathtaking and often dangerous Absaroka-Beartooth mountains for summer pasture. This astonishingly beautiful reveals a world in which nature and culture, animals and humans, vulnerability and violence are all intimately meshed.
Director
Interweaving stories of Western collectors, Muslim traders, African artists and intellectuals, and the filmmakers themselves, the film focuses on a remarkable art dealer from Niger named Gabai Barre. It follows him all the way from the rural Ivory Coast to East Hampton, Long Island, where he bargains for a sale. The film shows how (through occasionally hilarious and frequently fantastic tales about the art objects) he adds economic value and changes the "meaning" of what he sells by interpreting and mediating between the cultural values of African producers and Western consumers.
