Jennifer Abbott
출생 : , Canada
약력
From Wikipedia, the free encyclopedia. Jennifer Abbott (born c. 1965) is a Canadian director, cinematographer and editor, best known as a documentary maker. Her first feature documentary, A Cow at My Table (1998), explores contemporary Western attitudes to livestock and meat production. More recently, she served as co-director and editor of the widely acclaimed documentary, The Corporation (2003), which critically examines large corporations in the modern world. That film won numerous international film awards, including a Genie for best documentary, an audience award from the Sundance Film Festival, and a Top Ten Films of the Year designation from the Toronto International Film Festival. Her previous work includes the experimental short Skinned, and as editor for Two Brides and a Scalpel: Diary of a Lesbian Marriage (1999). She is also the editor of the book Making Video 'In': The Contested Ground of Alternative Video on the West Coast. She has taught at the Emily Carr Institute of Art & Design in Vancouver. She lives on Galiano Island in British Columbia, Canada.
Description above from the Wikipedia article Jennifer Abbott, licensed under CC-BY-SA,full list of contributors on Wikipedia.
Producer
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Sound Designer
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Editor
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Writer
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Self
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Director
Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
Director
대기업이 사회의식을 갖춘 브랜드 이미지로 교묘하게 탈바꿈하면서 사회를 장악하는 행태를 정당화하는 과정을 폭로한다. 영화는 다보스포럼에 모인 기업 엘리트들과 기후변화, 불평등 심화 문제를 거쳐 극우파 지도자들의 부흥, 코로나 19, 인종 차별 문제에 이르기까지, 기업들이 행사하는 파괴적인 권력을 낱낱이 파헤친다. 한편 영화는 이러한 힘에 맞서 사회 정의와 환경 문제를 위해 거리로 나서는 사람들이 늘어남에 따라 거대한 저항의 물결이 생겨날 수 있다는 점 역시 시사한다. (서울환경영화제)
Writer
Director
Editor
17 of the largest ships emit more sulfur than all the cars on the planet. How is this possible?
Director
A collection of films from an eclectic array of contributors commissioned to raise funds for the Bristol independent cinema The Cube.
Editor
할리우드에서 성공한 코미디 감독 톰 샤디악은 사고로 크게 다친 후 인생관이 바뀌게 된다. 엄연히 자기 반성적인 이 다큐멘터리에서 그는 다양한 분야의 세계적인 지성들에게 묻는다. “우리의 세계는 무엇이 잘못 되었고 어떻게 개선해야 하는가? (2011년 16회 부산국제영화제)
Executive Producer
할리우드에서 성공한 코미디 감독 톰 샤디악은 사고로 크게 다친 후 인생관이 바뀌게 된다. 엄연히 자기 반성적인 이 다큐멘터리에서 그는 다양한 분야의 세계적인 지성들에게 묻는다. “우리의 세계는 무엇이 잘못 되었고 어떻게 개선해야 하는가? (2011년 16회 부산국제영화제)
Editor
On the eve of the long-awaited Khmer Rouge trial, an American survivor of the genocide returns to Cambodia hoping to unlock the mystery of her father's disappearance in 1975. Thida Buth Mam's quest intersects with many silent voices: widows, survivors from remote villages, monks and even former perpetrators. Her search for the truth stirs up the fractured pieces of one family's nightmare, unearths an unimaginable heartbreak and ultimately shines light on a people's broken silence.
Editor
Once in a while a person comes along and flat changes it all. For the world of snowboarding, Craig Kelly was that guy. Craig Kelly led the charge, and led it with more class, skill and energy than anyone else would have or could have. Craig Kelly was snowboarding's original captain, and remained on top until his tragic death by avalanche in 2003.
Director
무한 이윤을 추구하는 기업이란 무엇인가? 은 놀랍고도 쇼킹한 자료화면을 풍부하게 이용하여 관객들과 함께 역사와 현대의 '기업'들에 관한 스터디 케이스를 시작한다. 노엄 촘스키, 마이클 무어, CEO 레이 앤더슨과 밀톤 프리에드만의 인터뷰를 통해 미래의 비젼을 명료하게 말하면서 사기업 뒤의 기관에 대한 집요한 기만성을 없애려 하고 있다.
Editor
무한 이윤을 추구하는 기업이란 무엇인가? 은 놀랍고도 쇼킹한 자료화면을 풍부하게 이용하여 관객들과 함께 역사와 현대의 '기업'들에 관한 스터디 케이스를 시작한다. 노엄 촘스키, 마이클 무어, CEO 레이 앤더슨과 밀톤 프리에드만의 인터뷰를 통해 미래의 비젼을 명료하게 말하면서 사기업 뒤의 기관에 대한 집요한 기만성을 없애려 하고 있다.
Editor
When Linda, an outspoken lesbian psychotherapist, decided that George, a bulldozer-driving transsexual, was the woman for her, Two Brides and a Scalpel: Diary of a Lesbian Marriage was born. Directed and produced by Vancouver-based Mark Achbar, the video was shot over a two-year period by the subjects and covers what the media touted as the first lesbian marriage in Canadian history, a graphic sex change operation, and the daily lives and most intimate moments of a relationship generally hidden behind the iron curtain of societal taboo.
Editor
A Cow at My Table explores Western attitudes towards farm animals and meat, and the intense battle between animal advocates and the meat industry to influence the consumer's mind. Five years in production took Director Jennifer Abbott across Canada, the US, Australia and New Zealand to meet with the leaders of the animal rights movement, animal welfare advocates as well as spokespeople from livestock industries. A Cow at My Table inter-cuts these diverse perspectives with archival films, images from modern-day agribusiness and footage of farm animals shot from uncharacteristic vantage points.
Cinematography
A Cow at My Table explores Western attitudes towards farm animals and meat, and the intense battle between animal advocates and the meat industry to influence the consumer's mind. Five years in production took Director Jennifer Abbott across Canada, the US, Australia and New Zealand to meet with the leaders of the animal rights movement, animal welfare advocates as well as spokespeople from livestock industries. A Cow at My Table inter-cuts these diverse perspectives with archival films, images from modern-day agribusiness and footage of farm animals shot from uncharacteristic vantage points.
Producer
A Cow at My Table explores Western attitudes towards farm animals and meat, and the intense battle between animal advocates and the meat industry to influence the consumer's mind. Five years in production took Director Jennifer Abbott across Canada, the US, Australia and New Zealand to meet with the leaders of the animal rights movement, animal welfare advocates as well as spokespeople from livestock industries. A Cow at My Table inter-cuts these diverse perspectives with archival films, images from modern-day agribusiness and footage of farm animals shot from uncharacteristic vantage points.
Director
A Cow at My Table explores Western attitudes towards farm animals and meat, and the intense battle between animal advocates and the meat industry to influence the consumer's mind. Five years in production took Director Jennifer Abbott across Canada, the US, Australia and New Zealand to meet with the leaders of the animal rights movement, animal welfare advocates as well as spokespeople from livestock industries. A Cow at My Table inter-cuts these diverse perspectives with archival films, images from modern-day agribusiness and footage of farm animals shot from uncharacteristic vantage points.
Director
The myths of the priapic Black stud and the White woman beauty ideal collide in this rhythmically constructed work about identity and desire. Skinned explores the specific historic, psychological and social implications of relationships between Black men and White women. Using their bodies as a point of juncture, the artists blatantly situate the viewer as voyeur while identifying this physical realm as the arena within which cultural communities and individuals oppose interracial relationships. Ultimately, the multiplicity of images and voices calls into question the validity of definitive truths and the authoritative voice.
The myths of the priapic Black stud and the White woman beauty ideal collide in this rhythmically constructed work about identity and desire. Skinned explores the specific historic, psychological and social implications of relationships between Black men and White women. Using their bodies as a point of juncture, the artists blatantly situate the viewer as voyeur while identifying this physical realm as the arena within which cultural communities and individuals oppose interracial relationships. Ultimately, the multiplicity of images and voices calls into question the validity of definitive truths and the authoritative voice.
