Browse Titles - 11 results
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Arnav at Six
directed by David MacDougall, 1939-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2013), 28 mins
This unique documentary is a compelling collaborative effort by Arnav Koshy, a six-year-old boy living in the Andhra Pradesh region of South India, and renowned ethnographic filmmaker David MacDougall. The film explores the mind and varied activities of the keenly observant and intelligent Arnav. Arnav is fascinat...
Sample
directed by David MacDougall, 1939-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2013), 28 mins
Description
This unique documentary is a compelling collaborative effort by Arnav Koshy, a six-year-old boy living in the Andhra Pradesh region of South India, and renowned ethnographic filmmaker David MacDougall. The film explores the mind and varied activities of the keenly observant and intelligent Arnav. Arnav is fascinated by the geology, plant life, and ecology of the dry and rocky region in which he lives. Made in a direct and unobtrusive (yet highly...
This unique documentary is a compelling collaborative effort by Arnav Koshy, a six-year-old boy living in the Andhra Pradesh region of South India, and renowned ethnographic filmmaker David MacDougall. The film explores the mind and varied activities of the keenly observant and intelligent Arnav. Arnav is fascinated by the geology, plant life, and ecology of the dry and rocky region in which he lives. Made in a direct and unobtrusive (yet highly perceptive) style, the film is both an engaging interactive encounter between a child and an adult as well as a powerful demonstration of the potential for complex thought and reasoning in early childhood. Combining a crisp and incisive visual style with a subtle, thought-provoking perspective, Arnav at Six will generate discussion in a variety of courses in Asian and Indian studies, cultural anthropology, and childhood development. It was produced by David MacDougall and is in English, but with English subtitles.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David MacDougall, 1939-, Fieldwork Films
Author / Creator
David MacDougall, 1939-
Date Published / Released
2013
Publisher
Berkeley Media
Speaker / Narrator
Arnav Koshy, 2002-
Person Discussed
Arnav Koshy, 2002-
Topic / Theme
Perceptions and senses, Learning, Children, Nature, Indians (Asian)
Copyright Message
Copyright © 2013 Berkeley Media
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Delhi at Eleven
directed by Shikha Kumar Dalsus, 2001-, Aniket Kumar Kashyap, 2001-, Anshu Singh, 2001- and Ravi Shivhare, 2001-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2013), 1 hour 22 mins
This stunningly original and thought-provoking documentary presents the work of four young filmmakers living in New Delhi, India. Their films offer a unique and intimate perspective on Indian family and working life. From March to May 2012 the four — two boys and two girls — took part in a video workshop at th...
Sample
directed by Shikha Kumar Dalsus, 2001-, Aniket Kumar Kashyap, 2001-, Anshu Singh, 2001- and Ravi Shivhare, 2001-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2013), 1 hour 22 mins
Description
This stunningly original and thought-provoking documentary presents the work of four young filmmakers living in New Delhi, India. Their films offer a unique and intimate perspective on Indian family and working life. From March to May 2012 the four — two boys and two girls — took part in a video workshop at the CIE Experimental Basic School, a government primary school. Each of the filmmakers was eleven years old and a resident of north Delhi...
This stunningly original and thought-provoking documentary presents the work of four young filmmakers living in New Delhi, India. Their films offer a unique and intimate perspective on Indian family and working life. From March to May 2012 the four — two boys and two girls — took part in a video workshop at the CIE Experimental Basic School, a government primary school. Each of the filmmakers was eleven years old and a resident of north Delhi at the time of filming, and none had made a film before. The workshop was coordinated by renowned ethnographic filmmaker David MacDougall as part of the 'Childhood and Modernity' Project, with the support of the Australian National University and the Australian Research Council. The four films are as follows: My Lovely General Store by Ravi Shivhare (14:20) In this film Ravi explores the day-to-day workings of a small general store near where he lives, where his uncle has a part-time job. The store stocks a wide range of items and caters largely to local customers. Ravi was interested in researching everything about the store with his camera — what the owners were like, the relations between them and the customers, what sort of customers came to the store, what sorts of things were bought, how the store maintained its stock, how they made deliveries, and how they handled the money involved. The film focuses in part on a young delivery boy not much older than Ravi. The result is an up-close and highly personal portrait of the store, from dawn to dusk. And if you look carefully, half-way through the film you will see Ravi serving customers, shot from a camera that he has mounted on a tripod to film himself. Why Not a Girl? by Anshu Singh (15:46) In this film Anshu documents the oppression that many girls experience in their family life and the favoritism that is shown to boys. The result is a powerful indictment of gender relations in Indian society, in which girls shoulder much of the daily work in the home while boys are free to play and do as they wish. These conditions lead to depression, poor health, and poor educational opportunities for girls, affecting their long-term chances in life. At the end of the film, Anshu is found alone on the roof of her house, speaking with great intimacy to her camera about the injustice she has uncovered. My Funny Film by Aniket Kumar Kashyap (15:48) Aniket’s film is a high-spirited, kaleidoscopic study of his friends and family, exploring the many diverse aspects of their lives, from play to work, cooking, love, and music. The film contains song-and-dance routines, based on Bollywood movies, as well as fights, meals, piecework done in the home, and the impact of television and cell phones on daily life. The film provides a vivid portrait of Aniket’s immediate surroundings, and more detail about the domestic life of ordinary Indians than most films made by adults. The film includes the arrival of a new member of the family, much to Aniket’s fascination. It closes with a meditative scene of Aniket singing to himself some of the latest popular songs he has learned. Children at Home by Shikha Kumar Dalsus (28:44) Shikha’s original intention was to make a film examining what children do when adults are not present, but this evolved into a much wider study of children’s lives at home, focusing on her younger brother and a girl a little older than herself. The film offers an inside view of the daily rituals, work, study, and play of children in an extended family, their relations with adults, and the physical spaces in which they live. Like the other films in this series, this is a child’s acute view of the world, with a special perspective on the lives of other children. Poignant, profound, and powerful, there is really no other documentary quite like Delhi at Eleven. It will inspire a wealth of thought and discussion in a wide array of courses in Asian and Indian studies, cultural anthropology, ethnographic film, and many other disciplines. It was produced by David MacDougall.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David MacDougall, 1939-, Fieldwork Films
Author / Creator
Shikha Kumar Dalsus, 2001-, Aniket Kumar Kashyap, 2001-, Anshu Singh, 2001-, Ravi Shivhare, 2001-, David MacDougall, 1939-
Date Published / Released
2013
Publisher
Berkeley Media
Topic / Theme
Gender, Perceptions and senses, Children, Daily life, Family, Grocery stores, Indians (Asian)
Copyright Message
Copyright © 2013 Berkeley Media
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Eleven in Delwara
directed by Mumta Prajapet, 2003-, Shaied Mohammed, 2003-, Puja Prajapet, 2003-, Monish Prajapet, 2003-, Mayank Ved, 2003-, Kundan Talwar, 2003-, Kiran Khartik, 2003- and Khalid Hussein, 2003-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2014), 51 mins
This film presents the work of eight young filmmakers, all about eleven years old, in the village of Delwara in southern Rajasthan, India. The five boys and three girls took part in a video workshop at their local government primary school. The three films they made consist of one made jointly by all the children...
Sample
directed by Mumta Prajapet, 2003-, Shaied Mohammed, 2003-, Puja Prajapet, 2003-, Monish Prajapet, 2003-, Mayank Ved, 2003-, Kundan Talwar, 2003-, Kiran Khartik, 2003- and Khalid Hussein, 2003-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2014), 51 mins
Description
This film presents the work of eight young filmmakers, all about eleven years old, in the village of Delwara in southern Rajasthan, India. The five boys and three girls took part in a video workshop at their local government primary school. The three films they made consist of one made jointly by all the children in the group, exploring the life of their village, and two films made by individual children. The first of these is about the family of...
This film presents the work of eight young filmmakers, all about eleven years old, in the village of Delwara in southern Rajasthan, India. The five boys and three girls took part in a video workshop at their local government primary school. The three films they made consist of one made jointly by all the children in the group, exploring the life of their village, and two films made by individual children. The first of these is about the family of a girl, Kiran, who herd goats as part of their livelihood. The film focuses closely on Kiran’s relationship with her grandparents. The second individual film is by Mayank, a boy whose father is one of the barbers in the village. It provides an affectionate portrait of his father as well as giving insights into the day-to-day home life of his family. The workshop was coordinated by renowned ethnographic filmmaker David MacDougall as part of the 'Childhood and Modernity' Project, supported by The Australian National University and the Australian Research Council. The Delwara workshop was made possible by the assistance and cooperation of the Delwara Upper Primary School and Seva Mandir, a non-government organization providing assistance to communities throughout southern Rajasthan. The films are in Mewari, with English subtitles. The three films are as follows: Our Delwara (19 min.) This film, made collectively by all eight village schoolchildren, presents a wide-ranging view of village activities, from the children’s various viewpoints. Most of the activities are domestic — clothes washing, food preparation, cooking, tending animals — but there are also glimpses of the kinds of economic work that occur in village homes, such as embroidery and pottery-making. There are also more public economic activities such as scenes in a barber shop and a shoe-repair business. An interest in childhood activities is evident, including games and school homework, but the forces of modernity that are changing village life are also represented: new building construction and the vaccination of babies by public health workers. The film ends with signs of the religious diversity of the village. With admirable economy, this film presents an intimate view of the realities of Indian village life today. Our Life with Goats by Kiran Khartik (12 min.) Kiran begins with scenes inside her own house, but she soon moves outdoors to focus on the goats, who are an important part of her family’s livelihood. Her grandfather and grandmother have a major role in taking care of the goats, and one can see in the way she films them that she has a close relationship with them both. In a key scene she films a conversation with her grandmother who, although wary of modern technology, is nevertheless curious about Kiran’s filmmaking activities. The film is notable for a scene in which Kiran’s grandfather drives their small herd of goats through the village, down narrow lanes, past a group of card players, and into their enclosure. The film is made with affection, understanding, and moments of quiet humor — a view of village life as only a young girl could see it. Mayank’s Family by Mayank Ved (18 min.) This intimate and engaging film began as a portrait of Mayank’s father, a village barber, but soon expanded to include the rest of his family and wider scenes of village life. His father’s day begins in the early morning as he eats breakfast, dresses, and performs puja to a Hindu god at the family altar. He opens his barber shop beside a busy market and a highway that links the village of Delwara with the other villages and towns of Rajasthan. As the day progresses, he chats with clients and gives haircuts, shaves, and head massages. Meanwhile at home Mayank’s mother and other relatives carry on the work of the household. The film contains remarkably informal and playful scenes of family life, usually involving Mayank’s younger brother. The film ends with his brother at the barber shop, having his hair cut by his father. Mayank has succeeded in giving a well-rounded view of what daily existence is like for an Indian family who have limited resources but who live a life of dignity, cooperation, and happiness.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David MacDougall, 1939-, Fieldwork Films
Author / Creator
Mumta Prajapet, 2003-, Shaied Mohammed, 2003-, Puja Prajapet, 2003-, Monish Prajapet, 2003-, Mayank Ved, 2003-, Kundan Talwar, 2003-, Kiran Khartik, 2003-, Khalid Hussein, 2003-, David MacDougall, 1939-
Date Published / Released
2014
Publisher
Berkeley Media
Topic / Theme
Daily life, Perceptions and senses, Children, Cultural life, Family relationships, Indians (Asian)
Copyright Message
Copyright © 2014 Berkeley Media
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Eleven in Kolkata
directed by Soma Chatterjee, 2003-, Saraswati Nebu, 2003-, Payel Sarkar, 2003- and Avita Sarkar, 2003-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2014), 53 mins
This film presents the work of four 11-year-old filmmakers in Kolkata (formerly Calcutta), West Bengal. The four girls took part in a video workshop at the Teesta Home, a small foster home operated by an Indian non-government organization. The three films they made explore the textures and events of their daily li...
Sample
directed by Soma Chatterjee, 2003-, Saraswati Nebu, 2003-, Payel Sarkar, 2003- and Avita Sarkar, 2003-; produced by David MacDougall, 1939-, Fieldwork Films (Berkeley, CA: Berkeley Media, 2014), 53 mins
Description
This film presents the work of four 11-year-old filmmakers in Kolkata (formerly Calcutta), West Bengal. The four girls took part in a video workshop at the Teesta Home, a small foster home operated by an Indian non-government organization. The three films they made explore the textures and events of their daily lives in the home, focusing on play, study, their personal relationships, and their hopes and dreams for the future.The films provide an...
This film presents the work of four 11-year-old filmmakers in Kolkata (formerly Calcutta), West Bengal. The four girls took part in a video workshop at the Teesta Home, a small foster home operated by an Indian non-government organization. The three films they made explore the textures and events of their daily lives in the home, focusing on play, study, their personal relationships, and their hopes and dreams for the future.The films provide an intimate picture of an institution in which eight girls who have suffered various forms of deprivation and abuse can find a settled life and personal fulfillment. A striking feature of their films is their sensitivity to the world around them and the role of the imagination in their lives. The workshop was coordinated by Rowena Potts as part of the “Childhood and Modernity” Project, directed by renowned ethnographic filmmaker David MacDougall and supported by The Australian National University and the Australian Research Council. The films are in Bengali, with English subtitles. The three films are as follows: Our House by Saraswati Nebu (21 min.) In this film Saraswati documents the rhythms of daily life in the Teesta foster home where she lives with seven other young girls. She investigates the many dimensions of an institution that has become her home — from the physical layout of the house, to the varied activities undertaken by the girls and their caretakers, to the relationships forged between the girls and the communal life they share. The film incorporates interviews conducted by Saraswati with Avita and Payel, two of the other young residents (and also filmmakers), who speak openly about their lives and hopes for the future.The film contains scenes of the girls studying, singing, dancing, playing, sleeping, and eating together. It paints an intimate portrait of a self-contained world that engages their attention and imagination in unexpected ways. At various points in the film Saraswati mounts the camera on a tripod to film her own participation in the activities of the house, and, with great sincerity, sings the classic Bengali folksongs that she loves. The Fun of Playing by Payel Sarkar and Avita Sarkar (15 min.) Payel and Avita decided to make a film together when it became clear that they both wanted to document the play activities, including their own, of the girls in the home. Their combined footage paints a vivid and detailed portrait of the diverse forms of play that the eight residents of the Teesta home routinely engage in. Their film contains varied scenes of street hopscotch, nursery rhymes, play with dolls, make-believe, making paper boats to float in the flooded monsoon streets, rough-housing, and private moments of storytelling told to the camera. The film provides a fascinating insight into the girls’ world of play, fantasy, and imagination, the material objects that are meaningful in these activities, and the relationships forged in the process — with the intimacy of a child’s perspective, and an access not afforded in films made by adults. The film closes with an extended shot of Payel dancing on the balcony in the rain, on the cusp of adolescence. Inside Outside by Soma Chatterjee (12 min.) This film is Soma’s poetic documentation of the world around her, combined with her whimsical and introspective observation of herself within it. With patient camera work, her film unfolds from a place of deep curiosity and sensitivity to the environment in which she lives. Starting with a striking examination of her own reflection in a mirror, the film is shaped by Soma’s careful attention to the behavior of animals and birds, the sounds and patterns of Kolkata’s monsoon season, and the varied activities that take place in her neighborhood. Much of Soma’s film is shot through the windows or from the balconies of the Teesta home where she lives, where she trains her camera on street-hawkers, laborers, and passersby as they go about their lives in the street below. With the camera as an investigative tool, Soma also ventures outside to film the neighborhood elders at the local store. Throughout the film, Soma documents her own image and explores her own sensory perceptions. The result is an intimate portrait of an eleven-year-old girl and a vivid window into her world.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David MacDougall, 1939-, Fieldwork Films
Author / Creator
Soma Chatterjee, 2003-, Saraswati Nebu, 2003-, Payel Sarkar, 2003-, Avita Sarkar, 2003-, David MacDougall, 1939-
Date Published / Released
2014
Publisher
Berkeley Media
Topic / Theme
Learning, Perceptions and senses, Daily life, Children, Children's play, Indians (Asian)
Copyright Message
Copyright © 2014 Berkeley Media
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Gandhi's Children
directed by David MacDougall, 1939-; produced by David MacDougall, 1939-, Fieldwork Films and CCR MediaWorks (Berkeley, CA: Berkeley Media, 2010), 3 hours 4 mins
This unforgettable documentary feature film stands in stark contrast to renowned ethnographic filmmaker David MacDougall's previous films exploring institutions for children in India. In his Doon School Quintet, MacDougall examined India's most prestigious boys' boarding school. His next project, SchoolScapes, was...
Sample
directed by David MacDougall, 1939-; produced by David MacDougall, 1939-, Fieldwork Films and CCR MediaWorks (Berkeley, CA: Berkeley Media, 2010), 3 hours 4 mins
Description
This unforgettable documentary feature film stands in stark contrast to renowned ethnographic filmmaker David MacDougall's previous films exploring institutions for children in India. In his Doon School Quintet, MacDougall examined India's most prestigious boys' boarding school. His next project, SchoolScapes, was about Rishi Valley School, a progressive co-educational boarding school in South India founded on the educational philosophy of the 20...
This unforgettable documentary feature film stands in stark contrast to renowned ethnographic filmmaker David MacDougall's previous films exploring institutions for children in India. In his Doon School Quintet, MacDougall examined India's most prestigious boys' boarding school. His next project, SchoolScapes, was about Rishi Valley School, a progressive co-educational boarding school in South India founded on the educational philosophy of the 20th-century Indian philosopher, Krishnamurti.Gandhi’s Children chronicles the life of children in what the filmmaker calls "the exact opposite of Doon," a shelter for orphans and juvenile detainees run by an Indian non-governmental organization. The Prayas Children's Home for Boys is located on the northern fringe of New Delhi in Jahangirpuri, a resettlement colony whose residents were moved from inner-city slums several decades ago. It is still one of the poorest quarters of the city. The home was built in 1993, but its facilities are already deteriorating. There is broken plumbing, defective lighting, and other problems. The boys live in dormitories ranged around two central courtyards.The home provides food and shelter for 350 boys. Some are orphans, some have been abandoned, others have run away from home. About half were picked up from the streets for minor crimes and are held under a court order. Living in the institution for several months, MacDougall explores its routines and the varied experiences of individual boys, including one who had been abducted from his family, one who was a seasoned street-dweller, another who was a pickpocket, and another who had been separated from his family during a fire in his slum area.Despite the harshness of their lives, many of the boys show remarkable strength of character, knowledge, and resilience. Often left to their own devices, they institute a seemingly arbitrary set of checks and balances to make sense of the chaos around them. Then one day 181 new boys arrive, having been "rescued" in police raids from sordid child-labor factories. The new children place additional strains on Prayas's already deteriorating facilities. The institution does what it can, but is it enough?Gandhi’s Children is filled with scenes of great nuance and sensitivity and its extraordinary succession of revelatory moments exemplifies why David MacDougall's work is unique among the world's greatest ethnographic filmmakers. Destined to become another MacDougall classic, Gandhi's Children will motivate thought, analysis, and discussion in a wide variety of courses in cultural anthropology, Asian and Indian studies, visual anthropology, education, and Third-World studies. It was produced by David MacDougall.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
David MacDougall, 1939-, Fieldwork Films, CCR MediaWorks
Author / Creator
David MacDougall, 1939-
Date Published / Released
2008, 2010
Publisher
Berkeley Media
Topic / Theme
Abandoned children, Juvenile delinquency, Orphanages, Indians (Asian)
Copyright Message
Copyright © 2010 Berkeley Media
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Kumu Hina
directed by Joe Wilson, fl. 2009-2015 and Dean Hamer, 1951-; produced by Joe Wilson, fl. 2009-2015 and Dean Hamer, 1951- (Oahu, HI: Qwaves, 2013), 1 hour 17 mins
Imagine a world where a little boy can grow up to be the woman of his dreams, and a young girl can rise to become a leader among men. Welcome to Kumu Hina's Hawai'i. During a momentous year in her life in modern Honolulu, Hina Wong-Kalu, a native Hawaiian māhū, or transgender, teacher uses traditional culture t...
Sample
directed by Joe Wilson, fl. 2009-2015 and Dean Hamer, 1951-; produced by Joe Wilson, fl. 2009-2015 and Dean Hamer, 1951- (Oahu, HI: Qwaves, 2013), 1 hour 17 mins
Description
Imagine a world where a little boy can grow up to be the woman of his dreams, and a young girl can rise to become a leader among men. Welcome to Kumu Hina's Hawai'i. During a momentous year in her life in modern Honolulu, Hina Wong-Kalu, a native Hawaiian māhū, or transgender, teacher uses traditional culture to inspire a student to claim her place as leader of the school's all-male hula troupe. But despite her success as a teacher, Hina longs...
Imagine a world where a little boy can grow up to be the woman of his dreams, and a young girl can rise to become a leader among men. Welcome to Kumu Hina's Hawai'i. During a momentous year in her life in modern Honolulu, Hina Wong-Kalu, a native Hawaiian māhū, or transgender, teacher uses traditional culture to inspire a student to claim her place as leader of the school's all-male hula troupe. But despite her success as a teacher, Hina longs for love and a committed relationship. Will her marriage to a headstrong Tongan man fulfill her dreams? An incredible docu-drama that unfolds like a narrative film, KUMU HINA reveals a side of Hawai'i rarely seen on screen.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Joe Wilson, fl. 2009-2015, Dean Hamer, 1951-
Author / Creator
Joe Wilson, fl. 2009-2015, Dean Hamer, 1951-
Date Published / Released
2013
Publisher
Qwaves
Person Discussed
Hinaleimoana Wong-Kalu, fl. 2013
Topic / Theme
Sexuality, Transsexuality, Gender identity, Hawaiian people, Transgender persons, Transgender children, Transgenderism, Hawaiians
Copyright Message
Copyright © 2014 by Qwaves LLC
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Lost Child: Sayon's Journey
directed by Janet P. Gardner, fl. 2013; produced by Janet P. Gardner, fl. 2013, Gardner Documentary Group (New York, NY: Gardner Documentary Group, 2013), 1 hour 16 mins
This film shows how one Khmer Rouge child soldier confronts his childhood experiences during Cambodia's darkest hour. Sayon Soeun was abducted at the age of six and subsequently exploited by the Khmer Rouge, his family life and education stolen. His recovery and redemption from unimaginable evil entails his trans...
Sample
directed by Janet P. Gardner, fl. 2013; produced by Janet P. Gardner, fl. 2013, Gardner Documentary Group (New York, NY: Gardner Documentary Group, 2013), 1 hour 16 mins
Description
This film shows how one Khmer Rouge child soldier confronts his childhood experiences during Cambodia's darkest hour. Sayon Soeun was abducted at the age of six and subsequently exploited by the Khmer Rouge, his family life and education stolen. His recovery and redemption from unimaginable evil entails his transition from an orphanage in a refugee camp to adoption by a loving American family. After more than 35 years, he recently made contact w...
This film shows how one Khmer Rouge child soldier confronts his childhood experiences during Cambodia's darkest hour. Sayon Soeun was abducted at the age of six and subsequently exploited by the Khmer Rouge, his family life and education stolen. His recovery and redemption from unimaginable evil entails his transition from an orphanage in a refugee camp to adoption by a loving American family. After more than 35 years, he recently made contact with brothers and a sister he assumed were dead. The documentary follows his journey to heal himself by forgiving the family that let him slip away and forgiving himself for his complicity as a Khmer Rouge child soldier.
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Janet P. Gardner, fl. 2013, Gardner Documentary Group
Author / Creator
Janet P. Gardner, fl. 2013
Date Published / Released
2013-04
Publisher
Gardner Documentary Group
Topic / Theme
Orphans, Refugee camps, Adoption, Kidnapping, Child soldiers
Copyright Message
Copyright © 2013 by Gardner Documentary Group
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The Most Important Number is One
directed by Pauline Greenlick, fl. 2012-2016 and Leonard A. Lies, 1955-; produced by Pauline Greenlick, fl. 2012-2016, Dream Catchers Films (Pittsburgh, PA: Dream Catchers Films, 2016), 38 mins
For over thirty years, The Lord's Resistance Army (LRA) led by the rebel leader Joseph Kony, wreaked untold havoc for tens of thousands who lived in northern Uganda during the 80’s, 90’s, and early 2000’s. Army rebels would attack and kill all who lived in the small villages and then burn their homes. They w...
Sample
directed by Pauline Greenlick, fl. 2012-2016 and Leonard A. Lies, 1955-; produced by Pauline Greenlick, fl. 2012-2016, Dream Catchers Films (Pittsburgh, PA: Dream Catchers Films, 2016), 38 mins
Description
For over thirty years, The Lord's Resistance Army (LRA) led by the rebel leader Joseph Kony, wreaked untold havoc for tens of thousands who lived in northern Uganda during the 80’s, 90’s, and early 2000’s. Army rebels would attack and kill all who lived in the small villages and then burn their homes. They would find and capture young boys and force them to become child soldiers and young girls to be enslaved as child brides. Those who hid...
For over thirty years, The Lord's Resistance Army (LRA) led by the rebel leader Joseph Kony, wreaked untold havoc for tens of thousands who lived in northern Uganda during the 80’s, 90’s, and early 2000’s. Army rebels would attack and kill all who lived in the small villages and then burn their homes. They would find and capture young boys and force them to become child soldiers and young girls to be enslaved as child brides. Those who hid from the rebels and miraculously survived, would run through the northern Uganda bush for days in search of safety in the Internal Displaced Peoples Camps (IDPC). "The Most Important Number is One" documents the real life story of Ronald Abong who was one of many who was able to escape the rebel’s sword. The film traces his life as a small child, who at six years old escaped the murderous rebels and fled for days with his aunt and uncle to find refuge in the IDPC Starch Factory camp in Lira, Uganda. It follows his journey of being rescued by Victoria Nalongo Namusisi, who found Ronald naked, severely malnourished and near death in the camp and how she brought him to her children’s home near Kampala and slowly brought him back to life. Now twelve years later the camera captures Ronald’s return to Lira to confront the ghosts of his horrific childhood. During his return journey Ronald visits Lira, Uganda remembering the horrors of his mother’s murder by the rebels and of his time in the IDPC camp. He finally meets his extended family who warmly welcomes him back to his village. His family accompanies him on this final journey to his mother’s grave, and at last he is able to shed tears for the mother he remembered and loved so long ago.
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Field of Study
Global Issues
Content Type
Documentary
Contributor
Pauline Greenlick, fl. 2012-2016, Dream Catchers Films
Author / Creator
Pauline Greenlick, fl. 2012-2016, Leonard A. Lies, 1955-
Date Published / Released
2016
Publisher
Dream Catchers Films
Speaker / Narrator
Victoria Nalongo Namusisi, fl. 2013, Pauline Greenlick, fl. 2012-2016
Person Discussed
Victoria Nalongo Namusisi, fl. 2013, Joseph Kony, 1964-
Topic / Theme
Survivors, Internally displaced persons, Children, Civilian war casualties, Civil war, Joseph Kony LRA Leadership, Uganda, 1986-, Lord’s Resistance Army, Uganda, 1987-2005
Copyright Message
Copyright © 2016 Louis A Picard / Pauline Greenlick & Dream Catchers Films Inc
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My Mother's Home, Lagoon
written by Mehrdad Oskooee; directed by Mehrdad Oskooee; produced by Mehrdad Oskooee and Toufan Nahanghodrati, fl. 2001, European Union. MEDIA Programme (New York, NY: Filmakers Library, 2001), 30 mins
Like Kurosawa's Woman in the Dunes, 67-year-old Kobra battles the elements on a lagoon in Iran to eke out a living for herself and her 100-year-old invalid mother. Even on New Year's day she is out in her rowboat before dawn, dropping and hauling her nets for the modest catch. She must argue fiercely with the men...
Sample
written by Mehrdad Oskooee; directed by Mehrdad Oskooee; produced by Mehrdad Oskooee and Toufan Nahanghodrati, fl. 2001, European Union. MEDIA Programme (New York, NY: Filmakers Library, 2001), 30 mins
Description
Like Kurosawa's Woman in the Dunes, 67-year-old Kobra battles the elements on a lagoon in Iran to eke out a living for herself and her 100-year-old invalid mother. Even on New Year's day she is out in her rowboat before dawn, dropping and hauling her nets for the modest catch. She must argue fiercely with the men in the marketplace for a fair price, and physically battle fishermen on the water who claim the territory where her nets are placed. In...
Like Kurosawa's Woman in the Dunes, 67-year-old Kobra battles the elements on a lagoon in Iran to eke out a living for herself and her 100-year-old invalid mother. Even on New Year's day she is out in her rowboat before dawn, dropping and hauling her nets for the modest catch. She must argue fiercely with the men in the marketplace for a fair price, and physically battle fishermen on the water who claim the territory where her nets are placed. In an unforgettable scene the men tear her nets and scuffle with her on the deck until she falls into the water. Mother and daughter live together in a weather-beaten cottage on the edge of the lagoon. Pictures of their deceased loved ones surround them. The Koran, the voice of the mullahs on the radio, and their love for one another sustain them. With simplicity and honesty, this documentary makes a universal statement of the harsh realities many women face, and the strength that sustains them. College Adult
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Field of Study
Anthropology
Content Type
Documentary
Contributor
Mehrdad Oskooee, Kobra Nabinya, 1934-, Toufan Nahanghodrati, fl. 2001, European Union. MEDIA Programme
Author / Creator
Mehrdad Oskooee
Date Published / Released
2001
Publisher
Filmakers Library
Person Discussed
Kobra Nabinya, 1934-
Topic / Theme
Iranian, New Year's Day, Gender roles, Daughters, Mothers, Fisheries, Ethnography, Iranians
Copyright Message
Copyright © 2001. Used by permission of Filmakers Library. All rights reserved.
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Picking up the Pieces: Bougainville
directed by Lisa William, fl. 2006; produced by Amelia Siamomua, fl. 2006 (New Caledonia: Secretariat of the Pacific Community (Organization), 2006), 45 mins
A story that uncovers the insanity of the ten years of violence which followed, and the terrible lasting impact of war on women, children and communities long after the killing has ended.
Sample
directed by Lisa William, fl. 2006; produced by Amelia Siamomua, fl. 2006 (New Caledonia: Secretariat of the Pacific Community (Organization), 2006), 45 mins
Description
A story that uncovers the insanity of the ten years of violence which followed, and the terrible lasting impact of war on women, children and communities long after the killing has ended.
Field of Study
Anthropology
Content Type
Documentary
Contributor
Lisa William, fl. 2006, Amelia Siamomua, fl. 2006
Author / Creator
Lisa William, fl. 2006
Date Published / Released
2006
Publisher
Secretariat of the Pacific Community (Organization)
Topic / Theme
New Guinea, Orphans, Widowed persons, Mining communities, Social conflict, Civil war, Papua New Guineans
Copyright Message
©2006
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