list http://www.spout.com/ Recent community activity around Mardi Gras: Made in China on Spout Copyright 2005-9 Spout, LLC Spout RSS http://www.spout.com/images/SpoutLogoRSS.jpg http://www.spout.com/ 136 30 http://www.spout.com/films/Mardi_Gras_Made_in_China/256725/default.aspx Title: Mardi Gras: Made in China
Year: 2004
Director: David Redmon
Plot: One of the better known traditions of the annual Mardi Gras celebration in New Orleans, LA is the beads -- most folks wear lots of cheap plastic beads while they wander the city's streets in search of fun, and men hoping that women will flash their breasts usually toss ladies their beads in what they hope will be considered a fair exchange. However, while in New Orleans, those beads symbolize a wild party and low-level exhibitionism, on the other side of the world they mean something else. In Fuzhou, China, a man named Roger Wong owns a factory that produces the majority of the beads tossed to strangers during Mardi Gras, and to his employees, the beads mean work days of 14 to 20 hours, for which they are paid less than ten cents an hour. Most of the workers in Wong's plant are young women, whom he says are less likely to cause trouble or make demands than their male equivalent. The workers live in a dormitory where they can be fined one month's wages if a member of the opposite sex is found in their room. And most are struggling to support themselves and their families on wages that are low even by the standards of a Chinese sweatshop. Mardi Gras: Made in China is a documentary which explores the dramatic contrast between the conditions under which Mardi Gras beads are made and what happens with them once they arrive in the United States; both American revelers and Chinese workers are given a perspective on how the other half lives, and what can be done to make their circumstances more equitable. ~ Mark Deming, All Movie Guide
Number of blog posts: 10
SpoutRating: 1
]]>Tue, 05 Aug 2008 21:01:12 GMTMardi Gras: Made in China2004David RedmonOne of the better known traditions of the annual Mardi Gras celebration in New Orleans, LA is the beads -- most folks wear lots of cheap plastic beads while they wander the city's streets in search of fun, and men hoping that women will flash their breasts usually toss ladies their beads in what they hope will be considered a fair exchange. However, while in New Orleans, those beads symbolize a wild party and low-level exhibitionism, on the other side of the world they mean something else. In Fuzhou, China, a man named Roger Wong owns a factory that produces the majority of the beads tossed to strangers during Mardi Gras, and to his employees, the beads mean work days of 14 to 20 hours, for which they are paid less than ten cents an hour. Most of the workers in Wong's plant are young women, whom he says are less likely to cause trouble or make demands than their male equivalent. The workers live in a dormitory where they can be fined one month's wages if a member of the opposite sex is found in their room. And most are struggling to support themselves and their families on wages that are low even by the standards of a Chinese sweatshop. Mardi Gras: Made in China is a documentary which explores the dramatic contrast between the conditions under which Mardi Gras beads are made and what happens with them once they arrive in the United States; both American revelers and Chinese workers are given a perspective on how the other half lives, and what can be done to make their circumstances more equitable. ~ Mark Deming, All Movie Guide101http://www.spout.com/ProductImages/s256725.jpghttp://www.spout.com/films/Mardi_Gras_Made_in_China/256725/default.aspxFilm http://www.spout.com/blogs/karina/archive/2008/8/5/33580.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 8/5/2008 5:01:12 PM
Body: On the surface, Mardi Gras looks like good, cheap (if not always clean) fun. On the internet, $17 will buy ten dozen Mardi Gras beads––roughly what a group of revelers might be expected to toss as bait for tossed-off tops on Bourbon Street in a single hour. This ritual––one part libido, one part alcohol, one part peer pressure, one part historical precedent––leaves no room for practical realities, harsh or otherwise. So maybe it’s not much of a surprise that when sociologist-turned-filmmaker David Redmon went to New Orleans in 2004 and asked the question, “Where do you think the beads come from?” none of the young party people he encountered knew that $17 American dollars is enough to pay the salary of the average underage worker who makes Mardi Gras beads in sweatshop conditions in China for weeks Yes, there’s a secret, hidden cost to this tradition-steeped debauchery: a complete divorce between the economics, the social realities, and the moral ambiguities that make production of a commodity possible, and the relative wealth, privilege and, well, moral ambiguities that transform that product, once transported across oceans and continents, into something virtually worthless. With his 2005 documentary Mardi Gras: Made in China (a Sundance Grand Jury Prize nominee which just came out on DVD), Redmon manages to bridge these disparate worlds by spending time in both New Orleans and Fuzhou, China, and smuggling information from one locus to another, using his own curiosity to enlighten the hand on one end of the global marketplace as to what the other hand is doing. That Redmon secures candid (if often less than enlightening) testimony from the intoxicated revelers of New Orleans is maybe a given, but the film’s real gift is the stunningly intimate material Redmon brings home from China. If his camera doesn’t flinch from the barely-legal bare breasts of Bourbon Street (the 72-minute theatrical version of the film is uncensored; the DVD also contains a shorter, sanitized version designed for educational use), Redmon is equally unsparing in pointing his camera at the barely-legal women who staff the bead factories. A factory owner named Roger gives Redmon full access to his floor, his workers, and his management philosophy. The vast majority of Roger’s employees are teenage girls, who work so fast (they’re paid by the piece) that Redmon has to put a disclaimer on the screen to confirm that the footage hasn’t been sped-up after the fact. The materials used to make the beads would have a carcinogenic effect even if handled by workers with adult cardiovascular systems. Female employees are kept apart from males, and if they’re found mingling, they’re punished. On the whole, it seems like an odd environment into which to welcome a camera. But Roger has nothing to hide––on the contrary, he insists that the work environment at his shop is exemplary compared to his competition. Of course, Redmon’s interviews with the actual workers suggest otherwise, but the real lesson here is not that working conditions in China are unjust, but that the standards of justice there are so radically different. That the efforts of young women are being exploited by older, marginally wiser men on both sides of the world is an irony to comes through the material without Redmon needing to spell it out. Redmon has completed two films since Mardi Gras––Kamp Katrina, about a backyard tent city in hurricane-ravaged New Orleans, and Intimidad, which tracks a young family’s struggle to build a house in Northern Mexico; both films were co-directed by Mardi Gras associate producer Ashley Sabin––but Redmon’s unique style and attitude has been apparent throughout. Redmon and Sabin make films about the kinds of global and social issues that could easy scare off a casual viewer (Globalism! Poverty! Human rights! Corporate responsibility!), but these filmmakers approach their subjects without the finger waging or lecturing common to dreaded edutainment treatments of the same. Even when Redmon presents footage from the Chinese bead factories to New Orleans bead throwers mid-celebration, you don’t get the sense that he’s trying to shame the revelers as much as he’s trying to get into their heads, without guile or contempt. The Mardi Gras DVD hit store shelves last week as the first release from Carnivalesque Films, a company set up by Redmon and Sabin in order to produce and release films which “explore how personal stories relate to complex social issues.” They’re one of several alternative distribution companies that have emerged over the past few years (DVD label Benten Films and download-to-own site Indiepix also come to mind) in an effort to bridge the gulf between the spoils of Hollywood excess and the asceticism of true independent film production. In relative terms, it’s an economic disparity almost as severe as the one depicted in Redmon and Sabin’s movie. Over the coming months, Carnivalesque will shepherd the DVD releases of a number of beloved film festival-feted indies, including Ry Russo Young’s SXSW-winning feature Orphans, and Low and Behold, a doc-drama hybrid set in post-Katrina New Orleans. For more information on these and other releases, check out the Carnivalesque Website. Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 05 Aug 2008 21:01:12 GMTKarinaKarina on SpoutBlog8/5/2008 5:01:12 PM On the surface, Mardi Gras looks like good, cheap (if not always clean) fun. On the internet, $17 will buy ten dozen Mardi Gras beads––roughly what a group of revelers might be expected to toss as bait for tossed-off tops on Bourbon Street in a single hour. This ritual––one part libido, one part alcohol, one part peer pressure, one part historical precedent––leaves no room for practical realities, harsh or otherwise. So maybe it’s not much of a surprise that when sociologist-turned-filmmaker David Redmon went to New Orleans in 2004 and asked the question, “Where do you think the beads come from?” none of the young party people he encountered knew that $17 American dollars is enough to pay the salary of the average underage worker who makes Mardi Gras beads in sweatshop conditions in China for weeks Yes, there’s a secret, hidden cost to this tradition-steeped debauchery: a complete divorce between the economics, the social realities, and the moral ambiguities that make production of a commodity possible, and the relative wealth, privilege and, well, moral ambiguities that transform that product, once transported across oceans and continents, into something virtually worthless. With his 2005 documentary Mardi Gras: Made in China (a Sundance Grand Jury Prize nominee which just came out on DVD), Redmon manages to bridge these disparate worlds by spending time in both New Orleans and Fuzhou, China, and smuggling information from one locus to another, using his own curiosity to enlighten the hand on one end of the global marketplace as to what the other hand is doing. That Redmon secures candid (if often less than enlightening) testimony from the intoxicated revelers of New Orleans is maybe a given, but the film’s real gift is the stunningly intimate material Redmon brings home from China. If his camera doesn’t flinch from the barely-legal bare breasts of Bourbon Street (the 72-minute theatrical version of the film is uncensored; the DVD also contains a shorter, sanitized version designed for educational use), Redmon is equally unsparing in pointing his camera at the barely-legal women who staff the bead factories. A factory owner named Roger gives Redmon full access to his floor, his workers, and his management philosophy. The vast majority of Roger’s employees are teenage girls, who work so fast (they’re paid by the piece) that Redmon has to put a disclaimer on the screen to confirm that the footage hasn’t been sped-up after the fact. The materials used to make the beads would have a carcinogenic effect even if handled by workers with adult cardiovascular systems. Female employees are kept apart from males, and if they’re found mingling, they’re punished. On the whole, it seems like an odd environment into which to welcome a camera. But Roger has nothing to hide––on the contrary, he insists that the work environment at his shop is exemplary compared to his competition. Of course, Redmon’s interviews with the actual workers suggest otherwise, but the real lesson here is not that working conditions in China are unjust, but that the standards of justice there are so radically different. That the efforts of young women are being exploited by older, marginally wiser men on both sides of the world is an irony to comes through the material without Redmon needing to spell it out. Redmon has completed two films since Mardi Gras––Kamp Katrina, about a backyard tent city in hurricane-ravaged New Orleans, and Intimidad, which tracks a young family’s struggle to build a house in Northern Mexico; both films were co-directed by Mardi Gras associate producer Ashley Sabin––but Redmon’s unique style and attitude has been apparent throughout. Redmon and Sabin make films about the kinds of global and social issues that could easy scare off a casual viewer (Globalism! Poverty! Human rights! Corporate responsibility!), but these filmmakers approach their subjects without the finger waging or lecturing common to dreaded edutainment treatments of the same. Even when Redmon presents footage from the Chinese bead factories to New Orleans bead throwers mid-celebration, you don’t get the sense that he’s trying to shame the revelers as much as he’s trying to get into their heads, without guile or contempt. The Mardi Gras DVD hit store shelves last week as the first release from Carnivalesque Films, a company set up by Redmon and Sabin in order to produce and release films which “explore how personal stories relate to complex social issues.” They’re one of several alternative distribution companies that have emerged over the past few years (DVD label Benten Films and download-to-own site Indiepix also come to mind) in an effort to bridge the gulf between the spoils of Hollywood excess and the asceticism of true independent film production. In relative terms, it’s an economic disparity almost as severe as the one depicted in Redmon and Sabin’s movie. Over the coming months, Carnivalesque will shepherd the DVD releases of a number of beloved film festival-feted indies, including Ry Russo Young’s SXSW-winning feature Orphans, and Low and Behold, a doc-drama hybrid set in post-Katrina New Orleans. For more information on these and other releases, check out the Carnivalesque Website. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/8/5/33579.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/5/2008 5:01:03 PM
Body: On the surface, Mardi Gras looks like good, cheap (if not always clean) fun. On the internet, $17 will buy ten dozen Mardi Gras beads––roughly what a group of revelers might be expected to toss as bait for tossed-off tops on Bourbon Street in a single hour. This ritual––one part libido, one part alcohol, one part peer pressure, one part historical precedent––leaves no room for practical realities, harsh or otherwise. So maybe it’s not much of a surprise that when sociologist-turned-filmmaker David Redmon went to New Orleans in 2004 and asked the question, “Where do you think the beads come from?” none of the young party people he encountered knew that $17 American dollars is enough to pay the salary of the average underage worker who makes Mardi Gras beads in sweatshop conditions in China for weeks Yes, there’s a secret, hidden cost to this tradition-steeped debauchery: a complete divorce between the economics, the social realities, and the moral ambiguities that make production of a commodity possible, and the relative wealth, privilege and, well, moral ambiguities that transform that product, once transported across oceans and continents, into something virtually worthless. With his 2005 documentary Mardi Gras: Made in China (a Sundance Grand Jury Prize nominee which just came out on DVD), Redmon manages to bridge these disparate worlds by spending time in both New Orleans and Fuzhou, China, and smuggling information from one locus to another, using his own curiosity to enlighten the hand on one end of the global marketplace as to what the other hand is doing. That Redmon secures candid (if often less than enlightening) testimony from the intoxicated revelers of New Orleans is maybe a given, but the film’s real gift is the stunningly intimate material Redmon brings home from China. If his camera doesn’t flinch from the barely-legal bare breasts of Bourbon Street (the 72-minute theatrical version of the film is uncensored; the DVD also contains a shorter, sanitized version designed for educational use), Redmon is equally unsparing in pointing his camera at the barely-legal women who staff the bead factories. A factory owner named Roger gives Redmon full access to his floor, his workers, and his management philosophy. The vast majority of Roger’s employees are teenage girls, who work so fast (they’re paid by the piece) that Redmon has to put a disclaimer on the screen to confirm that the footage hasn’t been sped-up after the fact. The materials used to make the beads would have a carcinogenic effect even if handled by workers with adult cardiovascular systems. Female employees are kept apart from males, and if they’re found mingling, they’re punished. On the whole, it seems like an odd environment into which to welcome a camera. But Roger has nothing to hide––on the contrary, he insists that the work environment at his shop is exemplary compared to his competition. Of course, Redmon’s interviews with the actual workers suggest otherwise, but the real lesson here is not that working conditions in China are unjust, but that the standards of justice there are so radically different. That the efforts of young women are being exploited by older, marginally wiser men on both sides of the world is an irony to comes through the material without Redmon needing to spell it out. Redmon has completed two films since Mardi Gras––Kamp Katrina, about a backyard tent city in hurricane-ravaged New Orleans, and Intimidad, which tracks a young family’s struggle to build a house in Northern Mexico; both films were co-directed by Mardi Gras associate producer Ashley Sabin––but Redmon’s unique style and attitude has been apparent throughout. Redmon and Sabin make films about the kinds of global and social issues that could easy scare off a casual viewer (Globalism! Poverty! Human rights! Corporate responsibility!), but these filmmakers approach their subjects without the finger waging or lecturing common to dreaded edutainment treatments of the same. Even when Redmon presents footage from the Chinese bead factories to New Orleans bead throwers mid-celebration, you don’t get the sense that he’s trying to shame the revelers as much as he’s trying to get into their heads, without guile or contempt. The Mardi Gras DVD hit store shelves last week as the first release from Carnivalesque Films, a company set up by Redmon and Sabin in order to produce and release films which “explore how personal stories relate to complex social issues.” They’re one of several alternative distribution companies that have emerged over the past few years (DVD label Benten Films and download-to-own site Indiepix also come to mind) in an effort to bridge the gulf between the spoils of Hollywood excess and the asceticism of true independent film production. In relative terms, it’s an economic disparity almost as severe as the one depicted in Redmon and Sabin’s movie. Over the coming months, Carnivalesque will shepherd the DVD releases of a number of beloved film festival-feted indies, including Ry Russo Young’s SXSW-winning feature Orphans, and Low and Behold, a doc-drama hybrid set in post-Katrina New Orleans. For more information on these and other releases, check out the Carnivalesque Website. Originally posted on:SpoutBlog
]]>Tue, 05 Aug 2008 21:01:03 GMTSpoutBlogSpoutBlog on spout.com8/5/2008 5:01:03 PM On the surface, Mardi Gras looks like good, cheap (if not always clean) fun. On the internet, $17 will buy ten dozen Mardi Gras beads––roughly what a group of revelers might be expected to toss as bait for tossed-off tops on Bourbon Street in a single hour. This ritual––one part libido, one part alcohol, one part peer pressure, one part historical precedent––leaves no room for practical realities, harsh or otherwise. So maybe it’s not much of a surprise that when sociologist-turned-filmmaker David Redmon went to New Orleans in 2004 and asked the question, “Where do you think the beads come from?” none of the young party people he encountered knew that $17 American dollars is enough to pay the salary of the average underage worker who makes Mardi Gras beads in sweatshop conditions in China for weeks Yes, there’s a secret, hidden cost to this tradition-steeped debauchery: a complete divorce between the economics, the social realities, and the moral ambiguities that make production of a commodity possible, and the relative wealth, privilege and, well, moral ambiguities that transform that product, once transported across oceans and continents, into something virtually worthless. With his 2005 documentary Mardi Gras: Made in China (a Sundance Grand Jury Prize nominee which just came out on DVD), Redmon manages to bridge these disparate worlds by spending time in both New Orleans and Fuzhou, China, and smuggling information from one locus to another, using his own curiosity to enlighten the hand on one end of the global marketplace as to what the other hand is doing. That Redmon secures candid (if often less than enlightening) testimony from the intoxicated revelers of New Orleans is maybe a given, but the film’s real gift is the stunningly intimate material Redmon brings home from China. If his camera doesn’t flinch from the barely-legal bare breasts of Bourbon Street (the 72-minute theatrical version of the film is uncensored; the DVD also contains a shorter, sanitized version designed for educational use), Redmon is equally unsparing in pointing his camera at the barely-legal women who staff the bead factories. A factory owner named Roger gives Redmon full access to his floor, his workers, and his management philosophy. The vast majority of Roger’s employees are teenage girls, who work so fast (they’re paid by the piece) that Redmon has to put a disclaimer on the screen to confirm that the footage hasn’t been sped-up after the fact. The materials used to make the beads would have a carcinogenic effect even if handled by workers with adult cardiovascular systems. Female employees are kept apart from males, and if they’re found mingling, they’re punished. On the whole, it seems like an odd environment into which to welcome a camera. But Roger has nothing to hide––on the contrary, he insists that the work environment at his shop is exemplary compared to his competition. Of course, Redmon’s interviews with the actual workers suggest otherwise, but the real lesson here is not that working conditions in China are unjust, but that the standards of justice there are so radically different. That the efforts of young women are being exploited by older, marginally wiser men on both sides of the world is an irony to comes through the material without Redmon needing to spell it out. Redmon has completed two films since Mardi Gras––Kamp Katrina, about a backyard tent city in hurricane-ravaged New Orleans, and Intimidad, which tracks a young family’s struggle to build a house in Northern Mexico; both films were co-directed by Mardi Gras associate producer Ashley Sabin––but Redmon’s unique style and attitude has been apparent throughout. Redmon and Sabin make films about the kinds of global and social issues that could easy scare off a casual viewer (Globalism! Poverty! Human rights! Corporate responsibility!), but these filmmakers approach their subjects without the finger waging or lecturing common to dreaded edutainment treatments of the same. Even when Redmon presents footage from the Chinese bead factories to New Orleans bead throwers mid-celebration, you don’t get the sense that he’s trying to shame the revelers as much as he’s trying to get into their heads, without guile or contempt. The Mardi Gras DVD hit store shelves last week as the first release from Carnivalesque Films, a company set up by Redmon and Sabin in order to produce and release films which “explore how personal stories relate to complex social issues.” They’re one of several alternative distribution companies that have emerged over the past few years (DVD label Benten Films and download-to-own site Indiepix also come to mind) in an effort to bridge the gulf between the spoils of Hollywood excess and the asceticism of true independent film production. In relative terms, it’s an economic disparity almost as severe as the one depicted in Redmon and Sabin’s movie. Over the coming months, Carnivalesque will shepherd the DVD releases of a number of beloved film festival-feted indies, including Ry Russo Young’s SXSW-winning feature Orphans, and Low and Behold, a doc-drama hybrid set in post-Katrina New Orleans. For more information on these and other releases, check out the Carnivalesque Website. Originally posted on:SpoutBlog http://www.spout.com/blogs/spoutblog/archive/2008/8/1/33373.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 8/1/2008 9:01:14 AM
Body: Keanu Reeves tells Kevin Buist–in very inhuman terms–what it’s like to be an alien getting in touch with his “humanness,” just before Kevin gets melted by a cosmic glare for being near Keanu at Comic-Con. So, what’s up with all these A-list Hollywood types going to a comic book convention? Kevin tells the story of his first Comic-Con visit. Eureka! One of the great documentaries to slip through the cracks in 2004 was released this week through new DVD label, Carnivalesque FIlms. Mardi Gras: Made in China deftly examines globalization by stringing together life in a Chinese bead factory with the drunken, breast-baring party life of New Orleans during Mardi Gras. Plus, a listener emails us two movies about female vigilantes. Can you guess what they are? (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) FilmCouch-81 The Day the Earth Stood Still (2008) Originally posted on:SpoutBlog
]]>Fri, 01 Aug 2008 13:01:14 GMTSpoutBlogSpoutBlog on spout.com8/1/2008 9:01:14 AMKeanu Reeves tells Kevin Buist–in very inhuman terms–what it’s like to be an alien getting in touch with his “humanness,” just before Kevin gets melted by a cosmic glare for being near Keanu at Comic-Con. So, what’s up with all these A-list Hollywood types going to a comic book convention? Kevin tells the story of his first Comic-Con visit. Eureka! One of the great documentaries to slip through the cracks in 2004 was released this week through new DVD label, Carnivalesque FIlms. Mardi Gras: Made in China deftly examines globalization by stringing together life in a Chinese bead factory with the drunken, breast-baring party life of New Orleans during Mardi Gras. Plus, a listener emails us two movies about female vigilantes. Can you guess what they are? (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) FilmCouch-81 The Day the Earth Stood Still (2008) Originally posted on:SpoutBlog http://www.spout.com/blogs/paul/archive/2008/8/1/33372.aspx Post By: paul
Post To: paul on spout.com
Post Date: 8/1/2008 9:00:57 AM
Body: Keanu Reeves tells Kevin Buist–in very inhuman terms–what it’s like to be an alien getting in touch with his “humanness,” just before Kevin gets melted by a cosmic glare for being near Keanu at Comic-Con. So, what’s up with all these A-list Hollywood types going to a comic book convention? Kevin tells the story of his first Comic-Con visit. Eureka! One of the great documentaries to slip through the cracks in 2004 was released this week through new DVD label, Carnivalesque FIlms. Mardi Gras: Made in China deftly examines globalization by stringing together life in a Chinese bead factory with the drunken, breast-baring party life of New Orleans during Mardi Gras. Plus, a listener emails us two movies about female vigilantes. Can you guess what they are? (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) FilmCouch-81 The Day the Earth Stood Still (2008) Originally posted on:SpoutBlog » Paul Moore
]]>Fri, 01 Aug 2008 13:00:57 GMTpaulpaul on spout.com8/1/2008 9:00:57 AMKeanu Reeves tells Kevin Buist–in very inhuman terms–what it’s like to be an alien getting in touch with his “humanness,” just before Kevin gets melted by a cosmic glare for being near Keanu at Comic-Con. So, what’s up with all these A-list Hollywood types going to a comic book convention? Kevin tells the story of his first Comic-Con visit. Eureka! One of the great documentaries to slip through the cracks in 2004 was released this week through new DVD label, Carnivalesque FIlms. Mardi Gras: Made in China deftly examines globalization by stringing together life in a Chinese bead factory with the drunken, breast-baring party life of New Orleans during Mardi Gras. Plus, a listener emails us two movies about female vigilantes. Can you guess what they are? (Subscribe to FilmCouch–Spout’s weekly movie podcast–in the iTunes store or to our RSS feed and an episode will download each Friday) FilmCouch-81 The Day the Earth Stood Still (2008) Originally posted on:SpoutBlog » Paul Moore http://www.spout.com/blogs/karina/archive/2008/7/29/33223.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 7/29/2008 1:01:08 PM
Body: David Redmon’s Mardi Gras: Made in China comes out on DVD today, as the first release from Redmon and Ashley Sabin’s DVD distribution gambit, Carnivalesque Films. I returned home from San Diego last night to find a screener waiting for me, and though I haven’t had a chance to watch it yet, as a big fan of Redmon and Sabins later films, Kamp Katrina and Intimidad, I’m excited to see it. I’m even more excited after reading this GreenCine interview with Redmon, where he shares some of the secret history of the Bourbon Street party scene. An excerpt: The first such recorded event in exchange for beads was in 1978, and it was actually the showing of the penis…The women first started yelling at the men to show theirs, and initially this was called weenie-wagging (men dangling their weenies from balconies). After that is when the beads became big - and became a commodity that could be marketed as a kind of commerce - in exchange for nudity. Oh, equal opportunity objectification. What became of you? Originally posted on:SpoutBlog » Karina Longworth
]]>Tue, 29 Jul 2008 17:01:08 GMTKarinaKarina on SpoutBlog7/29/2008 1:01:08 PMDavid Redmon’s Mardi Gras: Made in China comes out on DVD today, as the first release from Redmon and Ashley Sabin’s DVD distribution gambit, Carnivalesque Films. I returned home from San Diego last night to find a screener waiting for me, and though I haven’t had a chance to watch it yet, as a big fan of Redmon and Sabins later films, Kamp Katrina and Intimidad, I’m excited to see it. I’m even more excited after reading this GreenCine interview with Redmon, where he shares some of the secret history of the Bourbon Street party scene. An excerpt: The first such recorded event in exchange for beads was in 1978, and it was actually the showing of the penis…The women first started yelling at the men to show theirs, and initially this was called weenie-wagging (men dangling their weenies from balconies). After that is when the beads became big - and became a commodity that could be marketed as a kind of commerce - in exchange for nudity. Oh, equal opportunity objectification. What became of you? Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/7/29/33222.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 7/29/2008 1:00:59 PM
Body: David Redmon’s Mardi Gras: Made in China comes out on DVD today, as the first release from Redmon and Ashley Sabin’s DVD distribution gambit, Carnivalesque Films. I returned home from San Diego last night to find a screener waiting for me, and though I haven’t had a chance to watch it yet, as a big fan of Redmon and Sabins later films, Kamp Katrina and Intimidad, I’m excited to see it. I’m even more excited after reading this GreenCine interview with Redmon, where he shares some of the secret history of the Bourbon Street party scene. An excerpt: The first such recorded event in exchange for beads was in 1978, and it was actually the showing of the penis…The women first started yelling at the men to show theirs, and initially this was called weenie-wagging (men dangling their weenies from balconies). After that is when the beads became big - and became a commodity that could be marketed as a kind of commerce - in exchange for nudity. Oh, equal opportunity objectification. What became of you? Originally posted on:SpoutBlog
]]>Tue, 29 Jul 2008 17:00:59 GMTSpoutBlogSpoutBlog on spout.com7/29/2008 1:00:59 PMDavid Redmon’s Mardi Gras: Made in China comes out on DVD today, as the first release from Redmon and Ashley Sabin’s DVD distribution gambit, Carnivalesque Films. I returned home from San Diego last night to find a screener waiting for me, and though I haven’t had a chance to watch it yet, as a big fan of Redmon and Sabins later films, Kamp Katrina and Intimidad, I’m excited to see it. I’m even more excited after reading this GreenCine interview with Redmon, where he shares some of the secret history of the Bourbon Street party scene. An excerpt: The first such recorded event in exchange for beads was in 1978, and it was actually the showing of the penis…The women first started yelling at the men to show theirs, and initially this was called weenie-wagging (men dangling their weenies from balconies). After that is when the beads became big - and became a commodity that could be marketed as a kind of commerce - in exchange for nudity. Oh, equal opportunity objectification. What became of you? Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/6/11/31119.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 6/11/2008 3:00:51 PM
Body: Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog » Karina Longworth
]]>Wed, 11 Jun 2008 19:00:51 GMTKarinaKarina on SpoutBlog6/11/2008 3:00:51 PM Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog » Karina Longworth http://www.spout.com/blogs/spoutblog/archive/2008/6/11/31118.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 6/11/2008 3:00:40 PM
Body: Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog
]]>Wed, 11 Jun 2008 19:00:40 GMTSpoutBlogSpoutBlog on spout.com6/11/2008 3:00:40 PM Exciting news from David Redmon and Ashley Sabin, co-directors of a couple of our favorite recent docs, Kamp Katrina and Intimidad: they’re expanding the purview of their production company, Carnivalesque Films, in order to start distributing DVDs. Their first release will be their own film, the 2005 Sundance premiere Mardi Gras: Made in China, and it’ll be available, to quote David, “everywhere,” on July 29. In the coming months, Carnivalesque will distribute two festival favorites: Ry Russo-Young’s SXSW Special Jury prize winner Orphans, and The Holy Modal Rounders: Bound to Lose. The Mardi Gras trailer is embedded above; we’ll pass along more details on Carnivalesque’s upcoming releases as we get them. Originally posted on:SpoutBlog http://www.spout.com/blogs/karina/archive/2008/3/7/25958.aspx Post By: Karina
Post To: Karina on SpoutBlog
Post Date: 3/7/2008 2:00:58 PM
Body: I haven’t seen David Redmon and Ashley Sabin’s first film, Mardi Gras: Made in China, but I’m impressed by the way the filmmakers, across second and third features Kamp Katrina and Intimidad, have begun to establish a voice not just through subject matter, but through a distinct visual style. There are few trademarks that you can now expect from a Sabin/Redmon production: eerie video, shot at night on a low shutter speed; an exceedingly intimate access to subject; and a mounting sense of dread as the realization hits that when the crisis inevitably comes down, the camera is going to put us right in the middle of the shit. In Intimidad, the crises seen on screen are mostly emotional and confined to a single family, but they’re spawned by the kind of larger crises of economic disparity and the hopelessness it engenders that propelled Kamp Katrina. The title literally translates to “Privacy”, and there’s a double connotation there: it’s a film about a couple’s struggle to maintain familial intimacy whilst battling a seemingly impossible economic system in the quest for private property. (more…) Originally posted on:SpoutBlog » karina
]]>Fri, 07 Mar 2008 19:00:58 GMTKarinaKarina on SpoutBlog3/7/2008 2:00:58 PM I haven’t seen David Redmon and Ashley Sabin’s first film, Mardi Gras: Made in China, but I’m impressed by the way the filmmakers, across second and third features Kamp Katrina and Intimidad, have begun to establish a voice not just through subject matter, but through a distinct visual style. There are few trademarks that you can now expect from a Sabin/Redmon production: eerie video, shot at night on a low shutter speed; an exceedingly intimate access to subject; and a mounting sense of dread as the realization hits that when the crisis inevitably comes down, the camera is going to put us right in the middle of the shit. In Intimidad, the crises seen on screen are mostly emotional and confined to a single family, but they’re spawned by the kind of larger crises of economic disparity and the hopelessness it engenders that propelled Kamp Katrina. The title literally translates to “Privacy”, and there’s a double connotation there: it’s a film about a couple’s struggle to maintain familial intimacy whilst battling a seemingly impossible economic system in the quest for private property. (more…) Originally posted on:SpoutBlog » karina http://www.spout.com/blogs/spoutblog/archive/2008/3/7/25957.aspx Post By: SpoutBlog
Post To: SpoutBlog on spout.com
Post Date: 3/7/2008 2:00:39 PM
Body: I haven’t seen David Redmon and Ashley Sabin’s first film, Mardi Gras: Made in China, but I’m impressed by the way the filmmakers, across second and third features Kamp Katrina and Intimidad, have begun to establish a voice not just through subject matter, but through a distinct visual style. There are few trademarks that you can now expect from a Sabin/Redmon production: eerie video, shot at night on a low shutter speed; an exceedingly intimate access to subject; and a mounting sense of dread as the realization hits that when the crisis inevitably comes down, the camera is going to put us right in the middle of the shit. In Intimidad, the crises seen on screen are mostly emotional and confined to a single family, but they’re spawned by the kind of larger crises of economic disparity and the hopelessness it engenders that propelled Kamp Katrina. The title literally translates to “Privacy”, and there’s a double connotation there: it’s a film about a couple’s struggle to maintain familial intimacy whilst battling a seemingly impossible economic system in the quest for private property. (more…) Originally posted on:SpoutBlog
]]>Fri, 07 Mar 2008 19:00:39 GMTSpoutBlogSpoutBlog on spout.com3/7/2008 2:00:39 PM I haven’t seen David Redmon and Ashley Sabin’s first film, Mardi Gras: Made in China, but I’m impressed by the way the filmmakers, across second and third features Kamp Katrina and Intimidad, have begun to establish a voice not just through subject matter, but through a distinct visual style. There are few trademarks that you can now expect from a Sabin/Redmon production: eerie video, shot at night on a low shutter speed; an exceedingly intimate access to subject; and a mounting sense of dread as the realization hits that when the crisis inevitably comes down, the camera is going to put us right in the middle of the shit. In Intimidad, the crises seen on screen are mostly emotional and confined to a single family, but they’re spawned by the kind of larger crises of economic disparity and the hopelessness it engenders that propelled Kamp Katrina. The title literally translates to “Privacy”, and there’s a double connotation there: it’s a film about a couple’s struggle to maintain familial intimacy whilst battling a seemingly impossible economic system in the quest for private property. (more…) Originally posted on:SpoutBlog http://www.spout.com/members/0/tags/china/MemberTagFilms.aspxchina
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