I'm interested in learning more about the author/artist/ethnographer's methods as a filmaker. How does one approach toxic capture through film? How do the subtitles work to both translate and interpret toxicity?
I'm interested in learning more about the author/artist/ethnographer's methods as a filmaker. How does one approach toxic capture through film? How do the subtitles work to both translate and interpret toxicity?
Quite cleverly even in its form as a screenshot, the image manages to evoke a sense of movement and passing of time. Camila frozen in mid-sentence and mid-gesture, the blurring of the passing car, the icons on the screen indicating that this is a still from a film, the viewer is both drawn to the image as a static, bounded piece, while simultaneously urged to imagine the moving whole.
This image is interesting in how it captures a moment--a moment in a larger film, a moment in the chaos of what seems to be a busy street. Quite evocative of the toxicological sciences, in which the sampling of toxic substances represents a very particular moment in a very particular place, this image manages to convey quite a lot through this slice. Like toxics, the image will move, shift, and take on other forms and meanings as time passes. Camila's narration of the movement of lead points to the technological and structural barriers so many other toxic-laden communities face in making exposure visible. What is it that Camila holds in her hand? Is it a microphone for the film or some type of handheld monitor? Either way, both work to make exposure legible.
This image is interesting in how it captures a moment--a moment in a larger film, a moment in the chaos of what seems to be a busy street. Quite evocative of the toxicological sciences, in which the sampling of toxic substances represents a very particular moment in a very particular place, this image manages to convey quite a lot through this slice. Like toxics, the image will move, shift, and take on other forms and meanings as time passes. Camila's narration of the movement of lead points to the technological and structural barriers so many other toxic-laden communities face in making exposure visible. What is it that Camila holds in her hand? Is it a microphone for the film or some type of handheld monitor? Either way, both work to make exposure legible.