The Bastard Sings The Sweetest Song,

Christy Garland

Canada 2012.

The autumn 2010 issue of DoX also reported on Doc Lab participants Jasmina Fekovic and Pietra Brettkelly. Some events Fekovic planned to include in her project on art collectors and collectormania were delayed and so is her project; she is still in preproduction. Brettkelly’s film, Maori Boy Genius, about Maori ngaa rauuira going to Yale, premiered on 13 February 2012 at the Berlinale.

In autumn 2010 DOX reported on Doc Lab, an 18-month documentary workshop initiated by the Amsterdam-based Binger Film Institute. The lab is aimed at developing selected projects from start to finish, hence its duration. Started in May 2010, we’re nearly two years on now. So what’s been happening since the kick-off? After the initial sessions in June 2010 (see DOX #87) the participants gathered in Amsterdam again in November 2010 to attend sessions about storytelling by Jennifer Fox, about narration and drama by John Appel, and about creative postproduction by Patrick Lindenmaijer.

https://www.youtube.com/watch?v=LbfOVlMFu00

In addition, Michael HaslundChristiansen conducted a case study around Armadillo and participants had an individual session around their projects with their mentors. Christy Garland is one of the participants and her project, The Bastard Sings the Sweetest Song, was mostly shot when she arrived in Amsterdam in autumn 2010. The Bastards was entered as a project about birdsong competitors in Guyana but the focus of the story has shifted somewhat to the main protagonists Muscle and his mom Mary.

For the November meetings the main question for Garland was what the purpose of her story was: “What is it that you want the audience to feel as they walk out of the theatre? How have their view been altered? What am I showing them that they don’t already know and how does it connect to their own lives?” she summarizes. Watching, analyzing, and discussing her footage with other filmmakers offered a muchwelcomed, fresh approach because they do not have the biases Garland has about the material: “Things that I had taken for granted, or never actually realized…”, such as the complex morality of her protagonists.

Login to continue...

You have now read 4 free articles this month, so log in if you are a subscriber,
or please click here for subscription (3 euro/month) to read all articles.


-

Why not leave a reply?