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内容由Kevin Gustafson提供。所有播客内容(包括剧集、图形和播客描述)均由 Kevin Gustafson 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal
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Interview With Noah Hutton – Director, Editor, and Writer of Lapsis (#66)

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Manage episode 289460495 series 2488211
内容由Kevin Gustafson提供。所有播客内容(包括剧集、图形和播客描述)均由 Kevin Gustafson 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

In this episode host Kevin Gustafson talks with Noah Hutton, the writer, director, editor and score composer of the new film Lapsis. Lapsis was selected to premiere at SXSW in the narrative feature competition and has since won the grand jury prize at BIFAN in South Korea. At its core, the film is political, both in style and substance and has been compared to Boots Riley’s Sorry to Bother You and Ken Loach’s Sorry We Missed You.

Lapsis comments on the already dystopian gig economy by imagining taxing manual labor in the forest, which is at the foundation of new wall street gains after a quantum computing boom. The gig work takes the form of laying cable through huge swaths of forests, connecting massive cubic transistors, and the film portrays human laborers who are forced to work without basic protections and are often robbed of their routes by automated cabling robots. Lapsis makes the case for collective action and organizing as the way to combat exploitation, especially given the recent catastrophe of prop 22.

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Artwork
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Manage episode 289460495 series 2488211
内容由Kevin Gustafson提供。所有播客内容(包括剧集、图形和播客描述)均由 Kevin Gustafson 或其播客平台合作伙伴直接上传和提供。如果您认为有人在未经您许可的情况下使用您的受版权保护的作品,您可以按照此处概述的流程进行操作https://zh.player.fm/legal

In this episode host Kevin Gustafson talks with Noah Hutton, the writer, director, editor and score composer of the new film Lapsis. Lapsis was selected to premiere at SXSW in the narrative feature competition and has since won the grand jury prize at BIFAN in South Korea. At its core, the film is political, both in style and substance and has been compared to Boots Riley’s Sorry to Bother You and Ken Loach’s Sorry We Missed You.

Lapsis comments on the already dystopian gig economy by imagining taxing manual labor in the forest, which is at the foundation of new wall street gains after a quantum computing boom. The gig work takes the form of laying cable through huge swaths of forests, connecting massive cubic transistors, and the film portrays human laborers who are forced to work without basic protections and are often robbed of their routes by automated cabling robots. Lapsis makes the case for collective action and organizing as the way to combat exploitation, especially given the recent catastrophe of prop 22.

Download: .mp3

  continue reading

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