1
The Center for Folklore Studies Presents: Children of Different Mothers: The Folklore DNA of Filmmaking Dennis Aig (Montana State University, Bozeman) Tuesday, November 13, 2012 4:oopm - 6:00pm 311 Denney Hall Co-Sponsored by the Program in Film Studies Filmmaking and folklore oſten appear to have an intuitive connection that is difficult to specifically define. is pre- sentation will discuss how the cultural imperatives shared by both filmmaking and folklore reveal more similarities than differences. I will use examples from my over 30 years of film work including discussions of A River Runs rough It and e Horse Whisperer, a documentary about U-boats in the Gulf of Mexico, a music video for an Austin Latino rock band, a PBS oral history chronicle about Chief Joseph and the Nez Perce, a film about Peruvian shamans, and my current project about wildfires in Tasmania and New Zealand. In all instances the folkloric sensibility informed the aesthetics of the film- making .

Children of Different Mothers: The Folklore DNA of Filmmaking

  • Upload
    others

  • View
    1

  • Download
    0

Embed Size (px)

Citation preview

Page 1: Children of Different Mothers: The Folklore DNA of Filmmaking

The Center for Folklore Studies Presents:

Children of Different Mothers: The Folklore DNA of Filmmaking

Dennis Aig (Montana State University, Bozeman)

Tuesday, November 13, 20124:oopm - 6:00pm311 Denney Hall

Co-Sponsored by the Program in

Film Studies

Filmmaking and folklore often appear to have an intuitive connection that is difficult to specifically define. This pre-sentation will discuss how the cultural imperatives shared by both filmmaking and folklore reveal more similarities than differences. I will use examples from my over 30 years of film work including discussions of A River Runs Through It and The Horse Whisperer, a documentary about U-boats in the Gulf of Mexico, a music video for an Austin Latino rock band, a PBS oral history chronicle about Chief Joseph and the Nez Perce, a film about Peruvian shamans, and my current project about wildfires in Tasmania and New Zealand. In all instances the folkloric sensibility informed the aesthetics of the film-making .