Laura Poitras Collection [Blu-ray]

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The filmmakers created a safety net. “Nan and I could speak really freely,” said Poitras. “And she would have an opportunity later before it would be shared with anyone wider to see if there was anything that went too far. And when we had a cut, before we showed even Diane, nobody saw anything until Nan could have the opportunity to hear. There wasn’t really anything that she asked us to remove from the film.” Glenn Greenwald Reacts To Pulitzer Prize". The Huffington Post. April 20, 2014 . Retrieved October 22, 2014. So while we continue to advocate for better access to harm reduction and policy changes that prioritise the wellbeing– rather than the criminalisation – of our communities, so too must we call for justice. The medium marks a shift for her: Poitras's ability to use her reporting to tell striking stories is taking on a new shape.” Her performance as a successful woman in the world of international music whose reputation comes under threat has received nearly universal acclaim.

Laura Poitras’ All the Beauty and the Bloodshed Digs Into Nan Laura Poitras’ All the Beauty and the Bloodshed Digs Into Nan

This Museum Is Being Watched: At the Whitney, Filmmaker Laura Poitras Transforms Evidence Into Art." The Program implied that a facility being built at Bluffdale, Utah is part of domestic surveillance, intended for storage of massive amounts of data collected from a broad range of communications that could be mined readily for intelligence without warrants. Poitras reported that on October 29, 2012 the United States Supreme Court would hear arguments regarding the constitutionality of the amendments to the Foreign Intelligence Surveillance Act that were used to authorize the creation of such facilities and justify such actions. Finally, Poitras points even higher: “One of the most horrifying images of the Venice Film Festival was Hillary Clinton walking down the red carpet. Now she’s got a production company to finance documentaries. I’m not happy. She is not welcome. If she wants to contribute to the non-fiction and journalism world, let her release the torture reports that she and others in the US government concealed.” The exhibition itself is a kind of archive, but its poetics, as [Edward] Snowden suggests, are less vested in the archive than in how its data is encountered at the level of everyday life.”But with all of these personal details, “I didn’t want to make a biopic,” Poitras said. “I’m not a biographer. I wanted to create juxtapositions and historical connections and emerge with a portrait of an artist. I definitely wanted to avoid any kind of narrative of there’s this artist done in by their demons: I’m not interested in that story.” That’s when Poitras, with help from the late Participant executive Diane Weyermann, made a deal with Goldin to do a series of audio interviews at her house. “I knew it was going to give me a kind of intimacy that wouldn’t be there if there was a camera and a crew,” said Poitras. “It was just an instinct.”

Laura Poitras - Praxis Films

a b c Maass, Peter (August 18, 2013). "How Laura Poitras Helped Snowden Spill His Secrets". NYTimes . Retrieved August 18, 2013. Poitras is portrayed by actress Melissa Leo in the biographical drama film Snowden (2016), directed by Oliver Stone, and starring Joseph Gordon-Levitt as Snowden. Laura Poitras is a filmmaker and journalist. Her films include All the Beauty and the Bloodshed and Citizen Four The Other Side and The Ballad depict people living lives of enormous precarity, economic and otherwise. The loss of her friends to drug use and Aids weighs increasingly heavily on her work, in this film’s telling; the Goldin-curated exhibition Witnesses: Against Our Vanishing , which lost National Endowment for the Arts funding amid the uproar over David Wojnarowicz’s incendiary catalogue essay, gets significant screen-time here, and it is obvious that activist group Act Up was an inspiration for Pain’s die-ins at the Guggenheim Museum and Musée du Louvre.

About the artist

Poitras helped to produce stories exposing previously secret U.S. intelligence activities, which earned her the 2013 Polk award [42] and contributed to the 2014 Pulitzer Prize for Public Service awarded jointly to The Guardian and The Washington Post. [ citation needed] [43] She later worked with Jacob Appelbaum and writers and editors at Der Spiegel to cover disclosures about mass surveillance, particularly those relating to NSA activity in Germany. [44] [45] She later revealed in her documentary Risk that she had a brief romantic relationship with Appelbaum. [46] As to the source of her courageous badassery, the film traces a life-shaping vein. The heart of the film — and, arguably, of Goldin’s work — is her beloved older sister, Barbara, a rebellious nonconformist who was too full of life for their parents to handle. Instead they and some of the doctors they consulted silenced their firstborn with the label of mental illness. Her story is an unbearable one — her pain, her terrible death, her mother’s mode of denial. The suburban neighbors must not know about their domestic turmoil and its awful depths. The art world must not think about the source of all that cash aimed its way by museum benefactors. In The Ballad of Sexual Dependency, the 1985 slideshow and 1986 book that’s generally regarded as Goldin’s masterpiece, she included self-portraits that showed her scarred and bruised from a brutal battering by her ex-boyfriend. In her self-examination, in her embrace of people’s tough-to-look-at struggles, her ethos has been a rejection of shame.