Showing posts with label Barbet Schroeder. Show all posts
Showing posts with label Barbet Schroeder. Show all posts

Friday, September 10, 2021

Koko: A Talking Gorilla

Koko: A Talking Gorilla presents pioneering documentary wildlife footage, shot long before Love Nature and BBC Earth emerged, it offers a direct hands-on approach to the crafting of naturalistic wonder. 

In a scholastic setting.

Is it possible for gorillas to acquire humanistic language skills?

Yes, Barbet Schroeder showcases the evidence within, and even if Koko doesn't learn to sign perfect human, he still learns hundreds of words by heart, and can engage in elementary small talk.

However, I have to admit that as I watched Koko and Penny Patterson communicating, I felt kind of bad for the verbose beastie, who seems somewhat uncomfortable a lot of the time within the film.

He often seems like he'd much rather be foraging around in the jungle, and although the experiment produces compelling results, did it thoroughly take into account Koko's natural instincts, his innate desires to gorilla about?

I like experiments that teach us more about animal kind because they're good at deconstructing stereotypes regarding non-humans, but so many of the them end with horrible results for the animals, that sometimes it seems like it's best not to conduct them.

I'm thinking about Susan Casey's book Voices in the Ocean: A Journey into the Wild and Haunting World of Dolphins, anyways, which starts out with a cool example of beatniks swimming with dolphins in Hawaii, while totally respecting dolphin kind's independence.

But then chapter after chapter chronicles horrendous interactions between well-meaning (and not so well-meaning) scientists (and others) and dolphins, which left me with a rather critical outlook regarding such experiments, since so many of them ended horribly.

I think animal awareness has remarkably improved in some countries and regions over the past 20 years, and there's certainly an abundance of caring people sharing animal love on the internet.

And I imagine generations are following David Attenborough's incredible example as they respectfully interact with our fellow Terran inhabitants (who have just as much of a right to this planet as we do). 

But the good's still mixed with an abundance of bad of cruel practices and experiments that are socially accepted, not to mention cultural prejudices which display shocking misguided horror, sign up for emails from Peta, be prepared for extreme woe.

Koko's treated well in the film and the people involved don't employ old school viewpoints, which justify outrageous abuses of intelligent animals based upon preferences for intellectual standing.

Rather they try to break down the barriers which uphold so many distressing rationalities. 

Koko still seems like he'd rather be playing.

I'm not sure where to draw the line.

I wonder what Jane Goodall thinks of this film?

Note: I love Orangutan Jungle School.

Wednesday, December 18, 2019

Reversal of Fortune

Snap judgments based upon agitated reckonings lead to pejorative sensationalized repute in Barbet Schroeder's Reversal of Fortune.

How to make someone appear guilty without making it look like you're attempting to make someone appear guilty, if they are in fact not guilty?

If they are in fact not guilty, how do you convincingly make it look like someone has attempted to make them look guilty without looking as if they were attempting to make them look guilty, before cold judicial verdicts descend?

It's basic Columbo, the televisual and cinematic world worse off without a regular dose of Columbo, and its freewheeling composed articulate dishevelled discourse, perhaps channeled by Professor Alan Dershowitz (Ron Silver) and his team in this inclusion, which asks if maligned bourgeois sentiment has predetermined an aesthete's obituary?

It's certainly quite the team.

It's incredible how many people can come together to defend or prosecute, many of them working pro bono, out of devoted respect for the law.

Engrained malfeasance.

People in positions of power exploit that power since no one holds them to account, but then someone does, it seems obvious that they're guilty, and justice adjudicates, condemning the reckless individual.

But it's still quite the task, the required reading voluminously dissonant, to transform every link into a succinct gripping narrative no small feat albeit thrilling for a motivated legal team, in possession of the facts, and interpretive plausibility, expert testimony, meticulous mechanics, it must be like playing a stable integral role in a constantly shifting production, not improvised, still rehearsed, but unaware of specific counterarguments, the speculation part of the fun, bold jurisprudent research and development.

Reversal of Fortune takes place in such a frame as Claus von Bulow (Jeremy Irons) seeks legal counsel, he's been convicted once already, and his lawyer's none too sympathetic.

He takes the case though, assembles his team, and finds evidence which contradicts his assumptions.

Upon appeal, another round of judicial observation considers the alternative facts, and the second reading makes Claus seem as innocent as he was once thought definitively guilty, differing detailed composite accounts, instructive rhetorical consommé.

People observe thousands of minute details distilled into an accessible format that leads them to make claims which back up narrative threads.

Hoping there isn't some technical distortion.

While theatrically duelling in shades.