Аватар персоны Jennifer Abbott

Jennifer Abbott

ActorDirectorWriterProducerExecutive Producer
From Wikipedia, the free encyclopedia. Jennifer Abbott (born c. 1965) is a Canadian director, cinematographer and editor, best known as a documentary maker. Her first feature documentary, A Cow at My Table (1998), explores contemporary Western attitudes to livestock and meat production. More recently, she served as co-director and editor of the widely acclaimed documentary, The Corporation (2003), which critically examines large corporations in the modern world. That film won numerous international film awards, including a Genie for best documentary, an audience award from the Sundance Film Festival, and a Top Ten Films of the Year designation from the Toronto International Film Festival. Her previous work includes the experimental short Skinned, and as editor for Two Brides and a Scalpel: Diary of a Lesbian Marriage (1999). She is also the editor of the book Making Video 'In': The Contested Ground of Alternative Video on the West Coast. She has taught at the Emily Carr Institute of Art & Design in Vancouver. She lives on Galiano Island in British Columbia, Canada. Description above from the Wikipedia article Jennifer Abbott, licensed under CC-BY-SA,full list of contributors on Wikipedia.

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Total Films

Also known as (female)

Canada

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Creative career

actor

2 Works

producer

3 Works

director

22 Works

writer

2 Works

other

10 Works

The Magnitude of All Things

The Magnitude of All Things

Filmmaker Jennifer Abbott explores the emotional and psychological dimensions of the climate crisis and the relationship between grief and hope in times of personal and planetary change.
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2020

Skinned

Skinned

The myths of the priapic Black stud and the White woman beauty ideal collide in this rhythmically constructed work about identity and desire. Skinned explores the specific historic, psychological and social implications of relationships between Black men and White women. Using their bodies as a point of juncture, the artists blatantly situate the viewer as voyeur while identifying this physical realm as the arena within which cultural communities and individuals oppose interracial relationships. Ultimately, the multiplicity of images and voices calls into question the validity of definitive truths and the authoritative voice.
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1993