Manufactured Landscapes

This film follows Canadian photographer Edward Burtynsky to China where he documented the grim scale of Chinese industry and it's impact on the... landscape, obviously! Burtynsky's fascinating photos of industrial activity and waste have been exhibited widely, I saw the local exhibition at the Art Gallery of Ontario two years ago and came home with both the exhibition book of the same name and one of his framed 'quarry' prints. Now I've seen Jennifer Baichwal's film on the same topic. I think they've covered the media bases. Perhaps a role-playing game for PS3? So, thumbs up or down? Well, a thumb in each direction I think. The film gave visual context to Burtynsky's photos, which was helpful because sometimes you just can't believe that his images come from the real world. It also expanded them by capturing more of the human presence, which is often incidental in his photos. The film opened with a five minute tracking shot (shades of Robert Altman) along rows of bustling manual assembly lines. The scene showed both the monumental scale of China's industries and the massive and repetitive human activity that makes it possible. Watching a worker assemble a small electrical component at lightning speed and then later watching peasants tapping the metal off of computer chips for recycling reminded me that industry grinds down people as well as landscapes.

There were some clever juxtapositions that highlighted the economic divide in China. The remark "this is an open kitchen", for example, started while we watched a peasant's medieval outdoor stove in use but concluded while we watched the speaker, a Shanghai Realtor, show off her open-concept luxury kitchen.

The down side? Well, the film kind of dragged on (how many slow tracking shots can we sit through in a night?) and the sound track was excessively "industrial" and often grating.

Still, Manufactured Landscapes is a mind-expanding film that illuminates and expands on Edward Burtynsky vision and trusts the viewer to interpret it.

Documentary does a good job a depicting post 21st century China who was well on it's way to become the globalization leader it is today. The movie focuses on the harsh realities of industrialization and urbanization in the country. The workers are seen in deplorable environments. Beautiful cinematography even if at times the slide shows took a lot of space.

This is a documentary that came out of the splendid work of a Canadian landscape photographer whose interest has long been in the ravages left on earth by the excavations or buildings of man. It begins with a vast factory complex crammed with people making a great variety of little things, parts of high-tech equipment presumably; it isn't really made very clear. The emphasis is on how big the place is and how many people are there and how they're herded around outside in little yellow jackets. The film also shows the photographer working on a tall structure to do a still of the array of these people outside the factory, and talking with his crew as he does so. This is a world of relentless industrialization. It's a relief at least to know these soulless images aren't going to be presented without a human voice, as is the case in Nikolaus Geyrhalter's gleefully cold documentary about the food industry, 'Our Daily Bread.' 'Manufactured Landscapes' contains images of people scavenging e-waste and a town (many towns, really) being wiped out by the biggest dam ever, with a single plangent trademark shot of a little girl in the rubble of her own neighborhood eating out of a bowl using a pair of chopsticks almost bigger than she is. Some of these scenes, the ones with miserably underpaid workers slaving in dangerous and toxic places, might have been shot memorably by the premier engagé photographer Sebastião Salgado. But this photographer isn't as interested in seeing people up close. His orientation places him somewhere in between Salgado and the cold, neutral modern landscape photographs of Lewis Baltz.

All this happens in China, of course, though there is earlier footage in black and white of the photographer working around a large shipbuilding site in Bangladesh. It is backed up by music in a New Age industrial style that is alternately soothing and oppressive. There are a good many stills of the photographer's work--or were some of them made by the film crew? It isn't made clear.

Edward Burtynsky is the name of the photographer. We see people wandering through exhibitions of his beautiful work-- big dramatic prints of carefully composed view camera color images with a handsome glow. The irony is that Burtynsky makes such unique and glorious pictures of places that are essentially blighted, and to the ordinary eye are dispiriting and boring. He admits himself that he takes no political stand. When we are able to compare his images with those caught by the roaming eye of the film's cinematographer Peter Mettler, Burtynsky's work almost amounts to a kind of glorification, and hence falsification. But he is showing us places that, if we look closely, reveal their full dark story of ravage and neglect no matter how finely crafted the photographs of them may be.

Logically, but not entirely fortunately, it is Burtynsky whose voice-overs narrate most of the film as it ranges over various sites. Burtynsky's "epiphanies" may have inspired his decades of fine work, but they amount to nothing but truisms about how we're changing the planet irreparably; are dependent on oil, which will run out; that China has come into the game of massive industrialization late, and so may burn out early with the depletion of fossil fuel. The interest of 'Manufactured Landscapes' would be much greater if there were perceptive new ideas to accompany it. The reasons for watching it are two: to see glimpses of Burtynsky's work and the raw materials, the spaces he visits and chronicles so beautifully; and to observe scenes from the vast, awesome, daunting, and rather horrifying industrialization of modern China.

Because of the limitations of the narration, the idea of the title 'Manufactured Landscapes' feels insufficiently developed. It even seems a misnomer. New landscapes they are, but they are the byproduct of manufacturing rather than "manufactured." 'Landscapes of Waste' or 'Wasted Landscapes' might be better titles. There is much room left by this documentary for more intellectually searching work on film about this intriguing subject; and those who want to know more about Edward Burtynsky might do better to peruse his books or exhibitions.

I have mixed feelings on this film. On the one hand the images are stunning, desolate and beautiful. The photographer proves there can be beauty even in ecological devastation, which is really a foreign concept. The segments on the Three Gorges Dam and the shipbreaking beach in Bangladesh are fascinating.

On the other hand, the film often is a slide show of images without narration. When that happens it seems very, VERY slow. I know the director probably wants us to be able to absorb these images without being distracted by narration, but it makes for a mind numbing experience.

In the "special features" there was lots of fascinating narration - if they had added this to the film I would have enjoyed it more.

I have been an admirer of Edward Burtynsky's work for years, and it was such a pleasure to be able to see the man at work, thanks to Jennifer Baichwal's documentary. The severe beauty of the ship-breaking yard in Bangladesh, the stone quarry in Vermont, the enormous assembly plant in China, the beleaguered old neighbourhoods in Shanghai that are just waiting to be torn down: these landscapes are captured so well by the photographer and the filmmaker.

At times I thought of old TV documentaries on abandoned coal mines and plastic-mold factories; the sort of stuff I grew up watching. Burtynsky's work has the great value of pointing out how the industrial activity has only shifted to Asia, it has not stopped. The strangest scene for me was the computer scrap-yard somewhere in China--the waste had a threatening air about it, while the workers were very jovial.