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Show 777e Park Record Wednesday, January 26, 2000 C-6 rrr. I V (TV immerse yourself. Vvf' let yourself gco T & , EntewjrMalAninantar " Siztding colors .J vdprovoaovescytesdiat . Awaken the senses. S Yourworid : - absorb the Color. J ' PMANOMG , M E K I C A y 70 Sty4ft. 70 Colon in , t s rT rnqnthsobc J f , I WUrwH, HtitrW"' P5ffn Fatten 2 FKtOTY Orca Showrooms 2900 S. 300 Vst Srt Ukc City iU S Hodutay BK4. HototSf 277-6317 IRMIS iMKflltt V tt lilt I)) ill 4 Unit income producing property Each unit has 2 bedrooms, 2 baths, fully furnished Weli constructed in 1984 8 underground parking spaces Walk to lifts at Park City Mountain Resort Asking $824,000 435-658-3666 1 GEEE 3T' GEflv (i't flu &&V cozy Best Live Music Ii Tout)! WEDNESDAY JANUARY 2C PAT PAIV THURSDAY JANUARY 27 THE 101 NEW MUSIC SHOWCASE feit Paiey Robert & Ouier James Murray tEP Ra Soud Frog SUSAW SrVtBER6 Mewsro O&rsse-r' FRIDAY & SATURDAY JANUARY 28 & 29 THG GIVBU OPEN 7 DAYS A WEEK FROM 4 P.M. CALL FOR UPCOMING EVENTS 649-6038 438 MAIN STREET, PARK CITY A PRIVATE CLUB FOR MEMBERS Gallery displays filmmaker's photos by Sedona Callahan RECORD GUEST WRITER It is certainly not news that the Sundance Film Festival is in full swing in Park Gty. Just try to get a parking space on or even near Main Street! There is an abundance of exciting films, discussions, and dialogues dia-logues around the art and marketing market-ing of cinematography, not to mention men-tion the parties, and who you think you saw coming out of this hotel or that restaurant. But in the midst of all the excitement you may be missing miss-ing a quiet, but powerful photography photogra-phy exhibit by filmmaker Marcos Prado. currently displayed at the Flat Rabbet Gallery. Prado compelling black and white portraits of the conditions of the "Charcoal People" of Brazil accompany the premiere of the documentary doc-umentary of the same name. "There are 60,000 Charcoal People, migrant workers in Brazil, w ho burn wood and form it into charcoal," says Prado. "Brazil is the only country that produces charcoal industrially from wood. This charcoal char-coal is used in the production of pig iron, and because it comes from trees, Brazilian iron is considered the best in the world. It contains no sulphur." Prado sa-s Brazilian iron ore is exported to industrialized nations, such as European countries, Japan, and the United States, w hich purchases pur-chases 70 percent of the product used in the manufacture of cars, refrigerators- anything that uses steel as a component. Because of the nature of their work, Prado says the Charcoal People are subject to a high incidence of cancer and other illnesses. "They are virtually slaves of the landowners,'" says Pre Jo. "Their pay is not sufficient to cover their bask needs, and they become indebted to the landowners' landown-ers' intermediaries from whom they have to make their purchases. It is impossible for them to ever get out of debt, and so their children go to work aiso, and the life continues. They cannot escape." Prado goes on to explain that the cutting down of the Atlantic Forest and savannas of central Brazil an area the size of France is not done in a sustainable way, by planting new trees, for example, because it increases the cost of the iron exported. "The buyers w ill not pay the higher rate necessary to sus- " r;:- -,jT ' TV x w - V nt fi yitr fi t v (j n a 3 4 PHOTO BY MARCOS PRADO This photo of a young Brazilian boy hangs in a display by Prado at the Flat Rabbet Gallery. tain these forests, which have the largest bio-diversity in the w orld. The Charcoal People know they are destroying nature, but they ask, w hat do you want me to do? Starve? I have no choice but this " Prado"s gripping photographs, as well as the film documentary; portray por-tray the dignity of the itinerant la' vrers who are poor, illiterate, isolated iso-lated and indebted, and engaged in the backbreaking work, of "...this medieval tableau: an earth pillaged by a degraded and obsolete commerce, com-merce, a people enslaved by politics and greed, their children irradiated by the toxic glow of smoldering charcoal furnaces," describes Rebecca Yeldham in Sundance's Film Festival catalog. "The film focuses on the people, the destruction destruc-tion of the forests, and show that everything is interdependent," says Prado. "We didnt interview anyone from the steel industries, because we didnl want the film viewer to identify that industry as the culprit. We all use steel. We want the audience audi-ence to ask themselves if they would be willing to pay, say. 5 percent per-cent more for their automobile if it would go toward reforestation." After viewing Prado"s photos, I w as surprised to learn that the "Charcoal People documentary is not filmed in black and white, as I suspected. "We made this film as beautiful as possible, explains Jose Padilha, executive producer and screenwiiter of the intensely captivating capti-vating documentary. "We don't have to oppose beauty and tragedy." . Prado, w ho is a native and resident resi-dent of Rio de Janeiro, studied photography pho-tography for tw o and a half years at Brooks institute of Photography in Santa Barbara, California. He then set out on his own to see the conditions condi-tions of the world "First 1 went to New York City and assisted several photographers for six months", says the 38-year-old artist, "When I returned to Brazil I took a job with Trip Magazine, a photo-journalism publication. I had a dream to see Asia, and Tibet had just opened to travel in 1986. 1 was one of the first people to go into Tibet and pho tographed there. I then w ent to Burma, Nepal, Indonesia, many places." Prado returned to Brazil, and w hile on assignment for Trip discovered the Charcoal People. "The more I investigated, the more I discovered. Prado felt compelled to record what he saw, and ultimately, ulti-mately, collaborated with Padilha, Academy-Award-winning director Nigel Noble, and others on th making of the film. "V nen people understand that everybody in the world is connected, and they become educated about these issues, then I think the people can change the history of the w orld," says Prado. "The Charcoal People" exhibit can be seen at Flat Rabbet Gallery. 421 Main Street. For more informa-tio. informa-tio. call 435.(4W155. For information informa-tion about the documentary "Charcoal People" consult the Sundance Film Festival catalog, or goto WT-w.sundancechannel.corn'fesii-vaKX) on the Internet. ' Slamdancing takes off The UltfDrcmoife Sport Utfn. 2000 Discovery S.ries.1 W Ask about our pick-up and delivery services.. FREE scheduled maintenance with every new Land Rover purchase through February 29, 2000. no km JM6S lorn pw tat. Mrtctmt m tw Hymn. MSflP l.7S,inMeijKMUnM(W Continued from C-4 town mainly to see Sundance, likes the intimacy that accompanies ' Slamdance and also considers commercialism com-mercialism an issue. "Right when I walked in the building I noticed that the atmosphere is more cozy," she says. "1 definitely like the idea of Slamdance. I like that it's not so commercial. It's nice to deal with a smaller festival." Utahns apparently also think Slamdance is valuable for reasons other than its recent rise in the film fest hierarchy. Aileen Christensen of Sandy remarks, while standing in line with friends to see Jason Priestley's directorial debut "Barenaked in America," "We havent ever been to the film festivals festi-vals before, but it definitely seems less stuffy in here." A New York Times article on Slamdance ponders the question. "Is Success Seducing the Rebel Festival?" The an tele admits, and the media buzz seems to suggest, that it is certainly possible. Much as Sundance has done. Slamdance seems to be establishing itself as a major, not -to-be missed mov ie event but to audiences and filmmakers film-makers alike, it appears that Slamdance has so far managed to , stay true to its humble roots. Stern sums up the majority opin-" ion of those w ho are amending the event "It just feels like you can hang out here." A trip down Backroads' Continued from C-1 process. She said many have asked about the film's sense of hopelessness. hopeless-ness. However, she added that the film's aim was largely to present pres-ent a realistic view of reservation life, and that if the film can affect anyone, that in itself is a hopeful thing. "Hope is an all-encompassing word," said Ellis, "I hope that one native guy who beats his wife goes home and doesn't do it again." For the film's creators, the hope in the film also ties in the very act of making it. Walker said that many of the First Nation members w ho worked on the film now want to go into the industry. She added that "Women who see it ("Backroads") are proud of Shirley. Now. at Sundance, the film has the chance to reach a larger audience, audi-ence, and those w ho w orked on putting it together are thrilled. "From day one, our goal w as to get this movie into Sundance." said Ellis, "AH of us would like to relish being here." "Backroads" will show Wednesday, Jan. 26 at the Prospector Square Theater, and Thursday, Jan. 27 at Holiday ' Village Cinema I. I r k5 MO? j 73 v Wake Up To Breakfast on Main and catch first tracks to Order Warm Hearty Breakfast Try our Classic Broalc Served Every Morning starting at 7 am thru 11:30 am Skiers Breakfast Oikritos Meat Lovers Okeiette Fro CiiEEti 0r.iurn llircvos lto:tt:!Gos Oarpeii Okeiette Oreasfast pizza dm coa Poiio Steak & Ecas Ec:: Oeesect & IViCSi Moe! o |
