Sunless Haven
| 导演： | George Clark |
| 制片国家/地区： | 英国 |
| 类型： | 纪录片 |
| 语言： | 英语 |
| 年代： | 2024 |
| 上映： | 2024-04-24 |
| 片长： | 30分钟 |
| 豆瓣评分： | 0 |
| 影伴评分： | 0 |
剧情简介
Clark worked with historian Simeon Koole, sound artist Jol Thoms and performance artist Yarli Allison to imagine the experiences in, around and through the London Docklands at the turn of the 20th century. “Woven into the film are attempts to understand the docklands as a meeting place between different ecologies, enclosures and epochs, as a point of entanglement of the city an... (展开全部)
Clark worked with historian Simeon Koole, sound artist Jol Thoms and performance artist Yarli Allison to imagine the experiences in, around and through the London Docklands at the turn of the 20th century. “Woven into the film are attempts to understand the docklands as a meeting place between different ecologies, enclosures and epochs, as a point of entanglement of the city and world. The film looks at ways to describe and embody these enmeshed histories from the legacy of police persecution of seaman boarding houses and Indian dockworkers know as lascars to the traces of early Chinatown in Limehouse and the experiences of London by Ayahs and Amahs, predominantly Chinese or Indian nannies brought back from the colonies and abandoned in the city after the voyage.” (George Clark)
Clark worked with historian Simeon Koole, sound artist Jol Thoms and performance artist Yarli Allison to imagine the experiences in, around and through the London Docklands at the turn of the 20th century. “Woven into the film are attempts to understand the docklands as a meeting place between different ecologies, enclosures and epochs, as a point of entanglement of the city an... (展开全部)
Clark worked with historian Simeon Koole, sound artist Jol Thoms and performance artist Yarli Allison to imagine the experiences in, around and through the London Docklands at the turn of the 20th century. “Woven into the film are attempts to understand the docklands as a meeting place between different ecologies, enclosures and epochs, as a point of entanglement of the city and world. The film looks at ways to describe and embody these enmeshed histories from the legacy of police persecution of seaman boarding houses and Indian dockworkers know as lascars to the traces of early Chinatown in Limehouse and the experiences of London by Ayahs and Amahs, predominantly Chinese or Indian nannies brought back from the colonies and abandoned in the city after the voyage.” (George Clark)
