Category Archives: Documentary

Metaverse

This Metaverse Documentary Wants You To Feel Good About The Metaverse

Self-proclaimed Web3 evangelist and entrepreneur Briar Prestidge says that discussing the Metaverse today is akin to discussing the Internet in the 1990s. Prestidge says many people could not comprehend how the Internet would evolve and transform how we live, work, learn and socialize.카지노사이트

To prove her point, Prestidge locked herself into a hotel room with one camera crew; and for 48 hours she immersed herself in virtual reality (VR) across metaverse platforms visting 33 different metaverse worlds. In her travels, she also interviewed 21 metaverse and VR creators, including a human behaviorist, who offered insights into the Metaverse’s ethics, behaviors, drivers and applications. The result is a 50-minute docu-film, 48 hours in the Metaverse, giving viewers a taste of what the Metaverse can do and make you feel.

“The Metaverse is currently in its nascent stages, rapidly evolving from gaming environments such as Fortnite and Roblox to having profound business implications, said Prestidge. “

“With the growth of NFTs, cryptocurrencies and the development of interoperability such as ReadyPlayerMe’s avatars across various metaverses has opened a score of business opportunities in terms of products, services, processes, as well as customer and employee experiences,” added Prestidge.

Prestidge is no stranger to some of those services. She created a line of NFT Powersuits for women in Decentraland earlier this year in 2o22.

Prestidge believes the Metaverse offers something that the Internet has yet to do – experience ourselves as entirely different identities than who we are in real life.

By 2026, Gartner estimates that 25% of people will spend at least one hour a day in a metaverse. A recent study found that one-third of U.S. adults fear the Metaverse and what it offers rather than viewing it as a positive development. An additional 58 % felt they needed to learn more about the Metaverse or how it works to have an opinion.

“No one knows precisely what the metaverse will entail or become, but VR creators and monetizers are starting to form some ideas,” said Prestidge.

Prestidge ‘stopped by’ Nikeland in the Roblox metaverse which has 21 million visitors. “To Gen Z and Alpha, what’s happening in the Metaverse is as vital to them as real life. They may skip over what we know as social media and go straight to the Metaverse instead.”

Awareness

To anticipate and potentially avoid some of the ethical, social and economic pitfalls of the Metaverse and identify ways in which the Metaverse can help solve real-life problems. Prestidge says the industry needs to start a broader dialogue with consumers, investors, businesses, scientists, teachers, healthcare providers and lawmakers instead of waiting until the technology has already been fully rolled out.

Prestidge hopes the documentary will open up conversations about climate change, social interactions and women’s issues.

“How the Metaverse help address climate change by reducing the consumption of valuable resources by purchasing NFTs instead of spending thousands of dollars and wasting water, energy, and other natural resources to produce and manufacture luxury goods and other unessential items?” said Prestidge. “Will the ability to interact in VR with others around the world increase our ability to empathize with others, or as we have seen with social media, will it increase isolation and lessen our ability to interact with real people with civility even if we disagree on core issues. These are some of the questions I believe need to be addressed.” 바카라사이트

Prestidge says her experience illustrates that the desire for community drives the Metaverse. “There is a massive misconception that the metaverse is technology, but it’s more about how we interact with technology. It’s about community and having an immersive, shared experience,” said Prestidge.

“It allows people to be interconnected across the world [..], and the Metaverse gives people a better opportunity to communicate and interact with those far away,” said Prestidge. “Social media [..] is not social anymore – it is more about likes and endless scrolling than connecting and socializing with each other.”

“As we have recently seen on Twitter, social media has become more about divisiveness and incivility rather than finding a place where you feel a sense of belonging and connection to others,” added Prestidge.

“We can only address such questions if we fundamentally understand what the Metaverse is and possess a basic knowledge of how it works,” said Prestidge.

Prestige says that we can not fully understand the true power and potential of VR and Metaverse platforms unless the average person experiences it for themselves and starts asking crucial questions about how it can be used to solve complex problems and the underlying ethical, legal, logistical, and social issues associated with it.

In one of the Metaverse worlds in the documentary, Prestige visited Microsoft’s re-creation of the riots that took place at New York City’s Stonewall Inn in 1969, explored the digital twin of the Dubai Expo 2020 Al Wasl Dome, and explored the Uluru Kata National Park for the United Nations Day of Social Justice.

“All of these experiences add not only to our understanding of human history and unique cultural experiences but also enhance our involvement with each other and what it means to be part of a community,” said Prestige.

Community

Prestidge believes the Metaverse can help with creating a sense of global community from boosting women’s safety and inclusion to encouraging a focus on mental health.

“What if those who had a vested interest in women’s rights, for example, could meet at a virtual cafe weekly to discuss issues of common concern, such as reproductive rights?” said Prestidge. “Drawing on the different experiences and challenges women face around the globe and how they have worked to address them would provide hope and practical advice and counsel to others in the group, no matter where they live.

“We already see this taking place in the Metaverse at the Foremothers Cafe, the world’s first VR cafe based on a historic 19th-century novel Sour Milk in Sheep’s Wool bringing together women to discuss feminist issues,” adds Prestidge.

In healthcare, Rocket Health launched a series of VR studies to explore effective ways to treat mental health issues by working directly with board-certified health professionals and hospitals.

In the 48 Hours in the Metaverse documentary, Prestidge spoke with Heather Bucalos, a nurse and a two-time cancer survivor. Bucalos used VR during her stem cell treatment to help her cope with pain by offering her a tranquil environment that allowed her to meditate and practice pain management tips in real time.

“The ability to see, hear, and even smell the beach, waves, and salty air in VR made it much easier for Heather to get into her meditative state more quickly to allow for faster and more effective pain relief, said Prestidge. “RocketHealth VR also offers chronically ill patients the opportunity to engage in guided live support groups to share a common experience wherever they live and provide the mental health, spiritual support and deep relationships that have proven essential for severely ill patients’ survival.” 온라인카지노

Gomez

Selena Gomez’s Documentary ‘My Mind & Me’ Redefines Pop Stardom

There’s a scene towards the end of Selena Gomez’s new documentary Selena Gomez: My Mind & Me where the pop star asks “What am I doing?” with genuine bewilderment and is instantly told all the things she needs to do for the day. Only, Selena has muttered this in her sleep and has no idea what’s happening when she comes out of her haze. That scene alone underlines the purpose of Alek Keshishian’s AppleTV+ documentary Selena Gomez: My Mind & Me, a lean 90-minute feature that feels less like your typical pop star PR vehicle and more like an honest look at the grueling life of a pop stardom.카지노사이트

Following the success of other musician-focused documentaries like those about Lady Gaga, Taylor Swift, and Billie Eilish, My Mind & Me might feel like yet another addition to a slate of formulaic star-broadening vehicles. But it is important to note that director Keshishian practically pioneered the genre itself when he directed the famed Madonna documentary Madonna: Truth and Dare in 1991. So it is unsurprising that it becomes apparent in the first ten minutes of My Mind & Me just how no-holds-barred this documentary’s approach will be.

‘Selena Gomez: My Mind & Me’ Is Ruthlessly Honest

From the very beginning of this documentary, we are shown just how ruthlessly honest the project’s storytelling will be. Selena Gomez tears herself down, criticizing everything about herself from her looks to her performance and her social standing. The somber scene sets the tone for the rest of the raw documentary, which details Gomez’s difficulties with mental health such as her battle against depression and bipolar disorder. Further complicating things is her lupus which flares up in 2020 and is painfully captured on screen, demonstrating how tough living with that autoimmune disease can be.

How Is ‘Selena Gomez: My Mind & Me’ Different From Other Musician Documentaries?

What sets the documentary apart is just how frank the film is about the world Selena Gomez inhabits and her own duality. We see moments of Gomez tearing every facet of herself down juxtaposed with her going up on stage to perform her self-love anthem “Who Says.” We see Gomez being both reluctant to take her meds, and then subsequently arguing with her friend when her friend suggests that Selena’s not doing as much as she should. Time and time again we see Gomez being remorseful about some of her actions and wanting to do better. All of this makes for a richly layered documentary where we (whilst constantly being sympathetic) come to understand Gomez in a more raw and honest way. The documentary successfully fleshes out a dynamic, multi-layered look at Selena Gomez’s narrative and by the end of the movie it’s easy to walk out with both understanding and admiration.

‘Selena Gomez: My Mind & Me’ Is Not Pop Star PR

Selena Gomez: My Mind & Me feels less like pop star PR and more like someone’s account of their battle with life-threatening mental and physical illnesses – and for that it is all the more rewarding. As the film edifies, Gomez’s incredibly tough experiences make the shallowness of pop stardom and all that comes with it all the more glaring. While documentaries like Miss Americana have explored the pressures of the media on celebrities, My Mind & Me goes one step further, exposing the misogynistic bent of the questioning hurled at stars as well as the surface-level absurdity of the media circus. Throughout the documentary we see Gomez longing for real connections. She wants to talk about important things that matter and, as she rightly points out after a particularly ludicrous interview, anything other than that is all a waste of time.바카라사이트

Partly because the documentary is so sharply focused on Selena Gomez’s mental health struggles, there isn’t much time spent on her relationship with pop star Justin Bieber. The aftermath of their failed relationship, though, is on display. As her friend Raquelle Stevens accounts, Gomez goes through a psychotic break for which she was placed in a treatment facility. Her bipolar disorder is undiagnosed until this happens. She is put on a host of medications that wreak havoc on her body and leave her as a shell of a person. Despite this previous romantic relationship not being a focal point of the film, there is a sense of that it haunts Selena. Particularly in how we get to see the creation of her Billboard Number 1 hit “Lose You To Love Me.” Another lingering, yet not directly talked about aspect of her time is her tenure as a Disney starlet. Selena Gomez rose to fame on the Disney Channel hit Wizards of Waverly Place comedy series and went on to produce music for the mouse house. Yet, there’s clearly a lot of baggage that came with that experience and, as Gomez opines after a French interview where she feels unheard and dismissed, she feels like “a product” – something that triggers her because of her time working as a child star for Disney.

In stories where one is trying to capture the good in things, there is often a challenge of creating something that feels too cheesy. We have become so used to insincerity and duplicity from all the public figures we know that showing that someone is actually trying to do some positive things in the world is a hard pill to swallow. So all of Gomez’s philanthropic efforts and her life-changing visit to Kenya in lesser hands could have come across as disingenuous and solely put in the documentary to paint her as a saint. Yet, Keshishian masterfully interweaves Gomez’s personal arc and makes a case for human empathy. Why wouldn’t Gomez be moved by stories of suicide ideation and the idea of there being more to life than fluff when Gomez herself has walked through those exact things? Despite her platform, the director distills Gomez’s struggles with a need for human connection and a yearning to do something that actually matters – something that a lot of us can relate to.

Fittingly, there’s no triumphant conclusion to this story. Gomez doesn’t close the doc with an olive wreath around her head, having learned all that there is to know about life. Instead, the documentary makes it clear how Gomez hasn’t completely overcome her mental health struggles, but has found a purpose. By the end, Gomez knows what she is doing here, both as a pop starlet and, more importantly, as a philanthropist.온라인카지노

Documentary

Documentary Has a Diversity Problem — A New Movie Theater Is Trying to Solve It

For 50 years, the nonprofit documentary production company DCTV has been at the forefront of producing socially conscious nonfiction cinema on a grassroots scale.

That mission extended last week to the realization of a longstanding goal with the opening of the Firehouse Cinema,

a single-screen theater exclusively dedicated to showing documentary films located at DCTV’s Lower Manhattan headquarters,

in the same old firehouse that co-founders Jon Alpert and Keiko Tsuno have worked for decades.카지노사이트

Alpert has leaned into the building’s history, outfitting the concession stand with the front of an old fire truck, working with firefighters to make movies for an upcoming firefighter film festival, and even populating descriptions of his goals during an interview with firehouse puns.

“We wanted a place where documentaries weren’t tagging along in the caboose,” he told IndieWire. “They were in the engine car.” Later, he added: “We are six rungs above the ladder of any place that we’ve been before.”

Beyond the kitsch, though, stands an opportunity to facilitate real change. The theater presents a promising new rental space for documentary Oscar contenders in need of qualifying runs and tastemaker events,

which the owners hope will supply a sufficient revenue stream to cover operating costs as well as the underlying goal: to inject a range of diverse voices into the documentary field, while cultivating an audience for that work.

“We were trying to figure out how to go direct-to-consumer ever since we started,” Alpert said as he settled into the 68-seat theater and gazed at the empty screen a few days before the opening. “The initial DCTV screening room was an old postal service truck that we got for five bucks.”

Alpert has recited that lore many times over the years, and for good reason: In those early days, Alpert — who was nominated for short film documentary Oscars in 2009 and 2012 — and Tsuno would set up screenings of educational videos around Chinatown and the Lower East Side.

By engaging the immigrant community through film, they helped locals recognize the value of documenting their own lives for both archival and representational purposes.

In the process, they anticipated conversations about the need for broader representation and marginalized voices in the film community decades before “diversity” became an industry buzzword. “It was a good, bubbling melting pot in those days,” Alpert said.

I think that it was fairly diverse in the beginning. There was a collective representing any possible grouping of people.” He ticked off some of groups that emerged out of the DCTV ecosystem during its early chapters.

“There was the Black Documentary, Third World Newsreel, Asians and Latinos making documentary films,” Alpert said. “Documentarians need to be more self-reflective about whose stories they’re telling.”

Now that mentality has extended to the new theater’s curatorial agenda as it aims to address a growing concern in the documentary community. “I’ll say it,” Alpert said. “Too many Ken Burns movies. Not enough others.”

Burns’ prolific work for PBS faced a public reckoning last year when an open letter signed by over 130 BIPOC filmmakers took the network to task for commissioning projects from the same figure over the years in lieu of bringing new voices into the fold.

“How many other ‘independent’ filmmakers have a decades long exclusive relationship with a publicly funded entity?,” the letter asked. “

Public television supporting this level of uninvestigated privilege is troubling not just for us as filmmakers but as tax-paying Americans.”

Alpert wasn’t surprised by the outcry. “Sometimes, the more things change, the more they stay the same,” he said. “

There is a very thin top layer of recognized documentarians who get their projects funded, get the resources that they need, and might, if they’re lucky, get into a theater.

There is a very, very exciting proliferation of people who make documentaries who want to see documentaries, and there’s been nothing done to service that, especially in a theatrical sense.”

The Firehouse Cinema staff is angling to address that rift, said director of programming and engagement Dara Messinger, who has worked at DCTV for nearly 20 years. “I want [to program] fewer white heterosexual directors,” she said.

“We want the slate to be way more diverse. I want to empower other people to share their stories and just share perspectives.

I think sometimes a documentary community pats themselves on the back like they’re doing everything and they’re so aware and they’re so great.

We can be a whole lot better and we need to be accountable to each other.”온라인카지노

The first movie opening at the Firehouse Cinema doesn’t quite underline that goal, as “The American Dream and Other Fairy Tales” was co-directed by a wealthy white woman, Abigail Disney.

However, Disney’s first-person essay film takes aim at her own family’s wealth and casts it in a critical light.

The next documentary opening at the theater, “I Didn’t See You There,” revolves around filmmaker Reid Davenport’s experiences with cerebral palsy as he looks back on the problematic history of disabled people in popular culture.

The movie won the prize for Best Director at Sundance this year but had yet to find a theatrical distributor until the Firehouse programmed it, effectively giving it an awards-qualifying run.

“There are so many amazing films out there that don’t have that,” Messinger said. “It’s kind of ridiculous.”

Other programs on the schedule include an evening event with Oscar-nominated filmmaker Stanley Nelson and a special screening of painter Titus Kaphar’s “Shut Up and Paint,” which looks at the way his work confronts the unspoken racial biases of the art world.

An upcoming grant will allow documentarians to do finishing work on their films in the theater during off-hours. “We’ve never done anything on this particular scale before,” Alpert said.

“But nobody besides us has the 50 years of documentary experience that we have and the commitment to the documentary community.”

As if to illustrate the collaborative aspect of the project, Alpert pointed out the halved tree trunks that line the walls of the theater were donated by cinematographer Hart Perry from his privately-owned forest upstate.

At the opening party later in the week, he handed out awards to multiple people who had known him and his wife for at least 50 years, including a retired finance executive from Aetna who once sat on the company’s board.

“We believe in collaboration, not separation,” Alpert said. “And collaboration can happen physically in a place like this.”

Messinger said that the theater rentals have been dominated by bigger documentary distributors like Netflix and HBO, for better or worse.

“This is the fall is award season, so the distributors who are knocking on my door right now are releasing the films that already have the most funding, made by veteran filmmakers that have the backing to make them successful.

Those filmmakers are predominantly white people.”

She added that upcoming programs that included shorts films aimed to rectify the imbalance. “I’m hoping that come the new year, once we’re coming out of award season, we can really dig in,” she said.

As much as the rentals helped keep the lights on, Messinger added, she wasn’t concerned about box office.

“Nobody builds a cinema to make money,” she said. “Ticket sales aren’t going to do that.”

Instead, other business opportunities come from a burgeoning membership program and an adjoining events space. “

The business model has to have a balance,” she said. “That the challenge of a single-screen cinema.

For Alpert and Tsuno, DCTV is a world they inhabit 24/7. After joining Alpert briefly in the theater, Tsuno excused herself to go upstairs and prepare dinner.

“We’ve got seven days a week to satiate everybody’s taste,” Alpert said. “Are we going to have something that everybody likes all the time?

No. We’re happy to have constructive criticism and we’re going to listen to that criticism. Are we going to get everything perfect? No, but we’ll get it really good.” 바카라사이트

The

Documentary film on former N.K. spies set to hit screens next week

SEOUL, Sept. 20 (Yonhap) — In 2000, 63 former long-term political prisoners who were sent to the South as spies were repatriated to the North following an inter-Korean summit during which leaders of the two Koreas agreed to give priority to humanitarian issues in the same year.카지노사이트

But there were 46 former North Korean spies left in the South who were not allowed to go back to their home country because they signed statements giving up communism and advocating capitalism. Only “unconverted” communists were subject to the first-ever repatriation project.

The upcoming documentary film “The 2nd Repatriation,” directed by Kim Dong-won, focuses on the voices of the 46 people who have demanded the Seoul government let them return to their communist homeland for more than 20 years.

The film is a follow-up to the director’s 2004 documentary “Repatriation” about the 63 “unconverted” North Koreans who went back home in 2000.

“The 2nd Repatriation” revolves around Kim Young-shik, one of the remaining North Korean communists living in South Korea. He was sent to the South in 1962, arrested soon afterward and served 27 years in prison. The 90-year-old claimed he was physically and psychologically tortured to convert his ideology and subsequently excluded from the 2000 repatriation.바카라사이트

It took nearly 20 years to complete the film, as Seoul-Pyongyang relations have experienced ups and downs over the cited period, while Kim Young-shik and other former North Korean spies have still not been permitted to go back home.

“After I made the 2004 film, I thought the second repatriation would come soon. So I started filming their stories,” the director said Tuesday in a press conference after a media screening of the 156-minute film. “But their return has been delayed for about 20 years, and I’ve been working on it for the longer-than-expected period.”

Out of the 46 people still seeking to be repatriated, nine people remain alive, and they are 91 years old on average. So far, only one of them was sent to the North after dying of an illness in Seoul in 2005.

He said he thought he is running out of time, because the current geopolitical situation around the Korean Peninsula has discouraged him from remaining hopeful for another inter-Korean agreement on the issue in the near future.

“I hoped to shoot the scene of these people crossing the border and going back to their homeland, but it looks nearly impossible for a while,” he said. “And they are getting older and older, and some will likely pass away soon. So I decided to wrap up this project as soon as possible.”

Kim Young-shik called on the Seoul government to allow him and his colleagues to spend the rest of his life with his family in their homeland.

“The country is divided, as well as our families,” he said during the press conference. “I’m very old and my end is nearing. I want to see my hometown.”온라인카지노