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The Sounding Body: Voicing Coexistence
Can be sent in time for the holidays! Image at left! Nov 22, - Dec 20, 28 days. Share this project Done. Tweet Share Email. The Sounding - a feature film about otherness. Follow along!
Deborah Rayne. Last updated December 20, Share this project. This is a film about otherness. The Story. Catherine Eaton as Olivia. DGA study. Check out the tiny little green and yellow pieces of the pie. Head Prop Master Yoko Morishita. Harris Yulin and Teddy Sears. Teddy Sears. Frankie Faison and Catherine Eaton. We traveled hundreds of miles to capture the perfect locations for the film! Cast and crew braved the cold as we shot on a remote island twelve miles off the coast of Maine.
We basked in the splendor of a private estate on Long Island's North Shore. We told ghost stories while we shot in an abandoned psych ward on Roosevelt Island. The use of these varied and authentic locations brings a raw beauty to The Sounding that will take your breath away! The Coast of Maine. Long Island, NY. Roosevelt Island, NY. Each gown is individual, authentic, and was worn in the film.
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Re-opening the Sounding Chamber | National Trust
Executive Producer Private Screening with champagne, wines, and upscale hors d'oeuvres and appetizers - location pictured above! Creative Team behind The Sounding. Catherine Eaton directing Frankie Faison. Production Designer Rocio Gimenez.
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Image of items pre-signing at left. In articles for the National Geographic on the "giants of the sea" and in the Council for the Conservation of Whales , a pioneering organisation he co-founded, Kellogg used his standing to publicise the "plight of the whales". Kellogg was an American engaged in very American debates, but he had a network of scientific correspondents from Scandinavia to New Zealand and represented the US at European conferences on whaling in the 30s.
The entry of Germany and Japan and the growing number of factory ships operating beyond territorial waters made whaling an international issue. Kellogg proposed global quotas in , without success "the commercial aspects seem to have outweighed the biological". In he helped found the International Whaling Commission, established in a spirit of postwar optimism. The US, with little stake in whaling, provided crucial leadership.
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This is an environmental history in which the Americans are the good guys and the villains turn out to be Dutch and Norwegian. Burnett devotes two chapters to the IWC, a "byword for failure and irresponsibility". Some of the reasons he gives for that are familiar: the IWC budget was small, there were no national catch quotas, and scientists deferred to whalemen.
But Burnett's analysis has novel and sophisticated elements. Despite a few industry stooges such as the Dutchman EJ Slijper, the scientists were not simply "captured"; it was more that contentious issues — sanctuaries, quotas, penalties — were shunted off to a scientific sub-committee to prevent open discord. Burnett shows in general how scientists muzzled themselves in order to establish their bona fides, bending over backwards to avoid "political" proposals, and he shows in particular how scientific uncertainty about whale populations weakened regulation instead of prompting what we call the precautionary principle.
After a study of catch data based on new mathematical methods, the IWC scientific committee finally concluded in that the Antarctic whale population was in free-fall. This is often portrayed as a victory for the scientists, undercut by political self-interest. Burnett turns this on its head. The study turned out to be flawed; its great achievement was in fact political — by removing the fig-leaf of scientific uncertainty, it forced the whaling nations to acknowledge their economic motives and exposed them to the court of world opinion.
The changed status of the whale in the 60s and 70s, prelude to the whaling moratorium of , is the subject of the final chapter. Greenpeace was the dramatic face of shifting opinion, but Burnett explores especially well the new wave of interest in the cognitive and affective qualities of the whale and its smaller cetaceous cousin, the dolphin. He shows how the whale completed its journey from the lumbering monster filled with useful oils to the creature "symbolic of life itself".