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Koyaanisqatsi runs for 86 minutes and comprises a montage of visuals accompanied by a minimalist score, without narration or dialogue. It opens with an ancient cave painting, followed by a close-up of a rocket launch, while a deep bass voice chants the film's title.
The trilogy includes Koyaanisqatsi (1982), Powaqqatsi (1988), and Naqoyqatsi (2002). The titles of the films are derived from the Hopi language , in which the word qatsi translates to "life." The series was produced by the Institute For Regional Education, who also created the Fund For Change.
The film's title is a Hopi neologism coined by Reggio meaning "parasitic way of life" or "life in transition". While Koyaanisqatsi focused on modern life in industrial countries, Powaqqatsi, which similarly has no dialogue, focuses more on the conflict in Third World countries between traditional ways of life and the new ways of life introduced ...
Unlike “Koyaanisqatsi” and its two follow-ups, “Powaqqatsi” and “Naqoyqatsi,” Reggio’s latest feature leans more toward narrative than documentary.
Reggio helped found the Institute for Regional Education in Santa Fe, New Mexico, [4] a non-profit foundation. He became a founder of La Clinica de la Gente [5] a facility providing medical care and service to 12,000 community members in northern New Mexico's barrios, [6] [7] [1] as well as founding the Young Citizens for Action, a project aiding juveniles in the street gangs of Santa Fe.
Koyaanisqatsi: 1982 7 The first part in the Qatsi trilogy directed by Godfrey Reggio. Production began in 1975 and ended in 1982. [60] Legend of Destruction: 2021 8 An Israeli animated film where three and a half years were spent with concept development, initial sketches and storyboarding, followed by four and a half years of producing the ...
After serving as director of photography for Koyaanisqatsi (1982, directed by Godfrey Reggio), Fricke directed the IMAX films Chronos (1985) and Sacred Site (1986).. He directed the purely cinematic non-verbal non-narrative Baraka (1992), designing his own 65 mm camera equipment for the feature, and earning broad critical acclaim.
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