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	<title>NYPress.com - New York&#039;s essential guide to culture, arts, politics, news and more &#187; documentaries</title>
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		<title>City Arts: Frack You!</title>
		<link>http://nypress.com/city-arts-frack-you/</link>
		<comments>http://nypress.com/city-arts-frack-you/#comments</comments>
		<pubDate>Tue, 29 Jan 2013 22:37:13 +0000</pubDate>
		<dc:creator>City Arts</dc:creator>
				<category><![CDATA[Arts & Film]]></category>
		<category><![CDATA[Film]]></category>
		<category><![CDATA[City Arts]]></category>
		<category><![CDATA[documentaries]]></category>
		<category><![CDATA[fracking]]></category>
		<category><![CDATA[Gasland]]></category>
		<category><![CDATA[hydraulic fracturing]]></category>
		<category><![CDATA[Hydrofracking]]></category>
		<category><![CDATA[Josh Fox]]></category>
		<category><![CDATA[natural gas]]></category>
		<category><![CDATA[Phelim McAleer]]></category>
		<category><![CDATA[Promised Land]]></category>

		<guid isPermaLink="false">http://nypress.com/?p=60825</guid>
		<description><![CDATA[Documentary &#8216;Fracknation&#8217; debates &#8216;Gasland,&#8217; &#8216;Promised Land&#8217; and the greenshirts—and wins. By Gregory Solman In Fracknation, Irish investigative journalist Phelim McAleer finds a combustible metaphor for the contrived controversy of hydraulic fracturing in the footage of the Sautner family hustlers of Pennsylvania. McAleer couldn’t politely interview the couple without Craig threatening a lawsuit (apparently emboldened by the radical National ]]></description>
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<h1><em><span class="Apple-style-span" style="font-size: 13px; font-weight: normal;">Documentary &#8216;Fracknation&#8217; debates &#8216;Gasland,&#8217; &#8216;Promised Land&#8217; and the greenshirts—and wins.</span></em></h1>
<p>By Gregory Solman</p>
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<p>In <a href="http://fracknation.com/"><em>Fracknation</em></a>, Irish investigative journalist Phelim McAleer finds a combustible metaphor for the contrived controversy of hydraulic fracturing in the footage of the Sautner family hustlers of Pennsylvania.</p>
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<p><img class="alignright" alt="promised land mcdormand and damon" src="http://cityarts.info/wp-content/uploads/promised-land-mcdormand-and-damon-300x224.jpg" width="300" height="224" />McAleer couldn’t politely interview the couple without Craig threatening a lawsuit (apparently emboldened by the radical National Resources Defense Council) and Julie threatening to pull a pistol on McAleer on a public road where she voluntarily stopped to shout at him. (It’s rich to watch her sheepishly press a gun permit against the inside of her car window, demonstrating the Defense Technique When Not Being in the Least Threatened.) So McAleer pulls a Freedom of Information Act request to obtain a taping of the Sautners, apoplectic upon hearing the Environmental Protection Agency—such a right-wing frat under Lisa Jackson—confirm the Pennsylvania Department of Environmental Protection’s finding that their water tests safe and clean.</p>
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<p>McAleer notes the irony that not having contaminated water would be considered good news to all but those looking for an <em>Erin Brockovich</em> ending to their woes, real or imagined, or in ideological lockstep with what is now a full-fledged anti-fracking movement, replete with its own agitprop such as Josh Fox’s polemic<em> GasLand</em> and Gus Van Sant’s desperately “relevant” fiction,<em> Promised Land</em>. For the greenshirts, only bad news is good news: Recall that the same eco-special interests were all for using natural gas when it was an empty-handed gesture, when they thought we were almost out. (Their next suggestion: Francium power—but only if actually bottled in France, in IWW-run shops.)</p>
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<p>In <em>Fracknation,</em> McAleer is mostly after the would-be Michael Moore, Fox, in whose disputatious documentary the Sautners display their dubiously adulterated water and others light their taps—and a large part of the impressionable public—on fire. But that’s a well-known, ancient phenomenon having nothing to do with fracking, and everything to do with methane naturally seeping wherever it can, as surely a few of Fox’s new found celebrity friends must know from the rich little people living near the La Brea Tar Pits, where the streets spontaneously combust from time to time. (Clearly if the greenshirt “gascists” could redevelop Los Angeles, there’d be nothing within miles of mid-Wilshire—well, except maybe environmentally sensitive Ed Begley-esque manses—an area that would be turned into a no-man’s-land preserve to hasten the return of the kangaroo rat.)</p>
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<p>When McAleer catches up to Fox—he, too, in the Moore mode—and accuses him of recklessly associating fire-water with fracking (which has never once been proven to have contaminated ground water, occurring thousands of feet beneath the water table), Fox says, “Yes, but it’s not relevant.” And from his perspective—smacking of Hillary Clinton’s on Benghazi, 9/11/12—it isn’t. Despite Fox’s pose as an intermittently impertinent prick and friendly naïve explorer in <em>GasLand</em>, reinforced by a lazy narrative drawl suggesting Bill Murray’s muttering groundskeeper in Caddyshack, his project aims to stop shale gas production, by any means necessary.</p>
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<p>The moratorium on leasing <em>GasLand</em> inspired animates McAleer to work the other side of the documentary-cliche fence, matching Fox’s often sincere-sounding fracking alarmists with a Depression-era revival of plaintive, tearful farmers fearful of losing their land because their gas leases have been shut off amidst already hard times. Besides them, McAleer finds plenty of residents in Dimock, Pennsylvania, who don’t appreciate <em>GasLand’</em>s suggestion that their homesteads are toxic wastelands, inhabited by greedy despoilers and easy marks for Matt Damon.</p>
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<p>McAleer systematically eviscerates GasLand’s false implications and sloppy inferences (finally, not even distinguishing between oil and gas production, and instantly trotting out a Halliburton/Cheney conspiracy, the not-so-secret handshake of Club 9/11 Truth). McAleer interviews specialists who assure us that the mathematical detection of seismic activity does not constitute an earthquake (and that the greenshirts’ beloved geo-thermal energy is worse). He unveils collusion between biased government officials, liberal media, non-governmental organizations and their Hollywood waterboys. He embarrasses Fox, a Columbia University grad, for his woeful ignorance of physics, engineering and chemistry.</p>
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<p>Fracknation then travels to Europe to suggest that new-school Communism under Vlad Putin has a hidden-hand behind the anti-fracking agenda, so that Russia can continue to use a gas monopoly in the Ukraine and eastern Europe as a political cudgel, turning it on or off as it pleases, and charging little old ladies in Poland flats half their pensions for gas and electric, bringing to mind <em>Dr. Zhivago’s</em> arrests for foraging firewood. (He might have contrasted their plight with the thousands of Californians driving natural-gas Honda Civics—the cleanest cars on the planet, including electrics—for an unsubsidized $1.36 a gallon, thanks to fracking, what reasonable people call a win-win.)</p>
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<p><em>Fracknation’s</em> timing it good, though it’s unlikely to crack already ossified myths or effect fracking’s prospects, when even the use of that vulgar sounding nickname is as devious as cubic zirc ads referring to the genuine article as “mined diamonds.” In the pop cult, fracking friends and foes—and the movies they love—have formed skirmish lines almost identical to climate-change controversy. So we’re going nowhere from here. But it’s heartening to see someone take on a few of the anecdotal, unscientific and politically motivated accusations against the practice, before they, too, become immune to counter evidence.</p>
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<p>The frack list (neuropathy, fish kills, cancer, dead bunny rabbits, migraines, animal hair loss, neighborhoods erupting in flames) is already reminiscent of the hysterical global-warming compilations which currently run from “acne” to “yellow fever”—until “aardvark population decline” and “yam rust” are added by someone, anyone, somewhere. The same camps have enlisted the same recruits, including anti-capitalists out to control the command economy by fiat, Communist style; enrich themselves, like Qatar’s over-compensated useful idiot, Al Gore; or just feel morally superior to others and, in the sweetly juvenile manner of the Mars Attacks! teen hero, suggest, to a mariachi version of the National Anthem, that “maybe, instead of houses, we could live in tepees, ‘cause it’s better, in a lot of ways.”</p>
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<div><strong>Directed by: Phelim McAleer, Ann McElhinney, &amp; Magdalena Segieda; Produced by: Ann McElhinney and Phelim McAleer; Director of Photography: Ben Huddleston; Edited by: Jeff Hawkins; Music by: Boris Zelkin and Deeji Mincey; Executive Producers: Ann McElhinney, Phelim McAleer, Barton Sidles, &amp; 3,305 Kickstarter Backers.</strong></div>
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		<title>New HBO Documentary Focuses on the Bird, Birdwatchers of Central Park</title>
		<link>http://nypress.com/the-birders-of-central-park/</link>
		<comments>http://nypress.com/the-birders-of-central-park/#comments</comments>
		<pubDate>Thu, 19 Jul 2012 15:30:23 +0000</pubDate>
		<dc:creator>Rebecca Harris</dc:creator>
				<category><![CDATA[News & Features West Side Spirit]]></category>
		<category><![CDATA[News Our Town]]></category>
		<category><![CDATA[Our Town]]></category>
		<category><![CDATA[West Side Spirit]]></category>
		<category><![CDATA[bird watching]]></category>
		<category><![CDATA[Birders: The Central Park Effect]]></category>
		<category><![CDATA[birds]]></category>
		<category><![CDATA[Central Park]]></category>
		<category><![CDATA[documentaries]]></category>
		<category><![CDATA[HBO]]></category>
		<category><![CDATA[Jeffrey Kimball]]></category>
		<category><![CDATA[nature]]></category>
		<category><![CDATA[Television]]></category>

		<guid isPermaLink="false">http://nypress.com/?p=51513</guid>
		<description><![CDATA[HBO launched a documentary on Monday that explores a unique facet of New York City personality: the bird-watching community of Central Park. Birders: The Central Park Effect, directed by New York nature lover Jeffrey Kimball, chronicles four seasons in the lives of both the birders and the wild birds they admire year-round in the oasis ]]></description>
				<content:encoded><![CDATA[<div id="attachment_51632" class="wp-caption alignleft" style="width: 310px"><a href="http://nypress.com/wp-content/uploads/2012/07/FEFW-Birders.png"><img class="size-full wp-image-51632" title="FE&amp;FW-Birders" src="http://nypress.com/wp-content/uploads/2012/07/FEFW-Birders.png" alt="" width="300" height="169" /></a><p class="wp-caption-text">Karen Becker &amp; Anya Auerback in a scene from Birders: The Central Park Effect.</p></div>
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<p>HBO launched a documentary on Monday that explores a unique facet of New York City personality: the bird-watching community of Central Park. Birders: The Central Park Effect, directed by New York nature lover Jeffrey Kimball, chronicles four seasons in the lives of both the birders and the wild birds they admire year-round in the oasis of nature surrounded by an urban metropolis. Kimball recently talked with Our Town to discuss the film and his passion for birds.</p>
<p>If you missed the debut, you can catch one of the upcoming screenings on HBO this month: July 19 (5 p.m.), 21 (10 a.m., 5:20 p.m.), 24 (11:30 a.m., midnight) and 29 (2 p.m.).</p>
<p><em>What is Birders about?</em><br />
The film is about Central Park as a wildlife refuge both for wildlife and for people who have found a refuge in the natural setting of Central Park. It’s about looking at nature in an urban environment in a different way; nature surrounds us wherever we are. Ultimately, it’s about the people: tough-as-nails New Yorkers who want to have a connection with nature.</p>
<p><em>Can you explain the “Central Park Effect”?</em><br />
It’s a not-very-well-known ornithological term: whenever you have a relatively pristine piece of nature—a relatively sizeable piece of green—in the middle of a vast sea of concrete and buildings and bridges, it’s going to be a magnet for all of the birds in the area. You end up with a lot more birds per acre in Central Park than you would in some other places, like New Jersey, where there are more trees and water all around. That makes Central Park a great spot for birding. I meant the title to have a double meaning, referring to both the park’s effect on birds and on people.</p>
<p><em>What made you decide to make a documentary about birds and birders? Are birds a particular interest of yours?</em><br />
I actually am a birder, but I’m not like a lot of the people in the film, who have been birders all their lives. I grew up in the suburbs of California with a creek in my backyard; I went camping, on hikes. When I moved to New York City in my twenties, I found myself visiting natural parks, photographing wildlife, and I started noticing the birds and identifying them. I had heard Central Park was good for birds, but I didn’t quite believe it until I gave it a shot. It was Central Park that took me from being a very casual lover of nature and a very, very casual birder to a more serious birder.</p>
<p><em>You talked to some very diverse people who all share a common love of birds. Do any of them have careers that relate to birding?</em><br />
Most birders do not have any kind of professional life in birds, even though they would love it. One woman is a painter, though; a professional artist who specializes in birds. Other than that, very few people’s careers relate to birding. Some of those people in the park I’ve known for close to 10 years, but I don’t even know what a lot of them do outside the park. It’s not really what’s discussed in the park; what gets discussed is birds. Also, a lot of birders don’t have a lot of money; once you’ve bought a pair of binoculars for $100, you’re pretty much good to go. You can get on the A train and go to Central Park and look at birds.</p>
<p><em>In the film, one of the birders noted the irony that Central Park is man-made—a “toy environment.” Is there a social commentary here about how we define nature?</em><br />
It’s true that it is a kind of fake nature. It’s completely man-made, human-made; the water can be turned off with a spigot, the lakes aren’t very deep. But then again, is it really a fake nature? Because when a bird lands there and takes shelter in a tree there, finds water to drink and worms to eat, isn’t that real to them? We’re in this 21st-century idea of what nature is—We have manipulated almost every corner of the Earth, but in the park, the trees are still real, the bugs are real, the birds are real. Urban habitats turn out to be perfectly valid habitats for nature.</p>
<p><em>In the rolling credits at the end of the film, you listed all of the species of birds that appear in the film, even before your own name. Why?</em><br />
I wanted to give the audience the impression of how many species of birds were really in that film; there are 117 species in the film. HBO bought it as a finished film and requested one change: that the names of the birds go first in the end credits, instead of after the names of the humans. I was thrilled, I had thought I was getting away with something by putting them in at all.<br />
The Central Park Conservancy, the people who take care of Central Park—they do a good job of keeping parts of the park hospitable to birds. They actively encourage it as a habitat for wildlife.</p>
<p><em>The film is split into parts based on the seasons, starting and ending with spring. Do I sense symbolism there?</em><br />
I think there is some symbolism there, but it wasn’t necessarily my intention. I tried to start with strength and end with strength, and in the birding world, spring is the best season. It’s when all the birds come back, when the birds have their most colorful plumage, when they sing; it’s the most glorious season of the year to go birding.</p>
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