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Abstract

The process of producing a documentary film about the legacy of Emmet Gowin is much like the process, I imagine, of researching and discovering the biographical history of a prominent figure in art. Unlike most documentary films I have made, which largely focus on what is happening presently in the lives of the individuals I am documenting, the Emmet Gowin project has been one fueled by memories of the past. This nostalgic process of reminiscing has created a very unique and unfamiliar opportunity in documentary filmmaking for me, the approach being greatly dependent on stories of the past which in many ways is exactly what Gowin's photographs embody - stories of the past.


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