DamNation

  • November 9, 2014 / 12:00

Director: Travis Rummel, Ben Knight
87’, USA, 2014

English with Turkish subtitles

This powerful film odyssey across America explores the sea change in our national attitude from pride in big dams as engineering wonders to the growing awareness that our own future is bound to the life and health of our rivers. Dam removal has moved beyond the fictional Monkey Wrench Gang to go mainstream. Where obsolete dams come down, rivers bound back to life, giving salmon and other wild fish the right of return to primeval spawning grounds, after decades without access. DamNation’s majestic cinematography and unexpected discoveries move through rivers and landscapes altered by dams, but also through a metamorphosis in values, from conquest of the natural world to knowing ourselves as part of nature.

Not Business as Usual

Not Business as Usual

Into Eternity

Into Eternity

DamNation

DamNation

Keep On Rolling: The Dream of Automobile

Keep On Rolling: The Dream of Automobile

Celeritas

Celeritas

Torre David: The World’s Tallest Squat

Torre David: The World’s Tallest Squat

Infinite Vision

Infinite Vision

Who Cares?

Who Cares?

Reality Bites!

Reality Bites!

Works by a large number of students from the Academy of Fine Arts in Sarajevo deal with current and often painful themes from the socio-political, economic and cultural reality, raising awareness, appealing, warning, opening issues and offering new interpretations.

Medicinal Herbs in Byzantium

Medicinal Herbs in Byzantium

Knowledge of plants and the practice of healing are closely entwined. The toxic or hallucinogenic nature of some roots, and the dangers associated with picking them, conferred a mythical or magical character and power. 

From two portraits of children…

From two portraits of children…

The Suna and İnan Kıraç Foundation’s Orientalist Painting Collection includes two children’s portraits that are often featured in exhibitions on the second floor of the Pera Museum. These portraits both date back to the early 20th century, and were made four years apart. One depicts Prince Abdürrahim Efendi, son of Sultan Abdulhamid II, while the figure portrayed on the other is Nazlı, the daughter of Osman Hamdi Bey.