Fred Barney Taylor

Fred Barney Taylor

Fred Barney Taylor, 2010
Born (1948-08-25) August 25, 1948
Nationality American
Occupation Film Maker

Fred Barney Taylor (born August 25, 1948) is an American independent filmmaker. During his career he has directed, produced, written and shot more than fifteen films which have been shown in over 20 countries.

He directed The Polymath or, The Life and Opinions of Samuel R. Delany, Gentleman. (2007, USA), which premiered at the 2007 Tribeca Film Festival. The New Yorker said: "Taylor’s understated direction, featuring simple images that prod Delany’s recollections gently along, makes the film a lively and thoughtful look at a deeply lived-in life.".[1][2][3][4][5][6][7] Jump Cut said that “Taylor’s film illustrates Delany’s life through a series of what Roland Barthes called biographemes (preferences, inflections, details to which the author might be distilled).”[8] It was voted Best Documentary Feature, 2008 at the Philadelphia International Gay and Lesbian Film Festival and was an official selection of the 2008 International Festival of Films on Art, Montreal, London International LGFF, FRAMELINE (San Francisco GLFF), OUTFEST (Los Angeles GLFF), REELING (Chicago International GLFF), Seattle GLFF.

Taylor is currently working on The Lethem Project, a film about the writer Jonathan Lethem.

History

Between 1999 and 2001, Taylor directed Great Writers/Great Cities for the Travel Channel. In four 60-minute films, the series showcased cities seen through the eyes of contemporary writers. Episodes included: Paco Taibo’s Mexico City, narrated by Edward James Olmos; Iain Sinclair’s London; Carl Hiaasen: From Miami to Key West with music and narration by Warren Zevon and New York Underground, with Luc Sante, Samuel R. Delany, David Rieff, and Fran Liebowitz.

Taylor's film, Atlantis (2006), “a tantalizing treatment of the Brooklyn Bridge”[9] was shot in High-Definition for the HD Lab of Rainbow Media’s VOOM Channel VOOM Channel broadcast in December, 2006 and was the Official Selection of the New York Video Festival, 2007 and screened at Pacific Film Archives, 2008.[9] Taylor shot The Architecture of Rhythm (1989) on location in West Africa, the Caribbean, and Brazil and was selected for the “Distant Lives” series co-produced by PBS and the Learning Channel, and broadcast nationally.

Taylor's 1982 film, Los Hijos de Sandino (The Children of Sandino) was shot in 16mm. In Show Us Life Chuck Kleinhans said: “The film presents the poetry of the revolution; that is the part of the total picture never captured in maps, charts and the official talking-head interviews with officials.”[10] It was an award winner at the Global Village Documentary Festival, New York City, 1983 and was an invited participant at festivals in Havana, Edinburgh, Milan, and Mexico City.[11][12][13][14][15] Taylor was an annual Visiting Professor, Michigan State University, East Lansing, Michigan, 1993-1999 where he created, designed and taught production courses in Great Britain and Mexico for the MSU Study Abroad program. He was a Senior Faculty Member at the School of Visual Arts (SVA), New York City from 1988-1999 where he was a senior production instructor and thesis advisor. He Founded and taught at the New York International Media Group, an instructional workshop devoted to small format videography and filmmaking, 1982-1986.[16] Currently, he is the Director of Maestro Media Productions in New York City.

Filmography

References

  1. ↑ DIONES, BRUCE. The New Yorker (April 2007:The New Yorker
  2. ↑
    1. CinemaQueer
  3. ↑
    1. Philadelphia City Paper, 2008/07/10/lust-for-life
  4. ↑
    1. Locus Magazine, March 2010: Samuel R. Delany: The Grammar of Narrative Locus Magazine, March 2010: Samuel R. Delany: The Grammar of Narrative
  5. ↑
    1. Variety Review: The Polymath, July 7, 2008
  6. ↑
    1. Scot Delman Live Journal: Failing Better - See Chip Delany's The Orchid the Way It Was Intended, 27 November 2009 Scot Delman Live Journal
  7. ↑
    1. 25 movies that intrigued, annoyed, and greatly pleased our fest-happy critics. The Village Voice
  8. ↑
    1. Jump Cut Jump Cut, 2009
  9. ↑
    1. Highly Defined: New Works from the Voom HD Lab. 2007. Highly Defined
  10. ↑ "Show Us Life" Toward a History and Aesthetics of the Committed Documentary. Edited by Thomas Waugh. Chapter 17: Forms, Politics, Makers, and Contexts: Basic Issues for a Theory of Radical Political Documentary. By Chuck Kleinhans. 1984.
  11. ↑
    1. Uno Más Uno: El Sandinismo en Super 8, 25 de enero de 1985. Uno Mas Uno
  12. ↑
    1. "Show Us Life" Toward a History and Aesthetics of the Committed Documentary. Edited by Thomas Waugh. Chapter 17: Forms, Politics, Makers, and Contexts: Basic Issues for a Theory of Radical Political Documentary. By Chuck Kleinhans. 1984.
  13. ↑
    1. Fiction International Magazine, 1986. Special Central American Issue. Reelpolitik: Invention and Intervention in Three U.S. Films on Central America. By Julianne Burton.
  14. ↑
    1. The Scotsman. Fuller Hits a Raw Nerve. By Ian Bell. August 25, 1983.
  15. ↑
    1. American Anthropologist: From the Ashes: Nicaragua Today: Los Hijos de Sandino. 1980. A film by Fred Barney andKimberly Safford. Volume 86, Issue 1, March 1984, Pages: 237–238, John A. Booth. Article first published online : 19 OCT 2009, American Anthropologist
  16. ↑ The Independent: Dinner at Eight, May 1985

External links

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