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Better Living Through Circuitry | |
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Directed by | Jon Reiss |
Produced by | Cleopatra Records, Parasite Production |
Starring | Moby, Lord T. Byron, McGuinnes |
Distributed by | Seventh Art Releasing (7AR) |
Release date |
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Running time | 85 minutes |
Country | United States |
Language | English |
Budget | $100,000 |
Better Living Through Circuitry is a 1999 documentary directed by Jon Reiss [1] about the electronic dance music cultural scene of the 1990s. This is considered to be the first full-length documentary film that goes behind the electronic dance scene and uncovers the culture it has spawned. The film presented aspects of rave culture such as: empowerment through advances in musical electronics technology, the DIY (do-it-yourself) ethic, and the flowering of a new spirituality embracing transcendence through sound and rhythm. A cross-section of the techno subculture is represented. In the documentary, ravers, DJs and musicians speak for themselves about their music and ideals. Produced by Cleopatra Pictures and Entertainment Group, presided by Cleopatra Records founder Brian Perera. [2]
The documentary features in-depth interviews with Moby, Genesis P-Orridge, Wolfgang Flür, Brian Transeau, DJ Spooky, DJ Keoki, The Crystal Method, Roni Size, Electric Skychurch, Carl Cox, Frankie Bones.
Better Living Through Circuitry equally emphasizes graphic designers, promoters, fans and other essential components of the scene, such as Mike Szabo, whose flyers [3] [4] for "N.A.S.A." (Nocturnal Audio + Sensory Awakening) events at Club Shelter, are part of the permanent collection [5] of the Smithsonian Museum and the Pure Children/Earth Program Collective [6] [7] who worked and lived in a New York City loft space from which they created graphics, promoted raves and managed their own record label. [8] [9]
Filming started in March 1997, with a budget of $100,000, at the Winter Music Conference. [2] In keeping with the theme of "empowerment through technology" Better Living Through Circuitry utilized some of what was considered, at the time of production, the latest digital film-making equipment. It was all filmed on a tiny Sony VX1000 digital video camera, which was usually taken by the director into raves in a backpack.
Virtually all post-production including editing, on-line, titles and effects were all performed in a spare bedroom of the producer's apartment using the Media 100 non-linear digital editing system and Adobe After Effects software on a Power Macintosh computer.
The film holds an 82% rating on Rotten Tomatoes based on 17 reviews. [10]
A rave is a dance party at a warehouse, club, or other public or private venue, typically featuring performances by DJs playing electronic dance music. The style is most associated with the early 1990s dance music scene when DJs played at illegal events in musical styles dominated by electronic dance music from a wide range of sub-genres, including drum and bass, dubstep, trap, break, happy hardcore, trance, techno, hardcore, house, and alternative dance. Occasionally live musicians have been known to perform at raves, in addition to other types of performance artists such as go-go dancers and fire dancers. The music is amplified with a large, powerful sound reinforcement system, typically with large subwoofers to produce a deep bass sound. The music is often accompanied by laser light shows, projected coloured images, visual effects and fog machines.
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George Lopez, known by his stage name DJ Keoki or Keoki Franconi, is a Salvadoran-American electronic musician and DJ. Born in El Salvador and raised in Hawaii, Keoki began advertising himself as "superstar" shortly after moving to New York City.
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Jon Reiss is a film producer and director, and an author. He has made the feature film Cleopatra's Second Husband (1998) and the documentaries Better Living Through Circuitry (1999) and Bomb It (2007). He has directed music videos for artists, including Nine Inch Nails, Slayer, Danzig, and the Black Crowes.
Techno is a genre of electronic dance music which is generally produced for use in a continuous DJ set, with tempos being in the range from 120 to 150 beatrates per minute (bpm). The central rhythm is typically in common time and often characterized by a repetitive four on the floor beat. Artists may use electronic instruments such as drum machines, sequencers, and synthesizers, as well as digital audio workstations. Drum machines from the 1980s such as Roland's TR-808 and TR-909 are highly prized, and software emulations of such retro instruments are popular in this style.
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