Regularly I make detours on the wonderful adventures promised in the wonderful world of autonomy .... or gardening on 40m2 that will feed a whole family all year ... and other billevesées ...
Among them
https://www.youtube.com/channel/UCl5Rl5 ... _polymer=1And especially a film project
While rummaging a little against the curtain of "everyone is beautiful everyone is nice" is torn apart and reality burst into the land of fairies
Sylvie Barbe, the subject of the film explains it ... (although on the net it is not verifiable that it is the person of the film who wrote these lines)
http://yurtao.canalblog.com/archives/20 ... 78422.htmlUpdate on the film "Wild Utopia"
After refusing all requests for television and media from 2013, I ended up accepting in 2015 that a young cameraman saying alternative and independent, Baptiste Henry, captures pictures at home, on my schoolboy. Presenting himself as friendly and selfless, this young man put me in trust with an assent to my speech to raise awareness about the protection of nature. Very reluctant towards a new film intrusion, ambivalent about the value of my testimony, aware of the risk incurred by certain negative effects of mediatization, I thought that a beginner would probably be more open to understanding my positions and hearing my objections, and that it was right to give a chance to a young director who defined himself outside the trading system. I yielded on the condition that he only films my hands, my silhouette, my works and my environment and respects my private life. I did not want my person to be put forward but rather the beauty of nature and wild craft. I thought that these images could poetically convey another vision of the world and the possibility of a real alternative. So we agreed to partner on an experimental and volunteer short film that would serve the ecological cause that is close to my heart, the protection of the forest. The project being unprofessional and non-commercial, so there was no contract, no definite framework, filming is committed as a collaborative adventure forged over the inspiration and my creations. There was no script, for the good reason that I was always in improvisation mode with the seasons and work in progress, which, it seems, gives the film its character of authenticity.
But quickly Baptiste wanted more and more, taking images everywhere and constantly and I had to retrench too often on the defensive to ward off his incursions. I went about my ordinary activities and he filmed, sometimes without my knowledge, without asking me my agreement. I had to call him to order several times. I suggested some meaningful scenes that I thought were appropriate, and I agreed to speak sometimes to the camera because it took me too much energy to always have to fit his film intrusions. I welcomed him openly, I introduced him to the wild life, he shared my rhythms, I sheltered him, fed him, and I even gave him the keys of my office. Until I see disturbing disappearances of precious documents, especially my favorite book "Habitats, traditional and parallel constructions" ...
After each filming period, I waited for the rushes so that we could discuss it and that I could sort out what seemed to me adequate, but unfortunately it was systematically evading, and today still refuses to transmit these images to me. He failed to make me participate in editing, while this stage was for me crucial, for my safety on the one hand, for the ethics and aesthetics of the film on the other hand, and especially because it is It is about my private life and my author's production, and that I think that the images of my schoolboy, my habitat and my activities belong to me just as much as to the one who captured them. Today, I am able to better understand why I did not manage to oppose in time and frontally what was beyond the original project. There was proximity, my hospitality, extra work and pressure, and a decrease in my system of vigilance and therefore protection, especially immune.
Indeed, during all this shooting, I was in a weak position for at least two reasons: being electro-hypersensitive, (EHS: environmental illness), disability recognized in Europe at 80% of social incapacity, I was very diminished by the pressure of the camera, the microphone and other waves EM: often disoriented, I became irritable and deconcentrated. Besides, my irritation is apparent in my voice and certain attitudes visible on the film. But I was also in a particularly delicate period because undergoing for several months a serious daily harassment which has been the object of several complaints in justice (recurring abuses against my person and my goods). Used by these repeated attacks, I asked Baptiste not to film images that could aggravate the situation and put me in more danger. He did not listen to my requests and I came to understand that he was doing the film alone, contrary to everything that was the condition of my acceptance and openness. Finally, when he had accumulated a lot of images, he decided to make a feature film putting me in front of the fait accompli. I understood then that I had been fooled.
Finally, in September 2018, Baptiste wanted me to sign a total assignment of my rights to his sole profit. Feeling betrayed and stolen in my privacy, I refused to sign a contract stripping me and which, moreover, is a forgery, since it states that I grant permission for the taking of images and their dissemination, no not before the shoot, but after. He refuses my quality of co-author, refuses to send me the rushes and the final version of the film, refuses the economic part dedicated to the ecological cause, and seeks to broadcast and exploit the film without my authorization. After a mediation that did not succeed, he persists in wanting to use these images without my consent. He pretends that the mere fact that I accepted the presence of his camera is enough to give him the right to exploit all the images he holds. The top, he sends me a balance sheet where he budgeted for his benefit, its technical equipment including camera, hourly wages, travel and living expenses and even bank charges! However, he took advantage of my notoriety, based on my book "Living in yurt", to collect by crowdfounding citizen participation a plump sum (12000 euros) which he refuses to share my accounting while he has forced to offer counterparties. (For comparison, an equivalent project is much more reasonable, a young team is able to produce a film with a lot less money:
https://www.helloasso.com/associations/hemera production / collection / fighter-of-hope-the-film)
Even today, he reoffends by submitting to blackmail: I have to sign a new contract to transfer my rights to the image and copyrights if I want to have the images.
It is clear now that I am wrong and that I am faced with a personal case of breach of trust. I am especially ashamed of all the people who financially and morally supported this project, whose credulity was manipulated just as much as mine.
I now publicly announce that in these circumstances, I oppose the exploitation and dissemination of the film "Wild Utopia" of which I am co-author and sole protagonist, because I have lost hope of hearing reason to my partner which I consider absolutely unacceptable methods. Consent obtained by pressure and lying are rotten methods. He has neither my image rights nor my copyrights. My desire to attribute my share of the author to associations with goals in relation to the content of the film has, in fact, never been taken into consideration.
This story does not reconcile me with the media. I see how the predator system infiltrates with the best of intentions and how ecology can be instrumentalised by people who need personal recognition and build their career.
I am not opposed in principle to a cinematographic testimony, because I have seen how some of the reports that have been broadcast on my story have helped to change the lives of many people, who also expressed me and continue to express their gratitude, especially for a courage they overestimate.
But it is necessary that those who have the power of images have a minimum of ethics and that their work is conducted with respect. It is especially necessary that the witnesses, sometimes themselves whistleblowers, and the protagonists of documentaries are not endangered, so that they do not get free of all the trouble while those who make fun of their technicality withdraw all the benefits.
It is always this colonizing attitude that is at stake, of the man over the woman, the rich over the poor, the civilized over the savage. I do not have the presumption to compare myself to the last natives of the planet who suffocate in the last bits of jungle, massacred by our diseases and degenerate cultures, but there is still a certain kinship between them and me, perched on my rocky peak lamenting on the hecatombe avian, the fauna and flora dying in the open sky while humans do not care. This is the fundamental stress factor in what has led to my fragility: it concerns all people who like me live close to nature, and are physically confronted with the ongoing slaughter, because how to manage in itself the powerlessness and desolation when every year, half as many birds sing around my yurt and my wild companions, foxes, genets, badgers, no longer come back?
It is this homage to nature and a great cry of alert that I would have wanted to pass in this film, but it would have been necessary that the whole process of creation of this work is clean to be morally credible.
Nature and culture undergo a process of siphoning by the actors of the consumer society, orchestrated by the media who no longer know how to increase the competition of images and ideas, to the detriment of reality, and have lost all sense of values.
This is how utopia collapses in the mud.
Sylvie Barbe. 19 November 2018.
