North on Evers
1992
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Diversity score: 1.0 out of 10
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One Way Boogie Woogie
2012
Director
James Benning
Runtime
90 minutes
Average Rating
No ratings yetSynopsis
In summer 2011, James Benning returned to his hometown of Milwaukee to make a third version of his seminal 1977 film 'One Way Boogie Woogie'. In 1977 he filmed 60 locations in Milwaukee’s industrial valley each for 60 seconds, creating short, minimal, playful narratives. In 2004 he remade the film as Twenty Seven Years Later, with the same 60 camera positions. This 2012 installation version, presents 18 locations similar to, and reminiscent of, the original.
Where to Watch
Diversity & Representation
Overall Score
1.0/10
Minimal
Category Breakdown
LGBTQ+ Representation
The film contains no human characters. Because there are no people present, there is no depiction of sexual orientation or gender identity.
Gender Representation
The narrative architecture is entirely devoid of human subjects. There are no depictions of masculinity, femininity, or gender hierarchies to analyze.
Racial & Ethnic Diversity
The film focuses on the intersection of man-made structures and the natural environment. The absence of a cast precludes any assessment of racial or ethnic representation.
Religious & Cultural Diversity
The work uses found musical elements to deconstruct traditional storytelling. It remains a neutral observer of industrial landscapes rather than offering explicit social commentary.
Disability Representation
No characters are portrayed in this structuralist meditation. Consequently, no assessment of physical disability or neurodivergence can be performed.
Strengths
- The film offers a unique, rhythmic exploration of industrial and natural landscapes through a formalist lens.
- The use of Fats Domino's music provides a compelling auditory layer to the environmental tableaux.
Areas for Improvement
- The absence of human characters prevents any engagement with social hierarchies or identity-based storytelling.
- The non-narrative structure lacks the interpersonal dynamics necessary for diverse character representation.
AI Analysis
James Benning’s experimental documentary functions as a formalist exploration of landscape and time. By utilizing static, long-duration takes of Milwaukee’s industrial and natural topographies, the film prioritizes rhythmic, environmental tableaux over human-driven storytelling. Because the work is composed of inanimate objects set to the music of Fats Domino, it lacks the human agency required for traditional sociological assessment. The film does not engage with identity politics or interpersonal dynamics. Ultimately, the work serves as a neutral observer of topography. It is a structuralist meditation on space rather than a vehicle for intersectional representation or social critique.
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