Lindsay Marie Stewart
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The Art of Wild

British Columbia, Canada. 2016. THE ART OF WILD reconnects us to the earth through the lens of five experiential artists from across British Columbia, Canada. This short documentary film reminds us of our humble place in this vast universe, allowing us to simply enjoy the beauty of nature and the exploration, contemplation and freedom that it evokes.

The Art of Wild

Producer, Director, Cinematographer & Editor: Lindsay Marie Stewart

British Columbia. 2016. THE ART OF WILD reconnects us to the earth through the lens of five experiential artists from across British Columbia, Canada. Looking intimately at lifestyle commitment and the world we live in, the artists climb routes on the southern end of Vancouver Island, dive into the north Pacific Ocean waves of Tofino, ride the Kootenay Rockies of Revelstoke and bike the lost landscapes of Atlin from a tiny off-grid cabin tucked away in the most northern corner of the province.

This short documentary film produced and directed by Lindsay Marie Stewart reminds us of our humble place in this vast universe, allowing us to simply enjoy the beauty of nature and the exploration, contemplation and freedom that it evokes.

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“The GoPro Gaze.” SAGE Journals, Cultural Geographies.

By Phillip Vannini & Lindsay M Stewart, Royal Roads University

During 2014–2015, we produced a short video documentary, titled The Art of Wild, which focused on the audiovisual practices of outdoor adventurers. This short written report reflects on an idea inspired by the video: the GoPro gaze. Enacted by increasingly sophisticated, portable and affordable recording audiovisual technologies such as the GoPro Hero camera, the ‘GoPro gaze’ entails not just the pursuit of pleasures derived from adventure and nature-based travel, but also the production and distribution of professional-quality independent videos for Internet audiences. Based on a series of ‘go-along’ interviews with adventure travelers/athletes/artists, this article and the accompanying video prompt us to reflect on how the affective pleasures and technological affordances of the ‘GoPro gaze’ trouble the established idea of the ‘tourist gaze’.

 
 
 
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