| Better Living Through Circuitry | |
|---|---|
| Directed by | Jon Reiss |
| Produced by | Cleopatra Records, Parasite Production |
| Starring | Moby, Lord T. Byron, McGuinnes |
| Distributed by | 7thart |
| Release date(s) | 1999 |
| Running time | 85 minutes |
| Country | United States |
| Language | English |
| Budget | $100,000 |
Better Living Through Circuitry is a 1999 documentary directed by Jon Reiss about the Electronic Dance movement of the 90's. The documentary is considered the first full-length 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 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 as 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.[1]
Contents |
The documentary features in-depth interviews with Moby, DJ Spooky, "Superstar" DJ Keoki, the The Crystal Method, Roni Size, Electric Skychurch, Carl Cox, Franky Bones. "Better Living Through Circuitry" equally emphasizes graphic designers, promoters, fans and other essential components of the scene, such as Mike Szabo whose NASA flyers are part of the permanent collection of the Smithsonian Museum and the Pure Children Collective who worked and lived communally in a New York City loft space from which they created graphics, promoted raves and managed their own record label.
Filming started in March 1997, with a budget of $100,000, at the Winter Music Conference.[1] In keeping with the theme of "empowerment through technology" Better Living Through Circutry 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 utilizing Adobe After Effects software on a Power Macintosh computer.