Harold Crooks - Wikiwand

Harold Crooks is a Canadian-American filmmaker.^[1]^[2] He began his career as an investigative journalist covering environmental issues in Canada during the 1980s and 90s.^[3]^[4] His films cover the subjects of political economy and the impact humans have on their environment through technology and capitalism.^[5]^[6] Most recently he co-directed a documentary with the art writer Judd Tully about the artist David Hammons.^[7]

Dirty Business: the Inside Story of the New Garbage Agglomerates, J. Lorimer, 1983^[8]
Giants of garbage: the Rise of the Global Waste Industry and the Politics of Pollution Control, James Lorimer & Company, 1993 ^[9]

Filmography

External links

References

↑ "Harold Crooks, Journalist and Documentary Film Maker". carnegiecouncil.org. Carnegie Council. Retrieved 8 August 2022. Harold Crooks is a Canadian journalist, writer, and director of film documentaries. His documentary The Price We Pay was listed as one of the 10 best Canadian feature films of 2014.
↑ Dudok de Wit, Alex (3 July 2019). "Hundreds Of Canadian Filmmakers Declare 'Crisis' As NFB Commissioner Is Reappointed". cartoonbrew.com. Cartoon Brew. Retrieved 8 August 2022. Harold Crooks
↑ Crooks, Harold (3 December 1977). "The Atomic Time Bomb". The Ottawa Journal. Ottawa. p. 116.
↑ "Home > Our Books > Harold Crooks". lorimer.ca. Lorimer. Retrieved 8 August 2022. HAROLD CROOKS is a writer and journalist. He has served as a consultant on the waste industry to government, the legal profession and environmental groups. His film credits include The World Is Watching, a documentary about foreign news coverage which won many awards, including a Genie and a Gold Hugo, and has been telecast in over 20 countries.
↑ Leydon, Joe (5 September 2014). "Toronto Film Review: 'The Price We Pay'". variety.com. Variety Magazine. Retrieved 8 August 2022. Director Harold Crooks' well-crafted documentary offers a concise, engrossing and occasionally infuriating overview of the ways multinationals avoid taxes by stashing profits in offshore havens.
↑ Scheck, Frank (6 April 2012). "Surviving Progress: Film Review". hollywoodreporter.com. The Hollywood Reporter. Retrieved 8 August 2022. Filmmakers Mathieu Roy and Harold Crooks' documentary makes the case that technological advances are cementing our destruction.
↑ "The Melt Goes On Forever: The Art & Times Of David Hammons". somethingcurated.com. Something Curated. 4 July 2022. Retrieved 8 August 2022. The newly released documentary, The Melt Goes On Forever: The Art & Times of David Hammons, chronicles the singular career of the elusive African-American art star David Hammons from Watts rebellion era 60s Los Angeles to global art world prominence today. Hammons' category-defying practice, rooted in a deep critique of American society and the elite art world, is an invitation to confront the fractures between races as the artist seeks to go beyond the dominant culture and his own to a new one for the 21st century. Made by Judd Tully and Harold Crooks over a period of nine years, the film features eminent artists, curators and critics and is a rich trove of interviews, archival footage, animation, and a nostalgic soundscape brought together by composer Ramachandra Borcar. To learn more about the film and Hammons' influential career, Something Curated spoke with filmmaker Harold Crooks.
↑ Crooks, Harold (1 January 1993). Dirty Business: The Inside Story of the New Garbage Agglomerates. Toronto: Lorimer. pp. 262 pages. ISBN 978-0888626011.
↑ Crooks, Harold (1 January 1993). Giants of Garbage: The Rise of the Global Waste Industry and the Politics of Pollution. Toronto: Lorimer. pp. 300 pages. ISBN 978-1550283983.
↑ Greenberger, Alex (1 July 2022). "David Hammons, Unclassifiable as Ever, Comes into Focus in an Incisive New Documentary". artnews.com. ARTnews. Retrieved 8 August 2022. David Hammons, one of today's greatest living artists, does not appear in The Melt Goes on Forever: The Art & Times of David Hammons, a new documentary about him that is directed by Judd Tully and Harold Crooks.

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