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Benita Raphan, Maker of Lyrical Quick Movies, Is Useless at 58

She grew up on the Upper West Side and graduated from City-as-School, an alternative public high school where students design their own curricula based on experiential learning, mostly through internships. (Jean-Michel Basquiat was an alumnus, as was Adam Horovitz of the Beastie Boys.) Ms. Raphan was an intern with Albert Watson, the fashion photographer.

Her mother often described Ms. Raphan as an “irregular verb”.

“She saw things through a different lens,” she said. “Benita could take something ordinary and find beauty in it. She was the real deal. No artifice about them. The heart was right out there. “

Ms. Raphan earned a bachelor’s degree in media arts from the School of Visual Arts in Manhattan – where she has also taught for the past 15 years – and an MFA from the Royal College of Art, London. She spent 10 years in Paris working as a graphic designer for fashion companies such as Marithé & François Girbaud before returning to New York in the mid-1990s.

Her mother and sister Melissa Raphan survive.

“While the rest of us stole from our instructors and other design greats,” said Gail Anderson, a creative director and former classmate of Ms. Raphan’s, “Benita was on her own journey, working with delicate typography and haunting imagery, and creating collages and photo illustrations that were unique to Benita. “

Ms. Raphan was, in her own opinion, more of a collage artist than a filmmaker. “Your films are really collages of ideas,” said Kane Platt, a film editor who worked on many of her projects. “You had a lot of freedom working with her, and when you had ideas that were weird and crazy, she’d say, ‘Go, go, go!'”

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Entertainment

‘A Canine Referred to as Cash’ Assessment: Lyrical Encounters With PJ Harvey

While she was making her album “The Hope Six Demolition Project” in 2016, musician PJ Harvey did something rare: she opened up her recording process to the public. She and her team built a studio in London in which fans of the musician or just the curious could see Harvey and her musical staff laying down the tracks.

In the chronicles of “A Dog Called Money” this was the culmination of a lengthy workflow. The songs began as writings when Harvey spent time in Kabul, Kosovo, and Washington DC with photojournalist Seamus Murphy, who also directed this picture

In search of inspiration, Harvey visited not only places of plague, but also places of joy, such as a musical instrument shop on the upper floor of a shop window in Afghanistan. She thought about her own privilege – she explored the destroyed records and pieces of furniture in a bombed-out house in Kosovo and remarked: “I step on your things in my expensive leather sandals.”

A scene with a DC gospel choir contributing to one of Harvey’s songs is a bit awkward. Harvey is respectful and kind. But even in the supposedly best of circumstances, white artists who guarantee some form of authenticity by inviting people of color to expand their work can seem a little patronizing.

The most compelling sections of this film take place in this temporary London studio. Harvey is detail-oriented, in a good mood, dedicated and encourages her fellow musicians. The melodies she crafted for the resulting record are complex and eclectic, yet still honor the raw directness of her early work.

A dog called money
Not rated. Running time: 1 hour 34 minutes. Take a look at the virtual cinema of the Filmforum.