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ABOUT

Komsomol Films in association with Arch + Bow Films and The deNovo Initiative
93 minutes | DCP | USA

LOGLINE
A U.S. nuclear company town stakes its identity on its little-known atomic origin story inthis timely examination of the habits of thought that normalize the extraordinary
violence of the past.
SYNOPSIS
Built by the US government to house the Hanford nuclear site workers who
manufactured weapons-grade plutonium for the Manhattan Project, Richland,
Washington is proud of its heritage as a nuclear company town and proud of the atomic
bomb it helped create. RICHLAND offers a prismatic, placemaking portrait of acommunity staking its identity and future on its nuclear origin story, presenting a timely
examination of the habits of thought that normalize the extraordinary violence of thepast. Moving between archival past and observational present, and across encounterswith nuclear workers, community members, archeologists, local tribes, and a Japanese
granddaughter of atomic bomb survivors, the film blooms into an expansive and lyrical
meditation on home, safety, whiteness, land, and deep time.

"with curiosity and care, Richland peers into the heart of a small town, acknowledges
the joys, and brings the pain and loss and broken promises into the light.”- The Hollywood Reporter“a thought-provoking and important documentary that is unafraid to lay bare how
people embrace destruction if there is a place for them inside it."
- The Wrap"a gently probing portrait of a diverse community that is as American as, well,nuclear bombs."- Hammer to Nail"With sobering precision and emotional honesty, filmmaker Irene Lusztig constructs
a portrait of an American town at a generational crossroads, its citizens embracing
their polarizing origins or reckoning with their past. Lusztig’s Richland dissects a
community’s preservation of identity and their views on dominance and security in
America.
- Tribeca Film FestivalDIRECTOR’S STATEMENT

I first visited Richland in 2015. At the time, I was filming my 2018 film Yours in Sisterhood in communities allover the US, documenting encounters between strangers and 1970s letters to the editor of Ms. Magazine. I had
found a letter sent to Ms. written by a woman from Richland who told the story of losing her Hanford worker
father to radiation-related illness, and, in Richland, I filmed a reading of this letter with Trisha Pritikin, aRichland-born anti-nuclear activist and downwinder whose own story of exposure and loss was almost identicalto the one in the letter. Trisha drove me around Richland’s “Alphabet House” historic district of identical model
suburban homes built for Hanford workers, pointing to the “F” house where she had grown up. And she led me
to Richland High School, showing me the wall-sized mushroom cloud exploding out of a capital letter R that ison the school’s back facade.
In the months and years that followed, I couldn’t stop thinking about Richland. As the 2016 US election
unfolded and white supremacy, American nationalism, and right wing ideologies took new and troubling public
forms, I wondered about what it meant for a community to so proudly display a nuclear weapon as a heritage
symbol, and I felt drawn to try to understand what a community like Richland might have to teach us about theways Americans have processed their own violent histories.
I am a first generation American whose parents fled Ceaucescu’s Romania as political asylum-seekers. Throughthe process of making my first feature film, an intimate five-year project excavating my own family’s hidden
history, I learned how to facilitate people’s confrontations with painful histories with care and empathy. Since
then, I’ve come to understand my work as a filmmaker as a form of delicate mediation between people and theirpasts.
While a number of journalists, writers, and anti-nuclear activists have taken on the Hanford story, it is often told
through an investigative lens where the aim is to expose and criticize the nuclear weapons industry. As I

embarked on a multi-year process of patient relationship-building and community listening in Richland, I didn’t
want to shy away from the tremendous environmental and human costs of nuclear arms manufacturing, but, atthe same time, I also wanted to represent the stories of Hanford workers— people whose politics often diverge
drastically from my own—with dignity and generous listening.
RICHLAND does not provide easy answers, a policy position, a simple critique of the nuclear industry, orinterviews with nuclear experts. Instead, it does the messier work of creating a patiently unfolding space where
divergent voices and positions can co-exist, investing in a cinematic form that gently holds multiple entangled
histories in one place. We are living at a moment in history that is deeply structured by human denial, and it isin the shadow of this moment that this project about feelings and belief systems feels urgent. Rather thancreating an onscreen world of pro-nuclear vs. anti-nuclear binaries and easily digested soundbites, my intention
with RICHLAND is to inhabit a more uncomfortable, intimate, and ambivalent space that ultimately points to theways that each of us holds denial close.
- Irene Lusztig

Filmmaker Irene Lusztig in Conversation with and Shannon Cram, Professor and Hanford Researcher

Shannon:

So my rst question is really simple. Why Richland and what drew you to this place?

Irene:The previous lm I worked on, Yours in Sisterhood, is a project that I lmed in communities allover the US. I was following the trail of locations that I found in an archive of letters sent to theeditor of Ms. Magazine from the seventies, lming people reading aloud the 70s letters in thecommunities where the original letters were sent from. I lmed in 32 different states and wasdoing these huge road trips. So, I found myself in Richland for a day while lming thisprevious project, with a 70s letter written by a daughter of Hanford workers who had lost her
parents to radiation-related cancers.
Someone put me in contact with Trisha Pritikin, who is a downwinder activist who grew up in
Richland—someone whose story was very, very similar to the story in this anonymous letterfrom the seventies. She had also lost both her parents. Her dad was a Hanford worker. Trisha
took me behind the Richland High School building and wanted to be lmed in front of thewall-sized mushroom cloud that's on the back of the high school. So that was my one day inRichland— I was brought to this wall with this massive mushroom cloud.
From just that one day, I was left with so many questions—what is this place? What are thesesymbols about? What is the relationship of this community to having an atomic weapon as aheritage symbol? I'm often drawn to thinking about places and communities where there's
something that’s being actively worked through about its own history, and I knew there wassomething interesting there.

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As well, beginning around the time of Trump’s election I was really thinking about how
conservative worldviews are formed. What does it mean to be conservative in this moment?
Who's drawn to conservative rhetoric and why? Why are white working class people, who areoften directly harmed by conservative policy, becoming increasingly radical in theirconservative views? My in-laws are both Trump supporters. My father-in-law was a lifelong
nuclear worker, whose biography is quite similar to many Hanford workers. He worked innuclear energy, not weapons, but, like a lot of people from Richland, he's someone who, with ahigh school degree and no other educational background, was able to become a nuclear
engineer and live a kind of American Dream suburban life in Southern California, owning ahome and raising two kids. So, I think another more personal aspect of this project was trying
to understand what was happening with my partner's family in this really painful moment
where people were suddenly not able to speak to each other across their political differences.

As I began to spend more time in Richland, the community started to feel like a case study forthinking through much bigger questions of how we live with histories that are violent ortraumatic. And what is the struggle to hold two contradictory things at the same time—to both
feel like you can love your country (or your childhood), but also hold the reality of something
that's really violent or troubling in the past? I also wanted to think and wrestle with questions
about patriotism. My parents are not American and I feel like patriotism isn’t a sentiment that I
identify with or know how to access myself, but I see that it's so powerfully shaping what's
happening in this country and it felt important to think about now. Those are some of thethings that I felt in Richland that I wanted to continue to think about.
Shannon:One theme that runs throughout the lm is how people in the lm often talk about Richland incomparative terms, like insiders versus outsiders. What do you make of that insider / outsider
dichotomy and what work does it do in the lm?

Irene:

I think Richland is really shaped by that dynamic. At rst, Richland was a secret city and literally
nobody outside of the city knew what it was. And then, over time, Richland continued tointernalize a feeling of being misunderstood, or being the subject of all of this outsider
criticism—especially in the eighties, around when Chernobyl happened and Three Mile Island
and all of this really intense anti-nuclear activism was directed towards Hanford and Richland.
I think there's this real sense of, "We did this amazing thing; we saved the world and we ended
the war, and now everyone treats us like we're less than or doesn't see our accomplishment." I
feel like that's a dynamic that's really deeply part of the DNA of the place. People are so proud,still, in the community and still really hold dear the story of World War II.
I actually feel like World War II was the last moment of great moral clarity around nuclear arms
production. Whatever one thinks—and of course, it's debated—about if we should or should nothave dropped atomic bombs on Japan, the good guys and bad guys of World War II are veryclear. And then the whole rest of the Cold War is messy: what were the 900 plus weapons test
explosions at the Nevada Test Site really about? What was the stockpiling of tens of thousandsof weapons for? That's all much less clear. Even though the consequence of bombing Japan is
not an easy question to take on, it’s actually much easier, I think, than everything else that
happened over the next 40 years around nuclear weapons production.

fi

I was really struck in all of the Hanford educational spaces that are public—the museums andthe B reactor and wherever you might go as a tourist—every single one of the videos that arefi

Irene:fi

By making the weapon into an accomplishment, it sanitizes it from the violence that it madepossible. If you don't have a shared vision of impact, how could you have a shared vision ofclosure or reconciliation?

fiShannon:Shannon:

It feels like an invitation and a space rather than an argument. One of the things that I reallyappreciated about the lm, too, is that you're opening up a conversation about the bomb as a
distributed condition rather than a discrete object or a singular moment of impact. I'm curious
why you made that choice or why you think about the bomb in that way.

Irene:

I haven't thought about that term “distributed condition,” but I really like that. We all havetrace plutonium in our bodies now from weapons testing fallout worldwide, so that is literally akind of distributed condition that affects every single person. The bomb actually is not a
singular event, but really is an ongoing condition. Or, you could say it was a singular event that
opened a door onto something that we now live with in really complicated ways. The bomb
restructured so many basic things. It's in many ways the beginning of government secrecy andthe endless war foreign policy of the United States that has generated our military industrial
complex. It's what structured that suburban architecture that Richland has that's now
everywhere. And then, of course, Hanford’s nuclear cleanup project is forever and until the endof time, so that's also now a condition that we live with inde nitely. So I think that's right tothink of it not as a singular thing, but as a complex series of overlapping and ongoing things.

fi

I came to really love Richland. I really expected to be treated more like an outsider than I was.
There were moments of resistance where maybe initially it was hard to do something, but it'salso a small community. The more times I came back, the more people saw me there year afteryear, showing up at different events—I think that mattered to people. I think even justexplaining to people, "Here's how I make work: I make work for a long time. It takes years. I
will keep coming. It's a long commitment that I'm making to learning about the communityand listening. I'm not an investigative journalist, I don't have an agenda”—I think all of those
things were helpful for people to hear. But then I also got to know people, and people wereactually profoundly kind and generous. And I think people want to be listened to. If you
approach people in a way where they feel listened to, they will be open.

fi

Irene:

fi

What was it like for you as an outsider to come in and make this lm given that sort of insider/outside dynamic?

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Shannon:fi

fiscreened show production footage and how the bomb was made, and then there’s a plane, andthere's the mushroom cloud, and then it cuts immediately to the parade in the US where theJapanese surrender and everyone's having a big celebration. It's interesting because there's
signi cant visual documentation of all of the damage in Japan. There were tons ofphotographs, lots of moving image stuff, and it's very easy to nd those images; but any
confrontation with that damage is really removed from these of cial narratives.

Irene:I think de nitely patriotism—what does it mean to love your nation and then what are the blind
spots that produces? And class. There’s something really signi cant in our larger politicallandscape around the ways that white working class people are victimized by structural forces,
and then at the same time are attached to these national narratives that perpetuate the very
structures that oppress them and make their lives more dif cult. Richland is a community
where many people were working class. People were making really good money and having
these idyllic family suburban lives and able to live in a way that would not have been available
to them somewhere else.

Shannon:Creating this technology and justifying it as safe and secure depends upon thesecontradictions. Another thing I'm interested in, that comes up a lot with nuclear things, is risk.
The idea that it's “worth the risk.” Yes, there's a risk you could do harm, or yes, I might get sick if
I run into this high rad area for special compensation, but it's worth the risk. There's that way
that you can see the danger, but only in abstract terms. I'm curious, after making the lm, what
do you think reconciliation would look like in this place, if you can even answer that, or do you
think it's possible?

Irene:

I think the high school students should run everything! If you're younger and you don't havethe baggage of all of that history, and you grew up with the internet and lots of outside
information, it’s easier to throw things away and rebuild. So, I think some of it is in the passageof time. But some of it is really hard work, and I think you need to want to do the work. I think
what's hard now is that there's very few spaces around Hanford where people with different
positions are actually listening to each other. I hope the lm can make some kind offi

What structural forces sculpt how people in Richland see and recognize Hanford's effects?

fi

Shannon:fi

There's the safety and security of growing up in Richland and having a nice childhood there,
and then there's the bigger safety and security of the US, with its massive stockpile of nuclear
weapons, and what is that notion or framework of security and safety about? They're reallylinked, of course. The Nevada Test Site weapons testing program generated so much fallout,caused so much harm to so many civilians. But that whole operation was also in the name ofsafety and security. What’s happening when you detonate over 900 atomic bombs on yourown land in order to be safe and secure? I think that contradiction is deeply woven into thiscountry and its military policies. It's built on that really fundamental set of contradictions.
Weapons manufacturing is about safety in some ways, but then also produces so much
unsafety. I think it holds that contradiction deep in its core.

fi

Irene:

fi

The people you interview often evoke notions of safety and security in complex andcontradictory ways. I'm wondering if you could speak to that and what role those concepts ofsafety and security play in the lm.

fiShannon:

fi

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I think there's a way that art can hold things that are unresolved and complicated. Maybe you
can’t articulate all of it, but it's held. It was important to me that some of those moments of art
in the lm are generated from within the community, like Kathleen Flenniken’s poetry. And
the choral piece is completely a community project. A lot of the choir singers are people whohave a relationship with Hanford or work on the site in some way. The woman who wrote thelibretto, Nancy Welliver, is someone who worked at Hanford for 35 years and was doing thatwriting to process a lot of her own feelings about the site. I think of that choral performance asa moment that can hold or contain community feelings in a way that's completely different
from interviewing someone or explaining something or putting words on screen.

fi

Irene:fi

I hadn't actually thought about the fact that the lm actually ends with the rst visualization of
the bomb as a discrete object after you've done all this work to think about it as a distributed
condition it, and it's in this ghostly form. And it also ends with the choir singing
Oppenheimer's words quoting the Bhagavad Gita, "I am become Death." You're not forgetting
at all. It de nitely ends with the most concrete reminder of the bomb.

fiShannon:fi

It's the rst time in the lm that you really see the bomb, which is the ghost that haunts thewhole lm that you never actually see. And it's pointing downward, which is never the way we
see the bomb. Usually, the bomb is shown on its side ready to load onto the plane, but wenever actually see it in ight. It’s such a powerful image and sculpture. And it's made of her
grandmother's fabric, and with Yuki’s own hair, which holds her third generation atomic
survivor DNA. And it's placed on land that used to be the buffer land for the site. It's just thisincredible moment of activating the land and its history when the bomb is placed there. It felt
really right for the lm to come to rest in this moment where you're nally seeing the thingitself, on the land, and thinking about the two together.

fi

Irene:

fi

You end your lm with the scene of Yuki's installation on the Columbia River. I'm wondering if
you want to just say why you chose that as the ending. What work does it do for the lm?

flShannon:

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contribution to a space like that. I think because it's not framed as an anti-nuclear lm, it's alm that might be watched by people who wouldn't watch a lm that's more explicitly framed
as a lm with an agenda around nuclear issues. But those viewers will still hear Trisha's
downwinder story, and they'll hear other kinds of stories. My hope for the lm is to open up a
space for a kind of listening that doesn't happen that often.

TEAM
IRENE LUSZTIG (DIRECTOR / PRODUCER / EDITOR) is a feminist filmmaker, archival researcher, educator, andamateur seamstress. She works in a space of delicate mediation between people, their pasts, and the presenttense spaces and landscapes where unresolved histories bloom and erupt. Often beginning with rigorous
research in archives, her work brings historical materials into conversation with the present, inviting viewers tocontemplate questions of politics, ideology, and the complex ways that personal, collective, and national memory
are entangled. Born in England and raised in Boston, Irene is a first generation American whose parents fled
Ceaucescu’s Romania as political asylum-seekers. Her work, including three previous feature length films, hasbeen screened around the world, including at the Berlinale, MoMA, Film Society of Lincoln Center, Museum ofFine Arts Boston, Anthology Film Archives, Pacific Film Archive, Flaherty NYC, IDFA Amsterdam, Hot Docs, AFI Docs,
BFI London Film Festival, Melbourne Film Festival, DocLisboa, and RIDM Montréal. She has been awarded
fellowships from the Guggenheim Foundation (2021), the Radcliffe Institute for Advanced Study, the Fulbright,
two MacDowell fellowships, the Flaherty Film Seminar, and the Rydell Visual Arts Fellowship. She teaches
filmmaking at UC Santa Cruz where she is Professor of Film and Digital Media.
SARA ARCHAMBAULT (PRODUCER) is a Creative Producer dedicated to artful and impactful nonfiction filmmaking.
Sara champions risk-taking films with bold vision that center a practice of equity, care, collaboration, and justice intheir creation. Recent films include RIOTSVILLE, USA (Sundance, Magnolia Pictures); TRUTH OR CONSEQUENCES(Rotterdam, Sentient Art Films), A DECENT HOME (Denver, America Reframed) and the upcoming RICHLAND.
Sara's award-winning films have screened in festivals around the world and received support from Sundance Film
Institute, SFFILM, Catapult Film Fund, IDA, Hot Docs Pitch Forum, and Film Independent, among others. Sara was
a 2020 Impact Partners Producing Fellow, a 2013 Sundance Creative Producers Lab Fellow and 2020 SF DocFest
Vanguard Awardee. Committed to building resources and opportunities for documentary filmmakers in our field,
Sara’s institutional work includes her position as the Documentary Film Project Manager at the Shorenstein Center
for Media, Politics and Public Policy at Harvard University’s Kennedy School. Her professional history also
encompasses programming and foundation work, including 10 years as Program Director at LEF Foundation, and9 years as Founder/Programmer of The DocYard. Guided by a belief that we must actively tend to our creative
communities, she contributes as a member of the Documentary Producers Alliance and serves on the board of The
Flaherty. Eternally a dedicated art house film fan, Sara loves going to the movies by herself.
HELKI FRANTZEN (CINEMATOGRAPHER) Helki Frantzen is a documentary cinematographer based in Los Angeles.
Her camera work has regularly appeared on TV and online outlets such as PBS, the L.A Times, and Rollingstone
Magazine, as well as the BBC, Frontline, the Atlantic, Vice News, and the Dutch television network, HUMAN. The
documentaries she has filmed, including L.A. Roll, which she directed and shot, have screened at festivals
including Camden, DOC NYC, Big Sky, Short of the Week, and AFI Fest. Documentaries Helki has DP’d havereceived multiple awards, including a Los Angeles Area Emmy, numerous Los Angeles Press Club awards and aGolden Mike award. Helki is a member of the International Collective of Female Cinematographers.

MAILE COSTA COLBERT (SOUND DESIGN AND COMPOSITION) is an intermedia artist, researcher, and educatorwith a focus on time-based media. Her current practice and research project is titled, Wayback Sound Machine:
Sound through time, space, and place, and asks what we might gather from sounding the past. She is acollaborator with the art organization Binaural and is an editor and author at Sonic Field. She has exhibited,
screened, and performed around the globe, including in The New York Film Festival, The Ear to Earth Festival for
Electronic Music Foundation in NY, LACE Gallery in Los Angeles, MOMA New York, Los Angeles County Museum of
Art and the REDCAT Theater in Los Angeles, among other venues. She has designed sound and composed for suchworks as Courtney Stephens’ and Pacho Velez’ The American Sector (2020), Irene Lusztig’s feature documentaries
Yours in Sisterhood (2018) and The Motherhood Archives (2013), Rebecca Baron's film How Little We Know of Our
Neighbors, winner of the Black Maria Film Festival Best Film, Adele Horne's feature documentary The Tailenders,broadcasted on PBS POV and winner of a 2007 Independent Spirit Award, and Allan Sekula's epic The Lottery of
the Sea.
TODD CHANDLER (CONSULTING EDITOR) is a filmmaker, artist, and educator whose work explores American
rituals, landscapes, and systems of power. His films and installations have been featured at True/False, IDFA,
Doclisboa, the Hammer Museum, Brooklyn Museum, and Mass MoCA. His most recent documentary, Bulletproof,
screened at over two dozen festivals worldwide, and was called “dreamlike and startling,” by the New York Timesand “a quiet gut punch of a film,” by the Guardian. His work has been supported by the Sundance Institute, Field
of Vision, International Documentary Association, Doc Society, and ITVS, among others. He was one of Filmmaker
Magazine’s 25 New Faces of Independent Film, a fellow at the Sundance Non-Fiction Director’s Residency, and a
Points North Fellow. He is the recipient of a Guggenheim Fellowship, Creative Capital award, and the Hot DocsInternational Emerging Filmmaker award. He is also an accomplished film editor. He was the lead editor and ahuman rights video advocacy trainer at WITNESS, edited the Academy Award nominated documentary short film
In the Absence, directed by Seung-jun Yi, and Reid Davenport’s feature documentary I Didn’t See You There, which
won Davenport the U.S. Documentary Directing Award at the 2022 Sundance Film Festival and the Truer thanFiction Independent Spirit Award.

SCREENINGS:TRIBECA FILM FESTIVAL
Documentary Competition(World Premiere)
SHEFFIELD DOCFEST
International Competition(International Premiere)
DC/DOX
Washington, DC
Seattle International Film Festival DocFest
Seattle, WA
Tacoma Film Festival
Tacoma, WA
New Orleans Film Festival
New Orleans, LA
American Fringe
Cinematheque Française
Paris, Francefiupdated screening info at https://richland lm.com/screenings/

SELECTED PRESSTHE HOLLYWOOD REPORTER - ‘Richland’ Review: A Sensitive Portrait of the American Dream and the Fallout ofa Nuclear Legacy
DEADLINE - Where The High School’s Logo Is a Mushroom Cloud: Tribeca Doc ‘Richland’ Explores Washington
Town Profoundly Impacted By Atom Bomb Program
IDA / DOCUMENTARY MAGAZINE - Exclusive: Clip from Irene Lusztig's 'Richland'
THE WRAP - ‘Richland’ Review: A Sobering View of a Town Taken Advantage Of
HAMMER TO NAIL - Richland Review

INTERVIEWS:MUSEUM OF THE MOVING IMAGE SLOAN SCIENCE AND FILM - Nuclear Feelings: Irene Lusztig on RICHLAND
THE MOVEABLE FEAST - Tribeca 2023 Interview: Irene Lusztig on Clearing Away the Fog of History in“Richland”

CREDITS

Directed, Produced, & Edited by:
IRENE LUSZTIG
Producer
SARA ARCHAMBAULT
Cinematography
HELKI FRANTZENSound Design and Composition
MAILE COSTA COLBERT
Executive Producers
DAWN BONDERDANIEL J. CHALFENMARCI WISEMAN
Consulting Editor
TODD CHANDLER
Re-recording Mixer
JEREMIAH MOORE
Colorist
ROBERT ARNOLD
Location Sound Recording
IRENE LUSZTIGFEATURING (IN ORDER OF APPEARANCE):

Hanford Nuclear Site

CONFEDERATED TRIBES OF THE UMATILLA INDIAN RESERVATIONGRETCHEN GRABER

Fran Rish Stadium

RICHLAND BOMBERS

Hanford History Project

DONALD SORENSON

Atomic Frontier Day

R.L. & SHEILA BUSCHBOM

Richland High School

MICHAEL NEIDHOLD

Alphabet House Historic District

TERESA KNIRCKNANCY DORAN

Uncle Brother’s Fish Truck

VANIS DANIELS

B Reactor National Historic Landmark

BERT SPEAR

Spudnut Shop

BILL BRANDTE.W. “BILL” CLIFFORDRON KATHREN
GENE CARBAUGHLeslie Groves Park

DORI LUZZO GILMOUR

Atomic Bowl

ATOMIC ENERGIZERS

Shalom United Church of Christ
Hanford Reach National Monument

MID-COLUMBIA MASTERSINGERSDARKLING BEETLE

Coyote Canyon Mammoth Site

BAX R. BARTON

Washington State Route 243

TOM MARCEAUCTUIR Department of Science and Engineering

JOHN SAMPSON

Horn Rapids Road, near the Hanford Site

MARY J. HARTMAN
JANET HUMPHREY

Spudnut Shop

JIM DEATHERAGE

N Reactor Dedication (1963)

JOHN FITZGERALD KENNEDY
ANN ROSEBERRY

Resthaven Cemetery

TRISHA PRITIKIN

Howard Amon Park

COLUMBIA RIVER

Hanford Site (1986)

N REACTOR OPEN HOUSE MODERATORREACH Museum

RON BUCKLAND

Columbia Point Marina Park

BECKY BURGHART
YUKIYO KAWANO

Richland Community Center

JIM STOFFELS & WORLD CITIZENS FOR PEACE

P’na Wanapum Village

REX BUCK JR.
KEENAN PAUL
LELA BUCKKATRINA BUCKTANU BUCKALYSSA SLOCKISHKARI SEELATSEERAIDEN SEELATSEE
EVEANNA MORNINGOWLSPARROW PAUL

Richland High School

JASMINE GOLDBERGDANIEL MITROSHKOV SHAFFER
GRANT ROBERTSON
AUGUSTIN DULAUROYWILLIAM HENRYELAHEE KHURANA
PARIS NICHOLSKYOKO FISHER

Sunset Memorial Gardens

CAROLYN FAZZARI

Hanford Reach National Monument

LAURA FELDMAN

Associate Producer

BROOKE SAIAS

Additional Camera

ERIC MACEY

Field Producer, Richland High School

AUGUSTIN DULAUROY

Assistant Editors

KYLE BAKER
ALLISON DEAN
SHELBY JOHNSON

Producing Assistant

SARA MARKOVIC

Archival Research

IRENE LUSZTIG

Archival Web Scraping

ABRAM STERN

Archival Film Scanning

ADRIANNE FINELLIMEGAN SHAW PRELINGER

Archival Tape Restoration
Legal

Publicity

DIGITAL REVOLUTION
FILM ARTS LEGALSTEPHEN DARREN HOLMGREN, ESQ.
BENJAMIN T. SIMPSON, ESQ.
MICHAEL AARON LAWSONBETSY RUDNICK FERNANDARCHIVAL SOURCES
Here’s Hanford
Hanford 1968
President Kennedy Speaks at Hanford
N Reactor Open House
courtesy of the US Department of Energy, Hanford Collection
CREHST A/V Collection
courtesy of the Hanford History Project

MUSIC"Atomic Soldiers (1957)""The Spring of Paradise (2005)""J. Robert Oppenheimer’s Gita (1945) (Reprise)""Ashes (2017)"
from Nuclear Dreams: An Oral History of the Hanford Site
Words by Nancy Welliver, Music by Reginald Unterseher
2019
Performed by the Mid-Columbia Mastersingers
Artistic Director: Justin Raffa
Recorded live in the Hanford B Reactor National Historic Landmark on September 27, 2019
Audio Engineer: Michael Simon"Termination Winds"
Words and music by Linda Allen
https://lindasongs.com
Published by October Rose Productions
1989
Performed by Mary Hartman and Janet Humphrey (Trillium-239)

ADDITIONAL SOUND
Radio AporeeFreesound.org
Klankbeeld
neoscenes/John Hopkins
Scott Hopkins
Sangam Panta
Jeremiah Moore

POEMS"Mosquito Truck""Green Run""My Earliest Memory Preserved on Film""To Carolyn's Father"from Plume by Kathleen Flenniken
University of Washington Press, 2012

SPECIAL THANKSSHANNON CRAMKATHLEEN FLENNIKENROBERT REDDER FRANKLINYUKIYO KAWANO
TOM MARCEAU
ANN ROSEBERRY
and CHAD NOYES & MAX LUSZTIG NOYESTHANK YOUATOMIC BOWL
KATE BROWNLELA BUCK & WANAPUM HERITAGE CENTER
BECKY BURGHART
CHRIS CAINMICHELLE CAMERONWOODY CARROLL
CITY OF RICHLAND PARKS DEPARTMENTCONFEDERATED TRIBES OF THE UMATILLA INDIAN RESERVATION
CORE (CONSEQUENCES OF RADIATION EXPOSURE)JON DAEHNKEVANIS & BARBARA DANIELSVALERIE DRIVER & SPUDNUT SHOP
MIKE ENSMINGER & RATTLESNAKE GULCH RANGERSJOHN FOX
COLLEEN FRENCH & US DEPARTMENT OF ENERGY
ANNA FRIZSHERRY GARTSIDEMICHELE GERBERIDD
IRENE GUSTAFSONHAGLEY MUSEUM & LIBRARYHANFORD HISTORY PROJECTPAT HOLLICK & SUNSET MEMORIAL GARDENS
HANNAH JASPER
HANNAH JAYANTIALEX JOHNSTON
JANICE JONESMARCO KALTOFENJEFF KISSELLGARY KLEINKNECHT & COYOTE CANYON MAMMOTH SITE
ADAM KURNITZLAUREN LEWISSTEVEN LINKREGINA LONGOMANHATTAN PROJECT NATIONAL HISTORIC PARKJOHN MARTELL
TED MILLER
YUKI MIYAMOTOMEGAN MOODIE BRASOVEANUWANDA MUNNJOSHUA OPPENHEIMERLALU ESRA ÖZBAN
MICAH PERKSALEXANDER PORTER
COURTNEY FAYE POWELLRICK PRELINGER
TRISHA PRITIKINRAED RAFEIJUSTIN RAFFAREACH MUSEUMGAIL REDBERG
RICHLAND PUBLIC LIBRARYTOM ROGERSDONALD SORENSONCHUCK STELTENPOHL
COURTNEY STEPHENSBRETT STORYBENJAMIN & ROSWITHA STÜRMER
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JOHN SIMON GUGGENHEIM MEMORIAL FOUNDATIONUNIVERSITY OF CALIFORNIA PRESIDENT’S FACULTY RESEARCH FELLOWSHIP IN THE HUMANITIESUNIVERSITY OF CALIFORNIA, SANTA CRUZ OFFICE OF RESEARCH SEED FUNDING PROGRAMARTS RESEARCH INSTITUTE, UNIVERSITY OF CALIFORNIA, SANTA CRUZCOMMITTEE ON RESEARCH, UNIVERSITY OF CALIFORNIA, SANTA CRUZ
MACDOWELL
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