Funny, provocative and surprisingly accessible, Manufacturing Consent explores the political life and ideas of world-renowned linguist, intellectual and political activist Noam Chomsky...
A carefully composed observation of two newsrooms which, in March 2017, were avidly chasing after information about the Czech president’s decision whether or not to run for re-election. Two teams of reporters, one extraordinary event, and two takes on one “objective” piece of news.
I record the world I see around me. Social networks allow us to ceaselessly examine ourselves in relation to others and encourage one’s tendency of self-fixation, self-examination and self-observation...
The sole journalist of a small town television station guides the audience through a kaleidoscope of local news stories.
Fixers are local guides who tell journalists how to get the best images of war – from what angle to shoot a ruined airport, which checkpoint to pass through and which to avoid...
A short film about finding a partner in 21st century.
The internet, madness, and old and new Russia - these are the touchpoints of this film standing at the fine line between performance and raw documentary. Sergei Astahov is a mentally disabled man who spends most of his time closed up in his Moscow flat, sending his messages out into the world in the form of videoblogs...
A feature documentary about the world of South-Korean professional gamers. Every year thousands of South-Koreans flock to the game stadiums in Seoul to watch the Pro League, a live sports event where professional gamers compete to be the best at one single video game: Starcraft.
This video collage, showing urban space from Google Maps perspective mixed with shots of wild animals, is an impressive essay on the evolution of species. The wildlife, devastated by civilisation, adapts to new conditions and creates new environments and networks suitable for life – biotopes...
An animated miniature of the devastated wasteland of a metropolis is strikingly reminiscent of a war-themed computer game. The video refers to the notion of warfare and the collapse of order in popular culture and new media, and examines in detail the retroactive effect of these images on reality.
One excerpt from a flow of Internet video news: a family is hiding behind a wall in a neighbourhood in Beirut, Lebanon that turned into a warzone. The compressed video is slowed down, enlarged, and gets a new soundscape. Additional dimensions are revealed in the scene, and a troubling contrast between imagery and content is created, leading to an unsettling affect: anxiety deconstructed into pixels.
"Flag as inapproriate". This unconspicuous button with a flag icon appears underneath every single YouTube video we watch marking the limits of our freedom in the Internet. Once flagged by anonymous users, after being checked by the also anonymous YouTube team, a video quickly disappears forever.
Hardcore techno music, repetitive loops of images from the 1955 movie ‘The Ten Commandments’, international TV news broadcasts of 2006 Israel-Hezbollah war in Lebanon, and a video documentation of a belly dancer in the desert, become an apocalyptic Middle East horror rave party, addressing Middle East war and myths representations of in Western media, and the fetishisation of images of war and religion in mass media.
In a flickering TV image we see a happy family on a beach, as 100 km away a girl frantically runs on a bombed beach in Gaza. The happy family is shown in a rapidly speeding stream of still images, while the girl is filmed in video, gradually taking over the screen, creating a growing impact of shock and horror, until the girl dissolves in TV noise and becomes a news report.
A work made while living in New York City. Two images appeared on my TV screen: An Israeli soldier being lynched in Ramallah, a Palestinian child and his father being fired at in Gaza. How can horror be constructed in words? It's a schizophrenic situation - two sides trapped in a cycle of violence. Being in a personal schizophrenic state as well, watching this in New York - not here nor there. Are these images real? Are any images real?
The combination of image manipulation and suggestive music turns journalistic footage of an extreme encounter between a young woman and a group of soldiers into a scene from a dramatic story. If the soldiers weren’t aiming their weapons at her, the choice of shots and the scene’s mood could almost be called romantic...
A radiant, raging girl is shouting and punching the empty space in front of her. She is roughly cut out from her surroundings by a computer algorithm struggling to contain her, and her enemies are erased from the frame. The work is based on a found YouTube video of a Palestinian girl resisting an Israeli soldier. The video-processing highlights the scene as image, both of a fight for freedom, and a media event.
Extremely loud and incredibly close.
Even in this film Mike Hoolboom works with the history of film, with material that is not untangled from interpretations...
A video essay examining the consumption of information in the virtual environment and its influence on ethics and engagement. The subject wanders through an abandoned office building. Using reality broken down into pixels and the manifestation of text, he highlights the detachment, blindness, and alienation of man moving through social networks.
American historian David Bordwell, Austrian experimenter Peter Kubelka, American director Godfrey Reggio and other stars of the silver screen in a sci-fi film about what will happen to the digital recording of their performance in a hundred years. If the whole world becomes digitalized, we will also advise you on how to make a homemade developer and fixer.
The film audience and its transformation at the time of online communication; or, when the filmmakers can read what their viewers talk about after seeing their film... The first portrait of the Czechoslovak Film Database, a controversial phenomenon of contemporary Czech cinema.
The Nazis hired distinguished German director Kurt Gerron who was interned at Theresienstadt concentration camp with his family. We do not know what they promised him, however, we know for certain that the reward for his excellent propaganda work was a death trip to Auschwitz. Germany was practically losing at all frontlines at that time and the film was never shown. What has remained is a model example of how reality can be treated, manipulated and misused for a political assignment in the hands of real filmmakers.
Excerpts from a television interview with Eugène Ionesco in an adaptation of his absurd story The Colonel’s Photograph, which is dominated by the motif of a swimming pool that conceals drowned bodies. The visual pun is a compilation of techniques: animation, video, 3D graphics, and text, which give the seemingly random scenes a sort of structure.
A flying saucer floats through the sky in black and white, creating the illusion of alien forces; upon taking a closer look, it’s obvious that it’s just a toy. The filmmaker examines the issue of videos spreading untruthful alarm messages using the same principles, highlighting the fine line between fact and fiction.
In this portrait, consisting of a collage of the works, archive materials, and creative images by one of Canada’s most expressive video artists, Colin Campbell (1942–2001), Mike Hoolboom looks for parallels with his own work. He addresses broader issues about video as a medium and includes interviews with Canadian artists. The end result is a non-traditional approach to film narrative.
This documentary found footage essay, made up of recycled video snippets, deals with the cold and detached depiction of war in the media and in cyberspace. During daily media operations, the terrifying, irrational, and monotonous machinery changes an event, giving it importance as needed...
This film about the situation in presentday war-torn Ukraine originated over the course of a year as the director’s travel journal. Ukrainian teacher Tania, who works in Prague as a cleaning lady, takes the filmmaker along to visit her family in Transcarpathia...
A documentary film about a weird community radio station in Minneapolis.
Fenfen's video diaries are mysteriously broadcast on televisions across China.
A compilation of videos shot by coalition soldiers mainly by mobile phones.
Rip in Pieces America is an uncensored proclamation from an invisible USA. Dominic Gagnon turns no blind eye in his ultra-intense collage film which consists entirely of more or less anonymous webcam clips that due to their controversial or explicit nature have been flagged and meanwhile removed from video sites such as YouTube...
Crop is an absorbing account of the Egyptian revolution of 2011 – one that includes no images of the popular uprising itself. Filmed entirely within the offices of Al-Ahram, the country’s largest state-run newspaper, the film is a series of carefully composed tableaux that expose the institution’s functioning and the former regime’s strict control over information.
The Story of Ones gives a face and a sense of place to the unseen and offers a personal counterpoint to the officially sanctioned. Like entering a roomful of stories, the viewer steps into an unfamiliar space guided only by the sound of the Vietnamese state radio tuning in to lifestyle programming, call-in shows and radio dramas...
An hallucinatory tale which documents a filmmaker’s journey to Canada’s arctic in search of the Northern Lights.
Webcams have made it possible for the Internet "to have eyes," reflecting society from a subjectless and anonymous perspective. Over the past years, Dariusz Kowalski has downloaded surveillance sequences from various public and semi-public locations which in fact were not intended to be used.
Film uses the aesthetics of cell phone cameras, which the director used after he was diagnosed with angina and his doctors recommended fast walking. He has transformed the 3,000 kilometers he walked over three years into a collage of playful, experimental, and lyric moments and family and social situations, all seen with a sense of tenderness and irony.
The outside view distorts that which is shown and automatically contains the perspective of the one who is telling the story.
World peace, disarmament and re-armament are hackneyed phrases, and the images we see on television and in the paper are hackneyed images. It was with this in mind that I set out – with more than a little delight – to drag the long worn-out images of the Geneva summit between Reagan and Gorbachev into the spotlight once again.
The genocide in Rwanda (Itsembatsemba) took place amongst general indifference. On the 6th April 1994, a fury of purification swept the country. Within one hundred days, soldiers and militiamen (Interhamwe) massacred at least 700,000 Tutsis. These images were taken two years after the genocide, in April 1996.
The film 31 Endings/31 Beginnings is a film debut of the Rafani art collective. The outline of the work consists of mapping of Prague's mostly “underground” culture...
Anything can be sold and bought in our modern world. Virginity too. How much is its worth in dollars? Is it worth keeping till marriage?
Their aim was to contribute to discussion about media manipulation, hence the entire action was called “The Media Reality”. However in the end, it touched upon many other topics. Regardless of the action’s point, the artists were labeled dangerous hackers and digital pirates. The debate about media (in)dependence swiftly turned into a hoax accusation.
In an era obsessed with identification, the art group Ztohoven undertook an experiment in order to see how much could be done with your own and with a borrowed identity.
When I was 14 years old, my mother wrote a book about a boy that unexpectedly survived a hard disease. It was my boyfriend and I got into the book as well.
Prague, Czech Republic, 31 May, 2003 - its a few minutes before 10 a.m. and there are more than 3000 people jostling on a remote parking place...
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