Watch the Guerilla London 2007 set of 6 videos.
More here.
Showing posts with label documentary. Show all posts
Showing posts with label documentary. Show all posts
Tuesday, March 10, 2009
Craig Baldwin
is a filmmaker and curator whose interests lie in archival retrieval and recombinatory forms of cinema, performance, and installation. He is the recipient of several grants, including those from the Rockefeller Foundation, Alpert Award, Creative Capital, Phelan, AFI, FAF, and California Arts Council. Over the last two decades, his productions have been shown and awarded at numerous international festivals, museums, and institutes of contemporary art, often in conjunction with panels, juries, and workshops on collage and cultural activism. His own weekly screening project, Other Cinema, has continued to premiere experimental, essay, and documentary works for over a quarter century, recently expanding into DVD publishing.
http://www.othercinema.com/cbfilmography.html
http://www.othercinema.com/
http://www.othercinema.com/cbfilmography.html
http://www.othercinema.com/
Saturday, January 3, 2009
"Theater Of War" by John Walter
John Walter labels his film Theater Of War “a documentary about art and politics,” which is the kind of blatant provocation meant to pay homage to the film’s ostensible subject, Bertolt Brecht. In 2006, Walter was allowed to film the rehearsals for George C. Wolfe’s Central Park production of Brecht’s anti-war play Mother Courage And Her Children, starring Meryl Streep, Kevin Kline, and Austin Pendleton, with a Tony Kushner translation and songs by Jeanine Tesori. Walter was also granted extended time with Streep, who allowed a rare and reluctant glimpse at her process in deference to Brecht, an artist who favored exposing his own artifice. Walter intersperses his coverage of the Mother Courage production with biographical sketches and analysis of Brecht—much of it provided by post-modern novelist Jay Cantor. At one point, Walter shoots some stock footage of Cantor working at his computer, then cuts to a shot of what Cantor is writing: a few idle lines about how much he hates pretending to work for the sake of a movie.
Though Theater Of War is informative—both about Brecht and about the effort it takes to mount a big New York production—Walter overreaches in trying to connect Brecht’s anti-war sentiment with contemporary protest movements, and doesn’t do more than dabble with the themes of truth and representation in documentary filmmaking. There’s an interesting section about how in Brecht’s 1947 appearance before HUAC, he used his own theatrical techniques to throw Congress off the scent of his Marxist leanings; for the most part though, Walter is unable to make the intersection between art and politics in Brecht’s work really come to life. The problem is built into the documentary’s design. While Theater Of War contains a few direct, empathetic moments—like Kushner describing how Mother Courage changed his life when he read it in college, or Streep explaining that she sees her role in theatrical revivals to be “the voice of dead people”—Walter would rather we care about the ideas this film raises, not the people we meet. Which is very Brechtian, to be sure, but not always so engaging
http://www.avclub.com/content/cinema/theater_of_war?utm_source=imdb_rss_1
http://filmmakermagazine.com/directorinterviews/2008/12/john-walter-theater-of-war.php
Friday, January 2, 2009
Monday, October 27, 2008
Digital Archiving as an Art Practice
Read Dew Harrison’s essay “Digital Archiving as an Art Practice <http://www.chart.ac.uk/chart2005/papers/harrison.html>, on the occasion of the Dan Oki's exhibition, "The Last Super 8 mm Film", Galerija Galzenica, Velika Gorica/Zagreb; http://www.galerijegalzenica.info/english.html
Friday, September 5, 2008
"NO END IN SIGHT" by Charles Ferguson
No End in Sight is being made available free to the public to reveal the facts about the Bush Administration's invasion and occupation of Iraq to voters concerned with the issues of national security and the adverse economic impact of the war when making decisions in this crucial election. NO END IN SIGHT condenses and clarifies the murky decisions made before and after the invasion and is invaluable to the public’s understanding of what went wrong. The film is both an analysis of an ill-conceived war and a plea to consider the impact of future military actions. According to the film's director, Charles Ferguson, he underwrote the exhibition of the film on YouTube because, "I wanted to make the film, and the facts about the occupation of Iraq, accessible to a larger group of people. My hope is that this will contribute to the process of making better foreign policy decisions moving forward in Iraq and elsewhere. During this election year, it’s important to examine the leadership mentality and policies that caused Iraq to descend into such a horrific state that after 4,000 American deaths, at least a quarter million Iraqis killed, 4 million refugees, and over $2 trillion spent, Iraq remains in a state of near collapse."
Monday, August 18, 2008
RAQS MEDIA COLLECTIVE
Raqs Media Collective (Monica Narula, Jeebesh Bagchi, ShuddhabrataSengupta) is a collective of media practitioners based in New Delhi thatworks in art practice, new media, filmmaking, photography, media theory& research, writing, criticism and curation. Raqs are currentlyco-curators of the MANIFESTA 7 in South Tyrol/Trentino.
The origins of Raqs Media Collective’s practice lies in documentaryfilmmaking, and though they have traversed a long distance from theempiricist imperative of mainstream documentary making, documentsthemselves, and other forms that gesture to the notionally real,continue to intrigue them.Raqs are interested in documents because of the rhetorical spaces thatcan be prised open while handling documents. These include the elaboratedisguises and ruses that the rhetoric of documents sometimes carry withand within itself.
www.raqsmediacollective.net
www.manifesta7.it
The origins of Raqs Media Collective’s practice lies in documentaryfilmmaking, and though they have traversed a long distance from theempiricist imperative of mainstream documentary making, documentsthemselves, and other forms that gesture to the notionally real,continue to intrigue them.Raqs are interested in documents because of the rhetorical spaces thatcan be prised open while handling documents. These include the elaboratedisguises and ruses that the rhetoric of documents sometimes carry withand within itself.
www.raqsmediacollective.net
www.manifesta7.it
Sunday, August 3, 2008
FINISTERRE by Saint Etienne
FINISTERRE from Plexifilm on Vimeo.
Presented by Saint Etienne, Finisterre takes us on a journey through London, from the suburbs into the heart of the city over an imaginary 24 hours. Featuring the observations and reminiscences of Lawrence from Felt/Denim, Mark Perry, the editor of original punk fanzine Sniffin' Glue, singer Vashti Bunyan, and many more...
http://plexifilm.com/media.php?id=77
Thursday, May 15, 2008
EMOTIONAL ARCHITECTURE: AZIMUTH OF FISSURE WORKS BY CĂLIN DAN
Included in the exhibition are several works from the artist’s Emotional Architecture series, each related to a particular place: sony/wmf/pp (1994-2003) to Amsterdam, Sample City (2005) to Bucharest, Romania, Trip (2006) to Tallinn, Estonia, and the new work inspired by Charleston. Using documentary images from the 1886 earthquake preserved in the holdings of the South Caroliniana Library at the University of South Carolina, nineteenth and twentieth century photographs from area archives, audio from films such as The Patriot, and video material gathered on-site, Dan focuses our attention on the complex, mixing layers of time and experience left on our buildings, on our city, and on our culture—and what we make of them in our lives today. For Dan, these images contain the ghostly traces of the past that leave fissures on our present—like the post-earthquake fissures left on the landscape, the cracks in the structure of Randolph Hall, and the remnants of history that project into our present. Fissures > are also separating forces, cracks that open between spaces, allowing us to manipulate what we see and understand about our environment.
http://www.context.ro/dan/
http://www.halsey.cofc.edu/homepage.htm
http://www.context.ro/dan/
http://www.halsey.cofc.edu/homepage.htm
Tuesday, April 22, 2008
3 Documentaries and 2 Art Films at the Tribeca Film Festival
Standard Operating Procedure
Can a photograph change the world? Can an exposé also be a coverup? In Standard Operating Procedure, Academy Award®-winning director Errol Morris turns the camera on the American soldiers who took the infamous Abu Ghraib photographs.
Followed by a conversation with Errol Morris. » View Film Details
2001: A Space Odyssey
Sponsored by the Alfred P. Sloan Foundation Kubrick’s 2001 caught the imagination of a generation with its near-hallucinatory depiction of space, artificial intelligence, and the human condition. The 40th anniversary of this film finds us once again confronting profound questions about the effects these things have had on our culture and our future.Followed by a conversation with scientists about the realities of Kubrick’s futuristic masterpiece and of artificial intelligence. » View Film Details
Celebrating Berlin
Hosted by the School of Visual ArtsLou Reed’s critically acclaimed 1973 album Berlin was yet another musical step forward in the career of the man who brought the darkest themes of literature to rock and roll. For years, Berlin was considered one of the more eclectic works in Reed’s extraordinary catalog, but one that clearly cried out for a theatrical presentation. In 2006, backed by a full orchestra, Reed performed the mini-opera in its entirety over five nights at St. Ann’s Warehouse in Brooklyn. And, under the direction of painter/director Julian Schnabel, this historic event was captured on film.
Followed by Lou Reed in a conversation with Vanity Fair's Lisa Robinson. » View Film Details
Empire II
Although inspired by a monument of cinematic stasis, Andy Warhol's eight-hour Empire (1964), this new three-hour experiment is an astonishingly beautiful and unexpectedly lively tone poem paying unforgettable tribute to the sights and sounds of the mythical, magical place called Manhattan. » View Film Details
Everywhere at Once
Renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher, with actress Jeanne Moreau, weave a tapestry of images shaping one woman's deepest sense of selfhood. Music by Lois V Vierk. » Read More http://www.peterlindbergh.com/everywhereatonce/
Can a photograph change the world? Can an exposé also be a coverup? In Standard Operating Procedure, Academy Award®-winning director Errol Morris turns the camera on the American soldiers who took the infamous Abu Ghraib photographs.
Followed by a conversation with Errol Morris. » View Film Details
2001: A Space Odyssey
Sponsored by the Alfred P. Sloan Foundation Kubrick’s 2001 caught the imagination of a generation with its near-hallucinatory depiction of space, artificial intelligence, and the human condition. The 40th anniversary of this film finds us once again confronting profound questions about the effects these things have had on our culture and our future.Followed by a conversation with scientists about the realities of Kubrick’s futuristic masterpiece and of artificial intelligence. » View Film Details
Celebrating Berlin
Hosted by the School of Visual ArtsLou Reed’s critically acclaimed 1973 album Berlin was yet another musical step forward in the career of the man who brought the darkest themes of literature to rock and roll. For years, Berlin was considered one of the more eclectic works in Reed’s extraordinary catalog, but one that clearly cried out for a theatrical presentation. In 2006, backed by a full orchestra, Reed performed the mini-opera in its entirety over five nights at St. Ann’s Warehouse in Brooklyn. And, under the direction of painter/director Julian Schnabel, this historic event was captured on film.
Followed by Lou Reed in a conversation with Vanity Fair's Lisa Robinson. » View Film Details
Empire II
Although inspired by a monument of cinematic stasis, Andy Warhol's eight-hour Empire (1964), this new three-hour experiment is an astonishingly beautiful and unexpectedly lively tone poem paying unforgettable tribute to the sights and sounds of the mythical, magical place called Manhattan. » View Film Details
Everywhere at Once
Renowned photographer Peter Lindbergh and experimental filmmaker Holly Fisher, with actress Jeanne Moreau, weave a tapestry of images shaping one woman's deepest sense of selfhood. Music by Lois V Vierk. » Read More http://www.peterlindbergh.com/everywhereatonce/
Friday, April 18, 2008
www.geobodies.org/
Ursula Biemann is an artist, theorist and curator who has in recent years produced a considerable body of work on migration, mobility, technology and gender. In a series of internationally exhibited video projects, as well as in several books "Geography and the Politics of Mobility" (2003), "Stuff It - The Video Essay in the Digital Age“ (2003), „The Maghreb Connection“ (2005) she has focused on the gendered dimension of migrant labour from smuggling on the Spanish-Moroccan border to migrant sex workers in the global context. Her experimental video essays connect a theoretical macro level with the micro perspective on political and cultural practices on the ground.
Insisting that location is spatially produced rather than pre-determined by governance, she made space and mobility her prime category of analysis in the curatorial project "Geography and the Politics of Mobility" (2003) at the Generali Foundation in Vienna, „The Maghreb Conncection“ on migratory systems in North Africa, Cairo/Geneva (2006) or the recent art research projects “Black Sea Files” on the Caspian oil politics at Kunstwerke Berlin (2005) and „Sahara Chronicle“ on trans-saharan mobility. Biemann's practice has long included discussions with academics and other practitioners, she has worked with anthropologists, cultural theorists, NGO members, architects, as well as scholars of sonic culture. Her video essays reach a wide and diverse audience through festival screenings, art exhibitions, activist conferences, networks and educational settings.
http://www.geobodies.org/
Insisting that location is spatially produced rather than pre-determined by governance, she made space and mobility her prime category of analysis in the curatorial project "Geography and the Politics of Mobility" (2003) at the Generali Foundation in Vienna, „The Maghreb Conncection“ on migratory systems in North Africa, Cairo/Geneva (2006) or the recent art research projects “Black Sea Files” on the Caspian oil politics at Kunstwerke Berlin (2005) and „Sahara Chronicle“ on trans-saharan mobility. Biemann's practice has long included discussions with academics and other practitioners, she has worked with anthropologists, cultural theorists, NGO members, architects, as well as scholars of sonic culture. Her video essays reach a wide and diverse audience through festival screenings, art exhibitions, activist conferences, networks and educational settings.
http://www.geobodies.org/
"Passing Drama", by Angela Melitopoulos
"Passing Drama", by Angela Melitopoulos, 1999,
Experimental documentary on refugee history of refugees from Asia Minor (1923) who fled to Greece and became work slaves in Hitler's Germany in WWII. The film translates the sound-picture of my family's migration history that was passed by voice from one generation to the next
http://video.google.de/videoplay?docid=5023106219120789424&hl=de
http://www.youtube.com/watch?v=1pAqy4U0xjg
Short text
Passing Drama a videoessay directed by Angela Melitopoulos 66 min, PAL, Digibeta, 1999, (German and Greek language, subtitled in English) contact: nc-melitoan@netcologne.de
„PassingDrama“ is based on different recollections told by refugees. This videoessay is the woven sound picture of the migration of Angela Melitopoulos’family. Drama is the name of a small city in Northern Greece. The city is inhabited by refugees who are survivors of deportations from Asia Minor to Greece in 1923. In World War II their children escaped the Bulgarian occupation and became workeslave in Hitler’s Germany. Interviews with those refugees connected to Melitopoulos father’s recite of his departure from Greece to Vienna are tracing a diagonal path through Europe crossing four different national states. The homeland of these refugees was changing continuously. Their storytelling relates to the local condition of integration. To choose recites from people who have experienced an exodus nearly forgotten in European history meant to consider ways of making the process of forgetting a part in the process of notation (montage). Telling a story, which has been transmitted, retold, re-memorised from one generation to the next meant to make a film on the subject of refugee narration itself. Fragments of recorded interviews formed the voice level in that the story appears as a texture made out of different densities of concret or superfluous „thought-flows“. In their narration the refugees connected their own words with generated word-constructions of others. The recalled words of others intensified through the melody of their voices.
Award of the German Filmcritics for experimental video 2000 Award of the Council of Europe, VideoArt Festival Locarno Award of Internationale Mediafestival Medi@terra Athens
http://www.videophilosophy.de/
http://eipcp.net/transversal/0107/melitopoulos/en/#_ftn3
http://www.eipcp.net/bio/melitopoulos
http://www.videophilosophy.de/tc-geographies.net/workshops/istambul_03.html
http://www.projektmigration.de/
http://www.transitmigration.org/
http://dictionaryofwar.org/en-dict/v2v/Timescapes_Angela_Melitopolous
http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1201/rcfr13b.htm
http://www.republicart.net/disc/representations/melitopoulos01_en.pdf
http://www.16beavergroup.org/mtarchive/archives/001760.php
http://freebitflows.t0.or.at/f/participants/angelamelitopoulos
http://www.fdk-berlin.de/en/arsenal-experimental/news-display/article/486/273.html?cHash=12ba233e05
Full Play is a Multimedia Installation performance that took place at the Villette Numerique, which means “Digital Village” at the Parc de la Villette located in Paris, France on September 24th thru September 29th, 2002. http://actioncamfilms.com/fullplay/fullplay.htm
Experimental documentary on refugee history of refugees from Asia Minor (1923) who fled to Greece and became work slaves in Hitler's Germany in WWII. The film translates the sound-picture of my family's migration history that was passed by voice from one generation to the next
http://video.google.de/videoplay?docid=5023106219120789424&hl=de
http://www.youtube.com/watch?v=1pAqy4U0xjg
Short text
Passing Drama a videoessay directed by Angela Melitopoulos 66 min, PAL, Digibeta, 1999, (German and Greek language, subtitled in English) contact: nc-melitoan@netcologne.de
„PassingDrama“ is based on different recollections told by refugees. This videoessay is the woven sound picture of the migration of Angela Melitopoulos’family. Drama is the name of a small city in Northern Greece. The city is inhabited by refugees who are survivors of deportations from Asia Minor to Greece in 1923. In World War II their children escaped the Bulgarian occupation and became workeslave in Hitler’s Germany. Interviews with those refugees connected to Melitopoulos father’s recite of his departure from Greece to Vienna are tracing a diagonal path through Europe crossing four different national states. The homeland of these refugees was changing continuously. Their storytelling relates to the local condition of integration. To choose recites from people who have experienced an exodus nearly forgotten in European history meant to consider ways of making the process of forgetting a part in the process of notation (montage). Telling a story, which has been transmitted, retold, re-memorised from one generation to the next meant to make a film on the subject of refugee narration itself. Fragments of recorded interviews formed the voice level in that the story appears as a texture made out of different densities of concret or superfluous „thought-flows“. In their narration the refugees connected their own words with generated word-constructions of others. The recalled words of others intensified through the melody of their voices.
Award of the German Filmcritics for experimental video 2000 Award of the Council of Europe, VideoArt Festival Locarno Award of Internationale Mediafestival Medi@terra Athens
http://www.videophilosophy.de/
http://eipcp.net/transversal/0107/melitopoulos/en/#_ftn3
http://www.eipcp.net/bio/melitopoulos
http://www.videophilosophy.de/tc-geographies.net/workshops/istambul_03.html
http://www.projektmigration.de/
http://www.transitmigration.org/
http://dictionaryofwar.org/en-dict/v2v/Timescapes_Angela_Melitopolous
http://www.latrobe.edu.au/screeningthepast/firstrelease/fr1201/rcfr13b.htm
http://www.republicart.net/disc/representations/melitopoulos01_en.pdf
http://www.16beavergroup.org/mtarchive/archives/001760.php
http://freebitflows.t0.or.at/f/participants/angelamelitopoulos
http://www.fdk-berlin.de/en/arsenal-experimental/news-display/article/486/273.html?cHash=12ba233e05
Full Play is a Multimedia Installation performance that took place at the Villette Numerique, which means “Digital Village” at the Parc de la Villette located in Paris, France on September 24th thru September 29th, 2002. http://actioncamfilms.com/fullplay/fullplay.htm
Monday, March 24, 2008
Est-ethics of Counter-Documentary
by joanne richardson
DOCUMENTARY. DOCUMENT. EVIDENCE, EXAMPLE, PROOF, LESSON, FROM DOCERE, TO TEACH. Documentary film production has wavered between the contradictory illuminations of its etymological shadow. As an extension of photography, documentary is, if we can believe Roland Barthes, "indifferent to all intermediaries"–mimesis accomplished. Documentary codes have been developed to create an irresistible sense of immediacy, objectivity, and authenticity: synchronized sound, long takes with hand held cameras, wide angles, unobtrusive editing, standardized 24-frame speed, use of newsreel footage, oral witness testimonials, the disembodied talking heads of those in a position to know, the centralization of perspective. Such technologies of truth, once invented, become naturalized. In the documentary’s attempt to capture the movement of the real, the mediating activity of the... [more]
Joanne Richardson
Born in Bucharest, grew up in New York, currently living between Cluj, Romania and Berlin. Founder of D Media (http://www.dmedia.ro) in Romania, an NGO for the production and dissemination of art and digital culture. Editor of Subsol webzine (http://subsol.c3.hu), and author of essays on social movements, postcommunism, immaterial labor, copyleft, tactical media, the history of the avant-gardes, and experimental film & video in Eastern Europe. Recent videos on nationalism, delocalization, migration, activism, precarity and borders.
DOCUMENTARY. DOCUMENT. EVIDENCE, EXAMPLE, PROOF, LESSON, FROM DOCERE, TO TEACH. Documentary film production has wavered between the contradictory illuminations of its etymological shadow. As an extension of photography, documentary is, if we can believe Roland Barthes, "indifferent to all intermediaries"–mimesis accomplished. Documentary codes have been developed to create an irresistible sense of immediacy, objectivity, and authenticity: synchronized sound, long takes with hand held cameras, wide angles, unobtrusive editing, standardized 24-frame speed, use of newsreel footage, oral witness testimonials, the disembodied talking heads of those in a position to know, the centralization of perspective. Such technologies of truth, once invented, become naturalized. In the documentary’s attempt to capture the movement of the real, the mediating activity of the... [more]
Joanne Richardson
Born in Bucharest, grew up in New York, currently living between Cluj, Romania and Berlin. Founder of D Media (http://www.dmedia.ro) in Romania, an NGO for the production and dissemination of art and digital culture. Editor of Subsol webzine (http://subsol.c3.hu), and author of essays on social movements, postcommunism, immaterial labor, copyleft, tactical media, the history of the avant-gardes, and experimental film & video in Eastern Europe. Recent videos on nationalism, delocalization, migration, activism, precarity and borders.
Thursday, March 20, 2008
Burning Capital
Subject: PLATFORM launches Burning Capital, short films on the climate crisis
Date: Sun, 24 Feb 2008 11:06:56 +0000
From: Benjamin
To: info@platformlondon.org
References: <33cc609c0802231015h4ad18649u1b3065ccfe5d633a@mail.gmail.com>
Dear Carbon Web subscriber,
We thought that you would be interested to hear about Burning
Capital, new within PLATFORM's Carbon Web project... This week
PLATFORM launched a series of short films on its website:
http://www.platformlondon.org/burning
You may have seen the issues explored in the Thursday's Guardian:
http://www.guardian.co.uk/business/2008/feb/21/bp.oil
We hope that you find the films useful - do let us know, it would be
great to have further dialog and any feedback on this new section of
our website.
Please send the attached e-flyer to anyone who might be interested.
best wishes,
Benjamin Diss - PLATFORM
----------------
Burning Capital
----------------
Burning Capital, a compelling series of short films explores the role
of Britain's largest corporation in the growing climate crisis.
From the creators of And While London Burns - a soundtrack for the era
of climate change, Burning Capital is a video voyage through the world
of oil giant BP.
BP delivered 1.3 billion tonnes of carbon dioxide to the atmosphere
last year. Burning Capital asks - what will become of this giant in a
world where scientists, politicians and public opinion demand urgent
action to avert climate crisis.
Watch the films now at:
http://www.platformlondon.org/burning
------------
What is it?
------------
The 45 minute documentary film is split into short downloadable
sections with interactive data panels that give you further
information on the background: details of oil and gas fields,
pipelines and refineries coming on stream this year plus biographies
of 18 key decision makers in BP, and graphs of the company's oil and
gas production and CO2 emissions 1997-2006.
------------------------------
Apologies:
PLATFORM's carbonweb website is currently experiencing technical
problems, it will be fully operation again within the next few days,
meanwhile you can access all content via PLATFORM's main website at:
http://www.platformlondon.org
------------------------------
Carbon Web Newsletter,
PLATFORM,
7 Horselydown Lane,
Tower Bridge,
Bermondsey,
London,
England,
SE1 2LN.
Tel: +44 (0)207 403 3738
info@platformlondon.org
www.platformlondon.org
www.remembersarowiwa.com
www.andwhilelondonburns.com - download your operatic audio walk
-------------------------------
Date: Sun, 24 Feb 2008 11:06:56 +0000
From: Benjamin
To: info@platformlondon.org
References: <33cc609c0802231015h4ad18649u1b3065ccfe5d633a@mail.gmail.com>
Dear Carbon Web subscriber,
We thought that you would be interested to hear about Burning
Capital, new within PLATFORM's Carbon Web project... This week
PLATFORM launched a series of short films on its website:
http://www.platformlondon.org/burning
You may have seen the issues explored in the Thursday's Guardian:
http://www.guardian.co.uk/business/2008/feb/21/bp.oil
We hope that you find the films useful - do let us know, it would be
great to have further dialog and any feedback on this new section of
our website.
Please send the attached e-flyer to anyone who might be interested.
best wishes,
Benjamin Diss - PLATFORM
----------------
Burning Capital
----------------
Burning Capital, a compelling series of short films explores the role
of Britain's largest corporation in the growing climate crisis.
From the creators of And While London Burns - a soundtrack for the era
of climate change, Burning Capital is a video voyage through the world
of oil giant BP.
BP delivered 1.3 billion tonnes of carbon dioxide to the atmosphere
last year. Burning Capital asks - what will become of this giant in a
world where scientists, politicians and public opinion demand urgent
action to avert climate crisis.
Watch the films now at:
http://www.platformlondon.org/burning
------------
What is it?
------------
The 45 minute documentary film is split into short downloadable
sections with interactive data panels that give you further
information on the background: details of oil and gas fields,
pipelines and refineries coming on stream this year plus biographies
of 18 key decision makers in BP, and graphs of the company's oil and
gas production and CO2 emissions 1997-2006.
------------------------------
Apologies:
PLATFORM's carbonweb website is currently experiencing technical
problems, it will be fully operation again within the next few days,
meanwhile you can access all content via PLATFORM's main website at:
http://www.platformlondon.org
------------------------------
Carbon Web Newsletter,
PLATFORM,
7 Horselydown Lane,
Tower Bridge,
Bermondsey,
London,
England,
SE1 2LN.
Tel: +44 (0)207 403 3738
info@platformlondon.org
www.platformlondon.org
www.remembersarowiwa.com
www.andwhilelondonburns.com - download your operatic audio walk
-------------------------------
Wednesday, March 19, 2008
Faceless: Chasing the Data Shadow
"With an estimated 4.2 million CCTV cameras in place, [the UK's] inhabitants are the most watched in the world." Insights into the process of making 'Faceless', a sci-fi film utilising Data Protection requests from CCTV systems. Exposing first-hand experiences, the makers detail the many different types of replies they received to their subject access requests made under the Data Protection Act; explaining the general confusion of many data controllers, how so many CCTV systems are not functional and why the process of obtaining images became much more difficult from 2004...
text : http://www.variant.org.uk/31texts/31faceless.html
pdf :http://www.variant.org.uk/pdfs/issue31/313Faceless.pdf
text : http://www.variant.org.uk/31texts/31faceless.html
pdf :http://www.variant.org.uk/pdfs/issue31/313Faceless.pdf
Friday, February 1, 2008
VIEW FROM THE BRIDGE: STORIES FROM KOSOVO
View from the Bridge - the first documentary feature about post-war Kosovo. Sometimes hopeful, sometimes tragic, the struggle to make peace in Kosovo opens a profound window into the human cost of the politics of hate, and reminds us that the ultimate responsibility for peace lies within us all.
DIRECTORS INTERVIEW: JOHN EALER, LAURA BIALIS
Why has tribalism amongst the ethnic groups of the former Yugoslavia persisted with such force?
That's obviously a really tough question, with no easy answer. But when politicians keep drawing distinctions instead of looking for common ground, when people are focused on the past instead of looking to the future, and when the voices of the people in the center are drowned out by the screamers of extremism, you have the start of a recipe for this kind of cyclical violence. One of the things that we touch on the film is that history has been used as a weapon to divide people in Kosovo for hundreds of years. If Serbs and Albanians chose to look for their common heritage and build their common future and forget what happened 600 years ago, that would be a start in breaking the cycle.I think you also have to look at the history of the region, it's an area that's been conquered and re-conquered over and over. Spending so many centuries under the Ottoman Turks, I think the "tribal instinct" may have developed as a way to preserve the primacy of the local culture in the face of such a strong outside presence.
Have you shown the film in Kosovo?
Yes. We took an early cut of the film to Kosovo in January of 2007. We felt a responsibility to the people who had shared so much of their lives with us to let them see and comment on the film before we finished it. Over and over as we were filming, people commented that news crews came time and time again only to "film and go home." We wanted to film and come back, to share our film with the people and get their feedback.
The Weather Underground
In October 1969 hundreds of young people, clad in football helmets and wielding lead pipes, marched through an upscale Chicago shopping district, pummeling parked cars and smashing shop windows in their path.
This was the first demonstration of the Weather Underground's "Days of Rage." Outraged by the Vietnam War and racism in America, the organization waged a low-level war against the U.S. government through much of the 1970s, bombing the Capitol building, breaking Timothy Leary out of prison, and evading one of the largest FBI manhunts in history.
The Weather Underground is a feature-length documentary that explores the rise and fall of this radical movement, as former members speak candidly about the idealistic passion that drove them to "bring the war home" and the trajectory that placed them on the FBI's most wanted list. http://www.upstatefilms.org/weather/main.html
http://www.pbs.org/independentlens/weatherunderground/
This was the first demonstration of the Weather Underground's "Days of Rage." Outraged by the Vietnam War and racism in America, the organization waged a low-level war against the U.S. government through much of the 1970s, bombing the Capitol building, breaking Timothy Leary out of prison, and evading one of the largest FBI manhunts in history.
The Weather Underground is a feature-length documentary that explores the rise and fall of this radical movement, as former members speak candidly about the idealistic passion that drove them to "bring the war home" and the trajectory that placed them on the FBI's most wanted list. http://www.upstatefilms.org/weather/main.html
http://www.pbs.org/independentlens/weatherunderground/
Tuesday, January 29, 2008
Borderline by VideoActiv-Berlin
Borderline: Süd-Ost Europa / Borderline: South-East Europe
Eine knapp einstündige doku über grenzen, eu-osterweiterung, roma - aus der perspektive der menschen, denen wir auf unserer reise begegnet sind.
borderline, is a one-hour doco about borders, the EU's growth into the East, aswell as the Roma people - told from the perspective of the people, whom we have met on our journey.
2002, 55min, auch als engliche Version (Bestellung in Doitschland)(8€ + Porto 2,50€) :: ONLINE BESTELLUNG BALD VERFÜGBAR 2004, 60 min, english/german (International Orders) (8€ + postage 4,50€) :: ONLINE ORDER AVAILABLE SOON
http://www.videoaktiv-berlin.org/borderline.htm
Eine knapp einstündige doku über grenzen, eu-osterweiterung, roma - aus der perspektive der menschen, denen wir auf unserer reise begegnet sind.
borderline, is a one-hour doco about borders, the EU's growth into the East, aswell as the Roma people - told from the perspective of the people, whom we have met on our journey.
2002, 55min, auch als engliche Version (Bestellung in Doitschland)(8€ + Porto 2,50€) :: ONLINE BESTELLUNG BALD VERFÜGBAR 2004, 60 min, english/german (International Orders) (8€ + postage 4,50€) :: ONLINE ORDER AVAILABLE SOON
http://www.videoaktiv-berlin.org/borderline.htm
Monday, January 28, 2008
12 of the best documentaries about Obsessive Hobbyists
The King of Kong: A Fistful of Quarters, about America's top Donkey Kong player, his challenger, and the vintage gaming subculture around them.
Wordplay Dir. Patrick Creadon, 2006
Spellbound Dir. Jeffrey Blitz, 2002
Scrabylon Dir. Scott M. Petersen, 2003
Darkon Dir. Andrew Neel, Luke Meyer, 2006
Über Goober Dir. Steve Metze, 2004
Air Guitar Nation Dir. Alexandra Lipsitz, 2006
Karaoke Fever Dir. Arthur Borman and Steve Danielson, 2001
Crazy Legs Conti: Zen and the Art of Competitive Eating Dir. Danielle Franco and Christopher Kenneally, 2004
Game Over: Kasparov and the Machine Dir. Vikram Jayanti, 2003
Tetris: From Russia with Love Dir. Magnus Temple, 2004
Wild Wheels Dir. Harrod Blank, 1992
Hands on a Hard Body Dir. S.R. Bindler, 1997
12 Fiction Features About Obsessive Hobbyists
Searching for Bobby Fischer Dir. Steve Zaillian, 1993
Dangerous Moves Dir. Richard Dembo, 1984
WarGames Dir. John Badham, 1983
The Go Masters Dir. Duan Ji-shun and Junya Sato, 1982
The Last Starfighter Dir. Nick Castle, Jr. 1984
The Wizard Dir. Todd Holland, 1989
Strictly Ballroom Dir. Baz Lurhmann, 1992
Billy Elliot Dir. Steven Daldry, 2000
Tommy Dir. Ken Russell, 1975
Best in Show Dir. Christopher Guest, 2000
Balls of Fury Dir. Ben Garant, 2007
Dodgeball: A True Underdog Story Dir. Rawson Marshall Thurber, 2004
Wordplay Dir. Patrick Creadon, 2006
Spellbound Dir. Jeffrey Blitz, 2002
Scrabylon Dir. Scott M. Petersen, 2003
Darkon Dir. Andrew Neel, Luke Meyer, 2006
Über Goober Dir. Steve Metze, 2004
Air Guitar Nation Dir. Alexandra Lipsitz, 2006
Karaoke Fever Dir. Arthur Borman and Steve Danielson, 2001
Crazy Legs Conti: Zen and the Art of Competitive Eating Dir. Danielle Franco and Christopher Kenneally, 2004
Game Over: Kasparov and the Machine Dir. Vikram Jayanti, 2003
Tetris: From Russia with Love Dir. Magnus Temple, 2004
Wild Wheels Dir. Harrod Blank, 1992
Hands on a Hard Body Dir. S.R. Bindler, 1997
12 Fiction Features About Obsessive Hobbyists
Searching for Bobby Fischer Dir. Steve Zaillian, 1993
Dangerous Moves Dir. Richard Dembo, 1984
WarGames Dir. John Badham, 1983
The Go Masters Dir. Duan Ji-shun and Junya Sato, 1982
The Last Starfighter Dir. Nick Castle, Jr. 1984
The Wizard Dir. Todd Holland, 1989
Strictly Ballroom Dir. Baz Lurhmann, 1992
Billy Elliot Dir. Steven Daldry, 2000
Tommy Dir. Ken Russell, 1975
Best in Show Dir. Christopher Guest, 2000
Balls of Fury Dir. Ben Garant, 2007
Dodgeball: A True Underdog Story Dir. Rawson Marshall Thurber, 2004
Sunday, January 27, 2008
Dictionary of war
Dictionary of war is a collaborative platform for creating concepts on the issue of war, to be invented, arranged and presented by scientists, artists, theorists and activists at public, two-day events. The aim is to create key concepts that either play a significant role in current discussions of war, have so far been neglected, or have yet to be created. The first 100 concepts have been produced in four editions in Frankfurt, Munich, Graz and Berlin over the past two years. All video-recordings, manuscripts, related material are available on this website.
http://dictionaryofwar.org/
http://v2v.cc/
http://dictionaryofwar.org/
http://v2v.cc/
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