How does one sell a war? This was a question that weighed heavy on the minds of those in the United States government long before the invasion even started. Operation Saddam: America’s Propaganda Battle takes a look at the marketing of war -– a cocktail of distortion, lies and forgeries -– as shown by former secret service agent Ray McGovern, American investigative journalist Seymour Hersh and best-selling author John MacArthur, presenting the individual stages of the propaganda battle, by which American, British and other governments sought to justify the second invasion of Iraq…
While advertising is clearly a visible component of the corporate system, perhaps even more important and pervasive is the often-invisible partner—the public relations industry. Toxic Sludge Is Good For You illuminates this hidden sphere of the corporatocracy, examining the way in which the management of public discourse has become central to how society has been usurped and is controlled by political and economic elites. The film tracks the development of the PR industry from its early efforts to win popular support for World War I, to the role of crisis management in controlling damage to the corporate image, while analysing the tools PR people use to manipulate public perceptions.
If one steps back and looks at what freedom actually means in the West today, it’s a strange and limited kind of freedom. The United States and its empire self-describe fighting the Cold War for “individual freedom,” yet it is still something that the leaders of our so-called democracies continually promise to give us. Abroad, in Iraq and Afghanistan, the attempt to force “freedom” on to other people has led to more than just bloody mayhem, and this, in turn, has helped inspire terrorist attacks in Britain and elsewhere. In response, the government has dismantled long-standing laws that were designed to protect individual freedom and civil liberties.
The Daily Mirror used to be a peoples’ paper that respected its readers and earned trust and affection. But that changed out of all recognition when the British public were told that the new information technology, heralded by The Sun’s move to Wapping, would bring a greater variety of newspapers and a more diverse media. Instead, what happened was rapid moves toward contracted press controlled by ever fewer proprietors. John Pilger describes the downfall of his old paper and the all-pervasive influence of Rupert Murdoch…
Reel Bad Arabs: How Hollywood Vilifies a People analyses how the storytelling of the West has crafted and perpetuated a false stereotypical image of Arabs and Arab culture since the early days of American silent cinema, up to the present with the biggest Hollywood blockbusters. The film shows how the persistence of these stories over time has served to powerfully naturalise and perpetuate prejudice toward Arabs, Arab culture and the Middle East in general, and how this in turn also serves to reinforce the harmful narratives of dominant culture which dehumanise Arabs as a people and negate the visceral political acts carried out against them by the West for decades. By inspiring critical thinking about the social, political, and basic human consequences of leaving these caricatures unexamined, Reel Bad Arabs challenges viewers to recognise the urgent need for counter-narratives to do justice to the diversity and humanity of Arab people, to share the truth about the stories of their lives and their history.
Is the threat of radical Islamism as a massive, sinister organised force of destruction—specifically in the form of al-Qaeda—a myth perpetrated by politicians across the globe, but particularly the American neo-conservatives, in order to unite and justify empire? This series of films charts the rise of both groups and movements, drawing comparisons between them and their origins, to provide much-needed and missing context to the War of Terror.
Amy Goodman from Democracy Now! speaks about the mainstream media’s coverage of US interventions around the world and demonstrates the link between corporate media and government, and how this plays a major part in selling war at home and abroad…
Spin the Bottle critiques the role that popular culture plays in glamorising excessive drinking and high-risk behaviour, in contrast to the ways alcohol affects the lives of real young men and women in reality. This film decodes the power and influence of seductive media images to show how they shape personal identity when linked to the use of alcohol. Nowhere is this link more apparent than on America’s college campuses. By exploring the party scene, Spin the Bottle also shows the difficulties young people have in navigating a cultural environment saturated with messages about gender and alcohol. Interviews with health professionals provide a clear picture of how drinking impacts student health and academic performance, but it is the students’ own experiences and reflections that tell the real story behind alcohol’s alluring public and cultural image.
Rebel Without A Pause follows renowned linguist and activist, Noam Chomsky through discussions and talks on various world events such as the invasion of Iraq, the September 11th attacks and the War on Terror. Chomsky also weaves in accounts of media manipulation, social control, and discusses the workings of the politics of fear. The film combines footage from large forums to small interactive discussions on these topics, as well as reflections from others…
The belief that good triumphs over evil resonates deeply through the religious and political discourses of dominant culture. It is also a common theme in the entertainment media where the struggle between good and evil is frequently resolved through violence. The negative impacts of media violence on children has long been a public concern, but it is even more troubling when military violence, both in the news and in entertainment, is often glorified as heroic and noble. Beyond Good & Evil: Children, Media & Violent Times is a look at how mass communication distorts and manipulates language and visual imagery. It shows viewers how the media’s overriding objective of satisfying an audience converts real issues surrounding race, war, and violence into nothing more than spectacle.
Ammo for the Info Warrior is a two part series of collections of short films by the Guerrilla News Network (GNN), an independent news organisation with a mission to expose young people to important global news and information free from corporate filters. Each part consists of a selection of 5 to 10 minute videos covering a range of stories, from the violent diamond trade in Sierra Leone; to the PR industry’s manipulation of public opinion; to analysis of IBM and its role in the Holocaust; to CopWatch, a movement of people keeping police accountable; and short slam poetry clips about the business of hip-hop. Ammo for the Info Warrior experiments with format with the aim of being an innovative educational tool to tackle serious socio-political issues for a generation brought up on MTV. It can be a catalyst for discussion and debate, encouraging the viewer to develop skills in critical thinking and analysis.
The Disney Company’s massive success in the 20th century is based on creating an image of innocence, magic and fun for kids. Its animated films in particular are almost universally lauded as wholesome family entertainment, enjoying massive popularity among children and endorsement from parents and teachers around the world. This film takes a close look at Disney, to analyse the world these films create for kids and the stories they tell and propagate; contextualised by the cultural pedagogy of Disney’s conglomerate mass-media control and vast corporate power. Including interviews with social commentators, media scholars, child psychologists, kindergarten teachers, multicultural educators, college students and children, Mickey Mouse Monopoly provokes audiences to confront assumptions about an institution that is virtually synonymous with childhood pleasure.
Unprecedented looks at voting irregularities in the controversial presidential election in the United States from the year 2000. With a focus on the swing state of Florida, the recount, the ensuing supreme court decision in December, and future elections; the film also shows how fundamentally, many people—the majority being African-American—have outright been refused the ability to vote by a clever mix of legalese, electronic voting machines, political maneuvering and simple racism. A 1868 law prevented felons from voting—originally crafted to keep blacks from the polls in the wake of the Civil War—was resurrected in 2000, used to create a computerised list of people supposedly illegible to vote. The list had weird parameters and included as many as 57,000 to 91,000 non-felons; overwhelmingly targeting people of colour. On election day, these people were turned away at the polls. The role of electronic voting machines is also examined, as they are totally unaccountable and do not allow audits. The argument is made because of copyright over the software and trademarks. The machines also do not give paper receipts, so there is no physical evidence in case of the need for a recount. How does the United States—the so-called and self-proclaimed world-famous democracy—fair as one in light of this?
To many in both business and government, the triumph of the self is the ultimate expression of democracy, where power is truly moved into the hands of the people. Certainly the people may feel they are in charge, but are they really? The Century of the Self tells the untold and controversial story of the growth of the mass-consumer society. How is the all-consuming self created, by whom, and in whose interest?
Mainstream media regularly uses public opinion polls in the reporting of news and political analytics. But how do media outlets report polls and to what end? In this interview, author and academic Justin Lewis demonstrates the way in which polling data is used by the media to not just reflect what populations supposedly think, but instead to construct public opinion itself.
In the early 1940s, hundreds of thousands of people unknowingly became test subjects in toxins experiments and biological weapons tests conducted by the United States government. LSD tested on civilians, nerve gas sprayed into suburbs, hospital patients injected with plutonium, children exposed to biological and chemical agents just to see what would happen…the list goes on. And in most if not all cases, tests were carried out without the knowledge or consent of those involved. In 1996, evidence of these secret operations hit the news, uncovering a history of secret operations and covert projects that cast a large shadow over the operations of US military and intelligence agencies, to this day. Experiments with biological weapons and the testing of chemical warfare were only part of the story…
Produced twenty years ago, and even several years before the rise of Fox News, The Myth of the Liberal Media is possibly relevant now more than ever. The film dissects how news content gets shaped within a narrow and ultimately conservative institutional framework that marginalises other perspectives, filtering news events through a lens that serves power. Featuring scholarly analysis from Justin Lewis, Edward Herman and Noam Chomsky, The Myth of the Liberal Media asks: If you want to understand the way a system works, you look at its institutional structure. How it is organised, how it is controlled, how it is funded. The documentary examines the relationship advertising has in funding the media, and how this sets agendas, as well as exploring certain narratives that are propagated through a number of case studies that reveal how these mechanisms ultimately serve power instead of public interest.
Through exploring deep questions about the way mainstream media is organised and perpetuated in concert with technological development, media expert George Gerbner delivers a solid indictment of the way the so-called “information superhighway” is now being constructed. Following on from his solid work looking at the impacts of television on society, Gerbner turns to examining emerging technologies like V-chip and the way they interface with globalisation. This film urges the viewer to struggle for democratic principles in this emerging technoculture.
The Panama Deception documents the invasion of Panama in December 1989—codenamed Operation ‘Just Cause.’ The film gives context to the events which led to the invasion, and explores the real impact on the ground and devastating aftermath—all contrary to the views portrayed by mainstream media and rhetoric espoused at the time by government officials in the Bush administration. News footage and media critics reveal the extent of media control and self censorship of the invasion, relevant to any news coverage today, particularly during times of war.
Pandora’s Box — A fable from the age of science, is a six part series examining the consequences of political and technocratic rationalism, tying together communism in the Soviet Union, systems analysis and game theory during the Cold War, economy in the United Kingdom during the 1970s, the insecticide DDT, Kwame Nkrumah’s leadership in Ghana during the 1950s and 1960s and the history of nuclear power.
In 1966, Australia made an agreement with the United States that allowed the establishment of a secret military base satellite tracking station, just south of Alice Springs in the Northern Territory. The facility is called Pine Gap and for more than forty years it has operated in a shroud of secrecy and been the target of much controversy. Home on The Range attempts to contextualise these issues by highlighting the history of the base and its origins, as well as the stories of controversy. Some of these include the Khemlani Affair and the sacking of the Whitlam government in 1975, the Christopher Boyce spy trial, the role of the Central Intelligence Agency and its former agent Victor Marchetti, as well as documenting the post-war culture of government secrecy, sprawling intelligence agencies and foreign affairs and policy. But Home on the Range does more than gesture toward such CIA interventions. It marshals a persuasive array of evidence linking the imminent expiry of leases on United States military and intelligence bases in Australia in 1975, to the CIA and Whitlam’s sacking, posing direct questions about the nature of democracy in regions beholden to the United States.
Street Of Joy looks at how product marketing methods and advertising techniques are applied to politics by specifically following the campaigns around the election of Jimmy Carter in the United States during 1976. In these times, the techniques of today are seen in their early years, especially the use of carefully crafted images for use on television…