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?
Using the analogy of a Panopticon, this film looks at how technology and the convergence of vast data stores together are fuelling one of the most comprehensive attacks on privacy ever before seen. How is modern society being defined by such rapid changes? Where are we heading? By travelling to Germany to show how such attacks have been the basis for past dictatorships, Panopticon asks: Even if you have nothing to hide, do you have nothing to fear? What does privacy mean for you? When precisely does the surveillance state begin? What is your threshold? With a focus on the Netherlands, Panopticon offers a comprehensive analysis challenging the current herd-mentality and apathy about privacy in the modern world.
Esc & Ctrl is an online series of short documentary films where journalist and filmmaker Jon Ronson explores some aspects of screen culture and the Internet. By exemplifying the concepts of control of information and the screen culture’s reactions to publishing, censorship, viral videos, media attention and manipulation; a small set of stories weave together to pose bigger questions around democracy and open communication in the age of the computers and a corporately mediated virtual world.
A Faraway Country is an examination of the Czech underground movement known as the Charter 77–an informal civic initiative in communist Czechoslovakia from 1976 to 1992, part of the Communist Soviet bloc. The film shows interviews with members of Charter 77, and others, describing first-hand the totalitarian communist regime, and their response to it.
In March 1971, eight ordinary citizens broke into an FBI office in Pennsylvania, took hundreds of secret documents out, and mailed them to newspapers across the country to share them with the public. The group, calling themselves The Citizens’ Commission to Investigate the FBI, undertook the actions at a time where suspicions about systemic abuse and manipulation of social and political movements by intelligence agencies were running high in the context of the Vietnam war and 1960s counter-culture. In doing so, these citizens uncovered the FBI’s vast and illegal regimes, leading to insights about mass surveillance, intimidation, entrapment, and the use of provocateurs and informers for manipulation, and sabotage. Much of this would later go on to be known as part of a covert program called COINTELPRO that was run directly by J. Edgar Hoover to destroy social change movements—a history that is imperative to understand in the context of today, where state repression of social change movements continues.
Using the 1992 presidential election as his springboard, film-maker Brian Springer captures the behind-the-scenes manoeuvrings of politicians and newscasters in the early 1990s. Pat Robertson banters about “homos,” Al Gore learns how to avoid abortion questions, George Bush talks to Larry King about halcyon and other drugs—all presuming they’re off-air. Composed of 100% unauthorised satellite footage, Spin is a surreal expose of media-constructed reality, posing larger questions about the functioning of not only corporate media, but the political systems in which they support and how this in-turn plays to the media-constructed reality and so on.
Ninety percent of American media is controlled by five big, for-profit-conglomerates, creating a media monopoly of informational and social control never before possible. The overwhelming collective power of these firms raises troubling questions about democracy. Using a handful of in-depth cases out of a vast array of examples, speaking with renowned journalists, activists, and others, Shadows of Liberty reveals the hidden machinations of the news media, drawing into focus the vast mechanisms of censorship, cover-ups, and corporate control that have been built up over many decades. Journalists are prevented from pursuing controversial news stories, people are censored for speaking out against abuses of government power, and individual lives are shattered as the arena for public expression has been turned into a vessel for advertising, warmongering and distraction. Will the Internet remain ‘free’, or succumb to the same control by the same handful of powerful, monopolistic corporations–as we see?
The Chicago Conspiracy reviews the legacy of the military dictatorship in Chile by sharing the story of combatant youth who were killed by the Pinochet regime as a backdrop to the history of the military dictatorship and current social conflict. The larger history is wrapped around three shorter pieces, which explore the student movement, the history of neighbourhoods that became centres of armed resistance against the dictatorship, and the story of the indigenous Mapuche…
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.
Denied a sense of nationalism since the second World War, Japanese society slowly re-established itself as a ‘corporate’ society in the eyes of the west, with hi-tech industry and mass manufacturing. Japan, Behind The Mask reports on the contrast between this popular image and the stereotypes of Japanese culture, revealing the reality of the lives of ordinary people who do not fit the image; the extraordinary part played by women; and the subtle, yet forceful way the Japanese establishment is today reclaiming its nationalism…
Facebook is an enormously powerful corporation, harnessing both the self-disclosed and gleaned personal data of almost 2 billion people. Its user-base is larger than the population of any country. The company is all pervasive online, tracking and profiling users and non-users alike. Cracking the Code looks at the insides of this giant machine and how Facebook turns your thoughts and behaviours into profits—whether you like it or not. And it’s not just a one-way transaction either. Cracking the Code also explains how Facebook uses vast troves of web data to manipulate the way you think and feel, as well as act—all in the sole interests of Facebook, masquerading as “community.” What are the social implications of this—when one company basically controls the insights and experiences of the entire online world, with extremely personalised and targeted social and behavioural engineering on a scale never before seen?
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.
InRealLife asks: What exactly is the Internet and what is it doing to our children? Taking us on a journey ranging from the bedrooms of British teenagers to the explosive world of Silicon Valley, filmmaker Beeban Kidron suggests that rather than the promise of free and open connectivity, young people are increasingly ensnared in a commercial world. And as this is explained, InRealLife asks if we can afford to stand by while our children, trapped in their 24/7 connectivity, are being outsourced to the web.
While corporations and governments continue to disseminate globalisation and the rapacious drive for consolidation of corporate power, people around the world are pushing back to reinstate local communities. Groups are coming together to rebuild human scale, local and ecological economies based on a new paradigm of localisation and sustainability. The Economics Of Happiness documents these shifts and shows how these communities have reclaimed their autonomy…
By examining the people and practices of the media and entertainment industries, The Fourth Estate illuminates not only specific incidences of corruption by press groups, but how the wider model of mainstream journalism itself as a for-profit entity has a huge amount to answer for in terms of democracy and the state of politics throughout the world. Filmed over two years throughout the UK on no budget, the filmmakers profile journalists, organisers and critics of industrial media practices, stemming from the Leveson Inquiry in 2011 which was set up to examine the culture, practices and ethics of the British press following the News International phone hacking scandals of the Murdoch media empire. While the phone hacking scandal illuminated the depth and breadth of the culture of British journalism, the media’s focus at the time quickly diverted from a brief period of self-examination, back to business as usual. This film instead continues the analysis by looking at the larger implications of a for-profit media model and its connections to ideology, entertainment, and hence the resulting political framework that’s in crisis.
Every day, billions of people are unwittingly taking part in what is the largest most comprehensive psychological experiment ever conducted. The old marketing and advertising world using billboards, advertisements and TV commercials to persuade us, has been comprehensively augmented by an entirely new field of “user experience architects” and “online persuasion agents.” These forces are given tremendous power from the proliferation of digital technologies. So how do these powerful forces ensure that we fill our online shopping carts to the brim, or stay on websites as long as possible? Or vote for a particular candidate? What Makes You Click examines how these prolific entities collectively and individually use, shape, and manipulate our experiences via an online world, not just when it comes to buying things, but also with regards to our free time and political perspectives. The manipulation has become so good that these powerful controllers, former Google employees among them, are themselves arguing for the introduction of an ethical code. What does it mean when the grand conductors of these huge experiments themselves are asking for their power, influence and possibilities to be restricted?
Focusing directly on the world of commercial images, Advertising and the End of The World asks some basic questions about the cultural messages emanating from advertising: Do these messages deliver what they claim—happiness and satisfaction? Can we think about our collective as well as our private interests? And, can we think long-term as well as short-term?
The Future Of Biometrics takes a look at current day technologies that interface with the human body for surveillance, identification, tracking and analysis. Using fingerprints, retina scans, gate analysis and other more intrinsic physical or behavioural traits, biometric technologies provoke a range of pertinent questions around social control, privacy and mass surveillance, especially that these technologies are in use, today…
In the early 2000s, two brothers garnered tremendous wealth when they started a company selling so-called “non-lethal” taser weapons, which quickly saturated police agencies and reinforced a culture of trigger-happy police officers. But instead of “saving lives” as was the catch-cry of the taser, and the company, the weapons were instead commonly used for pain compliance, and lead to a spurious string of deaths. The company didn’t back down. They insisted, despite mounting evidence to the contrary, that their weapon was safe and not at fault—not even a contributing factor—in the killings. Killing Them Safely delves into this troublesome mindset and that of the company, as well as the social implications of such weapons in a problematic police culture.
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…
Renowned political journalist and best-selling author Christopher Hitchens is pitted against fellow author, satirist and evangelical Christian Douglas Wilson, as they go on the road to exchange debate over the question: Is Christianity Good for the World? The two theologians argue, confide and even laugh together as they journey through three cities presenting the debate. This film documents the journey, bringing the sharp points together to provide a critical analysis of religion and its perpetuation.
The Milgram experiment on obedience to authority figures was a series of social psychology experiments conducted by psychologist Stanley Milgram in July 1961, three months after the start of the trial of German Nazi war criminal Adolf Eichmann. The experiment set out to measure the willingness of study participants to obey an authority figure who instructed them to perform acts conflicting with their personal conscience, in an attempt to answer the popular question at that time: “Could it be that Eichmann and his million accomplices in the Holocaust were just following orders?”
Enemy Image overviews the history of the portrayal of war in television news from the perspective of the United States. The film starts with the coverage of Vietnam where reports happened with little supervision, control or interference. Following this, The Pentagon takes action to control access by journalists to battle areas in subsequent invasions–such as the Invasion of Grenada, where journalists were excluded completely–to the first Gulf War, where ‘news packages’ were provided directly from the military; to the embedded churnalism of the invasion of Iraq. Shown is the progressive tightening of control by the US military on the contact journalists have with soldiers and civilians in the war zone, in order that “never again will television raise the moral and political questions that face a people during war.”
In Requiem for the American Dream, renowned intellectual figure Noam Chomsky deliberates on the defining characteristics of our time—the colossal concentration of wealth and power in the hands of the few and fewer, with the rise of a rapacious individualism and complete collapse of class consciousness. Chomsky does this by discussing some of the key principles that have brought this culture to the pinnacle of historically unprecedented inequality by tracing a half century of policies designed to favour the most wealthy at the expense of the majority, while also looking back on his own life of activism and political participation. The film serves to provide insights into how we got here, and culminates as a reminder that these problems are not inevitable. Once we remember those who came before and those who will come after, we see that we can, and should, fight back.
Cypherpunks is a movement originating from the 1980s aiming to improve Internet privacy and security through proactive use of cryptography. With WikiLeaks being a recent offshoot of the many projects derived from the Cypherpunk movement, WikiLeaks editor Julian Assange talks with three activists from the Cyberpunk world to cover the topics of mass surveillance and social control being tied directly into technology as modern society progressively intertwines with technological progress…
Do we live in a democratic society or something other than this? What does the reality of our social structure mean when consideration is given to the supremacy of property rights over human rights and freedoms? Canadian presenter Russell Porisky analyses this and explains the difference between a ‘person’ and a natural person, which enables the massive implications of this in a legal context…
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.
The Net explores the back-story of Ted Kaczynski (the infamous ‘Unabomber’) as a prism to the often unexamined side of the history of the Internet. The film combines travelogue and investigative journalism to trace contrasting counter-cultural responses to the so-called ‘cybernetic’ revolution of the 1970s. For some whom resist the pervasive systems of digital technology, the Unabomber can come to symbolise an ultimate figure of refusal. But for those that embrace the technologies, as did and do the champions of so-called ‘media art’, such as Marshall McLuhan, Nam June Paik and Stewart Brand, the promises of worldwide networking and instantaneous communication outweigh any and all of the concerns. The Net links these multiple nodes of cultural and political history, analogous to the Internet itself. Circling through themes of utopianism, anarchism, terrorism, the CIA, LSD, MKULTRA, Timothy Leary, Ken Kesey and the Merry Pranksters, The Net exposes the conspiracies and upheavals, secrets and cover-ups as part of the forgotten subversive history of the Internet.
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.
Television has colonised human storytelling–not only has creating and passing on culture been usurped by television and corporate media, today dominant culture is television and corporate media. The Electronic Storyteller outlines these changes and shows the cumulative impacts that television and mass media has on the way we think about ourselves and how we construct views of the world around us. With a focus on the stories of gender, class, and race, The Electronic Storyteller delivers an analytical framework to understand the pervasive forces behind what is at stake in the new world of saturated media and controlled imagery…
Manufacturing Consent — Noam Chomsky and the Media explores the political life and ideas of Noam Chomsky, the infamous American linguist and political activist. Drawing on specific examples such as the corporate media coverage of the Indonesian occupation of East Timor and the atrocities of the Khmer Rouge regime of Cambodia, Manufacturing Consent shows how the collusion of government and media running the powerful propaganda machines that manipulate the opinions of the masses, is manufacturing consent…
Social media networks purport the ability to interact with culture—talking directly to artists, celebrities, movies, brands, and even one another—in ways never before possible. But is this real empowerment? Or do marketing companies still hold the upper hand, as before? Generation Like explores how the perennial quest for identity and connection is usurped in the pervasive game of cat-and-mouse by vast corporate power in the extensive machine for consumerism that is now the online environment. The audience becomes the marketer; buzz is subtly controlled and manipulated by and from real-time behavioural insights; and the content generated is sold back to the audience in the name of participation. But does the audience even think they’re being used? Do they care? Or does the perceived chance to be the ‘next big star’ make it all worth it?
Film maker David Bond lives in one of the most intrusive surveillance states in the world — Britain. When David receives a letter stating that both he and his daughter are amongst the 25 million residents whose details have been lost by the government in a massive data breach, David sets out to investigate some potential impacts of such data being lost in a society of mass surveillance. Erasing David documents the test where David hires two private detectives to track him down as he chooses to ‘disappear’ for 30 days to see if he can avoid being caught amongst the vast data trails generated by modern society…
HyperNormalisation wades through the culmination of forces that have driven this culture into mass uncertainty, confusion, spectacle and simulation. Where events keep happening that seem crazy, inexplicable and out of control—from Donald Trump to Brexit, to the War in Syria, mass immigration, extreme disparity in wealth, and increasing bomb attacks in the West—this film shows a basis to not only why these chaotic events are happening, but also why we, as well as those in power, may not understand them. We have retreated into a simplified, and often completely fake version of the world. And because it is reflected all around us, ubiquitous, we accept it as normal. This epic narrative of how we got here spans over 40 years, with an extraordinary cast of characters—the Assad dynasty, Donald Trump, Henry Kissinger, Patti Smith, early performance artists in New York, President Putin, Japanese gangsters, suicide bombers, Colonel Gaddafi and the Internet. HyperNormalisation weaves these historical narratives back together to show how today’s fake and hollow world was created and is sustained. This shows that a new kind of resistance must be imagined and actioned, as well as an unprecedented reawakening in a time where it matters like never before.
Subconscious War is a video essay exploring the influences of media and the culture of violence on reality, and the cultivation of collective values in society. The film contrasts the writings of Aldous Huxley and Neil Postman’s grim assessments; relating the concepts of works such as ‘Brave New World’ and ‘Amusing Ourselves to Death’ to the current cultural influences that foster today–corporate media and indeed media saturation, video games, television, and a pervasive technoculture, for example. What is being created? And what sort of people are being cultivated by this culture? Who benefits?
All Watched Over By Machines Of Loving Grace is a series of films about how this culture itself has been colonised by the machines it has has built. The series explores and connects together some of the myriad ways in which the emergence of cybernetics—a mechanistic perspective of the natural world that particularly emerged in the 1970s along with emerging computer technologies—intersects with various historical events and visa-versa. The series variously details the interplay between the mechanistic perspective and the catastrophic consequences it has in the real world.
In Mediastan, an undercover team of journalists drive across central Asia interviewing editors of local media outlets to publish secret US diplomatic cables that were provided to WikiLeaks in 2010. Success is varied. And so, after regrouping with Julian Assange in England, questioning the editor of the Guardian, and obtaining candid footage of the New York Times editor and its publisher Arthur Sulzberger, Mediastan closes by leaving the viewer with an informative first-hand overview of the machinations of mainstream media. By venturing into the minds—and actions—of the people and institutions who shape the news, Mediastan shows the system for what it’s worth, and reveals its true motivations…