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.

Did you know that the legal system recognises a corporation as a person? What kind of ‘person’ is it then? What would happen if it sat down with a psychologist to discuss its behaviour and attitude towards society and the environment? Explored through specific examples, this film shows how and why the modern-day corporation has rapaciously pressed itself into the dominant institution of our time, posing big questions about what must be done if we want a equitable and sustainable world. What must we do when corporations are psychopaths?

McDonald’s loved using the UK libel laws to suppress criticism. Major media organisations like the BBC and The Guardian crumbled and apologised. But then they sued environmental activists Helen Steel and Dave Morris. In what then became the longest trial in English legal history, McLibel documents the two activists who represent themselves against McDonald’s £10 million legal team with the marathon battle finally concluding at the European Court of Human Rights. The result takes everyone by surprise — especially the British Government…

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?

Reporters Jesper Huor and Bosse Lindquist travel to key countries where parts of the Wikileaks website operate to investigate some of the very few public faces behind the global Wikileaks network. Featuring interviews with co-founder Jullian Assange, spokesperson Kristinn Hrafnsson and others, WikiRebels asks: where is Wikileaks heading? Is it stronger than ever or being broken by the US or even on the inside? And who is Assange? A champion of freedom, a spy or a rapist? What are his objectives? And what are the consequences?

Renowned independent journalist John Pilger speaks about complicity and compliance, censorship and citizen journalism as well as issues such as the holocaust in Iraq and Kevin Rudd’s shrewd political apology to the Indigenous peoples of Australia as Prime Minister. “These days, a one-dimensional political culture ensures that few writers write, or speak out, as they did in the last century. They are talented, yet safe. In the media, the more people watch, the less people know. Beneath the smokescreen of objectivity and impartiality, media establishments too often ventriloquise the official line, falling silent at the sight of unpleasant truths.”

Utopia is both an epic portrayal of the oldest continuous human culture on the planet—indigenous Australia—and an investigation into a suppressed colonial past and rapacious present. One of the world’s best kept secrets is revealed against the great Australian ‘mining boom,’ showing how the country’s racially divided past and current-day media collusion play their parts in a system that is apartheid in all but name. The film examines the exploitation of the Aboriginal population, both as a people and of the land they have lived on for centuries, and how so many institutions have profited while people continue to suffer. The injustice stretches across countless generations and stories. Utopia reveals this universal story of power and resistance, driven by old imperatives, in a media age of saturation which is profoundly silent and complicit; a call to continue resistance.

The discrepancies between the “War on Terror” and the facts on the ground in Afghanistan and Iraq are many. In 2001, as the bombs began to drop, George W. Bush promised Afghanistan, “the generosity of America and its allies.” Now, the familiar old warlords are retaining their power, religious fundamentalism is expanding its grip and military ‘skirmishes’ continue routinely. In “liberated” Afghanistan, America has its military base and pipeline access, while the people have the warlords who are, as one woman says in the film, “in many ways worse than the Taliban.”

In 1978, Australia was shocked by the explosion of a massive bomb placed in a rubbish bin outside the Sydney Hilton Hotel in NSW. The perpetrators were never found. However, evidence that the Australian security and intelligence forces may have been responsible resulted in the NSW State Parliament unanimously calling for an inquiry in 1991 and then again in 1995. The Federal Government vetoed any inquiry. No investigation was held. The government then set-up the Australian Federal Police and increased support for “anti-terrorist measures”…

By providing a striking comparison of U.S. and international media coverage of the crisis in the Middle East, Peace, Propaganda and The Promised Land zeros in on how structural distortions in U.S. media coverage have reinforced false perceptions of the Israeli-Palestinian conflict and how, through the use of language, framing and the context of the Israeli occupation of the West Bank and Gaza remains hidden in the news media…

Filmed over three years, Hacking Democracy documents a group of American citizens investigating anomalies and irregularities with the electronic voting systems used during the 2000 and 2004 US Presidential elections. The investigation revolves around the flawed integrity and security of the machines, particularly those made by the Diebold corporation. Could the elections have been rigged?

This documentary looks at the erosion of civil liberties and increase in government surveillance since 1997 in the UK with the advent of “New Labour” and Tony Blair. Modern politicians, regardless of left or right, always seem to promise hope and change, but what is delivered is more of the same. To illustrate this, the film tracks 6 key areas that have been rapidly dismantled in so-called democracies over the last few decades: Freedom of speech; the right to assemble and protest; the presumption of innocence; the right to privacy; detention without charge, the prohibition on torture…

John Pilger returns to the Occupied Territories of the West Bank and Gaza where, in 1974, he filmed a documentary with the same title — Palestine Is Still The Issue — a film about the same issues, a nation of people, the Palestinians, forced off their land and subjected to military occupation by Israel. Pilger hears extraordinary stories from Palestinians, though most of his interviews are with Israelis whose voices are seldom heard, including the remarkable witness of a man who lost his daughter in a suicide bombing. But for Palestinians, the overriding, routine terror, day after day, has been the ruthless control of almost every aspect of their lives, as if they live in an open prison. This film is about the Palestinians and a group of courageous Israelis united in the fight to be free…

The global growth of Rupert Murdoch’s media enterprise is cause for concern. The concentration of media ownership on a global scale in the hands of one man infringes on the freedom of the press by definition at the very least. But the real life example here is Fox News and it’s own claim of being “Fair and Balanced” — one only has to look at the coverage of the invasion of Iraq for example, or “commentators” such as Bill O’Reilly or Sean Hannity and the interactions they have with their “guests”; the vast political connections between Fox News, the Whitehouse and the Pentagon propaganda unit; the suppressed news stories, the censorship, the manipulation and control over the “news” by Murdoch and the president Roger Ailes themselves, not to mention the control over reporters, with former journalists alleging that Fox News asked them to lie and when they refused they were fired. Even lawsuits entailed from this with the court ruling that it is not against the law to lie on a news program…

In March 2003 thousands of Australian troops and others were sent to fight a ‘war’ as part of a pre-emptive strike on the sovereign nation of Iraq, a country from whom there was no threat. Two years on, in the wake of hundreds of thousands of Iraqi casualties, the Australian military reports its first casualty in the conflict while the American death toll stands at nearly two thousand. This being the a result of an invasion which has all but destroyed a foreign nation and seen millions made homeless, families destroyed, hundreds of thousands of deaths, leaving a legacy of destruction and religious division instilled in its wake. How did the Australian government come to play a part in this terror?

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.

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…

Why was the the electric vehicle made by General Motors destroyed in the late 1990s? Why did it receive only limited commercialisation despite being hugely popular? It was among the fastest, most efficient production cars ever built. It ran on electricity, produced no exhaust and catapulted American technology to the forefront of the automotive industry. The lucky few who drove it never wanted to give it up. So why did General Motors suddenly crush its fleet of EV-1 electric vehicles in the Arizona desert? Was it because of a lack of consumer confidence or conspiracy?

Control Room presents a rare window into the US invasion of Iraq from the perspective of Al Jazeera, the Arab world’s most popular news outlet. Widely criticized and condemned by military figureheads, government officials and the mainstream media in the west for reporting with a “pro-Iraqi bias”, airing civilian causalities, as well as showing footage of American POWs, Control Room reveals the situation in Iraq that the US government does not want you to see…

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.”

5th June 1989, Tiananmen Square, Beijing. After weeks of mass killing, oppression and violence by the Chinese government against it’s own people, the image of a lone man standing defiant with his shopping to a line of tanks still lives on…

To its backers, Woomera detention centre played a so-called “humane yet crucial role in housing the growing numbers of ‘boat people’ landing on Australia’s shores.” To its critics, this prison, as a heavily guarded cluster of buildings ringed by red desert and razor wire, represented the “dead-heart of asylum-seeker policy” and Australia’s lacklustre regard for human rights. Woomera opened for business less than four years ago. Built for 400 people, it soon housed more than 1,400. It became notorious for riots, protests and breakouts by desperate detainees. There were reports that mental illness and self-harm were rife and as the reports mounted, TV cameras captured the protests at the perimeter fence. Certain press warned of detainees’ declining health and morale. Yet when Woomera was quietly placed in mothballs last month, its full story remained to be told…

After Iraq invaded Kuwait in 1990, the United Nations (backed strongly by the US and UK) imposed harsh sanctions on Iraq that lasted for 10 years (1991-2001); the harsh restrictions on imports of everything, including access to key medicines, resulted in over a million deaths, more than half a million of which were women and children. That’s more deaths than the two atomic bombs dropped on Japan and the events of September 11 combined. The purpose was regime change, but it never came. The overwhelming majority of those killed were the poor, elderly, women and children. Empirically, sanctions overwhelmingly punish the poor, the destitute. While the sanctions were in place, the richest people in control of the resources (Saddam Hussein et al.) still had everything they wanted: food, cars, mansions, free access to medicines, etc…

In the wake of September 11, 2001, Sibel Edmonds is approached by the FBI. As an American of Iranian and Turkish origin, Edmonds’ linguistic skill-set makes her a valuable asset to the Language Services Unit, where she spends months translating high-security clearance documents. One day shortly after reporting the possible infiltration of her unit by Turkish spies to her supervisors and their supervisors, Edmonds’ world is turned upside-down. Instead of seeing her colleague become the target of an investigation, she is interrogated, then unceremoniously fired and warned not to pursue her claims any further as she would be watched and listened to. Kill The Messenger documents both Edmonds’ personal struggle to expose the criminality uncovered while at the FBI, and also the September 11 tied ‘secret’ itself—the network of nuclear black-market, narcotics and illegal arms trafficking activities.

This film comprehensively documents the use of chemical weapons—particularly the use of incendiary bombs—along with hordes of other horrific indiscriminate violence against civilians and children by the United States military in the city of Fallujah during the invasion of Iraq in November 2004. The cases portrayed involve the use of white phosphorus and other substances similar to napalm, such as Mark-77, which constitute clearly defined war crimes involving chemical weapons. Interviews with ex-military personnel involved in the Fallujah offensive back up the case for the use of such weapons by the United States, while reporters stationed in Iraq discuss the government’s attempts to suppress the news by covert means.

Project Censored explores the inner workings of mainstream media in the United States—a media which is often claimed as a free press in a democratic society. But is this really true? Instead what is revealed is a widespread and systemically entrenched culture of censorship and omission throughout the corporate media, as well as a gripping control over media content by centralised corporate control. Project Censored brings to light stories that have been deliberately suppressed, or at the very least obscured and ‘hollowed-out’ by entertainment values over real news content or discourse. Citing a range of examples and modern mainstream media techniques, Project Censored takes a critical view of this information arrangement that has huge implications for real democracy…

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…