Centred around the concept of open computer networks that contradictorily end up running closed corporate-controlled communication portals like Facebook and Twitter, Free The Network follows two young men who camp out at Zuccotti Park building wireless access points to connect their devices as part of the ‘Occupy movement.’ Through interviews along the way, Free The Network examines the current state of the Internet in the midst of the protest, and shows how the myth of the ‘democratisation of technology,’ along with the widespread emergence of clicktivism, is a flawed framework for driving social and political change…

There are billions of people increasingly glued to ‘smartphones’ and consumed by the seemingly endless spectacle of ‘social media.’ But why? Reporter Hilary Andersson seeks to answer this question by tracking down insiders who reveal how social-media companies have deliberately developed habit-forming technology to get people addicted. Former Facebook manager, Sandy Parakilas, tells us the “goal is to addict you and then sell your time.” Likewise, Leah Pearlman, the co-creator of the renowned ‘Like’ button, warns of the dangers of social-media addiction. Through these voices, and many others, Andersson shows how behavioural science is profoundly used by tech companies to keep people endlessly checking their phones, to the end of huge profits.

Almost 50 million tonnes of electronic waste is generated worldwide, every year. A large volume of it is shipped off to Ghana, in West Africa, as “second-hand goods” where electronics are not seen for what they once where, but rather for what they’ve become. Without dialogue or narration, e-Wasteland presents a visual portrait of vast landscapes polluted by electronic waste, shining a light on the endless consumerism of the 1st world; and the real, pervasive, ecological impact of electronic waste worldwide.

Neuroscientist Professor Susan Greenfield says today’s developing brain is being worryingly reshaped by excessive visual stimulation — the effect of a culture driven by screens. Biotechnology, nanotechnology, even the internet are all impacting on our brains and could be heralding future generations with different abilities, agendas and even ways of thinking. Her prediction is that we might be standing on the brink of a cataclysmic mind-makeover never before seen…

Who Pays the Price — The Human Cost of Electronics is a short film that seeks to humanise the largely hidden and anonymous global labour force that enables the ubiquitous technoculture, documenting the harsh conditions in which electronics are made and how this really impacts those people’s lives, and the environment. Toxic chemicals, plastics, and sweat-shop working conditions all contribute to the global machine that disseminates digital technologies, hidden in plain sight. Through direct footage of factory workers, interviews with them and analysis of the conditions, Who Pays the Price asks the question of the viewer, and as a call to action to stop the exploitation and toxification of people and the natural world.

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…

The Truth About Killer Robots considers several cases where humans have been killed from interactions with automatic machines. From the Volkswagen factory in Germany, to workers in Chinese sweatshops assembling smartphones, to a bomb-carrying police droid in the United States, the film exposes this culture’s fundamental fascination with machines, while illustrating the insatiable expansion of capitalism via automation and machine redundancy. Also explored are ‘self-driving’ cars; surveillance devices; humanless-stores, automated pizzas, robotic supermarkets and hotels; so-called ‘sex’ robots; and vast data gathering machines such as Facebook, which have subverted notions of real human interaction and intimacy. Told through the machine lens of engineers themselves, journalists and philosophers, the film attempts to go beyond the deaths of humans to reveal some of the ways that robots affect this culture in general. Not just by the displacement of labour, but fundamentally as humans of this culture adjust their lives to the rhythms of more and more machines, basic human faculties atrophy, and true connection to the real world and each other becomes more remote and strenuous, at precisely the same time where we need each other the most.

Every day, escalating technologies are being used to monitor all of us as populations with unprecedented scrutiny—from driving habits to workplace surveillance, as shoppers, as consumers, as citizens. We are all increasingly being observed and analysed. Internet searches are monitored and used as evidence in court, the police track our movements on the road, governments collect our DNA, fingerprints and iris scans, corporations assemble huge databases for profiling and selling data, while governments collude with such lucrative businesses—for example, Acxiom, Lexis Nexis and ChoicePoint—to gain access to vast volumes of information about people and the machinations of modern society. What will it take for us to stop this system before it boils over into a full-blown technocratic authoritarian regime?

Instafame is an exploration of a teenager’s relationship with the concepts of success and fame through the lens of the screen, exemplified by the popular photo-sharing website ‘Instagram.’ The short film speaks volumes about this specific aspect of screen culture in that the notions of celebrity are self-reinforced in the closed-loop of the ‘social networking’ environment which is itself a purpose-built, commercially-mediated experience. So what happens to the notions of identity, friendship, personality and so on; in this space, and in the wider culture?

Transhumanists claim a beautiful and apparently now-not-so-distant utopian future made possible by artificial intelligence, life extension and cybernetic technologies. But upon examining the convergence of these technologies and the history behind them, Age Of Transitions details how this movement of “transcending human limits” was born out of pseudo-science eugenics, and what the implications are for a world divided by the have’s and have-not’s.

Steve Jobs: The Man in the Machine is not just another celebratory biographical film about the life of a business man that many around the world grieved in 2011. It’s a full rounded critical examination into the fundamentals of a person revered as an iconoclast, a barbed-tongued tyrant, a business sociopath. The real Steve Jobs is revealed like this through candid interviews from those who had close relationships with him at different stages of his life, including the mother of his child, Lisa, that Jobs refused he had, but named a computer after instead. The film also takes us through the evocative essence of the brand of Apple Computers which has captured the population like zombies, and asks the question: What is the legacy of this industry, and the truth of this kind of person that the culture celebrates so much, completely ignoring the darkness?

The latest in the string of controversies as part of the United States’ ongoing “war on terror”, is the military’s growing reliance on “Unmanned Aerial Vehicles” otherwise known as ‘drones’, evidenced by the international reaction to recent drone missile attacks along the border in Pakistan. The military is also deploying other technological advancements alongside, such as robots in the battlefield and drones that work in swarms. Is this just a big computer game? A new tech-driven arms race? It doesn’t end there though — drones are now creeping into use by police and the intelligence services as a surveillance tool, and even into commercial and civilian use…

Tracing the Internet’s history as a publicly-funded government project in the 1960s, to its full-scale commercialisation today, Digital Disconnect shows how the Internet’s so-called “democratising potential” has been radically compromised by the logic of capitalism, and the unaccountable power of a handful of telecom and tech monopolies. Based on the acclaimed book by media scholar Robert McChesney, the film examines the ongoing attack on the concept of net neutrality by telecom monopolies such as Comcast and Verizon, explores how internet giants like Facebook and Google have amassed huge profits by surreptitiously collecting our personal data and selling it to advertisers, and shows how these monopolies have routinely colluded with the national security state to advance covert mass surveillance programs. We also see how the rise of social media as a leading information source is working to isolate people into ideological information bubbles and elevate propaganda at the expense of real journalism. But while most debates about the Internet focus on issues like the personal impact of Internet-addiction or the rampant data-mining practices of companies like Facebook, Digital Disconnect digs deeper to show how capitalism itself turns the Internet against democracy. The result is an indispensable resource for helping viewers make sense of a technological revolution that has radically transformed virtually aspect of human communication.

Nanotechnology has the potential to create many new materials and devices with a vast range of applications — such as in medicine, electronics or energy production for example. On the other hand, nanotechnology raises many of the same issues as with any introduction of new technology, including concerns about toxicity and the impact on the environment. The difference in this case being that nanomaterials are in use in products and industry right now and these concerns are seemingly going unaddressed…

This short film, put together by activists, documents the extreme proliferation of e-waste throughout Asia. The effects of the waste is catastrophic, as computers and electronics contain some of the most hazardous materials—cadmium, barium, plastics, mercury, lead, Brominated Flame Retardants and dioxins. Working at the nexus of human rights and environment, this film confronts the issues of environmental justice at a macro level, by provoking the need to stop this trade and address the issues. With over 80% of e-waste coming from the United States alone being exported throughout Asia, the problem is only to increase unless things change, especially in the age of planned obsolescence and consumer ‘upgrades.’

20 years on from the invention of the World Wide Web, The Virtual Revolution explores how the Internet is reshaping almost every aspect of our lives. But what is really going on behind this reshaping? The inventor of the Web, Tim Berners-Lee, believed his invention would remain an open frontier that nobody could own, and that it would take power from the few and give it to the many. So how do these utopian claims stand up to today?

The Hacker Wars explores the strange duality of the modern-day computer-hacker as a mischievous provocateur, but also in some cases, societal activists with underlying political fervour, serious or not. The film explores this by profiling some of the renowned characters that have tickled the secretive inner workings of corporations and government agencies for various reasons—ranging from the nefarious and narcissistic, to the political and scandalous. Some do it for the lulz, others do it to prove a point, and others do it to “speak truth to power.” In any event, many have faced severe punishments as a result. By following through this, The Hacker Wars touches on issues of whistleblowing, social justice, and power relations, in a time where computer technologies represent extreme power and control. But for whom? And what? This poses the question in deciphering the personalities of the hackers themselves. Are they serious activists with good intentions, or are they driven by insane ideologies?

For Your Eyes Only? reports on the existence of a secret government program that intercepts millions of e-mails each day in the name of ‘terrorist surveillance’. News about the program came to light when a former AT&T employee, Mark Klein, blew the whistle on a large-scale installation of secret Internet monitoring equipment deep inside AT&T’s San Francisco office. The equipment was installed at the request of the United States government to spy on all e-mail traffic across the entire Internet. Though the government and AT&T refuse to address the issue directly, Klein backs up his charges with internal company documents and personal photos…

Filmmaker Werner Boote travels across the globe to investigate the era of so-called Big Data, where huge amounts of detail about our lives are gleaned for use in decision making, automation, and consumerism, but ultimately, to generate huge profits for corporations that harvest and control our data. Everything’s Under Control investigates these modern times through many lenses: People who have studied surveillance culture, to democracy activists in Hong Kong; from educators, advertisers, and traders, to privacy advocates, and security experts; from digital IDs, fingerprinting, iris scans and online profiling, to hacking, data leaks, and invigorating recent historical memory of atrocities based on data and personal information. We hear distorted perspectives on privacy from many voices, challenging the viewer to reflect on what it means to live through the largest social experiment with data ever before conducted on a global scale.

September 11 has indelibly altered the world in ways that people are now starting to earnestly question: not only perpetual orange alerts, barricades and body frisks at the airport, but greater government scrutiny of people’s records and electronic surveillance of their communications. The US National Security Agency (NSA) has engaged in wiretapping and the sifting of Internet communications of millions of people worldwide, including their own…

e-Waste is a short film that investigates the grave effects that technological waste has on the environment in Ghana, and the impact it has on the lives of those who are forced to work with such hazardous materials in order to survive.

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.

At the time of making this film, the year 2000, computer games represented a $6 billion a year industry, and one out of every ten households in the United States owned a Sony Playstation—numbers that have no-doubt since skyrocketed. Back then, children played an average of ten hours per week—a stat also since to have increased today—and yet, despite capturing the attention of millions of these kids, video games remain one of the least scrutinized cultural industries. Game Over seeks to address this fastest growing segment of the media, through engaging questions of gender, race and violence. Game Over offers a much needed dialogue about the complex and controversial topic of video game violence, and is designed to encourage viewers to think critically about the games they play.