Monsanto corporation seems to be stopping at nothing: Controlling corn, wheat, soy beans, canola, mustard, okra, bringe oil, rice, cauliflower… Once they have established the norm, they aim to claim all these seeds as their intellectual property, royalties will be collected and enforced by patent law. If Monsanto controls seed, they control food and they know it. It’s strategic. It can be more devastating than bombs, it can be more powerful than guns. This is their way to control the populations of the world, and as The World According to Monsanto reveals, it’s governments in the cross-hairs also.
From its extraction through sale, use and disposal, all the stuff in our lives affects communities at home and abroad, yet most of this is hidden from view. This is by design. The Story of Stuff serves as an introduction to the underside of the current world of mass production and consumption, exposing the connections between a huge number of environmental and social issues — shedding the light on the hidden processes behind our modern world. How can we create a more sustainable and just economy?
Militainment Inc. examines how news coverage of war in the United States has come to resemble Hollywood film, video games, and reality television in its portrayal of war as entertainment. Using a range of media examples—from news anchors’ idolatry of military machinery to the impact of government propaganda on war reporting—Militainment Inc. asks: How has war taken its place as a spectacle of entertainment? And how does presenting war as entertainment affect the ability of the population to evaluate the real human costs of this culture’s military-industrial-complex?
What stories do contemporary music videos tell about girls, women, boys, men, sexuality and gender? What are the cultural values portrayed? And from whose perspective? Dreamworlds encourages viewers to consider how these narratives shape individual and cultural attitudes about sexuality. Illustrated with hundreds of examples, the film accounts both the continuing influence of music videos and how popular culture generally filters the identities of young men and women through a narrow and dangerous set of myths about sexuality and gender; asking viewers to re-look at the images that have been normalised and meanings taken for granted throughout popular culture…
Most people who know that the mainstream media manipulates stories, manufactures illusions, and exploits fears can realise that the reason is more than just bias or sloppy reporting. Behind The Big News shows the ideological agenda that originates outside the media that defines today’s headlines, using examines of some of the biggest news stories in recent decades to illustrate how this agenda is rigorously promoted and protected.
Confessions of an Economic Hit Man is a presentation by John Perkins, based on the book by the same name published by him in 2004. Perkins describes the role: “Economic hit men are highly-paid professionals who cheat countries around the globe out of trillions of dollars. They funnel money from the World Bank, the US Agency for International Development (USAID), and other foreign “aid” organisations into the coffers of huge corporations and the pockets of a few wealthy families who control the planet’s natural resources. Their tools included fraudulent financial reports, rigged elections, pay-offs, extortion, sex, and murder. They play a game as old as empire, but one that has taken on new and terrifying dimensions during this time of globalisation.”
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.
To the movie-going public, Michael Moore is known as a corporate big-wig buster and perhaps the mainstream media’s most vocal opponent of the Republican Party. But what happens when the hunter becomes the hunted? In this film, Canadian creators Debbie Melnyk and Rick Caine find out first hand. While originally intending to create a biography of Moore stemming from their own great admiration for his work, the creators find that they have become disenchanted with many of Michael Moore’s ‘tactics’ and the story takes an interesting twist…
Jesus Camp follows several young children as they prepare to attend an event called ‘Kids on Fire,’ a Christian summer camp run by Becky Fischer. Through interviews with Fisher, the children, and others, Jesus Camp illustrates the unswerving belief of the faithful—a housewife and home-schooling mother tells her son that creationism has all the answers; footage from inside the camp shows young children weeping and wailing as they promise to stop their sinning; child after child is driven to tears. These scenes are contrasted with clips from another Christian radio host who is appalled by such happenings. Are these children being brainwashed?
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.
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 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?
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.
Two film students set out to explore the psychological and manipulative powers of consumerism by creating an extensive and pervasive advertising campaign for a fake hypermarket. The ads appear on radio, television, billboards; there is a promotional song, an internet site, ads in newspapers, magazines, and flyers with photos of fake Czech Dream products are distributed. Will people believe it and show up for the grand opening?
Benny Hinn may be the most popular personality in the Christian world today. Thousands pack arenas to see him ‘heal’ the sick and the afflicted. Tens of thousands more watch his daily television program. Millions of dollars are donated every year to his ministry, none of which he says goes to him personally. But, what about those miracles? And where does all that money go?
The Secret History of the Credit Card uncovers the deceptive techniques and tactics used by banks and financial corporations to get citizens to take on ever more debt, while earning record profits. Penalty fees, defaulting, changing contracts, increasing rates retrospectively—these are some of the ways credit card companies gouge their users, and increase influence. The film shows how such profitability of credit cards began in the 1980s, when the banking industry successfully eliminated the limit on the interest rate a lender can charge a borrower. This deregulation, coupled with real-time tracking of personal financial information, facilitated the widening availability of credit cards. Despite a growing number of consumer complaints, the ability of state and local governments to investigate the credit card companies has virtually been eliminated, due to companies incessant lobbying and litigation that has created a jurisdictional “turf battle.”
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…
Crazy Rulers of the World is a series that investigates what happens when chiefs of the United States intelligence agencies and the army began believing in very strange things. With first-hand access to the leading characters in the story, filmmaker Jon Ronson examines the extraordinary and bizarre national secrets at the core of the war on terror.
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…
In the age of the brand, logos are everywhere. But why do some of the world’s best-known brands find themselves at the end of spray paint cans and the targets of anti-corporate campaigns? No Logo, based on the best-selling book by Canadian journalist and activist Naomi Klein, reveals the reasons behind the backlash against the increasing economic and cultural reach of multinational companies. Analysing how brands like Nike, The Gap, and Tommy Hilfiger became revered symbols worldwide, Klein argues that globalisation is a process whereby corporations discovered that profits lay not in making products (outsourced to low-wage workers in developing countries), but in creating branded identities people adopt in their lifestyles. Using hundreds of media examples, No Logo shows how the commercial takeover of public space, the restriction of ‘choice’, and replacement of real jobs with temporary work — the dynamics of corporate globalisation — impact everyone, everywhere…
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…
Could a media system, controlled by a few global corporations with the ability to overwhelm all competing voices, be able to turn lies into truth? This documentary examines the relationship between the media, corporations, and government. In a country where the top 1% control 90% of the wealth, the film argues that the media system is nothing but a subsidiary of the corporate world. Have we entered an Orwellian world of doublespeak where outright lies can pass for the truth?
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?
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.
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.
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 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…
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…
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.
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.