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?
Can’t Get You Out of My Head: An Emotional History of the Modern World is a six-part series that explores how modern society has arrived to the strange place it is today. The series traverses themes of love, power, money, corruption, the ghosts of empire, the history of China, opium and opioids, the strange roots of modern conspiracy theories, and the history of Artificial Intelligence and surveillance. The series deals with the rise of individualism and populism throughout history, and the failures of a wide range of resistance movements throughout time and various countries, pointing to how revolution has been subsumed in various ways by spectacle and culture, because of the way power has been forgotten or given away.
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.
We live in an absolutely saturated media environment of images that span ‘real’ and fake—whether it’s newspaper and tabloid photos, journalism itself, art and culture, or the human body. Images claim to be hardly distinguishable from the originals, while the virtual world is increasingly becoming ‘seamless’ in the real world. Kids today see a Clown Fish but instead impose their imagery of Finding Nemo. People interact with machines more than they do living beings. The narratives imposed by this technological and media culture are fast seeking to entirely replace the real world with a simulation of it. So what does that mean for the truth? The Industry of Fake explores the shifting boundaries and inequality in journalism and in art, as well as providing a basis to question this culture’s fascination with simulacra—a process of mimicry mediated by images that represents the real thing, but is not the real thing. What does it mean if we value our projections or stories about the thing as opposed to the thing in-and-of itself? What does this mean in the real world if we come to value our simulations or representations as more authentic things as opposed to copies or toxic mimics?
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.
Public Figure is a measured exploration of this culture’s obsession with social media, exemplified through the lives of several Instagram “influencers.” The film invites the viewer to question how much of what we see online is real or delusion, while slowly, the “influencers” themselves reveal the extent to which they’ve completely commodified their lives into enterprises, as giant advertising engines, while also touching on the personal impacts of screen culture addiction. These commentaries are contrasted by views from clinical psychologists and counsellors, whom also question the long term effects of social media culture. While some figures use their commodified lives to inspire, promote a cause, or market their business, all in all, each and every “influencer” is wittingly or unwittingly part of a multi-billion dollar advertising engine that spends more money on marketing than education in the United States. Instagram advertisers will spend $2.38 billion on “influencers” in 2019. Public Figure asks us to reflect on our personal social media use, while questioning how society perceives reality.
In the wake of the September 11th attacks, amongst the ravaging of war, the United States has been secretly deploying drones to carry out assassinations throughout the Middle East. The drones are increasingly piloted by the likes of young computer gamers groomed by screen culture and computer games of war, where in many cases, the Pentagon is directly involved in the creation of such games as recruitment tools, actively working to lure young people proficient with technology into the new era of the military-industrial-complex. Drone unravels this complex phenomenon while travelling to places such as Waziristan, where innocent civilians, including children and rescue workers are routinely secretly killed, where families and communities ravaged by the drone strikes search for understanding, accountability and adjustment to the daily horrors. The film also takes a look at the young people sitting behind the screens of the new war machines, half a world away, that actually pull the trigger, asking what kind of world is being built in the rise of seemingly endless and lucrative war driven by technological escalation.
Q: Into the Storm is a series that examines the far-right conspiracy theory QAnon that alleges there is a secret cabal of satan-worshipping, cannibalistic paedophiles running a global child sex-trafficking ring and plotting against former United States president Donald Trump. Spanning three years and traversing the globe, the series investigates the movement as it grows in scope and political significance, chronicling its evolution in real time, revealing how “Q” used information warfare to game the internet, hijack politics, and manipulate people’s thinking. Filmmaker Cullen Hoback gains unprecedented access to key players in the spectacle, including Jim and Ron Watkins, the father/son team behind the 8chan website that “Q” calls home, and explores their rivalry with Fredrick Brennan, the original creator of the website. The series profiles “Q-tubers,” Q debunkers, political operatives, and journalists who have been closely following the movement since it began in 2017, showing connections between QAnon, President Trump, and political and ex-military operatives, as well as other various right-wing movements associated with 8chan, including “Gamergate” and “Pizzagate” that contextualises QAnon’s influence on culture and politics in the United States.
Truth in Numbers? Everything, According to Wikipedia explores the cultural implications and background of one of the most visited and referenced sites on the Internet. What is the role and impact of Wikipedia in the archiving of information and the preservation of culture? What will it leave behind? This film examines the unfolding legacy by weaving multiple perspectives about the impact of Wikipedia and provoking a deeper conversation on how knowledge is formed and what future generations will learn about history and the world…
Filmed over 3 years, Complicit is an undercover investigation into the lives and conditions of workers that assemble iPhones, tablets, and other electronics in factories such as Foxconn in Shenzhen and Guangzhou, China. The film reveals the global economy’s factory floors, showing the conditions under which China’s youth have migrated by the millions in search of the espoused “better life” working for big corporations. But the reality is working long hours with toxic chemicals that cause many cumulative detrimental health conditions, including cancers. As such, a focal point of the story is Yi Yeting, who takes his fight against the global electronic industry from his hospital bed to the international stage. While battling his own work-induced leukemia, Yi Yeting teaches himself labour law in order to prepare a legal challenge against his former employers. As the struggle to defend the lives of millions of Chinese people from becoming terminally ill from work necessitates confrontation with some of the world’s largest corporations, including Apple and Samsung, Complicit turns to become a powerful portrait of courage and resistance against screens and rapacious corporate power in a toxic culture.
What do you get when you combine the culture of screens with the society of the spectacle, pervasive individualism with its rampant loneliness, in a media environment awash in a culture of pornography, instant gratification and self-interested sexual impetuousness? An insight into the question could be perhaps explained through The Secret World of Tinder. Tinder is an ‘app’ for ‘smartphones’ that displays profile pictures of people that are near the phone. When couples are matched, they can text each other. Many call it “the sex button” and the app indeed has a reputation in the world of online dating. This short TV documentary attempts to explore what it means in today’s culture mediated by technology, as seen through the Tinder app, providing insights into the way some people think and feel about sex and relationships in the age of the technocracy.
Behind the Curve documents the resurgence of believers of a flat Earth, as made popular through YouTube videos. The film is a personal exploration of how people became exposed to flat Earth theories (the YouTube algorithm), and how those ideas were reinforced in an echo chamber of social media, rejecting empirical evidence, at a time of increasing countercultural distrust in authority figures and the epistemology of science. The narrative at the core of the film reveals how the screen bubble can envelop a person’s informational exposure, and change their relationships and perceptions in the real world, where confirmation bias is reinforced, making alternative views threatening, and individualism sacrosanct. Information that is contrary to a deeply held belief then becomes increasingly impossible to accept, especially if it has changed your life and circle of friends. So with empathy and a playful warmth, Behind the Curve becomes a warning light to the importance of honest discourse and critical analysis, falsifiability and dogma, but above all, to empathy and understanding of a person’s desire to create meaning and acceptance in a lonely, fragmented culture.
How does the military train the solider of tomorrow? Video games. The most popular games are those that replicate as close as possible the war events as seen on the news. Such games now far outpace the biggest Hollywood blockbuster movies, popular music, and best-selling books, combined. What does this complete immersion in high-tech war mean for our political culture? As well as those directly affected by state violence? What does it mean when the technological sophistication of modern militarism become forms of mass entertainment? Returning Fire profiles three artists and activists that decided these questions needed to be answered. We see how Anne-Marie Schleiner, Wafaa Bilal, and Joseph Delappe moved dissent from the streets to the screens, infiltrating war games in an attempt to break their hypnotic spell. The results ask all of us—gamers and non-gamers alike—to think critically about what it means when drones and remote warfare become computer games and visa versa. Can we reflect on our capacity to empathise with people directly affected by the trauma of real war?
Mental illness and suicide have become the greatest threats to school-aged children. Many parents still view dangers to children and teens as primarily physical and external, but they’re missing the real danger: young people spending more time online and less time engaging in real life, free play, and autonomy. While older generations might have learned the value of being outside, household chores, and in-person playtime with friends, the youth of today have fallen prey to smartphones and video games. Childhood 2.0 is an exploration of this dramatic technological and cultural shift, where children and parents face the rise of social networks, mobile devices, and the screen culture, along with addiction, withdrawal, anxiety, depression, online abuse, bullying, the pervasiveness of pornography, sexting, the rise of online pedophilia and sexual predators, the loss of playtime, imagination and autonomy, and the rapid growth of suicide among children and teens. In addition to mental health professionals, the filmmakers speak with a series of concerned parents who have witnessed a profound transformation in their children, especially when placed in contrast to their own beginnings. Then there are the children themselves who speak to the overpowering allure of their devices, the pressures these devices place on them in their daily lives, and the challenge they face when they try to turn away from the screen.
In 2002, quietly and behind closed doors, the Internet giant Google began to scan millions of books in an effort to create a privatised giant global library, containing every book in existence. Not only this, but they claimed they had an even greater purpose—to create a higher form of intelligence, something that HG Wells had predicted in his 1937 essay “World Brain”. Working with the world’s most prestigious libraries, Google was said to be reinventing the limits of copyright in the name of free access to anyone, anywhere. But what can possibly be wrong with this picture? As Google and the World Brain reveals, a whole lot…
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.
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?
In 2018, Professor Shoshana Zuboff published The Age of Surveillance Capitalism, a monumental book about the new global economy, where the biggest technology corporations extract, manipulate, and trade our personal information, data about our lives, and data about our personalities, on a scale never before possible. How did this happen? In The Big Data Robbery, Zuboff starts with the volatile dot-com boom and bust of the late 1990s and 2000s. How did Google, a company created during that time, survive the bursting of the Internet bubble? Founders Larry Page and Sergey Brin discover that the “residual data” that people leave behind in their searches on the Internet is very precious and tradable, and begin as one corporation of many, the Big Data Robbery, extracting and building huge datasets about people. Zuboff takes the lid off Google and Facebook to reveal a merciless form of capitalism in which the citizen itself now serves as a raw material.
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.
AI, or Artificial Intelligence, is spouted as the ability of machines to “think” [sic] at a speed and depth far beyond the capacity of any human. Proponents of these digital technologies claim their systems are used in ways that are beneficial for society. But as we see, the current use of AI isn’t necessarily aligned with the goals of building a better society. There still remain escalating concerns about labour, the future of work, privacy, the surveillance society, and social control—all valid criticisms that go back many decades—while the rivalry for technological supremacy between the United States and China mirrors the dynamics of the cold war. In the Age of AI is an investigation that touches on these areas, providing a platform to ask fundamental questions about unrestrained technological escalation.
Admit it—you don’t really read the endless pages of terms and conditions connected to every website you visit or phone call that you make do you? Of course not. But every day billion-dollar corporations are learning more about your interests, your friends and family, your finances, and your secrets—precisely because of this; and are not only selling the information to the highest bidder, but freely sharing it with the government. And you agreed to all of it. With plenty of recent real-world examples, Terms And Conditions May Apply covers just a little of what governments and corporations are legally taking from Internet users every day—turning the future of both privacy and civil liberties into serious question. From whistleblowers and investigative journalists to zombie fan clubs and Egyptian dissidents, this film demonstrates how all of us online have incrementally opted-in to a real-time surveillance state, click by click.
The Facebook Dilemma aims to open an in-depth investigation into the impact Facebook has had on privacy and democracy in the United States and throughout the world, by revealing how the decisions made by the company as it sought increased wealth and new users, transformed it into a vast surveillance machine, a media company, and a ‘hidden hand’ in elections and political discourse. Drawing on original interviews from those inside the company, this two part series catalogues some of the ignored warning signs, both inside and outside the company, of Facebook’s negative impact, growing from Zuckerberg’s dorm-room project and into a powerful global empire.
This short video explores how the online world has overwhelmingly become the popular outlet for public rage by briefly illustrating some of the many stories of everyday people which have suddenly become public enemy number one under the most misunderstood of circumstances and trivial narratives. With the web acting like a giant echo-chamber, amplifying false stories and feeding on the pent-up aggression of the audience watching the spectacle, The Outrage Machine shows how these systems froth the mob mentality into a hideous mess, as a good example of where the spectacle goes and how its intensity has to keep ratcheting up in order maintain the audience attention, in a culture of dwindling attention spans, distraction and triviality.
A 37-year old mum goes undercover as an 11-year old girl to expose the dangers facing kids on social media platforms like Instagram, Snapchat, TikTok, and Kik. Left unsupervised, young children can be exposed to online predators, grooming, and psychological abuse within minutes. In 2018 alone, the filmmakers of this project alerted the FBI to 99 child predators. In 2019 that number is more than 300 and counting. Each of these cases represents a real child experiencing real harm, and the challenge of this short film is to help parents and schools understand this new reality, while also acting to bring online predators, groomers, and paedophiles to justice.
Within a single generation, digital media, the Internet and the World Wide Web have transformed virtually every aspect of modern culture, from the way we learn and work to the ways in which we socialise and even conduct war. But is technology moving faster than we can adapt to it? Is our constantly-wired-world causing us to lose as much as we’ve apparently gained? In Digital Nation, Douglas Rushkoff and Rachel Dretzin explore what it means to be human in a 21st-century digital world…
Based on the comprehensive work of media scholar George Gerbner, The Mean World Syndrome takes aim at the for-profit media system that thrives on violence, stereotypes, and the cultivation of anxiety. The film takes us through how the more television people watch, the more likely they are to tend to think of the world as an intimidating and unforgiving place, while being insecure and afraid of others. We see how these media-induced fears and anxieties provide fertile ground for intolerance, extremism, and a paranoid style of politics that threatens basic social values. The result is an accessible introduction to debates about media violence and more broadly, the effects of the media system. This film is a powerful tool for helping to make sense of the increasingly intense and fractious political climate of today.
All Light, Everywhere is an arthouse film that traverses the biases of how we see things, told through the use of police body-worn cameras from the Axon corporation. As such surveillance technologies become a fixture in everyday life, the film interrogates the myth of an objective point of view, probing the biases inherent in both human perception, the lens, and the culture driving the surveillance machines—asking what it means to look and see, but also what is not viewed, and the power imbalance of whom watches whom. Through provocative vignettes, the film provides space to dismantle the perpetual insistence that if everything was recorded and processed by purportedly “neutral” sources, then both criminal activity and authoritarian malfeasance would be reduced.
This film explores what affect the web is having on our society, as seen through the eyes of “the greatest Internet pioneer you’ve never heard of.” Josh Harris—often called the “Andy Warhol of the Web”—founded a website during the renowned dot-com boom of the 1990s which was the world’s first Internet television network. This concept was way ahead of its time, before broadband, but would go on to become commonplace in the years to come. Using this platform, a vision of that future was also exemplified at the time—an underground bunker in New York City where over 100 people lived together completely on camera, non-stop and unedited for 30 days over the millennium. The irony in which this speaks to future events doesn’t end there though. As the experiment and the film shows, We Live In Public serves as a powerful analogy for the Internet as it’s now known today and the price we pay for living in its ‘public,’ showing just what the costs of willingly trading privacy and sanity for a constant voracious audience, attention, the pursuit of the cult of celebrity—but above all, the mimic of real human connection mediated by technolog—can be.
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.
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?
A Thousand Cuts is a timely film about modern-day journalism and freedom of the press inside the Philippines where the political space has been usurped by social media disinformation campaigns, celebrity propaganda spectacle, and direct organised political violence. The film comes as the world awaits the verdict of the case against of Maria Ressa, the CEO and founder of the news network Rappler, who has been vocal about holding president Rodrigo Duterte accountable for his government’s much-criticised and violent “war on drugs.” In what is a salient trend of our time, A Thousand Cuts examines the disinformation campaigns and the crackdown on the media, while journalists Maria Ressa and her team place the tools of their trade—and their freedom—on the line in defence of truth and democracy.
Google or Wikipedia? Those of us who search online are getting referred more and more to Wikipedia. For the past two years, this free online “encyclopaedia of the people” has been topping the lists of the world’s most popular websites. But do we really know what we’re using? The Truth According To Wikipedia plunges into the story behind Wikipedia and explores the powerful world of ‘Web 2.0’ — Is it a revolution, or pure hype?
The Illusionists examines how global advertising firms, mass media, and the beauty, fashion, and cosmetic-surgery industries have together colonised the way people all around the world define beauty and see themselves. Taking us from Harvard to the halls of the Louvre, from a cosmetic surgeon’s office in Beirut to the heart of Tokyo’s Electric Town, The Illusionists shows how these industries saturate our lives with narrow, Westernised, consumer-driven images of so-called beauty that show little to no respect for biological realities or cultural differences. Featuring voices from prominent sociologists, magazine editors, scientists, artists, and activists, The Illusionists documents a truly global phenomenon, with hegemonic results.
United States of Conspiracy investigates the alliance of far-right radio show host and conspiracy theorist Alex Jones, Donald Trump, and long-time Trump associate Roger Stone, and their roles in deepening the battle over truth and lies in an age of disinformation. Drawing on interviews with Stone, former staffers from Jones’ InfoWars website, people who have been directly affected by their conspiracy theories, and experts in how misinformation spreads, we see how once-fringe conspiracy theories have come to be wielded as a pervasive tool at the highest levels of mainstream politics.
High Tech, Low Life follows the journey of two Chinese bloggers who travel their country chronicling undner-reported news and social issues stories. Using laptops, mobile phones, and digital cameras, both develop skills for reporting while learning to navigate China’s continually evolving censorship regime and the risks of political persecution. The film follows 57-year-old ‘Tiger Temple,’ who earns the title of China’s first “citizen reporter” after he impulsively documents an unfolding murder; and 27-year-old ‘Zola’ who recognises the opportunity to be famous by reporting on sensitive news throughout China. From the perspective of vastly different generations, both personalities must reconcile an evolving sense of individualism, social responsibility and personal sacrifice. The juxtaposition of Zola’s coming-of-age journey from veggie-farmer to Internet celebrity; and Tiger Temple’s commitment to understanding China’s tumultuous past, both provide a portrait of China and of the wider questions facing news-reporting in the age of the Internet.
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.
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.
Audrie & Daisy is a documentary about the trend of teenage girls in the United States being sexually assaulted by their male classmates, and having the assaults recorded and shared on social media. It looks at the trend that the legal system tends to systematically minimise and dismiss cases, resulting in victimised girls not receiving justice. Girls often end up getting bullied both in school as well as online for being rape victims, and the pictures and videos are posted online—almost as trophies—by teens that have committed and witnessed these crimes. The online forum for sharing these images and comments has become the new public square of shame for adolescents. Audrie & Daisy aims to shed light on this dark corner of life facing young adults, and serves to form a powerful tool for honest conversation, analysis, and real justice.
With its motto “Don’t be evil,” Google claims it has the best intentions. But there are also claims that Google is slowly turning into Big Brother, keeping track of users and continuously making decisions about the information it provides. Will Google turn out to be the new Library of Alexandria, serving as the great collector that brings the world’s information to supposedly everyone, as it claims? Or is it more like a monopolistic, Ministry-Of-Truth-type corporation that challenges the very freedom of information by its stronghold over internet data?
By addressing the question of violence and the media from a number of different angles, The Killing Screens presents a comprehensive view on how to think about the effects of the media environment in new and complex ways. In contrast to the relatively simplistic behaviourist model, that “media violence causes real-world violence,” renowned media scholar and researcher George Gerbner shows us how to think about the psychological, political, social, and developmental impacts of growing up and living within a cultural environment of pervasive violent imagery and narratives. What are some of the impacts of this culture and what can be done about it?