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1:31:10The 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.
51:25Thanks Girls and Goodbye recounts the story of a group of women who worked on farms during the Second World War in Australia, dubbed “the land girls.” Officially established by the government in 1942, the Australian Women’s Land Army was set up to help fill the shortage of people-power in agriculture. Its story is symbolic of a far-greater number of women who participated in the vital activity of food production during the war. Through interviews with former Land Army members, combined with home-movies, photographs, original Land Army songs and archival newsreels, Thanks Girls and Goodbye presents an engaging account of women and work against the backdrop of world war.
1:28:53Department of Defense documents obtained through the Freedom of Information Act expose horrific government funded experimentation upon citizens conducted without their knowledge or consent. Is the United States knowingly using a dangerous battlefield weapon banned by the United Nations because of its long-term effects on the local inhabitants and the environment? Beyond Treason explores the illegal worldwide sale and use of one of the deadliest weapons ever invented. Was “Gulf War Illness” actually known by the military before hand?
1:11:29In the aftermath of the events of September 11th, 2001; MIT linguist and political philosopher Noam Chomsky found himself called upon to provide much-needed analysis and historical perspective regarding this moment in American history. In the months following, Chomsky gave dozens of talks on four continents, conducted scores of media interviews, and published a book called ’9-11.’ In this film and in his book, Chomsky places the events of September 11 in the context of American foreign intervention throughout the postwar decades—in Vietnam, Central America, the Middle East, and elsewhere. Beginning with the fundamental principle that any exercise of violence against civilian populations is terrorism—regardless of whether the perpetrator is a well-organized band of Muslim extremists or the most powerful nation-state in the world—Chomsky challenges the United States to apply the moral standards it demands of others to its own actions.
1:03:49We
We is a visual essay exploring the politics of empire, war, corporate globalisation, imperialism and history; using the words of Indian author and political activist Arundhati Roy, from her speech Come September given in Santa Fe, New Mexico one year after the September 11th attacks—not long after the invasion of Afghanistan. The result is a mix of archive footage illustrating specific historical events throughout South America, the Middle East and elsewhere, in context with the September 11th attacks; placed alongside the themes of empire, global economics and a short history of neo-collonialism…
56:33A secret illegal project from the 1950s, 60s and 70s called COINTELPRO, represents the state’s strategy to prevent resistance movements and communities from achieving their ends of racial justice, social equality and human rights. The program was mandated by the United States’ FBI, formally inscribing a conspiracy to destroy social movements, as well as mount institutionalised attacks against allies of such movements and other key organisations. Some of the goals were to disrupt, divide, and destroy movements, as well as instilling paranoia, manipulation by surveillance, imprisonment, and even outright murder of key figures of movements and other people. Many of the government’s crimes are still unknown. Through interviews with activists who experienced these abuses first-hand, COINTELPRO 101 opens the door to understanding this history, with the intended audience being the generations that did not experience the social justice movements of the 60s and 70s; where illegal surveillance, disruption, and outright murder committed by the government was rampant and rapacious. This film stands to provide an educational introduction to a period of intense repression, to draw many relevant and important lessons for the present and the future of social justice.
57:27The Pentagon has a long tradition of cooperation with Hollywood. Movie studios can save millions of dollars and achieve spectacular success by securing use of military stock footage, military equipment, weapons and manpower. But the catch is that Hollywood must alter scripts, whitewash history, censor and present their films to display war and the military in a favourable way. As a consequence, mainstream commercial films become the best and most powerful, widespread propaganda…
24:26Over the past decade, the United States military has shifted the way it fights its wars, deploying more technological systems in the battlefield than human forces. Today there are more than 7,000 drones and 12,000 ground robots in use by all branches of the military. These systems mean less deaths for US troops, but increased killings and precision elsewhere for the United States war machine. With lethal drone strikes being carried out in secret by the CIA and occurring outside of officially declared war zones such as Pakistan, Yemen and Somalia, the secret use of robots and drones in this way evokes serious questions about the operations of the United States and what this means for the rest of the world as more and more autonomy is developed for these technologies.
52:29As the United States developed the world’s first nuclear weapons in secret, it was surprised at the speed in which the USSR was able to also develop such weapons, and that such developments would lead to an unprecedented arms race. The USSR was able to obtain all the nuclear discoveries made by scientists who worked on the top-secret Manhattan Project through a very unusual spy, Elizabeth Zaroubin. She managed to gain the trust of great researchers, such as Einstein, in a story comparable to some of the best spy novels ever written.
46:57War is hell, but for Hollywood it has been a god-send, providing the perfect dramatic setting against which courageous heroes win the hearts and minds of the movie going public. The Pentagon recognises the power of these celluloid dreams and encourages Hollywood to create heroic myths; to rewrite history to suit its own strategy and as a recruiting tool to provide a steady flow of willing young patriots for its wars…
58:13In September 2005, Afghanistan held its first parliamentary elections in 35 years. Among the candidates was Malalai Joya, a courageous 27-year-old woman who had ignited outrage among hard-liners when she spoke out against corrupt warlords and criminals at the “Grand Council of tribal elders” in 2003. Enemies of Happiness is a revelatory portrait of this extraordinary freedom fighter and the way she connected with the people of Afghanistan. The film also serves as a snapshot of life and politics in war-torn Afghanistan from this time. As Joya rightly points out several Taliban warlords and wants them prosecuted for their crimes against the Afghan people, she is exposed to several death threats, and has been under constant protection. Can she overcome entrenched views and death threats to help bring democracy to Afghanistan?
52:28In 1978, three years after the end of the Vietnam War, film-maker John Pilger travels back to Vietnam to find out what had happened under the new regime. Do You Remember Vietnam? recounts numerous personal stories: talks with a young tour guide at a war crimes museum who had been imprisoned in the infamous US tiger cages; a former North Vietnamese soldier into the underground base where he spent 20 years crawling through tunnels undetected; and views from the streets in Hanoi, where the largest single aerial bombardment in history took place.
1:15:01Filmed over three years in the war-zone of northern Uganda, Children of War follows a group of former child soldiers as they escape the battlefield, enter a rehabilitation centre, and undergo a process of trauma recovery and emotional healing. Having been abducted from their homes and schools, and forced to become fighters by the Lord’s Resistance Army—a militia led by self-proclaimed prophet and warlord Joseph Kony—the children struggle to confront and break through years of captivity, extreme religious indoctrination, and participation in war crimes with the help of a team of trauma counsellors. As fearless allies guide the children into new lives, Children of War illuminates a powerful and cathartic story of forgiveness and hope in the aftermath of horrific war.
1:11:19By charting the history of the anti-war movement against the political backdrop of the atomic age, Beating The Bomb examines the current state of ‘nuclear deterrence’ brought about by the nuclear age stemming from the end of World War II, when the United States nuked Hiroshima and Nagasaki. Specifically, the anti-nuclear movement and the founding of the Campaign for Nuclear Disarmament in 1958 amongst others, fight for and end to the British Nuclear Weapons program, which from its inception, was closely tied to The Manhattan Project and still is to this day…
2:04:16Militainment 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?
57:45How can we make political change if peaceful demonstration is not effective and violence only brings more violence? War/Peace posits this question by reintroducing two surviving figures from the Weather Underground movement of the late 1960s, Bernardine Dohrn and Bill Ayers. Coming from the hippy counterculture, the Weather Underground was a radical militant organisation, with revolutionary positions characterised by the Black Power and civil rights movements, as well as opposition to the Vietnam War. In 1970, the group issued a “Declaration of a State of War” against the United States government, with the goal to overthrow the government and end United States’ imperialism, culminating in a bombing campaign targeting government buildings along with several banks. War/Peace rewinds to the past to draw out the complexity of these political struggles, and what went wrong, while drawing parallels to the struggles of today, where a lot has changed, but a lot has also remained the same.
1:23:46Enemy 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.”
1:59:02Ghosts of Rwanda marks the 10th anniversary of the genocide in Rwanda—a state-sponsored massacre in which some 800,000 Rwandans were methodically hunted down and murdered, as the United Nations and other states refused to intervene. The film examines the social, political, and diplomatic failures that converged to enable the genocide to occur. Through interviews with key government officials, diplomats, soldiers, and survivors of the slaughter, Ghosts of Rwanda presents first-hand accounts of the genocide from those who lived it—the diplomats on the scene who thought they were building peace only to see their colleagues murdered; the Tutsi survivors who recount the horror of seeing their friends and family slaughtered by Hutu friends and co-workers; and the UN peacekeepers in Rwanda who were ordered not to intervene in the massacre happening all around them.
49:54Heroes reports on the treatment of returning combat soldiers from Vietnam in the early 1980s. The film investigates the strange cultural absence of reverence or memory to soldiers returning home, and shows with first-hand accounts and interviews with returning soldiers, opines from the front line about America’s unpopular war.
49:54War Matters chronicles a decade of anti-war protest in Britain through the story of veteran peace campaigner Brian Haw, who camped in Parliament Square for over 10 years in protest against the UK government’s policies in the Middle East. Brian began his campaign against war on 2nd June 2001, initially in protest of the sanctions against Iraq. After the September 11 attacks in the United States later on that year, Brian’s campaign took on a whole new level of importance. War Matters documents this shift by examining the larger issue of the British arms trade and the repercussions of the Iraq and Afghanistan wars around the world, as civil rights are being curtailed in so-called democracies. Where does democracy end and tyranny begin?
53:51For the people of Vietnam, war is not over. Three generations on from 1975, babies are still being born with serious birth defects and genetic abnormalities — the legacy of the United States intensive use of chemical weapons. To this day, it is still unknown just how many have been affected. In 2005, on the eve of a historic lawsuit to determine the culpability of the United States, this film directly portrays the powerful effects of Agent Orange.
28:57Subconscious War is a video essay exploring the influences of media and the culture of violence on reality, and the cultivation of collective values in society. The film contrasts the writings of Aldous Huxley and Neil Postman’s grim assessments; relating the concepts of works such as ‘Brave New World’ and ‘Amusing Ourselves to Death’ to the current cultural influences that foster today—corporate media and indeed media saturation, video games, television, and a pervasive technoculture, for example. What is being created? And what sort of people are being cultivated by this culture? Who benefits?
1:31:35National Bird: Drone Wars is the story of the United States’ secret program for drone strikes, conducted all around the world, told through three military whistle-blowers plagued by guilt over participating in the killing of faceless people in foreign countries. They decide to speak out publicly, despite the possible consequences. Their stories take dramatic turns, leading one of the protagonists to Afghanistan where she learns about a horrendous incident, but her journey also provides for peace and redemption. National Bird provides an insight into the United States’ secret drone program through the eyes of participants, veterans, and survivors, connecting their stories to images.
1:28:37An Act of Conscience documents the story of two couples Randy Kehler and Betsy Corner who refused to pay income tax throughout the 1980s in an act of defiance against military spending and war. The film captures the support community that formed in response to the seizure of their home by the IRS, and the conflict with the young couple with a newborn who bought the home at a government auction. Was this an effective protest?
1:17:54What drives a young Westerner to volunteer as a peace activist in the Middle East? Visit Palestine follows Caiomhe Butterly—a young woman from Dublin, Ireland; who is one of a growing number of volunteers who risk their own lives to intervene in the long-running and bloody conflict of the occupation of Palestine. Activists such as Butterly are usually stereotyped as lunatics, meddlers or saints. This film offers a first-hand insight into a brave, honest, determined yet self-critical woman who takes direct action to the limit, with no quest for glory. The film also serves as a real conduit into the everyday lives of Palestinians, fighting for their lives…
26:50Mr Nixon’s Secret Legacy covers the absurdity of the supposed logic behind “Mutual Assured Destruction” or MAD—a doctrine of military strategy and the national security policy of the United States during the cold war. During this time, MAD is supposedly disassembled, but replaced with a strategy called “Counterforce.” This film investigates the propositions of “Counterforce,” questioning the rhetoric of executing a “flexible, acceptable nuclear war.”
26:48The United States proudly self-identifies as the major purveyor of peace and democracy across the world. But does this perception of self match up to the actual policies and history of military actions throughout recent decades? Are the United States’ seemingly constant wars of aggression befitting to achieving peace? These are some of the central dichotomies addressed in this short film In Whose Interest? We see internal documentation of the US involvement in countries like Vietnam or Guatemala which indicate that the main factors motivating American foreign policy are clearly economic concerns. In Guatemala, the United States overthrows a democratically elected government to install a military-backed dictatorship that is suitable to the American United Fruit corporation. A similar pattern emerges in Vietnam, El Salvador and East Timor. Perhaps most oppressive yet is US policy in the Middle East, where the US provides Israel with more than $3 billion per year in military assistance—more aid than they give to the entire continent of Africa. We see how American policy is determined by the corporate sector, tightly linked to the state, which makes decisions in their own self-interest—in stark opposition to the rhetoric of democracy…
1:30:25In the 1960s and 70s, the polarisation of the political situation in the United States was becoming acute with the Vietnam War abroad and civil rights at home being but the most obvious issues. For the youth political movement, the futile methods of peaceful protest led to the rise of an idealistic faction that undertook a more extreme approach to resistance. This faction, called the Weather Underground, attempted to team up with the Black Panthers to overthrow the US government—starting with street riots, escalating to bombing government targets. Thorough archival footage and interviews of the veterans of both sides, this film covers the movement, until changing times and disillusionment brought it to an end, alongside the FBI employing an illegal series of projects called COINTELPRO to hasten it…
51:47Obey is a video essay based on the book “Death of the Liberal Class” by author and journalist Chris Hedges. The film charts the rise of corporatocracy and examines the trending possible futures of obedience in a world of unfettered capitalism, globalisation, staggering inequality and environmental crisis — posing the question, do we resist or obey?
56:45Vietnam: The Secret Agent is an investigation of the history, effects, and implications of the deadly compound “2,4,5-T,” a main ingredient of the chemical weapon code-named Agent Orange, which the United States sprayed throughout Vietnam during 1961 to 1971. Its toxicological effects are still seen today, generations later: cancers, birth defects, physical deformities, deaths, contaminated soil in which dioxins bio-accumulate and concentrate in the food cycle. The chemical started as a herbicide in agriculture from the 1940s to 1970s, but was the first to be used in war, to similar effect. The film focuses on the exposure of these toxins to both citizens and soldiers alike, exposed through the lens of archival and battle-field footage, in support of interviews with veterans, scientists, attorneys and representatives of Dow Chemical—the company that made the chemical weapons—and the United States government, that used them against the world.
1:25:2060 years after the United States dropped nuclear weapons on Hiroshima and Nagasaki in Japan, the events are still espoused with denial and myth in histories taught by the west. White Light, Black Rain breaks this acquiescence and accounts the bombings from the point of view of the people who were there, speaking with survivors of the attacks and four American military men that were intimately involved in dropping the bombs. The film intimately details the human costs of warfare and stands as a powerful warning that with enough present-day nuclear weapons worldwide to equal 400,000 Hiroshimas, we cannot afford to forget what really happened with these events.
1:07:51Disarm travels a dozen countries to look at how—despite a global ban—millions of anti-personnel landmines continue to be used to claim victims daily in more than eighty countries. The forces challenging the achievement of a landmine-free world are predictable. As such, the film mixes the views of diplomats and governments against that of victims, de-miners, soldiers, campaigners and aid workers to explore the issues that both hinder and further the case against the use of landmines across the world.
51:20John Pilger travels to Cambodia to investigate how the United Nations has allowed the Khmer Rouge regime to grow stronger. Why has Pol Pot’s organisation grown stronger and more menacing since the arrival of the UN? Cambodia — Return To Year Zero looks behind the façade of the so-called ‘peace process’ and asks: Has the unthinkable for Cambodia at last been made acceptable for the rest of the world?
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.
50:30For many years now the American foreign policy has been characterized by the strong tie between the United States and Israel. Does the United States in fact keep Israel on its feet? And how long will it continue to do so?
The Prize: The Epic Quest for Oil, Money, and Power is an 8-part series based on Daniel Yergin’s book by the same name, that captures the panoramic history of the largest industry in the world and traces it’s changing face over the decades. Each episode in the series focuses on an era of oil, from beginning to today; while examining the connections and ramifications of an industry that literally transformed global political and economic landscapes—while continuing to make its mark…
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.