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.
In 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…
Obey 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?
60 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.
Disarm 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.
John 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?
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.
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…
On 8th August 1945, the United States dropped its second atomic bomb on Nagasaki, Japan, three days after the bombing of Hiroshima. The city was a veritable apocalyptic vision, devastated by this new type of weapon. Nagasaki — The Horror Of Fat Man documents the memories of survivors, both Japanese civilians and Western Prisoners Of War, as they relate the morbid aftermath of the bombings, the United States occupation, and the segregation that still effects fallout victims to this day.
The insane and horrific history of the development of nuclear weapons is examined first-hand in Trinity and Beyond. The film makes use of extensive archive footage from declassified military sources, where the sources themselves speak about the development of nuclear weapons, revealing the calamitous results of use. From the United States’s Trinity test of 1945, to the bombing of Hiroshima and Nagasaki; to the rapid increase in testing and proliferation by states across the globe, culminating to the first Chinese atomic bomb test in 1964, Trinity and Beyond is a stark reminder of this culture’s insanity and death urge, and how—unless it is stopped—the expanding threat it continues to pose draws in, literally, the prospect of life on this planet for generations to come.
The Search For Truth In Wartime investigates the changing face of war reporting and the role of the media during wartime, in context with the Crimea through the two World Wars, to Vietnam and the Falklands. “What is the role of the media in wartime? Is it simply to record, or is it to explain? And from whose point of view—the military, the politicians or the victims?”
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.
US Foreign Policy — The War Against The Third World is a video compilation series of 10 segments about CIA covert operations and military interventions since World War II.
Counter-Intelligence is a 5 part series that explores in-depth, the vast, sprawling and secret National Security State that operates throughout the United States—and indeed the world. The series examines the foundations of the Military-Industrial-Intelligence Complex, charting through to the myriad consequences in today’s world where secret intelligence organisations continue to hijack governments, manipulate elections and commit heinous crimes against humanity—all under the cloak of “National Security”. In the wake of the continued revelations of the NSA PRISM program, this series is now more important than ever to provide a solid historical context to the workings of the rapacious and ever-expanding National Security State…
Robot Wars visits companies in the United States that are producing robots for the military to disarm bombs, fly unmanned aircraft (drones), withstand repeated attacks and even choose targets and fire without any human intervention. The rapid development of autonomous robots and the use of them right now is surging ahead at a crazy rate, all with little regard to ethical and psychological questions, concerns about technological privilege and other obvious impacts. With military robots currently being operated using video game controllers, is the line being blurred between fantasy and reality?
More than three million Vietnamese people still suffer the gruelling effects of chemical weapons used by the United States during the Vietnam War. American militaries doused forests, lands and waterways of Vietnam with the deadly chemicals Agent Orange, White, Blue, Pink, Green and Purple. Agent Orange in particular, which contains dioxin—the most toxic chemical ever known—has disabled countless people and generations of their offspring. This film weaves personal stories together with the stories of American GIs to lead to a great unravelling of the first-hand devastating and lethal effects of Agent Orange and war, generations later.
To Know Us Is To Love Us covers the public reaction to a Vietnamese refugee camp constructed outside Fort Smith in Arkansas, 1975—not long after the end of the Vietnam war. The film documents the stories of the refugees coming to the United States, along with the reactions of American troops, the public and citizens who take in Vietnamese refugees to assimilate them into American life.
How does the military train the solider of tomorrow? Video games. The most popular games are those that replicate the war events as seen on the news as close as possible. 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?
In 1971, Daniel Ellsberg shook the United States to its foundations when he leaked top-secret Pentagon documents to the New York Times that showed how five Presidents consistently lied about the Vietnam War. Consequently, National Security Advisor Henry Kissinger called Ellsberg “the most dangerous man in America,” who “had to be stopped at all costs.” But Ellsberg wasn’t stopped. Facing 115 years in prison on espionage and conspiracy charges, he fought back…
This film comprehensively documents the use of chemical weapons—particularly the use of incendiary bombs—along with hordes of other horrific indiscriminate violence against civilians and children by the United States military in the city of Fallujah during the invasion of Iraq in November 2004. The cases portrayed involve the use of white phosphorus and other substances similar to napalm, such as Mark-77, which constitute clearly defined war crimes involving chemical weapons. Interviews with ex-military personnel involved in the Fallujah offensive back up the case for the use of such weapons by the United States, while reporters stationed in Iraq discuss the government’s attempts to suppress the news by covert means.
Agent Orange was the codename for one of the herbicides and defoliants used by the United States military as part of its chemical warfare program—Operation Ranch Hand—which ran for ten years during the Vietnam War from 1961 to 1971. During this time, the military sprayed nearly 80,000,000 litres of toxic chemical and defoliants mixed with jet fuel in Vietnam, eastern Laos and parts of Cambodia. The supposed goal being to destroy forested and rural land, depriving guerrillas of cover and to induce forced-draft-urbanisation, destroying the ability of peasants to support themselves, forcing them to flee to the cities dominated by US forces, depriving the guerrillas of their rural support base and food supply…
This film makes use of court documents, diplomatic cables and testimony by business figures themselves, as one case of many, in which corporations and indeed governments side with warlords, as good for business, in the endless pursuit of profit. The story revolves around the civil war of Liberia in the 1990s, with the seeds for exploitation and destruction having been planted a century before by the United States, when formally enslaved peoples in Liberia in-turn set up a society of racism, greed and exploitation, exacerbated by western economic powers. Years later, with the presence of Firestone corporation coming to Liberia to exploit vast plantations of rubber for control over the ‘market,’ the company unfolds as a considerable catalyst for systemic terror, being the forefront for pushing for profits at all costs amongst a brutal civil war; colluding with warlords and corrupt governments in pursuit of this ruthless end. Unfurling as a case study in these methods, this film documents the case that is not so unique but a story amongst many—particularly throughout the so-called third-world—where corporate might and globalisation have extreme consequences…