Media Analysis

Dramatically Repeating Lawrence of Arabia is a re-edit of David Lean’s 217-minute orientalist “classic” Lawrence of Arabia into a 15-minute hallucination of repeating masculinized poses, costumes and dramatic gestures. An algorithmic structure condenses and frame-by-frame remixes the original film into a cycling of divergence, convergence and momentary mirrorings.

Rosler calls Domination and the Everyday, with its fragmented sounds, images, and crawling text, an artist-mother's "This Is Your Life." Throughout this work, we hear--but do not see--a mother and small child at dinner and bedtime while a radio airs an interview with a gallerist about California art of the 1960s. The soundtrack moves into overdrive with feedback, a passing train, barking dogs, and a bedtime story. The visuals, all still images, are drawn from television, movies, advertising, and the family album.

Susan Mogul's fantasies of success have always a comic, congenial twist, as in Dear Dennis, a video letter to Dennis Hopper inspired by her discovery that they share the same dentist. The central irony of this witty piece is that, despite Hopper's popular persona as an innovative, sub-cultural filmmaker and performer, the actual distance between his so-called independent" films and Mogul's experimental, non-commercial videos prevents Susan from finding any common ground from which to address Hopper other than the subject of dental work.

This video takes its departure from the BBC's coverage of the killing of three IRA volunteers by British Security Forces in Strabane, a small town on the border between Northern Ireland and the Irish Republic. Interrogating television discourse, the video examines what is referred to as the British “shoot to kill” policy of planned assassination in the North.

"Perhaps Cuevas' most chilling work, Cinepolis forecasts an image-driven invasion of everyday life, picture-perfect and unnoticed. This alien intrusion comes in the form of a fully branded consumerscape that cheerily foists fast food along with the fantasy. Irreverent and biting, Cuevas fights back with the only weapon available--images of the enemy, and the enemy’s images."

--Steve Seid, Pacific Film Archive, 2004

In a fusion of text and image, Rosler re-presents the NBC Nightly News and other broadcast reports to analyze their deceptive syntax and capture the confusion intentionally inserted into the news script. The artist addresses the fallibility of electronic transmission by emphasizing the distortion and absurdities that occur as a result of technical interference. Stressing the fact that there's never a straight story, Rosler asserts her presence in a character-generated text that rolls over the randomly erased images, isolating excerpts from the broadcast sources.

How Little We Know of Our Neighbours is an experimental documentary about Britain's Mass Observation Movement and its relationship to contemporary issues regarding surveillance, public self-disclosure, and privacy. At its center is a look at the multiple roles cameras have played in public space, starting in the 1880's, when the introduction of the hand-held camera brought photography out of the studio and into the street. For the first time one could be photographed casually in public without knowledge or consent.