At the epicenter of Green’s extensive multimedia installation Partially Buried in Three Parts (1996-1997), Partially Buried (1996) and Partially Buried Continued (1997) explore a web of genealogical traces, initiated by a reflection upon the work Partially Buried Woodshed by the artist Robert Smithson which was primarily known as a photograph and believed to no longer physically exist; both films provide an overlapping exploration of ways in which we attempt to reinterpret the past as well as our contemporary relations: How are the “returns of what is rep
This three-disc DVD box set contains Eisenberg's four thematically connected films - Displaced Person, Cooperation of Parts, Persistence, and Something More Than Night - made between 1981 and 2003, exploring the ongoing implications of the Second World War and the fall of the Berlin Wall, as well as the relationships between the past, present and future, and how the meanings of events transform over time. The disks are accompanied by a booklet with a contextualizing essay by Scott Durham and an artist interview with Domieta Torlasco, along with titl
A video adaptation of James Joyce’s Ulysses shot at the Parkville Senior Center, Connecticut, with the seniors reading the lines from cue cards. The piece addresses society, war, and personal mortality.
This first program deals with stories of captivity. To start, Hostage: The Bachar tapes by Walid Raad presents us with an imagined hostage presumably held in custody along with the American hostages in Lebanon during the 1980’s. Raad’s work reflects on the invention and communication of stories about abduction, insisting on the families’ unity in the face of threats, and reads through the fears and sexual fantasies of the kidnapped Americans who are held in the same cell with a Lebanese man.
This program presents different approaches to looking at war, and to using images of war. My Friend Imad and the Taxi is an unfinished work from two amateur filmmakers, both passionate about film, who lived in Beirut in the eighties when the city looked like the set from a war film. Samir’s work looks at the intersection between (H)istory and (h)is story as lived at home.
Border situations have inspired writers, artists and filmmakers, particularly within the context of divisions and border control within the Middle East. Who draws the borders? What are the effects of imposing them, of imposing checkpoints? This program looks at border situations. In the works presented here, we take a close look at the lines of demarcation, observing what happens on borders in divided Lefkosia (Nicosia), the occupied territories in Palestine, and at the excavation of the site of a former border in Lebanon which no longer exists.
Respite consists of silent black-and-white films shot at Westerbork, a Dutch refugee camp established in 1939 for Jews fleeing Germany. In 1942, after the occupation of Holland, its function was reversed by the Nazis and it became a 'transit camp.' In 1944, the camp commander commissioned a film, shot by a photographer, Rudolph Breslauer.
"A major influence for generating ideas for me was not what I could contrive on my desktop, but being open and receptive to “accident”. For instance, one evening in 1972 while typing a syllabus for a class on my old Smith Corona typewriter, I happened to see on the TV a documentary by Leni Riesenstahl. German troops were marching, and I found that I could duplicate the “ta ta tum, ta ta tum, ta ta tum tum tum” of the drumbeat by typing “mar mar march mar mar march.“ Had not the broadcast of this film taken place while I was typing, I would never have thought of this concept.
Joe Sacco is a cartoonist who has contributed to a wide range of comic magazines including Drawn and Quarterly, Prime Cuts, Real Stuff, Buzzard, and R. Crumb’s Weirdo; he continues to illustrate the semi-regular Painfully Portland cartoon strip for the Willamette Week. He was a recipient of the prestigious American Book Award in 1996 for his work Palestine (1996), which combines techniques of eyewitness reportage with comic strip storytelling.
Scenes from an Endless War is an experimental documentary on militarism, globalization, and the "war against terrorism." Part meditation, part commentary, Scenes employs recontextualized commercial images, rewritten news crawls, and original footage and interviews to question received wisdom and common sense assumptions about current American policies.
Security Anthem’s requisite components came together relatively slowly. I’d known for years that I wanted to make something out of the Oto speakers’ most sinister, suggestive sentences. I’d taught myself to program music on a Game Boy using a cartridge I’d bought from a Swedish programmer, and I composed a sequence of ominous music that seemed well-matched to the speakers. I’d recorded John Ashcroft singing his self-penned song “Let the Eagle Soar” through a media player window, and I knew that it somehow belonged with the speakers and the 8-bit music.
The filmmaker returns to the city where he made the first video in the series and looks back at the events of the past six years.
Six Years Later is the eighth episode in the Hotel Diaries series, a collection of video recordings made in the world’s hotel rooms, which relate personal experiences and reflections to contemporary conflicts in the Middle East.
Hotel Diaries is an ongoing series of video recordings made in hotel rooms, all of which relate personal experiences to contemporary world events. Works in the series currently include Frozen War (Ireland, 2001), Museum Piece (Germany, 2004), Throwing Stones (Switzerland, 2004), B & B (England, 2005), Pyramids/Skunk (The Netherlands, 2006/7), Dirty Pictures (Palestine, 2007) and Six Years Later (Ireland, 2008). They can be shown individually (apart from Six Years Later) or as a chronological group.
Smothering Dreams is a tough, scathing condemnation of war and our country's fascination with violence. Reeves draws on his own experience as a U.S. Marine in Vietnam in the 1960s, juxtaposing actual combat footage, staged war games, and child’s war play to make his message horrifyingly clear. This work is dedicated to the men of the 3rd Platoon Company A 1st Amtrac Battalion and the North Vietnamese soldiers who died on January 20, 1969 along the Cua Viet River.