The Machine That Killed Bad People is about the cultural and political history of the Philippines leading up to the overthrow of President Ferdinand Marcos in 1986. It also addresses the role of electronic media in the struggle for power, and more broadly, American intervention in the Third World. Using a structure that emulates the way television news programs construct meaning through fragmentation, the tape interweaves clips of Filipino activists and reporters, a fictional television anchorwoman and correspondent, commentary by independent filmmaker Trinh T. Minh-ha, Fagin's off-camera voice and script, and anonymous excerpts from commercial television.
A whirlwind of improvisation combines the images of animator Pierre Hébert with the avant-garde sound of techno whiz Bob Ostertag in this singular multimedia experience, a hybrid of live animation and performance art.
After concluding the now-legendary public access TV series, The Pain Factory, Michael Nine embarked on a new and more subversive public access endeavor: a collaboration with Scott Arford called Fuck TV.
Jim Moir (aka Vic Reeves) explores Video Art, revealing how different generations ‘hacked’ the tools of television to pioneer new ways of creating art that can be beautiful, bewildering and wildly experimental.
The Karikpo masquerade - a traditional dance of the Ogoni tribe - is transposed onto the remnants of a faded oil industry programme in the Niger delta.
A dream where obsession for German as a second language mixes up with an obsession for neatness and cleanliness as a distinctive feature of the national culture in question seen from the perspective of a foreigner.
One of Paik’s most overtly political and poignant statements, Guadalcanal Requiem is a performance/documentary collage that confronts history, time, cultural memory and mythology on the site of one of World War II’s most devastating battles.
A ritual of grids, reflections and chasms; a complete state of entropy; a space that devours itself; a vertigo that destroys the gravity of the Earth; a trap that captures us inside the voids of the screen of light: «That blank arena wherein converge at once the hundred spaces» (Hollis Frampton).
Originally produced anonymously and distributed by RTMark, Untitled #29.95 tells the story of the commercial art establishment's attempt to turn video art into a precious commodified object through the release of limited editions during the nineties.
Three part anthology with stories involving a Phantom of the Opera-style killer haunting a theater, four punks who pick the wrong house to rob and a man on the hunt for Bigfoot.
In the daytime, an ordinary high school girl's English teacher, but at night, the dynamite body of Super Lady Reiko, who defeats the villains who are infested in the world as an agent of a mysterious organization, explodes.
A village has to be destroyed for coal mining. Henning, a 15 years old boy, who wants to visit his grandfather one more time, realizes that nothing will be the way it used to be.
As he gradually turns mad, the dancer Nijinsky evokes the important episodes of his life. In costumes and sets of lush beauty, the divine puppet performs in a final show where the secondary characters are named: Diaghilev, Isadora Duncan, Stravinsky, Auguste Rodin, Léon Bakst.
This tribute to Myrna Loy is organized chronologically with a few photographs, many film clips, a handful of personal appearances, and a detailed commentary delivered on camera by Kathleen Turner.
