The third part of the Eye/Machine cycle structures the material around the concept of the operational image. These are images which do not portray a process but are themselves part of a process. As early as the Eighties, cruise missiles used a stored image of a real landscape then took an actual image during flight, the software compared the two images. A comparison between idea and reality, a confrontation between pure war and the impurity of the actual. This confrontation is also a montage and montage is always about similarity and difference. Many operational images show coloured guidance lines, intended to portray the work of recognition. The lines tell us emphatically what is all important in these images, and just as emphatically what is of no importance at all. Superfluous reality is denied – a constant denial provoking opposition.
When wily pirate Captain Barbossa seizes Jack Sparrow’s beloved ship, the Black Pearl, and kidnaps the governor’s daughter, Elizabeth Swann, blacksmith Will Turner reluctantly teams up with the unpredictable pirate Jack to rescue her—only to uncover a terrifying curse that turns Barbossa’s crew into the undead.
In 1933, a mischievous ten year old, Archie, is left in the care of his unattentive father, Charlie, a reluctant gangster indebted to mob boss Benny “The Bomb” Palladino.
Spike Lee's filmmaking career is examined in this partial making-of for the film 25th Hour (2002). Interviews with cast members from this film and his past successes give us an idea what kind of dedicated person he truly is.
200 km follows the marches carried out by Sintel workers to reach Madrid on May 1, 2002. Sintel was a subsidiary of Telefónica that, when it was privatized, was closed, leaving its 1,800 workers on the streets.
