Screening 12-2 p.m.

Program 1
Iraq
12:00 – 2:00 p.m.

BAGHDAD IN NO PARTICULAR ORDER (51 min, video, 2003) by Paul Chan, is an ambient video essay of life in Baghdad before the invasion and occupation. Men dance, women draw and sufis sing as they await the coming of another war. In seven languages (Arabic, Chinese, English, French, German, Italian and Spanish). Subtitled in English.

CHENEY & POWELL, JANUARY 1991 (1:00 min, video, 2003) Mary Patten takes a six second clip from a Pentagon news briefing at the onset of the Gulf War, and slows it down for a minute-long observation of the speech and gestures of then- Defense Secretary Dick Cheney and General Colin Powell.

SCENES FROM AN ENDLESS WAR (32:00 min, video, 2002) by Norman Cowie. 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.

HEADLINES: BAGHDAD (3 min, 16mm transferred to video, 2007) by Sabine Gruffat. This film was made from The New York Times newspaper articles. The semi – automated animation process resulted in sentence recombinations that sometimes made sense while randomly emphasizing certain words and images.

BECAUSE THERE ARE SO MANY: IRAQ (7:00 min., HD video, 2007) by Benj Gerdes & Jennifer Hayashida. Four Iraqi men discuss their flight from Iraq following the United States invasion in 2003. Between them––an interpreter for the US Military, a computer technician for a military contractor, an english professor, and an oil ministry employee––a dialogue emerges about their lives as refugees in Sweden. They discuss their divergent approaches to coping with trauma and representing themselves. To them, Iraq as a nation is only in the past-tense. Of the several million people estimated to have fled Iraq since the US invasion in March of 2003, Sweden has accepted the third largest number of refugees (after much larger groups in Jordan and Syria). The small Swedish city of Södertälje, with a preexisting Assyrian community, has attracted a large proportion of the Iraqi asylum-seekers. This interview relates Swedish immigration policies to less-acknowledged consequences of U.S. military interventionism, while questioning the capacity of Swedish social democracy to negotiate a rapidly growing immigrant population. The piece also enacts a desire on the part of the filmmakers to interact directly with people recently displaced by the war, in spite of limitations of language, gender, and religion. Rather than positing immigration as a solution, this video to takes up a certain media space that has been obscured, intentionally, in the United States around images of dissent and displacement.

EYE/MACHINE II (15:00 min, Video, 2002) by Harun Farocki. “How can the distinction between “man” and “machine” still be made given today’s technology? In modern weapons technology the categories are on the move: intelligence is no longer limited to humans. In Eye/Machine II, Farocki has brought together visual material from both military and civilian sectors, showing machines operating intelligently and what it is they see when working on the basis of image processing programs. The traditional man-machine distinction becomes reduced to “eye/machine”, where cameras are implanted into the machines as eyes. As a result of the Gulf War, the technology of warfare came to provide an innovative impulse, which boosted the development of civilian production. Farocki shows us computer simulated images looking like something out of science-fiction films: rockets steer towards islands set in a shining sea; apartment blocks are blown up; fighter aircraft fire at one another with rockets and defend themselves with virtual flares. These computer battlefields – will they suffice or shall we need further rationalization drives for new wars? Eye/Machine II is the continuation of a wider examination of the same subject: intelligent machines and intelligent weapons. As an installation, the work is presented on two monitors or as a double projection. In this, the single-channel version, the two image tracks are shown simultaneously on one screen.”
–Antje Ehmann

ALL THE HOUSE (Haditha Massacre), Part 3 of Flicker On Off (5:50 min, 16mm and web to digital, 2007) Caroline Koebel collects and reconfigures far-ranging source materials to engage with the November 19, 2005 massacre by US Marines of 24 unarmed civilians in Haditha, Iraq. Featured is ten-year-old Iman Walid, who witnessed the killing of her family. The Atlantic City massacre scene from Godfather III by Francis Ford Coppola is re-shot off DVD with a Bolex 16mm camera and then hand processed. This is Part 3 of Flicker On Off, a trilogy applying the idiom of experimental film and artist’s video to big-budget movies in order to speak about world affairs in what could be described as an alternate essay format.

BOX OFFICE (2:25 min, video, 2007) by Jenny Perlin. This short, hand-drawn animated film begins with a quote by Ryan C. Crocker, the current U.S. Ambassador to Iraq. In July, 2007, the New York Times quoted Crocker as comparing the current war in Iraq to a three or five-reel movie, depending on where one is living. In contrast to this quote, a list of the top-ten grossing films at the U.S. box office from the same day presents itself onscreen, along with other animated panels of related drawings that function as an associative commentary.

NEW YORK TIMES SPECIAL EDITION, VNR (2:13 min, video, 2009) by The Yes Men, The Anti-Advertising Agency, Not An Alternative, CODEPINK, Improv Everywhere, Andy Bichlbaum, Steve Lambert, Daniel S Dunnam, Kelli Anderson, Gregg Osofsky, Jeremy Pikser, Jacqueline Stevens, Heather Rogers, Larry Bogad, Joseph Huff-Hannon, Scott Beibin, Liz Cole, Eliot Katz, Cristian Fleming, Steve Kurtz, Joe Delappe, Trevor Paglen, Stephen Duncombe, Dalton Conley, Packard Jennings, Jamie McClelland, Tom Foster, Nina Felshin, Isabel MacDonald, Bill Martin, Brooke Lehmann, Beka Economopoulos, Jason Jones, Medea Benjamin, Jodie Evans, Jean Stevens, Dana Balicki, Laurie Arbeiter, Randy Ostrow, Etienne Noreau-Hebert, Charlie Todd, Andrew Boyd, Greg Podunovich, Grace Salem, Amanda Crowley, Jeff Crouse, Zena Barakat, Frances Fox Piven, Richie Summers, Pranav Behari, Cynthia Yardley, Patrick Carey, Nick Flynn, Lili Taylor, Natalie Jeremijenko, Franco Mattes, Eva Mattes, Leslie Cagan, Noam Gonick, MAY FIRST/PEOPLE LINK, EVIL TWIN BOOKING, UNITED FOR PEACE AND JUSTICE, CULTURES OF RESISTANCE, EXPEDI PRINTING, Kalim Armstrong, James Bachhuber, Paul Notzold, Richard Lamanna, Lisa Nola, Mary Jeys, Liz Filardi, James Powderly, Randy Ostrow, Hilary Goldstein, Jon Cohrs, Jamie Wilkinson, Alfredo Lopez, Artur Kummer, Lilka Hara, Nina Felshin, Madeline Nelson, Bill Martin, Wolfgang Staehle, Elizabeth Press, Mark Read, ROCKETBOOM, Sergei Krasikau, Raul Barcelona, Daniel Dunnam, Conway Liao, Elspeth Roundtree, Joe Bonacci, Eric Brown, John Bucher, and many others. Early this morning, commuters nationwide were delighted to find out that while they were sleeping, the wars in Iraq and Afghanistan had come to an end. See the full paper online: nytimes-se.com/

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