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"EDVARD MUNCH is the most personal film I have ever made. Its genesis lies in a visit to the Edvard Munch Museum in Oslo, in 1968, during the time of a screening of several of my films by the Oslo University. I was awestruck by the strength of Munch’s canvases, especially those depicting the sad life of his family, and was very moved by the artist’s directness - with the people in his canvases looking straight at us. I also felt a personal affinity with his linking of past and present, e.g., in the large painting showing the anguish of his family as his sister Sophie is dying: the artist and his brothers and sisters are depicted as adults -as they were in the 1890s when he painted this scene - even though the event had taken place ca. 20 years earlier. On another occasion, I was also very moved by Munch’s masterpiece Death of a Child, hanging in the National Gallery in Oslo; in this painting the artist is broken, and has, in an almost desperate frenzy, blurred the form of his earlier depiction of Sophie’s death. This painting, in its time, was attacked as being “incomplete” - a charge which branded certain of his other works as well". Peter Watkins

In autumn of 2000, the United Nations' General Assembly adopted the Millennium Declaration, a list of 8 goals which would provide sustained economic development in the third world. The second goal, to achieve universal primary education, has proven a contentious issue in the ethnically diverse country of Senegal. Our documentary investigates the myriad challenges facing both the UN and local authorities as they struggle to realise their ambitions by the international deadline of 2015. Prior to the 2010 review summit, we travelled to Senegal's capital Dakar to examine the progress and achievability of the Millennium goals.

Edward Said talks about the context within which the book "Orientalism" was conceived, its main themes and how its original thesis relates to the contemporary understanding of "the Orient." Said argues that the Western (especially American) understanding of the Middle East as a place full of villains and terrorists ruled by Islamic fundamentalism produces a deeply distorted image of the diversity and complexity of millions of Arab peoples.

The video “looks” at the semantic/ experiential micro-universe made of remembers, by showing some frames of an old super 8 film put on the lens of a mini-dv camera, where the figure of a child means a game dimension typical of the old Super 8. Moreover, it “looks” at the cinema as a sort of material to model. The “schizophrenic eye” – the dialectic question between the mechanical and the real eye - is another aspect of the video, that wants to explore the reality and, in particular, the collapse between its mechanical reproduction and the Nature. The interaction between the artfulness of an old film and the automatic digital reproduction made of pixels, here is seen as a concrete act of love able to give an artistic dimension to this new digital mechanic. The title “eidola”, from the Greek “eidolon” (that means ghost, image) in the Democrito and Leucippo's atomistic philosophy indicates the images of the things that are generated from the collision between the physical atoms of the body and their organs of sense. “The objects continually send in the space around them the images of themselves. These images, called “edola”, go into the eye – by the pupil – so that they can reveal themselves. The air is full of no material images that fly in every direction. The objects constantly send images of themselves, as the snakes lost their skin when they grow up. A sort of perpetual transformation seems to be the ultimate characteristic of the bodies. And the air is constantly crossed by these ghosts, thin transparent coverings”. Democrito

2 Mostra de Vídeo Independent de Barcelona 1994.

The "I Like Ike" animated television commercial, produced by Roy Disney and Citizens for Eisenhower-Nixon. (The Prelinger Archives are a source of educational material, mainly ordered by theme, giving a vision of the dark side, the underbelly, perhaps naive of the American dream and the America that is often hidden behind the media curtain.)