Molotov is subMedia's first zine. 8 1/2 by 11 pieces of paper photocopied and folded in half with angry email rants, DIY articles, fake discount cards and explorations into American pop culture. Includes the short films: What Barry Says, From The Fry Daddy, Join the Resistance: Fall in Love, Why I Love Shoplifting..., Bush Boys, Taking Back Action, Whirlmart: Ritual Resistance, I am Produced and Consumption.
UntitledThis is the memory of a journey from the heart of an inhabited wilderness . People overwhelmed by the color of the clouds, holes in the sky to another site. An inappropriate vehicle for the place rolling toward the direction of the emotions unleashed: the experience minutes before the cyclone.
Moi, un Noir. Reloaded, is a tribute to Jean Rouch and provides a free update / re-interpretation of Moi, un Noir, the film the French anthropologist made in 1957. While the original film was satisfying the eager curiosity of the western gaze about otherness from the safe distance of a film, Reloaded minimizes cultural differences and avoids the exotic. Under these assumptions, the film plunges into the daily lives of the characters, into their thoughts and reflections on their experiences as black, Muslim and immigrant subjects.
UntitledTreichville is a poor suburb of Abidjah, the capital of Ivory Coast and the destination of the two protagonists in this docudrama by Jean Rouch. The two men in question are originally from Nigeria, and they call themselves Eddie Constantine and Edward G. Robinson, clear indications of who their heroes are. The perpetual conflict between traditional ways of life and new Western imports comes up several times as the two men continue on their daily rounds and reveal a little about their hopes for the future.
UntitledUnsettling and aesthetic images of fashion as religion, and those who serve it.
UntitledA thundering diatribe against the abuses of capital and the language, the presence of the body-thing.
4 Mostra de Vídeo Independent de Barcelona 1997 & Fenòmens interactius
UntitledA diplomatic reception observed in close detail.
Directed by Billy Luther, whose own mother was crowned Miss Navajo 1966, the film reveals the inner beauty of the young women who compete in this “celebration of womanhood.” Contestants must not only show the same poise and grace as in other pageants, they must also answer tough questions in Navajo and demonstrate proficiency in skills essential to daily tribal life: fry-bread making, rug weaving, and sheep butchering. For the past 50 years, Miss Navajo Nation has celebrated women and their traditional values, language and inner beauty. The film follows the path of 21-year-old Crystal Frazier, a not so fluent Navajo speaker and self-professed introvert, as she undertakes the challenges of the pageant. It is through Crystal's quiet perseverance that we glimpse the strength and power of Navajo womanhood. The film reveals the importance of cultural preservation, the role of women in continuing dying traditions, and the surprising role that a beauty pageant can play.
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Through the prism of an annual beauty pageant staged by the inmates of UF-91/9 prison camp near Novosibirsk (Siberia), Marina Yatskova builds a complex narrative of the lives of the first generation of women to come of age in Post-Soviet Russia. Prison warden Natalya Baulina recounts the origins of the pageant during the turbulent nineties, when they had no clothing or supplies and inmates were forced to make their own dresses out of plastic bags from the prison kitchen. The prize for the winner was parole for good behavior. In a subtle paradox, these women – blind victims of their age and of unfulfilled promises of economic well-being – have been able to turn their confinement around, at least in the emotional sense.