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Ground Noise Static
ES ES-OVNI CTX-S013-SS007-0019 · Item · 2008
Part of Non-Identified Video Observatory (OVNI)

A video report on the protests that occurred in connection with the Democrat and Republican National Conventions, Ground Noise & Static is a manifesto. “We went to Denver and St. Paul to take the pulse of the movement. Corporate media would cover the platitudes and posturing of the politicians; we were interested in something else, a story hidden in plain sight, captured in the now-classic street chant, 'This is what democracy looks like'”.

Ground Control
ES ES-OVNI RSC-3411 · Item · 2009
Part of Non-Identified Video Observatory (OVNI)

Ten years ago the author, a Sarajevo native, created a fictional documentary about the alleged crimes his father had committed and the complicity of his mother. Now he is adding a surprising epilogue reminding of the suppressed past like a historic echo.

Gritos en el cielo
ES ES-OVNI CTX-S015-SS007-0018 · Item · 2011
Part of Non-Identified Video Observatory (OVNI)

Gritos en el Cielo (Cries in the Sky) is an observational documentary that looks at the people’s movement that emerged in Barcelona in May 2011 and defied the passivity of society by occupying the city’s main square. As the movement grew stronger, the government and the media repeatedly tried to discredit it and force it to end violently, but its members - Barcelona citizens - decided to resist peacefully in order to bring about real change. The film includes many dialogues between people, police, ideologies, political and economic forces and the government. The story revolves around Plaça Catalunya, the epicentre of the movement in Barcelona. During the months that the square was occupied, the participants demanded real democracy and the reformulation of the country’s economic and political structures.

Untitled
Greenhouse
ES ES-OVNI CTX-S012-SS007-0044 · Item · 2007
Part of Non-Identified Video Observatory (OVNI)

Greenhouses left untouched for 15 years, nature reinstating its authority. When the farmer caught me coming out of them after filming, he called out - “bloody idiot, you could've had your head chopped in half!”

ES ES-OVNI CTX-S012-SS007-0024 · Item · 1999
Part of Non-Identified Video Observatory (OVNI)

In Grass, Mann chronicles America's rocky relationship with marijuana and the perilous road this little weed has travelled in the land of “stars and stripes”. Grass is narrated by pro-hemp campaigner, the actor Woody Harrelson (The People Vs Larry Flynt, Natural Born Killers), who himself went to jail when protesting his right to plant industrial hemp on his farming property in Texas. Thrown into its mix is a pure blend of hilarious archival footage, disturbing information and a healthy pinch of government double standard. But as always Mann's skill with alternative arguments, facts and figures, allow it to transcend the fate of mere “agit-prop”. Just say yes to Grass.

Granito de arena
ES ES-OVNI CTX-S013-SS007-0081 · Item · 2005
Part of Non-Identified Video Observatory (OVNI)

For over 20 years, global economic forces have been dismantling public education in Mexico, but always in the constant shadow of popular resistance. Granito de Arena is the story of that resistance - the story of hundreds of thousands of public schoolteachers whose grassroots, non-violent movement took Mexico by surprise, and who have endured brutal repression in their 25-year struggle for social and economic justice in Mexico's public schools.

ES ES-OVNI RSC-3120 · Item · 2008
Part of Non-Identified Video Observatory (OVNI)

Grand Central/Central Terminal (2008, 5:50, sound, color, available on miniDV and DVD) Examines relationships between the moving image, dance, architecture, and the urban sphere. Like the cinema, people frequent transit hubs in order to go elsewhere. Katherine Crockett, a principal in the Martha Graham Dance Company, performs improvisatory movement in both Grand Central Terminal in New York City and the no longer in use Central Terminal in Buffalo, NY. While both are majestic in their architectural and historic scope, the two spaces clash in terms of current use value. The crowds of Grand Central are juxtaposed with the solitude of Central Terminal. For the live terminal, Crockett acts as manifesto for the moment, while for the defunct station the solo body of the dancer in motion re-images and -imagines the site's fluidity.