The sky is burning! Portrait of Germán.

Fuck The Corporate Media analyzes the tactics, both subtle and blatant, employed by the corporate media to control your mind. This video covers just one day in the lies of the corporate media. See for yourself how they sell us out in this startling comparison between what really happened on August 21st, 2003 in Portland, Oregon, and what they say about what happened.

Gaza, War in Media presents a series of interviews that challenge the official Spanish media account of Israel's Operation Cast Lead, in which 1,400 Palestinians died and 5,000 people were wounded, most of them civilians. According to this version, Israel was “defending itself” from the launch of Qassam rockets by Hamas, by massive bombardments to destroy the “infrastructure” of this “terrorist” group. In reality, the bombardments and the ground offensive by the Israeli army targetted the civilian population of the Gaza Strip, as shown by the Goldstone report commissioned by the UN Human Rights Council.

His Name Was Not Frankenstein

The fragmented face and the wrath of the clan

Faculty of Geography and History, room 409, Universitat de Barcelona, Montalegre 6

 Why do we find the fragmented face of Frankenstein’s Monster so fascinating? The monster in the 1931film was certainly one of the most successfully characterisations in the history of cinema, but there issomething more: it raises a question that goes beyond the creen and has something to do with the idea of that spectre haunting Europe that opens The Communist Manifesto.

The workshop will dissect the film Dr. Frankenstein (1931) to try and understand how terror and dreams are      connected in the logic of the fight against the master.

https://www.libroscorrientes.es/frankenstein/

https://www.libroscorrientes.es/frankenstein/

4th  Independent Vídeo Show & Interactive Phenomena

/ CONTEXT 1994 - 2020

4th  Independent Vídeo Show & Interactive Phenomena

IDENTITY vs MEDIA / 4th  Independent Vídeo Show & Interactive Phenomena / OVNI 1997

The MVI&Fi presents an extensive theme-based programme that is not exclusively dedicated to new audio-visual productions. The Mostra is non-competitive and all the participants are paid for their contributions. These are the specific criteria that distinguish the Mostra from other festivals.

As in previous editions the audio-visual works presented in the MVI&FI are selected in two ways. On the one hand, a rigorous selection of works received through a public call for entries and the other, works selected from a variety of archives and programmers or through direct contact with the authors.

The theme of identity , once again, is of central importance in the Mostra; identity, in this cases, at the cross-roads of the social, sexual, emotional and familial with the interior world of madness, pain and the intimate, ...A spectrum amply illustrated in the four programmes of the Dark Night of the Soul .

In this edition, for the first time, the Mostra presents two monographic sections: An extensive selection of the work of the Canadian Steven Reinke and more limited programme dedicated to Joe Gibbons.

We are also presenting an extended version of the William Burroughs monographic programme that was projected at the MACBA, consisting of works that go beyond the strictly videographic, and representing both a way of understanding visual experimentation and a radical critique of contemporary culture and society. There are works in with Burroughs actively collaborated, such as the films of Antony Balch and Gus Van Sant and others in which his writings or voice served as a point of reference, such as the shorts of Francis Ford Coppola, Herbert Distel, Philip Hunt, ...

We are especially pleased to be showing The Society of the Spectacle by Guy Debord , with Keith Sanborn ’s English translation.

The 4MVI&FI also includes two programmes of Experimental Television compiled by Andy Davies and during the Mostra Barcelona Television will broadcast a especial programme of ambient tv by Park 4 dtv.

This year the Mostra has two sections dedicated to Interactive Pieces and Quicktime Movies . The first is both wide-ranging and informative and the second, more specific, consists of multimedia works from ZKM – Zentrum für Kunst und Medientechnologie in Karlshure- Deutschland and 10 representative CD roms of the archaeology of mass media from the Rick Prellinger Archives in New York.

Each the programmes that make up the MVI&FI work as a route intended to transport the viewer through a series of emotional and mental landscapes as if in a ritual or journey, in which each of the stages influence and alter the others. The programmes consist of works that are formally diverse, that flow in a way that excludes neither contradiction nor paradox, that may be read over and above the significance of each specific piece.

Thematical screenings

Hall and Auditorium.  Simultaneous Screenings

Centre de Cultura Contemporània de Barcelona

Montalegre 5. 08001 Barcelona

An Italian documentary that looks at how television manipulates and exploits women's bodies. It all started with the observation that women – real women – are an endangered species on television, one that is being replaced by a grotesque, vulgar and humiliating representation. This is an enormous loss: the erasure of womens' identity is happening right before our eyes, but there is no outcry, even from women themselves. This led to the idea of compiling TV images that share a common manipulative exploitation of womens' bodies, to let people know what is happening – not only people who never watch television, but especially those who watch it but “don't see.” The aim is to pose questions about the reason behind this erasure, a real “pogrom” of which all of us are silent spectators. The project pays special attention to the erasure of adult faces on television, to the use of plastic surgery to erase any sign of the passage of time, and to the social consequences of this erasure.

"It may indeed be questioned whether we have any memories at all from our childhood: memories relating to our childhood may be all that we possess. Our childhood memories show us our earliest years not as they were, but as they appeared at the later periods when the memories were aroused. In these periods of arousal, the childhood memories did not, as people are accustomed to say, emerge; they were formed at that time. And a number of motives, with no concern for historical accuracy, had a part in forming them, as well as in the selection of the memories themselves." Freud . This ten-part video strains childhood through a history of reproduction, culling pictures from the Lumiéres to the present day in order to find the future in our past. Here are children of pictures, as pictures, the ones who will walk on our graves, granted a legacy of framing and image making that have helped shape their lives, and their ability to grieve those no longer around to share them.a video in ten parts: In the Future (3 min), Jack (15 min), Last Thoughts (7 min), Portrait (4 min), Secret (2 min), In My Car (5 min), The Game (5.5 min), Scaling (5 min), Imitation of Life (21 min), Rain (3.5 min).

"In Limbo" is a collage edited from American satellite feeds intercepted by the artists Marko Peljhan and Brian Springer between 1990 and 1997. The material comprises unfiltered back-hauls from raw live feeds of news networks (before they are packaged with voice-over, music and commercials), as well as corporate and governmental broadcasts for the employees and trainees of the respective companies and law-enforcement institutions.