American documentary filmmaker James Longley travelled to the Gaza Strip in January of 2001, planning to stay for two weeks and collect preliminary material for a film about the Palestinian intifada. He threw away his return ticket and stayed for another 3 months, shooting over 75 hours of material throughout the Gaza Strip. GAZA STRIP follows a range of people and events following the election of Israeli Prime Minister Ariel Sharon, including the first major armed incursion into "Area A" by IDF forces during this intifada. The film is filmed almost entirely in a verite style, presented without narration and with little explanation, focusing on ordinary Palestinians rather than politicians and pundits.

This fascinating media archaeology document from the US Navy shows us a marine administering an enema to his brave companion, following the official method approved in US Navy manuals. From the The Subject is Sex collection.

The birthday of this video's fictional filmmaker, Avi Mograbi (also the name of the real director), is the same day as the 50th jubilee anniversary of the founding of Israel, a day observed by Palestinians as "Al Nakba" or the Catastrophe. Mograbi is hired first by Israeli television to film the events leading up to the jubilee and then by a Palestinian producer who wants him to film the ruins of Palestinian villages and towns in Israel. To make matters worse, he is enmeshed in a real estate deal with his neighbours and enraged buyers arguing over property boundaries. The collision of these three anniversaries, two film jobs and a dispute over property lines takes this fictional "documentary" into the depths of Israeli and Palestinian daily life and a shared 50-year history.

"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.

One day they will do with reality what they? ve done with TV. You will only have the right to leave the house if you pay a 150 euro monthly fee. If you don?t pay up, everything you see will look blurry.

How U.S. military occupation looks from the other end of the gun barrel. Was Abu Ghraib an exception or merely an extreme? How has Iraq changed since the fall of Saddam? What is life like under occupation? On-the-ground footage shows the humiliation and dehumanization inevitable in a colonial situation.

This video was edited as a result of the Captura Raval Workshop (OVNI - TEB -  CCCB) "I don't think politicians have read any history at all, modern or ancient. Situations repeat themselves, and no matter how many guns they have, it will all be repeated again, because it will be necessasry. Watch out world leaders, murderers like Mr Bush...this is a Barcelona you can?t see one that hides?".

Chavez, elected president of Venezuela in 1998, is a colourful, unpredictable folk hero, beloved by his nation's working class and a tough-as-nails, quixotic opponent to the power structure that would see him deposed. Two independent filmmakers were inside the presidential palace on April 11, 2002, when he was forcibly removed from office. they were also present 48 hours later when, remarkably, he returned to power amid cheering aides. Their film records what was probably history's shortest-lived coup d'état. It's a unique document about political muscle and an extraordinary portrait of the man the wall street journal credits with making Venezuela "Washington?s biggest Latin American headache after the old standby, Cuba."

A video report on the occupation of lands by the Movimiento de Trabajadores Desocupados (Unemployed Workers Movement) on the 26th of June in La Matanza, on the outskirts of Buenos Aires. The story helps us to understand the methods of self-organisation used by unemployed workers from necessity, and how direct action can lead to a brutal confrontation with law enforcement forces. It also offers proposals for other ways to think about property, outside of the capitalist society.

This collaborative film, banned for more than a decade by French censors as an attack on French colonialism (and now available only in shortened form), is a deeply felt study of African art and the decline it underwent as a result of its contact with Western civilization. Marker's characteristically witty and thoughtful commentary is combined with images of a stark formal beauty in this passionate outcry against the fate of an art that was once integral to communal life but became debased as it fell victim to the demands of another culture.