Starting with the deceptively soothing pastel hues of a sunny afternoon in San Francisco, getting in stages a collision between two rarely questioned phenomenon, heterosexual sex and real estate.
UntitledUnited States of America
746 Archival description results for United States of America
Public project in the New York subway.
From a series of super low-tech video diaries recorded with the famous and now extinct "fisher price pixel vision" camera. Sadie Benning introduces us to her personal world of discoveries of identities and genres.
UntitledThis 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.
UntitledA blow-up character is carried away by the wind...
Today we take a close look at companies known as "vulture funds." Vulture fund companies buy up the debt of poor countries at cheap prices, and then demand payments much higher than the original amount of the debt, often taking poor countries to court when they cannot afford to repay. For an in-depth look at this issue, we turn to a BBC Newsnight documentary by investigative reporter Greg Palast. Greg Palast's BBC report on vulture funds. Today a high court judge in London ruled on the case that a vulture fund can extract more than $20 million from Zambia for a debt which it bought for just $4 million.
“The following is a true fact about American feminism: Courtney Love’s mother was Katherine Power’s therapist. GOOD SISTER/BAD SISTER is about fugitivism. Therapy. Rock and roll. FBI harassment of lesbians. The legacy and memory of radical feminism. Lipstick. Violence. Surrender. Bank-robbing. Generational politics. History. Through documentary technique, such as talking-head interviews and dramatic re-creations, Johnson connects notorious baby-doll grunge rocker Courtney Love with Katherine Power, a sixties activist and fugitive of the FBI for 23 years. Through the link of Linda Carroll, who is coincidentally both Love’s estranged mother and Power’s therapist, Johnson creates a multi-layered dialogue between the women that exemplifies and comments on female transgression within the public arena. When feminism is still the dirty F word of the Nineties, how do women fight American disorder without just being bad girls in a male-defined world' [...] Just because the sixties was a mind fuck, does it mean that we can never ask Utopian questions again?” – Berlin Film Festival 1997
UntitledIn the United States the ownership of fire arms is a question of personal choice. In this city, it is the law. In Goreville, Illinois, it is compulsory for each head of household to have a gun and ammunition. This documentary examines opinions about the right to self-defence against impending danger, phantoms of liberty and national values hidden beneath the weight of fear, and people's militias, through the eyes of Goreville. 6th Independent Vídeo & Interactive Phenomena Show
UntitledGrand 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.