Shot with a wireless miniature camera, this film contrasts the intended use of the CCTV technology (the monitoring of space) with its creative re-purposing (the production of ‘expressive' shots). The surveillance of the artist in dehumanising overhead shots is juxtaposed with the artist's appropriation of the technology to create an abstract microscopic landscape. The overhead gaze of the CCTV camera obscures the signs of the artist's subjectivity (by concealing his face), and objectifies him as a result; the stop motion makes him robotic. In contrast, the expressionistic imagery supposedly embodies his personal vision. Of course, the distinction between the two types of footage becomes complicated through the film. The CCTV material has formal or aesthetic qualities of its own, and may be as expressive of the claustrophobia and isolation of the character as the microscopic imagery. The work contrasts the banality of everyday activity and the constraint of domestic space with the imaginative possibilities of creativity. The body of the protagonist, enclosed by furniture and limited to a few repetitive functional gestures in the CCTV footage, is able to transcend this physical state with the camera, which seems able to go anywhere and shoot at any angle.

This documentary film explores how an ambitious young man overcomes a mental defect and becomes "a good man." Using editing techniques, the dreams, ideals and problems of a large segment of the American male population is being explored. The soundtrack is of DEVO Orchestra.

Issue two of subMedia's Molotov takes on the issue of intellectual property.

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.

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.

The promise of a perpetually technological updated world. Other forms of marketing and addiction.