Definitive document of pre-World War II futuristic utopian thinking, as envisioned by General Motors. Documents the "Futurama" exhibit in GM's "Highways and Horizons" pavilion at the World's Fair, which looks ahead to the "wonder world of 1960".

Proliferation of outdoor advertising billboards through Chicago and the methods of analyzing potential advertising sites. This part explains the strategy behind the placement of outdoor media. (The Prelinger Archives are a source of educational material, mainly ordered by theme, giving a vision of the dark side, the underbelly, perhaps naive of the American dream and the America that is ten hidden behind the media curtain).

Documents the growth of advertising and its migration from film to television. They are sweet and subtle precursors of the infomercial, like the animated journey of a drop of gasoline through the bowels of a Chevy 1935, and "RDF Greenwich Village" an oasis in the suburbs, where a modern neighboor rests on its modern corduroy clothing, 100% cotton.

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The title Time Like Zeros is taken from a comment by one of eight female prisoners who narrate the film, as she contemplates the life sentence stretching ahead of her. It is echoed visually in the camera movement that encircles the prison, and in the circles of razor wire that whiz by as the scene moves from the exterior fence to the darkest cells of the prison. A sense of community and compassion can be sensed in the women's voices, yet contrasts with the footage shot by guards as they chain down a woman in the segregation unit.

Three young women impress their men with their home sewing skills.

Description : Première collection : Série de danse de projets de GMN Je me suis senti qu'il était temps de faire cette série ; une série qui reflète (au-dessus du poids et du vieillissement) mâle blanc comme image/symbole du positionnement insoutenable dans cet arrangement pluraliste. Comme mâle en monde ou monde d'art, nous avons une tendance de maintenir nos propres position de puissance ou de cette Person de puissance ou de jeunesse, où en réalité it' ; s perdu au temps et à la pesanteur. Le morceau parle à cette façade fausse. That' ; s pourquoi j'emploie l'idée du " ; l'artiste comme fool" ; dans la majeure partie de mon travail. Fondamentalement je pousse l'amusement à mon propre individu. Comme un mâle blanc, dans cet état de culture, je pensent that' ; s tous que je dois travailler avec, ce et humilité.