For a new era, generation OS13, the repression will not be tolerated; do the government really think they can win that war if the young people are like fuck this, you cant beat that you, can’t beat us, it’s Impossible – Saul Williams
Slightly flawed but welcome documentary from someone ‘Anonymous’
Give it a watch, keep your eyes open <o>
Despite being released in 2009, we’ve only just got around to watching Moore’s latest polemic (Capitalism, A Love Story), which is perhaps his most overtly political film yet. Moore is routinely criticised for over-simplifying issues, not backing up all his points with rigorous research, narcissism and plain old-fashioned partisan politics. While many of these criticisms are often true of his work, that is not why he is routinely criticised. It is because he is a genuine threat to those in power. He speaks emotionally in plain English about important issues and encourages people to stand up for themselves. This is why he receives so much flack. His latest film is hard to criticise on these grounds as it is much more thoroughly researched than previous outings and goes straight for the jugular. Capitalism itself.
There is often something rather jarring about Moore’s documentaries. Unlike much mass-media produced treatise on the structures we call society, Moore’s offerings are ribboned with emotion and dramatic protest that can sometimes seem circus-like, theatrical. ‘Capitalism, A love story’, is in some ways no exception, with Moore playing at performing a citizen’s arrest and draping police tape around major banks. But there is also a simple and hard-hitting breakdown of the facts around global financial crisis, accompanied by archive footage, and a rather predictable yet occasionally effective soundtrack. The call-to-arms here seems a lot more tangible. The disgust you are lead to feel in the plight of families evicted from their homes, at children jailed by a for-profit prison system, is counteracted by pure elation at the footage of strike action at Republic Windows and Doors, and at a community whose peaceful action supported an evicted family squatting their own home.
While I agree that Moore can be a little crass, the accusations of manipulation by the right are utterly laughable. What Moore does (and what the right fears) is to simplify and explain the means by which the super-rich are managing to routinely rob the 95% of the population with little economic power. A good analogy for the way in which the public are usually systematically obfuscated by the financial elite is the formula shown in the documentary for ‘derivatives’. The muddier the explanation for financial catastrophe, the easier it is for those in power to capitalise and exploit the rest of us for their own profit. Moore clears the waters for us, and what strikes me time and time again is how blatant the robbery of the working class has become. This so-called recession amounts to the biggest heist of public money in recorded history, and so far the thieves have gotten away with it.
One point the film makes very well is that we do not live in a democracy, and cannot while the world is still run from Wall Street. Moore talks with Democrat senators who feel that what took place was a “financial coup d’etat”, where power was irrevocably shifted from elected representatives to the CEOs of banks and other financial institutions, by the back door. This is backed up by good evidence. When our governments’ now talk about budget deficits they neglect to mention how much of OUR money they “gave” to the banks. They suggest that these current times of austerity are somehow OUR responsibility, and we must take these CUTS to our vital front line services on the chin, like good loyal citizens to the church of capitalism, and sit by and watch as our most precious institutions are dismantled in the name of efficiency, while private companies rake in the profits.
Yet again we sit in the aftermath of another depressing expose of the system that robs us of our wealth and opportunity. We write in the wake of yet more cuts to services, including proposed cuts to legal aid, a 30% cut for NHS cancer scans, 25% youth unemployment… the list is endless. It is very difficult not to get despondent in the face of all this, difficult not to either block our disgust with distraction- or even give up completely and attempt to suck at the sour teat of the system as if there is no choice or escape. But not so. A point which drove these almost invariably united authors to heated debate was the idea that there is nothing left to do in the face of all this save violent revolution, a forced seizure of what rightly belongs to the people of this planet for the benefit of all. Yet look again… all of the successful protest portrayed within this documentary was peaceful, and a good reminder of the most powerful weapon we have- the right to withhold labour. Without our continued co-operation, this parasitic system can, and WILL fail. Let us not be complacent. We have a responsibility to each other, and the more of us care to remember that, the less powerful that top 1% can be.
Micolagist & Floatfly
We’re big fans of Adam Curtis here at Red Eye. He is quite possibly one of the most important documentary filmmakers of our time. He uses historical news footage, interviews and a powerful narrative to draw lateral connections and reveal hidden trajectories in our recent past – trajectories that have shaped our present world and the way we think about it. His new series All Watched Over By Machines of Loving Grace, recently aired on the BBC, and is well worth watching, giving as it does, a unique angle on how computers have changed the way we think about the world. More on this soon…
The Century of the Self is now a cult classic, and probably the best introduction to his work. It was originally a four part documentary, but is included here as one file… I hope this doesn’t put people off watching it in full, as it is a work that really needs watching in it’s entirety. It draws a huge arc across the 20th century starting with Freud and how psychoanalysis began to be used by advertisers and the propaganda machine to control the population, the illusion of democracy, the rise of consumerism and individualism and the death of socialism. It is our history in the raw perfectly told. Essential viewing for all.
The first time I watched this DVD I was pretty stoned. One of my favourite pastimes is to put on a film, one with great pictures and no dialogue such as Koyaanisqatsi, or some old Buster Keaton movies, skin up a large one, and provide my own soundtrack to the visuals out of my sizable collection of electronic music. As the psychotropic compound hits the cannabinoid receptors in the back of my brain and takes hold, pictures and sounds become one, rhythm becomes serendipitous, and my senses and imagination work together to re-contextualise this information in any way they see fit.
Intracellular signal transduction pathways are activated! I drift off into my own reverie, the images become blurred, the sound becomes muffled, and I pass out on my bean-bag, fully satisfied by this waking dream. With MisinforMation it feels like the Baron Mordant has done much the same thing, except he has managed to stay conscious long enough to write some original music, bespoke for the occasion.
I decided to watch the DVD again, this time with a clear head. The box doesn’t give you much information to be misguided by, though I’ve now worked out that the DVD is a collaboration between the BFI and Mordant Music, edited and re-scored by the latter, using the former’s access to the archives of the Central Office of Information – the UK government’s marketing and communications agency, and producer of public information films.
Pressing play you are greeted with a stark looking menu with the cryptic option to view “Spools” or to “Spore All” – I chose the latter. You are flung head-first into a Hitchcockian nightmare-vision of invading magpies, which quickly reveals itself to be a crime prevention commercial, extolling the virtues of Neighbourhood Watch. The sound is synthetic and ominous, the mood disquieting. This sets the tone if not the main themes of MisinforMation from the outset, a work that is as interested in the mechanics and language of film, as it is with the content. Indeed, the frequent use of test cards, countdowns and grainy damaged reels, conveys a love for the textural quality of the medium, and how that can effect the mood and feel of the images, as much as the themes and narratives displayed therein.
The Baron Mordant’s score emphasises this devil in the ambiguous detail. It is his music which becomes the constant thread, tying disparate pieces together. As many of the visual sources are from the 1970s and 80s, the nods to Vangelis and Eno seem highly appropriate – but it isn’t another retro pastiche. The sounds are pulled apart and elongated to form textures and drones. While at times it is Hauntological in the manner of Ghost Box or Boards of Canada, often the synths and effects are more akin to Autechre or Merzbow, noise and ambience are intense and lift the images to another plane. All works well until the Baron attempts a song – a somewhat naive blip on an otherwise flawless electronic score.
All the short films collated here are highly watchable, and interesting historical objects in their own right – but in MisinforMation they are re-purposed, obfuscated and altered – the new interpretation provided by sound alone. They are shown in a new light and this has a big impact on their semantic purpose. This is the main concept behind the project – that with only slight deviations from the original context, the meaning can be completely transformed. Sometimes this works better than others.
A Dark Social Template is particularly effective. The new soundtrack casts a bleak re-imagining of our past’s visions for the future, playing on our informed position of knowing exactly how certain ideas would end up failing. The concrete mazes and dungeons of 1960s new builds are underscored by itchy, nervous, analogue bleeps and tones, highlighting the inhumanity of such places – while the original film, blissfully unaware of their future failure, tries to persuade poor sods to up-sticks and move there. Animated sections in the film are rendered surreal, with human behaviour made to look alien and viral, cities emerge like infected wounds on the earth’s skin. A beat-less disco makes the revelers look like absurd maniacs and re-interprets an OAP’s conga-line as some bizarre satanic ritual. The only part of this piece that didn’t capture my imagination was watching the presenters talking without the original audio. It was as if I had turned the sound down on my own TV, and this made it feel a bit amateurish when compared with the perfect wedding of music to picture in the other scenes. This is executed better, later on, by replacing the original voice with another – a much more interesting use of such footage, and more befitting of the title.
Attenuated Shadows is another highlight. This short film about solvent abuse would have been profoundly disturbing without the new score, but the music here goes really well indeed – mournful chords and woozy soundscapes add melancholy to the shock value. The footage looks very real, and yet we’re told at the end of the documentary that the children depicted doing glue, did not inhale. This seems hard to believe – were the COI covering their arses for fear of being labeled exploitative? Was the original misinforming us, or has Mordant Music’s emotive scoring misinformed us into believing the illusion? Maybe we’ll never know. This is MISinformation after all.
Urban nightmares are then replaced by grainy pictures of Stone Henge and picture-book illustrations of early man. Ridyll was the weakest section for me. It didn’t feel as though it had been re-purposed as much as the others, and it did drag a little. However, it does benefit from being an interlude, and in contrast with the other more intense offerings, it paints a quaint picture of Britain’s ancient history. And the music is pretty good too, featuring a Moog wig-out in the style of Bo Hansson.
Elsewhere on the DVD we see the famous AIDS advert (from the 80s) in reverse, a suburban domestic version of Tron where nature fights back, a documentary on Ink Jet technology repurposed to reveal something dark in our nature, strange footage of nematode worms in a lab, and many other more abstract pieces, where music and visual mesh perfectly with no apparent agenda or message to be conveyed. The last film is pure audio-visual pleasure, as beautiful images of the sea and coastline are immaculately scored – the sound and picture relationship here is more precise than anywhere else in the work, with beautiful rhythmic editing and a sense of humour to boot.
In conclusion then, I simply can’t recommend this DVD enough – it is a work of art with very few aspects in need of criticism. It is both thought-provoking, emotive and intelligently complied. What I would say though, is that it is best viewed instinctively, on psychotropics, so your own imagination becomes part of the work, and you get lost in the minutae and subtle inter-relationships that jump-start old memories and lateral ideas. You get lost in it happily. Watched in a sober, more linear fashion, you end up trying to second-guess the creator’s motivations, and I don’t think you get quite as much out of it that way.
Best served with 3.5 grams of “Blue Cheese”.
You can buy the DVD from Boomkat
The following documentaries are extremely interesting and worrying in their implications (to put it mildly). Both documentaries are centred around psychologist Robert D Hare’s recently devised checklist to accurately diagnose cases of psychopathy, and raise, in my opinion, some serious issues which need to be addressed if we are to make a better, fairer and safer world for future generations. But an ethical solution to some of the problems presented may not become available to us for some time to come, and even if/when the science /technology to resolve the problems without resorting to inhuman right-wing tactics becomes available to us, there may still be serious ethical considerations to weigh-up as to whether or not the technology should be employed.
This undoubtedly all sounds very melodramatic and exaggerated, but I think once you’ve delved even just a bit deeper into this topic beyond the commonly held view (or misconception), as I have, you’ll find that you agree with me, if not in whole, in part.
Experts say that as many as 1 in 100 people could be psychopaths. They are not only serial killers, that is only the extreme and a small minority of the whole, in reality they are all around us, functioning, for the most part, as law abiding citizens. But this does not mean they are harmless.
What defines a psychopath is the inability to relate – a total lack of empathic reasoning. This causes them to be extremely selfish and ruthless; they will hold no qualms over deceiving and/or manipulating to get what they want. Sometimes to get what they want they must inflict violence or kill. Whilst other times (remember, they possess no empathy or conscience) they simply crave the rush and sense of power dominating/abusing/killing a person will provide them.
Not all psychopaths feel they need to break the law to get what they want though. They are often, by nature, very cunning people, and resorting to such crude methods as killing to fulfil their selfish desires often is not necessary. As you’ll find out if you watch the documentaries, a lot of psychopaths get on extremely well in the ruthless, cut-throat world of business and commerce for example. And this world satisfies their craving for power and domination over others.
Quote from the Equinox documentary, Psyschopath:-
The notion of industrial psychopaths rising throught the ranks to become captains of industry could mean that the character traits are a positive business asset.
Power attracts the corruptible – Frank Herbert
So, we know what defines a psychopath, but what defines a human? Is empathy and a conscience vital qualities to being human? If so, can psychopaths really be classified as truly “human”? Or are they humans in disguise? Cold, unfeeling androids without a “soul”? If this is the case, then maybe the ethical conundrums I mentioned earlier don’t apply, but I feel very wairy of going down this route… we all know what happens when people are classed as “subhuman”. The inspiration for Philip K Dick’s Do Androids Dream of Electric Sheep? was people PKD saw around him who he felt lacked these vital humanistic ingredients. Even the “Voight-Kampff” test used to identify the androids is reminiscent of a psychopathy evaluation, gauging emotional reaction to stimuli.
From the wiki article about the novel:-
The novel is set in a post-apocalyptic near future, where the Earth and its populations have been damaged greatly by Nuclear War during World War Terminus. Most types of animals are endangered or extinct due to extreme radiation poisoning from the war. To own an animal is a sign of status, but what is emphasized more is the empathic emotions humans experience towards an animal.
Deckard is faced with “retiring” six escaped Nexus-6 model androids, the latest and most advanced model. Because of this task, the novel explores the issue of what it is to be human. Unlike humans, the androids possess no empathic sense. In essence, Deckard probes the existence of defining qualities that separate humans from androids.
What definately isn’t a human is a corporation (Tyrell, “More Human than Human”!). Yet as explored in the second documentary, a Canadian film called The Corporation, these organisations must be considered, in the eyes of the law, as a person rather than an entity. Under this definition, reasons profiler Robert Hare, corporations can be categorized as psychopathic because they exhibit a personality disorder: that of single-mindedly pursuing their objectives without regard for the people in and around them.
In my opinion, these docos are explosive and should be seen by everyone. The Equinox documentary is an eye-opener for sure, and The Corporation is nothing short of a masterpiece in my opinion, winning the World Cinema Audience Award: Documentary at the Sundance Film Festival, 2004, along with a Special Jury Award at the International Documentary Film Festival Amsterdam (IDFA) in 2003 and 2004. They have certainly changed and shaped my present view of the world in which we find ourselves (as well as my interpretation of PKD’s novel). I hope you can find the time to view them both, and I look forward to the debate these docos will hopefully initiate on the comments section.
If you want to research even more into this topic after watching the documentaries, I recommend the book Without Conscience: The Disturbing World of the Psychopaths among Us by Robert D Hare, the psychologist who developed the Psychopathy Checklist (PCL) and Psychopathy Checklist Revised (PCL-R).
Marwencol is the strange and wonderful story of Mark Hogancamp, a man who, after suffering brain damage resulting from being severely beaten-up by a group of drunken thugs, sets about creating his own very personal brand of therapy. This therapy involves revisiting his childhood passion for Action Man figurines. Mark creates and maintains a miniature, fictional WWII era Belgium town named Marwencol, and documents, in the form of highly accomplished photographs, the on-going narrative of its occupants, modified Barbie and Action Man dolls based on real people in his life. Eventually he and his creations are discovered by a curator, who is so impressed and taken-back by Marwencol that he proposes putting on an exhibition of Mark’s photographs of his town and its curious narrative.
A must see! Highly recommended. Link to full film bottom of post.
Speaks to the addictiveness, the catharsis, the unpredictability, and the eternity of the creative process. – Jeffrey Chen, Window to the Movies
Marwencol is a mesmerizing documentary, and like Mark Hogancamp it continually surprises you. It may also be one of the best films you’ll see all year. – Beth Accomando, KPBS.org
First-time director Jeff Malmberg does almost everything right in this stunningly empathetic documentary. – Jeff Meyers, Metro Times (Detroit, MI)
Mark’s website, marwencol.com
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