Tag Archive for: Video activism

Cultural environmentalism in Leicester

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A small but fascinating interdisciplinary workshop at the University of Leicester on March 6th, on the theme of environmental justice in Latin America, convened by Paula Serafini, proved a congenial occasion for a screening of ‘Cuba: Living Between Hurricanes’. The event, which focussed on cultural production in response to environmental injustice, was  slightly depleted by two or three non-arrivals due to understandable reluctance to travel from abroad; two of them gave their contributions via internet – is this how things will shape up in the foreseeable future?

What made it so engaging was the variety of presentations about a diverse range of cultural manifestations – street theatre, performance, music, textiles, video – and of phenomena susceptible to cultural intervention – conservation in the Colombian paramo, potato cultivation in the Peruvian Andes, conflict over pulp mills on the Uruguay river, shareholder meetings in London. Read more

‘Money Puzzles’ almost ready

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Almost ready. About to get delivery of  the first DVD preview copies of ‘Money Puzzles’, and then I’m off to Lisbon, where its first screening takes place at Doclisboa on 29th October.

[vimeo]http://www.vimeo.com/174092191[/vimeo]

Over the eighteen months I’ve been making ‘Money Puzzles’, a good deal has happened in the world and not much has changed, and where it has, matters are getting worse. Read more

Filming the Greek Crisis

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Athens, 20 July 2015

Two weeks after the referendum in which the Greek people delivered an overwhelming No to Austerity, one week after the Syriza government nonetheless accepted the terms dictated by Brussels, many people in Greece feel either betrayed or confused or both. I’m in Athens with Lee Salter to film an episode for our new film, Money Puzzles, and attend an international conference called, hopefully, Democracy Rising, where some of the best brains of the academic left from Europe and North America have been trying to grapple with the contradictions which these unexpected developments have now thrown up, and relate them to the broader canvas of the anti-capitalist social movements that have emerged in the last few years around the world. It is not an easy brief, in part because of a degree of disconnection between the academic language of many of the panellists and the political need for plain-speaking. This disconnect is also part of the political blockage of the left that we all need to learn to overcome. We need to speak simple truth not only to power but also each other.

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Radical Film in Birmingham

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One of the notable features at the inaugural conference of the Radical Film Network in Birmingham last weekend was the mix of generations, from new blood to survivors from the days of the IFA (Independent Filmmakers Association) in the 1970s. Speaking as one of the latter, it was pleasing to find that what the comrades did back then has not been entirely forgotten, but more important, that this new initiative has a genuine sense of history, of historical inquiry, and is disposed to look to past experience both in order to commend what was achieved and to mull over its weaknesses.

But of course the political conjuncture of post-crash times is markedly different from those days, and there’s been a signal change in the political modus operandi. Read more

New? Latin American? Cinema?

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The proper title of Havana’s annual film festival, founded in 1979, is the International Festival of New Latin American Cinema – Nuevo Cine Latinoamericano.  The words mark the Festival’s identification with a movement that was born in the 1960s, in the diverse endeavours of a new generation of filmmakers across the continent. The Festival remains a model of its kind after thirty-five years, the programme not only full of films in cinemas across town but also workshops and masterclasses of all sorts. This year’s centre-piece seminar (in which I was privileged to be one of the panelists) boldly addressed the Festival’s very raison d’être, under the title ¿Nuevo? ¿Cine? ¿Latinoamericano? – ‘New? Latin American? Cinema?’ It went along with perhaps the strangest festival promo you’ve ever seen, beautifully made by Pavel Giroud, in which an old projectionist switches off his projector, takes the reel off and goes and buries it.

[youtube aJNg73RM-U4]

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University of Chile attacked with Tear Gas and Water Cannon

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It doesn’t only happen in Turkey. Yesterday, while filming in Santiago, I had my first experience of tear gas. I went to film the latest student protest march against the heavily privatised education system which is a heritage of the neoliberal policies of the Pinochet dictatorship. I filmed far more than I needed, because it was huge and very impressive (it took 75 minutes to pass the National Library where I was stationed) with all the expectable banners, drumming, bands, and dancing, and perfectly peaceful, following the pattern established a couple of years ago when the protest movement began. Read more

9 Notes on Digital Cinema

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A new online journal from Colombia, Corónica, has posted a short interview with me on video, made by Juan Soto, called ‘9 Notes on Digital Cinema’. It accompanies my film on the students protests in Chile, Three Short Films about Chile.

Here is Juan’s video (in Spanish and English, with subtitles).

[vimeo]http://vimeo.com/48867239#[/vimeo]

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Video and rebellion: the Middle East

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Continuing the theme of my penultimate post, a documentary report has appeared on Al Jazeera (‘Images of Revolution’, dir. Ibrahim Hamdan) presenting ‘the story behind the iconic images of the Arab uprisings as told by those who filmed them’. It’s a pretty good film for anyone thinking about the subject, or teaching social media, from whatever angle, for two reasons. First, because it covers many of the questions that people have been asking about the role of the social media in fomenting the revolutions in the Middle East, and of social movements everywhere. And second, because it does so without the unctuous commentary or tendentious presenter that remains obligatory on our own television channels, but entirely in the voices of participants themselves: reporting from Tunisia and Egypt, with a postscript from Libya, Hamdan seeks out people who filmed some of the key mobile phone videos that helped to galvanise the uprisings, and interviews them in the places where they did their filming as they tell us how they did it.

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