Social & External
er selbst
Johnny Knoxville and his band of maniacs perform a variety of stunts and gross-out gags on the big screen for the first time. They wander around Japan in panda outfits, wreak havoc on a once civilized golf course, they even do stunts involving LIVE alligators, and so on.
Mudos testigos is a cinematographic collage made from all the surviving material of Colombian silent films, re-editing the images in such a way as to create a single imaginary film: the impossible love story of Efraín and Alicia that traces the convulsive first half of the twentieth century in Colombia. Compiled by the late Luis Ospina and finished posthumously by Jeronimo Atehortúa.
Produced by Alfred Higgins Productions with assistance from the University of Missouri-Columbia’s Academic Support Center Film Library, Keep America Beautiful, Inc., and Keep Los Angeles Beautiful, Inc., the 1963 short film A Land Betrayed examines the various ways people have spread the “cancer of ugliness” across America and offers call-to-action solutions to combat the nation-wide problem.
For this behemoth, Bressane took his opera omnia and edited it in an order that first adheres to historical chronology but soon starts to move backwards and forward. The various pasts – the 60s, the 80s, the 2000s – comment on each other in a way that sheds light on Bressane’s themes and obsessions, which become increasingly apparent and finally, a whole idea of cinema reveals itself to the curious and patient viewer. Will Bressane, from now on, rework The Long Voyage of the Yellow Bus when he makes another film? Is this his latest beginning? Why not, for the eternally young master maverick seems to embark on a maiden voyage with each and every new film!
The crew have now set off to finish what as left over from Jackass 2.0, and in this version they have Wee Man use a 'pee' gun on themselves, having a mini motor bike fracas in the grocery mall, a sperm test, a portly crew member disguised as King Kong, as well as include three episodes of their hilarious adventures in India.
Jackass Number Two is a compilation of various stunts, pranks and skits, and essentially has no plot. Chris Pontius, Johnny Knoxville, Steve-O, Bam Margera, and the whole crew return to the screen to raise the stakes higher than ever before.
Three Nicaraguan-American artists from the Washington D.C. Metro area discuss growing up in two cultures and how it influences their art.
The title of the film is the date on which the editorial staff of Hungary’s largest opposition newspaper, Népszabadság, was fired. The filmmaker tore up copies of that day’s issue, layered them, and then turned them into an urgent collage expressing his yearning for the free expression of opposition viewpoints. The visible edges of the film emphasize the impossibility of presenting information in a complete context.
John DeMarsico’s showcase of the cinematic inspirations for the baseball broadcasts he directs at SNY for the New York Mets. DeMarsico pairs clips from some of his favorite films with sequences from his broadcasts that were directly inspired by those films.
In 1914, the Czech architect Jan Letzel designed in the Japanese city of Hiroshima Center for the World Expo, which has turned into ruins after the atomic bombing in August 1945. “Atomic Dome” – all that remains of the destroyed palace of the exhibition – has become part of the Hiroshima memorial. In 2007, French sculptor, painter and film director Jean-Gabriel Périot assembled this cinematic collage from hundreds of multi-format, color and black and white photographs of different years’ of “Genbaku Dome”.
A cinematic time capsule with over 1,400 hours of submitted material from all regions of Switzerland gives unknown insights about the life of Swiss people in the politically and socially turbulent summer of 2019.
Poet and artist Vito Acconci points his finger towards the camera and his own reflection in an offscreen video monitor.
Daniel Eisenberg's film (or "memory essay," as theorist Nora Alter referred to DISPLACED PERSON) is a challenge to a conventional view of history, a provocation using traditional documentary forms: found footage, newsreels, a radio lecture of French anthropologist Claude Levi Strauss and Ludwig van Beethoven's "Razumovsky" quartets.
A girl haunted by traumatic events takes us on a mesmerising journey through 100 years of horror cinema to explore how filmmakers scare us – and why we let them.
The film examines the painful relationship between fathers and sons through the eyes of one family. Four generations of men are featured in the film. Father to Son deals with the conflict between generations and their subjective memories, and the way different methods of raising children pass from one generation to the next. How often and to what extent do we repeat the behavioural patterns of our fathers; can we change or break these patterns or is repeating them inescapable, and how many generations are needed for change to occur? Are the values we have inherited from our fathers still valid in the modern world? One of the leading themes of this film is the sensitivity of a man and a boy, and its preservation and suppression.
Collage film about R.D. Laing, who spearheaded the social and cultural revolutions of the 1960s, weaves archival material with his own filmic observations. For Laing normality meant adjusting ourselves to the mystification of an alienating world.
Plugged In explores how social media and smart phone usage has an effect on our younger generations, those who are now born into a world technologically ready and know nothing else - and how hard it is to remove this element from their lives in these modern times. It looks into the design of social media being a purposeful tool used to keep people hooked in, taken away from face to face reactions and how the attitudes towards people through these mediums have become darker.
Photos, animation, and music illustrate the story of the Beatles.
