“Pt2. Obama makes no significant change in U.S. foreign policy towards Congo

Watch full multipart Congo: Chaos By Design”

“Kambale Musavuli Pt1: Congo is essential to the American military and aerospace industry
Watch full multipart Chaos By Design

THE FULL FUCKING FILM

Transborder map 2012

January 11, 2013

Transborder map 2012

from http://www.noborder.org/ (Nov 17, 2012)

“The transborder map 2012 is a map of resistance against the European Border regime. The map documents the multitude of actions against the European Border regime and includes key-incidents of struggles from the last five years against the background of the repressive European migration regime and its continuous externalisation to the east and south. This regime is sketched on the back side of the map. The map is available for download as a high resolution pdf here [back side here]. please click on the image below to view the map in your browser. [about the map]”

Third or Imperfect Cinema

January 9, 2013

“Just a short time ago it would have seemed like a Quixotic adventure in the colonised, neocolonised, or even the imperialist nations themselves to make any attempt to create films of decolonisation that turned their back on or actively opposed the System. Until recently, film had been synonymous with spectacle or entertainment: in a word, it was one more consumer good. At best, films succeeded in bearing witness to the decay of bourgeois values and testifying to social injustice. As a rule, films only dealt with effect, never with cause; it was cinema of mystification or anti-historicism. It was surplus value cinema. Caught up in these conditions, films, the most valuable tool of communication of our times, were destined to satisfy only the ideological and economic interests of the owners of the film industry, the lords of the world film market, the great majority of whom were from the United States.
Was it possible to overcome this situation? How could the problem of turning out liberating films be approached when costs came to several thousand dollars and the distribution and exhibition channels were in the hands of the enemy? How could the continuity of work be guaranteed? How could the public be reached? How could System-imposed repression and censorship be vanquished? These questions, which could be multiplied in all directions, led and still lead many people to scepticism or rationalisation: ‘revolutionary cinema cannot exist before the revolution’; ‘revolutionary films have been possible only in the liberated countries’; ‘without the support of revolutionary political power, revolutionary cinema or art is impossible.’ The mistake was due to taking the same approach to reality and films as did the bourgeoisie. The models of production, distribution, and exhibition continued to be those of Hollywood precisely because, in ideology and politics, films had not yet become the vehicle for a clearly drawn differentiation between bourgeois ideology and politics.” – Fernando Solanas and Octavio Getino

read on

“Revolutionary cinema […] can only be collective, just as the revolution itself is collective” (Jorge Sanjinés (1983) Problems of form and content in revolutionary cinema)

“”Great Housing Mission” seeks to address soaring housing deficit, democratize city space”

Interview with Franklin Lopez

December 14, 2012

a personal take on the daddy of submedia and the documentary END:CIV

DONT HIDE

December 14, 2012

http://www.cveitch.org
http://www.thelovepolice.eu

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