BRITISH SOUNDS*

In a word, the bourgeoisie creates a world in its image.Comrades! We must destroy that image!A spectre is haunting Britain: the spectre of communism. All the forces of the old and new imperialism have entered into a holy alliance to exorcise this spectre: British Petroleum and pop music, the Eurodollar and anti-trade union laws, Elizabeth the dunce and Wilson the traitor.

(transcribed and commented by Thomas Campbell)

01. Old Questions

All those who understand that aesthetics, politics, and economics form a vital nexus believe that art can reveal with particular force the most acute problems of social development. History is a clash between different groups who defend not only their right to speak out, but also their vision of the future. If we wish to continue the political project today we must first pose the old question: Who is the subject of historical development and knowledge? And we must actualize the simplicity of the old answer: the struggling, oppressed class itself (Benjamin).

I vividly remember a strange broadcast a few years ago. On one of the first days of the US invasion of Iraq in 2003, a senior CNN correspondent was riding in an armored vehicle. Jubilantly, he stuck a direct broadcast cell phone camera out of the window. He exclaimed that never before had this type of live broadcast been seen. And that was indeed true. Because one could hardly see anything on these pictures. Due to the low resolution, the only things in sight were green and brown blotches, slowly moving across the screen. Actually, the picture looked like the camouflage of combat fatigues; one could only guess at what these abstract compositions were supposed to depict.

What Are the Current Characteristics of Vernacular Video?

― Displayed recordings will continue to be shorter and shorter in duration, as television time, compressed by the demands of advertising, has socially engineered shorter and shorter attention spans. Video-phone transmissions, initially limited by bandwidth, will radically shorten video clips.

Already in their own times, Russia's revolutionary artistic avant-gardes of the 1910s and 20s offered a highly desirable point of reference for artists outside of Russia. Be it for those who were hoping for a subsequent spreading of the revolution towards Europe, or for those who, after the frustration of those hopes in the early 1920s, believed that artistic practices could proceed to form an independent starting point for revolutionary tendencies within bourgeois capitalism.

In one of his essays [1], Jacques Rancière asks: what type of fiction is the genre of documentary film? His answer is that a documentary is not the opposite of a feature film only because it presents images of everyday life or evidence from archives instead of falling back on actors interpreting a fabricated story. It is rather a different mode of cinematographic fiction, a different way of constructing a plot, breaking down a story into sequences or assembling shots to form a story, of prolonging or condensing time. According to Rancière, a documentary film is both more homogenous and more complex. More homogenous because the person who conceives the film is also the one who realizes it, documentary cinema is thus the epitome of the author film; and more complex because sequences of heterogeneous image material are usually connected.

It's all a matter of confronting the visual elements one way or another. It's all a matter of intervals.
Dziga Vertov, "Kinoks: Revolution"

The journal of the Left Front of the Arts, LEF, was where the fathers of Soviet and world cinema, Sergei Eisenstein and Dziga Vertov, first announced their theoretical projects. It was still difficult, however, to sense in these brief manifestos ("Montage of Attractions" and "Kinoks") the principal differences in how the two men saw the nature and tasks of (Soviet) cinema. These would become apparent later, in the late twenties, and would be impartially discussed in the pages of New LEF.

Published at http://www.mnsi.net/~pwatkins/public.htm

Analysis and knowledge > Direct political action > Creating alternative media

If we can somehow develop the idea that individuals and community groups - i.e., the public - can and should play a greater role in deciding and creating what they (we) see on the mass audiovisual media (MAVM), then we will have taken a major step forward.
Central to this proposal is the concept that the ideas and initiatives of the public, if absorbed into the creation of the mass audiovisual media, would help break down many of the existing hierarchical forms and practices.