Manufacturing Consent: Noam Chomsky and the Media (1992) is a documentary film that explores the political life and ideas of Noam Chomsky, a linguist, intellectual, and political activist. Created by two Canadian filmmakers, Mark Achbar and Peter Wintonick, it expands on the ideas of Chomsky’s earlier book, Manufacturing Consent: The Political Economy of the Mass Media, which he co-wrote with Edward S. Herman.

The film presents and illustrates Chomsky’s and Herman’s thesis that corporate media, as profit-driven institutions, tend to serve and further the agendas of the interests of dominant, elite groups in the society. A centerpiece of the film is a long examination of the history of The New York Times’ coverage of the Indonesian occupation of East Timor, which Chomsky says exemplifies the media’s unwillingness to criticize an ally of the elite.

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Fugazi: Instrument - A Documentary by Jem Cohen

This unpredictable and fluid musical film by Jem Cohen is less a documentary about the punk band Fugazi and more a visual interpretation of the group’s artistic efforts. Energetically charged live performances, studio sessions and atypical fan interviews combine for a one-of-a-kind, mixed format piece.

The film dives right in and effectively captures the spirit, if not the story, of the band from minute one.

Buy the DVD from Fugazi or stream it on Amazon Prime.

(Source: imageoscillite)

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Secrets In Plain Sight" is an awe inspiring exploration of great art, architecture, and urban design which skillfully unveils an unlikely intersection of geometry, politics, numerical philosophy, religious mysticism, new physics, music, astronomy, and world history.

Exploring key monuments and their positions in Egypt, Stonehenge, Jerusalem, Rome, Paris, London, Edinburgh, Washington DC, New York, and San Francisco brings to light a secret obsession shared by pharaohs, philosophers and kings; templars and freemasons; great artists and architects; popes and presidents, spanning the whole of recorded history up to the present time.

As the series of videos reveals how profound ancient knowledge inherited from Egypt has been encoded in units of measurement, in famous works of art, in the design of major buildings, in the layout of city streets and public spaces, and in the precise placement of obelisks and other important monuments upon the Earth, the viewer is led to perceive an elegant harmonic system linking the human body with the architectural, urban, planetary, solar, and galactic scales.

Highly recommended. Read more here.

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The Dream Machine is the longest, most comprehensive documentary about the history of computing ever produced, but since its release in 1992, it’s become virtually extinct. Out of print and never released online, the only remaining copies are VHS tapes floating around school libraries or in the homes of fans who dubbed the original shows when they aired.

It’s a whirlwind tour of computing before the Web, with brilliant archival footage and interviews with key players — several of whom passed away since the filming. Jointly produced by WGBH Boston and the BBC, it originally aired in the UK as The Dream Machine before its U.S. premiere in January 1992. Its broadcast was accompanied by a book co-written by the documentary’s producer Jon Palfreman.

Watch it all for free right here.

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Sufjan Stevens has contributed music to MAKE, a documentary about four self-taught outsider artists from directors Scott Ogden and Malcolm Hearn. Stevens’ 2010 album The Age of Adz was inspired by the documentary. The cover of the album is a painting by Prophet Royal Robertson, one of the artists featured in the film, and Stevens also partially built the album around Robertson’s life story. On June 21, Stevens’ label Asthmatic Kitty will release MAKE on DVD.

Besides Robertson, the film also profiles fellow outsider artists Hawkins Bolden, Judith Scott, and Ike Morgan. In a press release, Stevens calls the film “a beautiful and insightful look at the sublime task of making art when nothing else will do.” 

Check out the trailer above. Via P4K.

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