All events in the Festival are free to attend, but booking is required. E-tickets will be available to book after 10am on Tuesday 31 January via the LSE online store: http://eshop.lse.ac.uk/. For any queries see LSE Events at events@lse.ac.uk 0207 955 6043

The lineup:

MISS ME: THE ARTFUL VANDAL
Director: Mohammed Pullinger
2015 / 4 min / United States

From subliminal to subversive: At the height of a successful career at one of the world’s top advertising agencies, renowned Montreal-based “Miss Me” quit her job and took to the streets to become an underground street artist. Her goal? Self-liberation, authenticity, and to be a loud, counter-voice to the objectification of women in mainstream advertising.

WE ALL WE GOT
Director: Carlos Javier Ortiz
2015 / 4 min / United States

Carlos Javier Ortiz has been documenting the consequences of gun violence in Chicago and Philadelphia for over 8 years. His work is especially focused on the impact such violence has on shaping the lives of youth in these communities. We All We Got captures the poetic language of the streets: the ghetto birds flying over the city; music popping out of cars; people talking on the street corners as preachers holler for the violence to stop after another young person was senselessly gunned down on the streets of Chicago.

LA LAGUNA
Director: Aaron Schock
2016 / 40 min / Mexico

Set within the rainforests of southern Mexico, La Laguna tells the story of a Mayan boy’s remarkable journey from childhood to adolescence. While Yu’uk and his younger brother José enjoy a childhood of uncommon freedom in the jungle, Yu’uk’s family’s problems begin to mount and leaving his village – and his beloved little brother – may be his family’s only hope.

EPICLY PALESTINE’D
Director: Theo Krish and Philip Joa
2016 / 26 min / United Kingdom

A small group of Palestinian teenagers gain the attention of the sporting world when they create a skateboarding scene in the heart of the West Bank – a place where you can’t even buy a skateboard – whilst facing the challenges of living under military occupation.

POSHIDA: HIDDEN LGBT PAKISTAN
Director: Faizan Fiaz
2016 / 28 min / Pakistan, United Kingdom

Poshida takes the queer love story at the heart of Sufi Islam as its pivot, telling the hidden story of a range of queer people living in Pakistan, with particular insight into the political realities of transgender men and women. It is beautifully shot, poetic and sympathetic to the lives and struggles of the people it portrays.

At night, a group of young men and women gather on the street corners of Freetown, Sierra-Leone. These Freetown Streetboys, as they call themselves, have disabilities from childhood or as a result of the civil-war that ended 10 years ago. Abandoned by their family, ostracised by society and forced to live in the streets, they form a close-knit community, beyond traditional, tribal and religious dividing lines.

Without showing complacency or judgment, filmmaker Boris Gerrets closely follows the lives of this tight community. Filmed entirely at night, Gerrets‘s immersive observations result in sensitive and moving portraits. The film delves into the inner world of each character to reveal the dignity of humans surviving under inhumane conditions.

Directed by Boris Gerrets
Duration: 86′
Year: 2013

Federal Penal Colony No. 56 is situated in central Russia, in the middle of a forest larger than Germany and a seven-hour drive from the nearest city. In winter, temperatures fall to 40 degrees below zero. There are 260 prisoners serving out their sentences, all of them for murder.

Filmmakers Nick Read and Mark Franchetti managed to gain access to this isolated world, where they focused their meticulous eye for detail on the prisoner’s daily lives.

In remarkably candid interviews, the men talk about their crimes and their punishment. What does freedom mean to them? Is penitence and forgiveness possible for their terrible deeds? The prison’s director of 26 years also has his say. He too is condemned to this godforsaken place, not as punishment, but by a contract.

Directed by Nick Read
Duration: 80′
Year: 2013

VHS or Betamax? Is video rental a good idea? Should the public even be allowed to have physical access to films? On Tuesday 3 September, these were some of the era-defining issues raised at the Frontline Club’s screening of Rewind This!

Directed by Josh Johnson, Rewind This! beamed the audience into a time when the idea of the rewind button – or even having the ability to choose when to watch something at home – was a pioneering concept. Overcoming the initial fear and resistance from major film studios, the meteoric rise and eventual demise of the home video empire draws many parallels to the expanding internet video markets today; most notably in the success of your medium being defined by its relationship to the adult film industry. The idiosyncrasies of home video, from the intricacies of box cover art to sub-genres of cult horror movies – and the impact it had on a generation – is told by the passionate characters who are trying to save home video, and perhaps themselves, from obscurity.

Director Josh Johnson taking questions from the audience via Skype. Photo: George Symonds

Joining via Skype, director Johnson began the Q&A with an explanation of his motivations:

“I feel like the home video revolution is what changed my life more than anything else and really shaped the person that I am. When I was a child I was able to wander the aisles of the video store and imagine what might be contained in those boxes. And then I was also able to take things home – sacks of tapes – and then I was exposed to all the film history from a very young age. . . . So that was a big part of wanting to make the film, because that part of the story of the home video world hadn’t been told.

 

“And then the other aspect that was really appealing about it was the contemporary relevance, because there were so many thousands of titles that were at risk of being lost. So it didn’t feel like it would just be looking back, it would also be looking to the future.”

A central theme in the documentary was archiving and the potential loss of many films. Johnson was asked if there had been improvements in the archiving or digitising process of VHS tapes.

“What is happening,” he replied, “is that a lot of these collectors, a lot of these people who have access to material are aware that it’s very scarce and that they’re at risk of losing it, and they are starting to digitise and back up things. And you see a lot of file sharing sites on the web and other ways of sharing this content. So it’s legally questionable at this point but people are trying to do it. And I think what’s happening online right now, with the torrenting and file-sharing of a lot of these rare films that are only available on videotapes, is that they’re setting up a good model for what that system should look like once it becomes a more official thing.”

An audience member then asked for the director’s thoughts on the idea of ownership – or false ownership – with the development of internet. Johnson responded:

 “I think the only risk is that people think everything is going to be made available to them and I think that’s probably not going to be the case. I think when a studio owns everything, and they are able to provide their entire catalogue, it really makes more sense for them to provide various segments of a catalogue at different times. And I don’t think everything will be widely available.”

“I think what you have now, with Netflix and other sites where they have them for a window of time, and then they go away and then they might come back a little later. But I think the idea of endless access to everything that’s ever been created is unrealistic. So for me, the value of physical media is that when something is released and I purchase it I can back it up. I can hold onto it and I have access to it when I want it. Whereas on the online space when everything goes completely digital or is hosted in the cloud or hosted elsewhere I don’t feel as confident that I’m going to  have the level of access that I want.”

Following on, Johnson was asked if his comparison of physical video rentals and contemporary online video consumption was pre-planned. “That was definitely pre-planned,” said Johnson.

 “We wanted to make something that was definitely motivated in part by nostalgia and would take people back to a time in their lives, or for a younger audience introduce them to a time that they didn’t live through or that they weren’t aware of. . . . But we also didn’t want to make a film that didn’t hold any contemporary relevance.
“What’s interesting about the current online distribution system is that it actually does seem to be doing what they were fearful of in the early video days, which is that people are going to be able to access so many things so conveniently and so inexpensively that they’re not as motivated to go and see movies in the theatre. So we are seeing that negative impact on the box office. . . . It’s essentially a new version of that same home video concept, but it actually is taking over and becoming the dominant way that people see films.”

In the words of a contemporary VHS enthusiast featured by Johnson:

“When you see a Be Kind Rewind sticker on it [a VHS cassette], there’s something deeply moving about that. It’s such a call to arms and a suggestion or imperative about the way to live your life. To be kind, and rewind. Go back, and  hang on to those things that are important to you; and not let them disappear, and not let other people take them away from you. Find what’s important and preserve that – and help it to endure.”

Rewind This! was the last in a series of the Frontline Club’s summer screenings, exploring the role of technology in how we document our world.

Full details of upcoming screenings for Rewind This!  in the UK and beyond can be found on the official website and on Twitter.

Tuesday 30 July 2013, 7:00 PM – Side by Side

For almost one hundred years there was only one way to make a movie: photochemical film. Over the last two decades a digital process has emerged to challenge this initial form of filmmaking. At a moment when digital and photochemical filmmaking coexist, Side by Side explores what has been gained, what is lost, and what the future might bring.

Tuesday 6 August 2013, 7:00 PM – The Pirate Bay: Away from Keyboard

The largest and most famous torrent website in the world, The Pirate Bay, quickly became one of many antagonists of the entertainment industry. The three Swedish founders face $13 million in damage claims by the media establishment. TPB-AFK chronicles a historic drama beyond the copyright debate and tells a human story torn by cyberwar.

Tuesday 20 August 2013, 7:00 PM – The Human Scale FULLY BOOKED

The Human Scale: it’s a ticking time bomb. In the next 40 years the number of people living in cities will nearly double. There is not enough time to build the necessary infrastructure to accomodate all of us. According to revolutionary Danish city planner Jan Gehl, even the largest of megacities must be re-thought, re-designed and re-sized to the human scale.

This screening will be followed by a Q&A with director Andreas M. Dalsgaard

Tuesday 27 August 2013, 7:00 PM – Google and the World Brain FULLY BOOKED

Google and the World Brain connects the central story of Google Books with fundamental issues related to the Internet – privacy, copyright, data-mining, downloading and surveillance. Through interviews with experts from across the world we learn about the implications of one of the most ambitious and simultaneously controversial projects ever conceived on the Internet.

This screening will be followed by a Q&A with director Ben Lewis.

Tuesday 3 September 2013, 7:00 PM – Rewind This! BOOK NOW

Home video changed the way the world consumed films. Low cost equipment and the rise of VHS created unprecedented opportunities for the film industry. Rewind This! looks at media consumption, zero budget filmmaking, unchecked global piracy and an exploding film industry, through the rise and fall of VHS. Developments that laid the foundation for today’s digital culture.

Tuesday 30 July 2013, 7:00 PM – Side by Side

Tuesday 6 August 2013, 7:00 PM – The Pirate Bay: Away from Keyboard

Tuesday 20 August 2013, 7:00 PM – The Human Scale BOOK NOW

[vimeo clip_id=”67638874″ width=”400″ height=”225″]

Tuesday 27 August 2013, 7:00 PM – Google and the World Brain BOOK NOW

Tuesday 3 September 2013, 7:00 PM – Preview: Rewind This! BOOK NOW

Home video changed the way the world consumed films, it had an enormous cultural and historical impact. Low cost equipment and the rise of VHS tapes created unprecedented opportunities for the film industry. For the first time, video made it possible for small independent production companies to operate on an even playing field with the major film studios.

More movies were released on VHS than DVD could ever hope to see. A vast amount of culture seems to have been lost, with a huge number of films released during the VHS years that never transferred over to DVD. Rewind This! goes further than the discussions of those who fetishise obsolete technologies. Genre celebrities like Frank Henenlotter (whose film Basket Case became a VHS cult), Charles Band and Roy Frumkes discuss how VHS changed the ability to make and distribute films, in an enlightening and nostalgic look back at a now dead technology.

Through the rise and fall of VHS, director Josh Johnson discusses media consumption, zero budget filmmaking, unchecked global piracy and an exploding film industry where everything was possible – developments that laid the foundation for today’s digital culture.

Directed by Josh Johnson
Duration: 93′
Year: 2013

This screening is part of a summer season looking at the way technological changes are shaping the way we document the world and interact with it. See the full programme here.

For almost one hundred years there was only one way to make a movie: photochemical film was used to shoot, edit and project. Over the last two decades a digital process has emerged to challenge photochemical filmmaking. Side by Side takes an in-depth look at this revolution.

Through interviews with directors, cinematographers, film students, producers, technologists, editors, and exhibitors, producer and narrator Keanu Reeves examines all aspects of filmmaking — from capture to edit, visual effects to color correction, distribution to archive. At a moment when digital and photochemical filmmaking coexist, the film explores what has been gained, what is lost, and what the future might bring.

Directed by Chris Kenneally
Produced by Keanu Reeves & Justin Szlasa
Duration: 98′
Year: 2012

This screening is part of a summer season looking at the way technological changes are shaping the way we document the world and interact with it. See the full programme here. 

Edward (David Oyelowo) is an MI5 officer convinced that home-grown terror suspect Waleed (Arsher Ali) is plotting an atrocity on British soil. His investigations lead him to Egypt, where he finds himself entering into an uncomfortable alliance with the local security services who are prepared to secure the proof he needs by whatever means necessary.

Confronted by the key moral dilemma of our time, the MI5 officer Edward is forced into choosing between two morally devastating outcomes. Complicit explores the moral compromises surrounding the use of torture in fighting the ‘War on Terror’ and offers a penetrating insight into the dangerous world of counter- terrorism.

Commissioned by Channel 4, Complicit is written by Guy Hibbert (Blood and Oil, Five Minutes of Heaven, Omagh), directed by Niall McCormick (The Long Walk To Finchley) and produced by Jolyon Symonds (Mrs Mandela) and Kevin Toolis (Cult of the Suicide Bomber).

Duration: 93′
Year: 2012