In his assessment of the latest film in Melanie Gilligan’s trilogy on crisis, capital and community Jasper Bernes emphasises the necessity and difficulty of distinguishing between the community of capital – its expansive entrainment of the senses – and the unrealised project of a resistant human community
In their recent networked film project, Ehmann and Farocki produce a multiply authored film installation about global labour that superimposes the problems of contemporary film onto the difficulty of representing capitalism today. Review by Sven Lütticken
The morally disgusting asymmetry of drones relates not only to their deployment by the powerful against the weak, but also to the radical disparity of risk entailed in exposing the defenceless living to pilotless killing machines. In her review of George Barber’s recent film Freestone Drone, artist Kate Rich, co-creator of the first art drone 'The BIT Plane', considers the sickly prospect of a drone that assumes (a happy) consciousness
Reconceiving man's relations to matter and the world of objects was not always the politically insipid theoretical pastime it has become. Here, Simon Mussell revisits the Frankfurt School's work to explore how their consideration of the 'thicket of material life' created new lines of resistance to social alienation
Harmony Korine's recent film Spring Breakers doesn't exactly reward stringent sociological critique. His use of manipulative, mnemonic, stylised and hyper-seductive techniques demands to be taken seriously in a different way. But how? Mira Mattar meets him at the threshold
If dogs sit faithfully at the lowest and highest reaches of human history might they provide a useful guide for exploration of an anthropocene which is both tragic and absurd? Hannah Black reviews Matthew Noel-Tod’s recent film
If extinction is inscribed into and necessary for the emergence of life, how, asks Nathan Brown, can we ever integrate the mourned object into our material lives? And what part, if any, can cinema play in this mediation?
The true health of spirit consists in the perfection of reminiscence.
In the early 1970s, at the meeting point of workplace occupations and critical film-making, 20th century art's attraction to the factory reached a representational impasse. Taking up Harun Farocki’s idea that factory work has been systematically expunged from cinema, John Roberts considers why this hegemonic site of value-production must remain absent from film and bourgeois culture more generally