Advanced search
- TITLES
- NAMES
- COLLABORATIONS
Search filters
Enter full date
to
or just enter yyyy, or yyyy-mm below
to
to
to
Exclude
Only includes titles with the selected topics
to
In minutes
to
1-50 of 53
- Spanish director Victor Erice discusses the first film he saw as a 5 year old and the impact it had on his life.
- Letters from two acclaimed directors offer a remarkable portrait of their attitudes to the craft of filmmaking and the world around them.
- Neither history nor technology are innocuous tools. As the sociologist Judy Wajcman indicates, technologies reflect the values and experiences of the people who design them. The same could be said of history to understand the lack of presence of women and people from developing countries, both in the field of science and technology and in new spaces of communication such as Wikipedia or even Google. The new technologies are designed by young and white men, and Silicon Valley is a quarry of these programmers and technological designers, many of whom consider themselves "Randian heroes" in honor of the liberal and individualistic theories of Ayn Rand. What consequences stem from this techno-sociological dilemma?
- Internet and the creation of virtual experiences is making the world represented a finite and painless place in which we will have the option to live, satisfying our senses, even if it is not fully. Maybe we can not call this experience to live, but it is the third space, neither real nor dreamed, it is being built day by day, for medical, military and entertainment purposes. It will be a new life of second hand, on which we should go reflecting. This program interviews Harun Farocki and Joan Fontcuberta, as well as the participation of Noam Chomsky, Dina Kelberman and Flor Aliberti with their audiovisual pieces.
- This Soy Cámara episode is a presentation of the Segundo Intento project through an interview with its authors. Segundo Intento, the work of the collective Leland Palmer, investigates censorship in contemporary art from the movie Rocío, by Fernando Ruiz Vergara, and from the project File Room, by Antoni Muntadas, but talks about censorship cases in current art in a post-democratic context. This project, for which we interviewed different agents and artists, is structured around four sections: self-censorship, cultural policies, sexuality and copyright.
- In relation to the exhibition "+ Humans", the program begins a reflection on the construction of the robot woman, the automaton, from the perspective of gender and structured in three blocks: the creation (the soul), the work (the submission) and the body (the merchandise). This figure of the inert, automated woman is part of the history of our culture, from Pygmalion to the robot women of science fiction or contemporary sexual machines, going through the fascination of the vanguards with the mannequins.
- 25 years ago there was a promise of a new world, and an alternate reality with endless possibilities based on the cybernetic revolution. But what have been the real changes through this 25 years and in which direction are we going now? From the first artistic and musical expressions to our present digital life going through our bodies, movies&video games, robots and artificial intelligence and the tech-way we have adopted to communicate each other.
- The technologies that we use each day generate personal data (images, routes, biorhythms, communications, etc.) that can be used by anyone, from companies with commercial aims to private individuals with the most unsuspected intentions, without us knowing about it. Panoptic is a documentary series that uses the concept of mockumentary to explain the dangers of this fact in the different chapters, each of which focuses on a different technology.
- Violence deals with conflicts in the contemporary representation of violence and the way in which images compose the narrative of reality. "If the 20th century was the century of images, the 21st is promising to be the century of the people who appear in them", write Andrés Hispano and Félix Pérez-Hita. As per usual, the programme is structured around archive material from the CCCB and on this occasion, debating the issue are Judith Butler, Michela Marzano, Carles Guerra and Joan Fontcuberta.
- This programme is based on Your Lost Memories, a transmedia project for the return of family memories in Super8 format, to enter the never-ending world of domestic films or home movies. It carries out a review of the evolution of the genre through its technological and moral development based on the most outstanding film-makers. The programme is structured into four thematic blocks: The Promise of Eternal Happiness, Home as Hell, Images vs. Experiences and Exhibitionism. It starts off with the most archaic of the home movies (the rhetoric of happiness in Super-8) to reach the most contemporary (exhibitionism in the YouTube era), raising such dilemmas as to what point our memory is more conditioned by these images that we record than by the real experience we have of things. In a world increasingly full of cameras and screens, saturated of copies without originals, what role will personal memory play? How will it be possible not to leave a record of certain moments, or claim the right to what has been forgotten?
- We speak with the artist and professor Roc Parés, collaborator in the exhibition of the CCCB "+ HUMANS", about the current dangers of an invisible and omnipresent technology, about the "morbid hacker" that invites to open and dismantle the machines (like the child that disassembles his toys), about the constant war to control our consumption habits and invisible advertising, about virtual reality and the ability to move limbs that we do not have, etc. Works and testimonies of Ernesto Oroza, Ramon Guillén-Balmes, Jaron Lanier and, among others, Roc Parés himself appear, to whom we thank his kind and enlightening collaboration.
- The exhibition Human+ helps us visualise some of the challenges we are facing. Are we close to an artificial soul? To the singularity? Will sufficient resources exist to support the increase in mobility and worldwide demographic saturation?
- Audiovisual production based around the figure of the detective in film. From narrative to the description of the character, passing through the iconography of these characters.
- A critical journey about the war that follows the eye of the different profiles of those who live and suffer it.
- The sun has a central role to play in almost every shot of this analogue cinematic declaration of love to Barcelona, the adopted home of filmmaker Alba Cros Pellisé. Barcelona is where she met other lesbian women for the first time, where she found lovers, and where the members of her chosen family live. She films them at their homes and on the streets, where sunlight illuminates the cobblestones and walls, as well as people's faces. Cros complements her journal-style voice-over with title cards, jazzy music and the familiar, nostalgic sound of film running through the camera.
- When directors turn over the camera to their everytday life, what do they shoot? A video-essay about the images of the videodiaries of David Perlov, Jonas Mekas, Naomi Kawase, Alain Cavalier, Ross McElwee, Johan van der Keuken i Naomi Uman, among others. Filming life is irrelevant?
- Audiovisual rhetoric and grammar can be used as new formats to offer thinking tools. In the midst of the excess of images and information, the split screen gives us the possibility of opening new systems of relationships between existing images. These dialectics are the legacy of Aby Warburg (Atlas Mnemosyne), John Berger's (Ways of Seeing) or Daniel Dennett's lectures. I AM CÁMARA (the CCCB program) makes the leap to the network and one of its missions is to show us how we can break through existing images based on shared authorship and the exchange of views.
- Before birth, neurons create connections that interlink our senses. As we grow, the connections that have not been used disappear. But there are minds where these connections remain, enabling them to order their world linking sensory experiences. These are synaesthesic minds and the minds that we want to defend with this visual essay. We also want to put on the table different artists that have had synaesthesia over the course of the history of art, as well as defending creativity as a tool for letting the mind flow.
- Underground filmmaker David Domingo (aka Stanley Sunday / Valencia, 1973) throws open the doors of his home in Barcelona to talk to us about his films and show us his personal notebooks and other curiosities. In his films, whether filmed on super 8 mm, on video or seconds-long clips for Instagram, Stanley Sunday gives free rein to his overwhelming imagination and expresses a fantastic or iconoclastic personal universe plagued with pop iconography. David Domingo was the chosen artist for the month of March for Pantalla CCCB 2016.
- "They would go to school, then 30 years in the labour market, two years of retirement and they would drop dead", says Guy Standing. Why do we work? To earn a living or to stop living? In this chapter of Soy Cámara, Yann Moulier Boutang delves into the history of work, of exploitation and of the disciplinary domination of capitalism; Guy Standing tackles the precariat (a concept he developed himself) and contemporary labour alienation and Judy Wajcman alerts us to the risk of acceleration at work. If the majority of people are unhappy with their job, why do we continue to put our faith in working? What do the new forms of work tell us about the new forms of social domination?
- Felisa has just turned 18. She longs to have a job and a true friend but disappointment seems to be the driving force behind her new life in La Satélite. A place that aspires to be a large city but is redolent of a small town. Writing is the refuge sought by others in the concrete squares. All that's left for her is to go dancing at the club. She enjoys it, although it makes her feel uncomfortable having to kiss so many people when she arrives. A visual diary, intimate and timeless, like a sidelong glance at the world, offered from the margins. City Symphonies is a new audiovisual project by the CCCB and aims at seeing and analyzing urban space through the personal itineraries of different filmmakers; creating a collection of audiovisual pieces that bear witness to the cities of the early 21st century.
- The program addresses issues such as what the current public television function is and what limitations it must have in relation to the commercial component.
- The city of Barcelona has the question of tourism at the centre of its political and social agenda. The concern regarding what type of tourism it wants to promote and what changing the city's model of tourism or not would mean is on the table. In parallel, its traditional streets, squares and establishments are being altered by tourism attractions. Each country feeds its tourists with myths, legends and icons of its cities whether or not these stories are true or false, as happens with the legend of Santa Eulalia or with the Gothic quarter. The Barcelona of design, comfort, fiestas and art is combined with the Barcelona of this past reconstructed for zombie tourism and for posterity. Advertising campaigns, films, media, etc., have been weaving this imagery for decades. Barcelona is an exquisite corpse, but it is our city. For this very reason, the Soy Cámara team made an exquisite corpse with the workshop held within the context of the BccN. This is the collective result.
- Chronicle of the last edition of Aula Xcèntric, dedicated to the relationship between the scientific and the artistic search with the collaboration of specialists and artists such as Gonzalo de Lucas, Celeste Araújo, Andrés Hispano, Dora García, María Ruido, Carles Guerra and Klaus Wyborny. It includes fragments of the work produced in the experimentation workshop with analog and digital technologies, directed by Oriol Sánchez and which formed part of Aula Xcèntric.
- Lluís tells us how he met Rossanna and the obsessions she had with Torre Colón. She said that whoever got close to the tower, disappeared. They usually met at Alí's bar, and one day the police deported him in a raid. Rosanna said it was all the fault of the Tower. The title refers to one of the works of Juli Vallmitjana, Sota Montjuïc, a costumbrista novel depicting the murky depths of Barcelona in the early 20th century. Sota la Torre Colón brings us close to the Barcelona of the Raval (District V) from docu-fiction without losing the documentary authenticity of all the main characters and spaces.
- Short movies by Wang Bing and Jaime Rosales working as a bridge between both works.
- Everything began with a dinner among friends. We put music on from YouTube to have a laugh and realised that the more kitsch the video, the more views it had. Millions of views, including our own, from Latin America to Spain. Is this only a virtual phenomenon? What is the key to it? It there is an answer, it lies in this production.
- This chapter of SOY CÁMARA is part of the delivery of the 2015 International Award for Cultural Innovation and is dedicated to the evolution of the concept of audience, focusing on what are being called new audiences.
- We live in a historical time in which the acceleration, technology, catastrophe and humanitarianism that has been derived have occupied the world stage. The apocalyptic story of the end of time triumphs in parallel to technological enlightenment, which equates innovation with speed and technological development. The philosophers Marina Garcés and Rosi Braidotti and the sociologist Judy Wajcman analyze this "non-future", "no-time" and "non-human" that we gather and, at the same time, draw some possibilities to have a time and a a more humanistic future. This chapter of Pantalles is linked to the "Debates on Time" (CCCB, 2.015-2.016).
- Montage of attractions between two discourses: one of a public nature and denouncing the United States aimed at the Latin American population (the voice that serves as a thread is that of Che Guevara) and the other made up the cartoons of Walt Disney, a company that is known to have worked with the US Government to introduce values through its films. This project seeks to propose a reflection on the hidden nature of the animation industry as a tool for political indoctrination.
- What is the mainstream aesthetic stereotype of the post-economic crisis? Are we leaning towards a depression of the present and a denial of the future? Why do most of today's powerful audiovisual inputs contain misery and violence?
- Most images are made to be seen by a male. This determines not only most relationships between men and women but also the relationship of women to themselves.
- This program approaches the complex reality of the Spanish public university through the voices of some of the agents involved: professors from different disciplines, doctors, researchers, alumni and students. We find an institution in crisis, caused by its difficulty in adjusting to neoliberal society. The protected space of knowledge that was once university, now marked by an imperative of pragmatism, sees how its sense and function of origin are thoroughly transformed.