Art & Copy

Since the late 18th century American legal decision that the business corporation organizational model is legally a person, it has become a dominant economic, political and social force around the globe. This film takes an in-depth psychological examination of the organization model through various case studies. What the study illustrates is that in the its behaviour, this type of "person" typically acts like a dangerously destructive psychopath without conscience. Furthermore, we see the profound threat this psychopath has for our world and our future, but also how the people with courage, intelligence and determination can do to stop it.

An inspiring documentary about overcoming homelessness and addiction in the City of Los Angeles.

King Lines follows Chris Sharma on his search for the planet's greatest climbs. From South American fantasy boulders to the sweeping limestone walls of Europe, Sharma finds and climbs the hardest, most spectacular routes. Off the coast of Mallorca he discovers his most outrageous project yet, a 70 foot arch rising from the Mediterranean Sea...

Helvetica is a feature-length independent film about typography, graphic design and global visual culture. It looks at the proliferation of one typeface (which will celebrate its 50th birthday in 2007) as part of a larger conversation about the way type affects our lives. The film is an exploration of urban spaces in major cities and the type that inhabits them, and a fluid discussion with renowned designers about their work, the creative process, and the choices and aesthetics behind their use of type.

Short subject on how fashion is created- not by the great couturiers, but on the street.

The film shows one day from waking up in the morning all the way to waking up again the next morning. The everyday situations that many commercials are made of, the little dramas that they create and solve through the product or service they sell, are stitched together into one day. This is a film about the everyday in (German, or Western-European) society because the commercials are part of the everyday of most people (everyone who watches television) and they depict an ideal image of society. The film abundantly uses repetition as an editing technique, in visual ways as described above, but also because commercials can be read in different ways. For instance, Brat baking foil shows up at the evening dinner sequence, when an ovendish is put on the table, and again later on in the sequence about going out to a classic concert, because the clip has classic music.

Having to prove the existence of God to an atheist is like having to prove the existence of the sun, at noon on a clear day. Yet millions are embracing the foolishness of atheism. “The Atheist Delusion” pulls back the curtain and reveals what is going on in the mind of those who deny the obvious. It introduces you to a number of atheists who you will follow as they go where the evidence leads, find a roadblock, and enter into a place of honesty that is rarely seen on film.

Born in 1932, Keiko Kishi has been one of the first Japanese actresses known worldwide. Her decision to move to France and to marry director Yves Ciampi in 1957 – after he filmed her in Typhoon Over Nagasaki starring Jean Marais and Danielle Darrieux – caused a huge scandal in Japan. Despite this transgression, Keiko Kishi continued acting in her home country with Kon Ichikawa, Yasujiro Ozu, Masaki Kobayashi… building unique bridges between Japanese and European cultures. Free and rebellious, she emancipated herself from the many obstacles she encountered in the film industry, and created her own production company in her early twenties. Let’s look back at the story of a pioneer, an inspiration for many generations.

"Man in Red Bandana" is about Welles Remy Crowther, an extraordinary 9/11 hero. However, how his heroics became known is even more remarkable. Eight months after the disaster, his parents learned about how their son spent his last hour due to an ordinary object ... a red bandana. This revelation dramatically shifts their perspective on their loss. After hearing his remarkable story and how it unfolds, viewers will see how the actions of one man have touched 1,000s. This inspirational segment of the film depicts the unique, diverse and folklore ways that Welles is honored throughout the United States including in art, sports and song. Even President Barack Obama pays homage to this young man in the film. Our uplifting ending culminates in the revelation of a secret about Welles that can only be described as "perfect".

Arguing that advertising not only sells things, but also ideas about the world, media scholar Sut Jhally offers a blistering analysis of commercial culture's inability to let go of reactionary gender representations. Jhally's starting point is the breakthrough work of the late sociologist Erving Goffman, whose 1959 book The Presentation of the Self in Everyday Life prefigured the growing field of performance studies. Jhally applies Goffman's analysis of the body in print advertising to hundreds of print ads today, uncovering an astonishing pattern of regressive and destructive gender codes. By looking beyond advertising as a medium that simply sells products, and beyond analyses of gender that tend to focus on either biology or objectification, The Codes of Gender offers important insights into the social construction of masculinity and femininity, the relationship between gender and power, and the everyday performance of cultural norms.

In this highly anticipated sequel to his groundbreaking, ADVERTISING AND THE END OF THE WORLD, media scholar Sut Jhally explores the devastating personal and environmental fallout from advertising, commercial culture, and rampant American consumerism. Ranging from the emergence of the modern advertising industry in the early 20th century to the full-scale commercialization of the culture today, Jhally identifies one consistent message running throughout all of advertising: the idea that corporate brands and consumer goods are the keys to human happiness. He then shows how this powerful narrative, backed by billions of dollars a year and propagated by the best creative minds, has blinded us to the catastrophic costs of ever-accelerating rates of consumption.