The story of the anti-Vietnam War movement from the perspective of James R. Roebuck, the first African American president of University of Virginia’s Student Council. Over a ten-day period of unprecedented student upheaval in 1970, Roebuck confronted a series of political challenges and existential dilemmas. This budding activist and future U.S. representative was the quintessential militant insider whose cool temperament and ideological flexibility proved quite useful as UVA appeared on the verge of imploding from within.

Five improvisers are asked to ‘channel’ the psyche of Tony Blair. George Barber asks questions, and also feeds the improvisers anecdotes from various sources about Tony Blair’s life and experience as the Prime Minister of the United Kingdom. The work’s unifying themes are: Tony Blair landing in the Iraqi desert at night; meeting George Bush, and the regrets of his key decisions.

We Were Hardly More Than Children tells an epic tale of an illegal abortion, as lived by two women on a perilous journey through a world that has little concern for their survival.

Paintings by Diane Messinger.

Music by Renato Umali.

Lena and friend: Flora Coker and Cecelia Condit.

We will live to see these things... is a documentary video in five parts about competing visions of an uncertain future. Shot in 2005/06 in Damascus, Syria, the work combines fiction and non-fiction. Each section of the piece--the chronicle of a building in downtown Damascus, an interview with a dissident intellectual, documentation of an equestrian event, the fever dream of a U.S.

We will live to see these things... is a documentary video in five parts about competing visions of an uncertain future. Shot in 2005/06 in Damascus, Syria, the work combines fiction and non-fiction. Each section of the piece--the chronicle of a building in downtown Damascus, an interview with a dissident intellectual, documentation of an equestrian event, the fever dream of a U.S.

What Farocki Taught is literally and stubbornly a remake — that is, a perfect replica in color and in English, of Harun Farocki’s black and white, 1969 German language film, Inextinguishable Fire.

White Balance (to think is to forget differences) is an effort to uncover the geographies of power, the frontiers of privilege. It revisits this problem from different angles, creating short circuits of meaning which are hosted by improbable audiovisual matches. Media and internet footage is intermixed with images shot in downtown Manhattan before and after the September 11th attacks.

On June 23rd, 2016 Britain voted to leave the European Union. Who Are We? is a re-working of material from a BBC television debate transmitted a few weeks earlier.

In Wigstock ’94, Glennda and her friend Bobra attend Lady Bunny’s Wigstock festival. Following the event’s move from the East to the West Village, they explore the changing dynamics and configurations of queer culture in New York. The pair interview other drag queens, members of the local community, and passersby to get a sense of how an event like Wigstock is received by the city.

An episode of Glennda and Friends, hosted by Glennda Orgasm and Bobra. Featuring Jackie Beat, Joan Crawford, Jackie O., Sherry Vine, Nona Vulva, Wendy Wild, and Yumi.

Millie Wilson is an installation artist whose work proposes a relationship between modernist art practices and modernity’s production of deviance, particularly regarding lesbian stereotypes. She uses humor, parody, and beauty as disruptive strategies to insist on a dyke presence in postmodern revisionism. Wilson has exhibited her work internationally and is on faculty at CalArts. Interview by Robert Blanchon.

A historical interview originally recorded in 1998.

As documented in The Winner’s Circle and la Migra (the emigrant), the move north brings many changes to family life, specifically mothers going to work and children learning English in school. Hock explores the fact that women often adapt more easily than the men to American life, learning English more rapidly. This becomes a source of conflict between the men and women as they compete for better-paying jobs.

An experimental documentary video project about individuals who have been transformed from so called “ordinary” citizens into activists, Witness To The Future seeks connections that unite people of all cultures, communities, races, and economic classes as they struggle for environmental and social change.

Women with a Past brings together four 20th Century artists — Yvonne Rainer, Christine Choy, Martha Rosler, and Nancy Spero — in videotaped interviews, shaped and edited by Lyn Blumenthal to examine the art of documentary. In a skillfully woven series of scenes in which the interviewer’s voice is not heard, the interviewees appear to be talking directly, intimately to the viewer. Blumenthal used short segments of each woman’s work to demonstrate how her philosophical and political stances are articulated. 

An experimental video about cultural and political disputes surrounding immigration and naturalization processes. Work In Progress explores the effects of the 1986 U.S. Immigration Reform Law and individuals who did not qualify for amnesty under this reform, therefore remaining undocumented.

In 1939, Westinghouse made a film about a small-town family visiting the New York World's Fair. Trapped inside that film was a completely different film that shows a mysterious alternate universe, revealed by Bryan Boyce’s own patented brand of narrative deconstruction and evisceration.The outcome is an absurd and chilling drama of a family transfixed by the technological wonders that would soon transform consumer society.

"The gerbil has long been associated with New World capitalism because of its incessant energy. The Golden Age of Hollywood takes on the history and evolution of this delightful household pet."

— International Film Festival Rotterdam (2003)

— "Jim Finn's Wüstenspringmaus, a well-sprung, rear-screened account of a gerbil's life in the '70s."

— Guy Maddin, Film Comment, January (2004)

This title is also available on Jim Finn Videoworks: Volume 1.

X-Mission explores the logic of the refugee camp as one of the oldest extra-territorial zones. Taking the Palestinian refugee camp as a case in point, the video engages with the different discourses — legal, symbolic, urban, historical — that give meaning to this exceptional space.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

You will never be a woman. You must live the rest of your days entirely as a man and you will only grow more masculine with every passing year. There is no way out.

In this interview, communications theorist, Gene Youngblood (b. 1942) maps out the various stages of the development of video technology and its philosophical implications for human interaction. The range of topics discussed moves beyond video to offer an extensive and rich survey of American culture from the 1960s to the present moment. In addition to discussing his canonical text, Expanded Cinema, Youngblood shares stories from his early days as a police reporter for the Los Angeles Herald Examiner, where he gained intimate knowledge of the media’s politics of representation. With the acuity of hindsight, Youngblood discusses important self-discoveries, and his life-changing decision to move from the mainstream media into the world of the underground press.