“The power of mass culture rests on the trust of the public. This legitimacy is a paper tiger.”
–PTTV Manifesto

Borne of the residual political optimism from the sixties and a flush of infatuation with small-format video, Paper Tiger Television (PTTV) began as a series on Communications Update on public access. Featuring Herb Schiller tearing apart the New York Times’ “all the news that is fit to print,” Paper Tiger’s penetrating and playful critiques of Time, Rolling Stone, National Geographicand Cosmopolitan soon followed.

The public access movement took root at a moment of disillusionment with network television, generating hope that cable would offer a genuine alternative to TV wasteland. Over the last thirty years, the accessibility of public access TV centers has significantly declined, while for-profit corporate media consolidated from fifty into five companies that control 90% of the public’s media consumption.

Yet, with the growth of the internet and the proliferation of consumer grade production equipment, social media, crowd sourcing, online video, live streaming, and wireless technology, today’s media environment is rife with opportunities for innovation and collaboration.  Still, from the digital divide, to online filter bubbles, to the echo chamber of social distribution of mass media, to SOPA and Net Neutrality, an analysis of how these developments are used coupled with the threats coming from the policy level reveals that even these seemingly promising trends are nuanced.

Given these developments, what does a vibrant, radical media look like, how could it function? What lessons can we apply from Paper Tiger’s innovative media activism?  How can we use media strategically and creatively in the pursuit of social justice?

Moderated by Daniela Capistrano, Multi-Platform Producer of DCAP Media, the festive event features a keynote address, a screening of Paper Tiger Television’s Greatest Hits, selected by current Tigers, followed by a panel discussion on the future of rrradical media.

Keynote Speaker
Malkia Cyril, Executive Director, Center for Media Justice

Panelist
Andy Bichlbaum, The Yes Lab
Jamilah King, News Editor, Colorlines
Jennifer Pozner, Founder, Women in Media & News

Follow the links to detailed event description and DAY TWO schedule.

* Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement , on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

What is radical media? What has it been in the past? What can it be in the future? What is media’s relationship to social justice and movement building?

Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement present a two-day conference of activists, artists and media makers to celebrate, reflect and build on thirty roarin’ years (and counting!) of media art and activism.

In 1981, Paper Tiger Television (PTTV) pioneered a truly radical public access show, raising awareness amongst workers in the communication industries of the economic, political and social power structures perpetuated through the profit-driven mainstream media. Ever since then, the collective has been making fun, yet incisive video that demystifies the information industry and provides a platform for underrepresented perspectives. Collaborating with activists and artists, PTTV videos take many forms — from critical performative readings of the mass media & popular culture, to traditional style documentaries on social justice issues.

Thirty years later, how can we harness collaborative culture, critical analysis, participatory technologies and aesthetics to incite social change?  What content and platforms can we create that will respond to the limits and possibilities of the ever-shifting contemporary media landscape?

We invite artists, activists, scholars and media makers, movers and shakers of all stripes to explore these questions. Participants are challenged to collaboratively design prototypes for a new rrradical media, building on the ideals of non-hierarchical-participatory culture, critical analysis, activism and innovative aesthetics. A broad cross section of individuals, working together with varied proclivities, interests and abilities, opens up the potential for something truly revolutionary to develop.

Follow the links to detailed event schedules: DAY ONE and DAY TWO.

*Presented by Paper Tiger Television, the Vera List Center for Art and Politics, and the School of Media Studies at The New School for Public Engagement, on occasion of the Vera List Center’s 2011-2013 focus theme “Thingness.”

The Aperture Foundation, the Vera List Center for Art and Politics, and the Photography program at Parsons The New School for Design present a special screening of The Forgotten Space, a film by Allan Sekula and Noël Burch. The evening concludes with a conversation with Sekula, scholar Kristin Ross and independent film curator Chi-hui Yang.

The Forgotten Space follows container cargo aboard ships, barges, trains and trucks; listening to workers, engineers, planners, politicians, and those marginalized by the global transport system. We visit displaced farmers and villagers in Holland and Belgium, underpaid truck drivers in Los Angeles, seafarers aboard mega-ships shuttling between Asia and Europe, and factory workers in China—whose low wages are the fragile key to the whole puzzle. In Bilbao, we discover the most sophisticated expression of the belief that the maritime economy, and the sea itself, are somehow obsolete.

A range of materials is used: descriptive documentary, interviews, archive stills and footage, and clips from old movies. The result is an essayistic, visual documentary about one of the most important processes that affects us today. The Forgotten Space is based on Sekula’s book Fish Story (1995), seeking to understand and describe the contemporary maritime world in relation to the complex, symbolic legacy of the sea.

Scholar Ella Habiba Shohat and curator Rasha Salti discuss the new edition of Shohat’s seminal book, Israeli Cinema: East/West and the Politics of Representation (Library of Modern Middle Eastern Studies, 2010) which shaped new paradigms for critical discussion of ‘national cinema’ and the Zionist master-narrative. Their conversation is punctuated by brief excerpts from Palestinian films produced within Israel, and diasporic films that address contested geography of Israel/Palestine. New School faculty member Sumita Chakravarty, a film scholar and author, offers introductory remarks.

Israeli Cinema: East/West and the Politics of Representation explores cinema as a productive site of national culture. Taking its cue from the simultaneous emergence of Zionism and cinema, the book offers a deconstructionist reading of this movement by considering the role that cinema itself played in the ‘invention’ of the nation. The book provoked a stormy public debate upon its translation into Hebrew. Unthinking the Eurocentric imaginary of East versus West, Shohat highlights the paradoxes of an anomalous national/colonial project through a number of salient issues: the ambivalence toward the geographies of both East and West; the Sabra figure as a negation of the Diaspora Jew; the iconography of the land of Israel as a denial of Palestine; the narrative role of the good Arab and the limits of positive image analysis; and the oxymoronic place allotted to Arab-Jews/Mizrahim within an orientalist historical and social discourse.

The new publication includes an extensive postscript chapter that reflects on the book’s initial reception. It looks at the inscription of the Arab-Jewish memory of Muslim spaces, and reflects on the Palestinian narration of the Nakba within a revisionist cinema that actively constructs an audio-visual archive.

Presented in collaboration with Arte East.

In collaboration with Performa09, the Vera List Center and Parsons The New School for Design present the American premiere of Museum Futures: Distributed, Neil Cummings and Marysia Lewandowska’s new film on the power of cultural institutions. Set in 2058, the film offers a provocative vision of a hyper-globalized art world featuring the future director of the future Moderna Museet in Stockholm, Sweden, which commissioned the piece on occasion of its 50th anniversary in 2008.

Neil Cummings and Marysia Lewandowska have been collaborating since 1995. They have worked with museums, banks, galleries, archives, auction houses, schools, and department stores. They have investigated the smuggling of goods across the Polish-Ukrainian border, documented the lost property recovered in the London transport system in a single day, and impersonated a famous art dealer. Their different projects have consistently engaged with the relationship between art and institutions coupled with other domains such as politics, society and economics.

After the 30 minute-screening, the respondents Jamer Hunt and Christiane Paul offer an analysis of the film from their respective fields, in a joint conversation with Marysia Lewandowska.

Presented by the Vera List Center for Art and Politics in collaboration with Performa09 and Parsons’ Streaming Culture / Art & Politics series, and on occasion of the Vera List Center’s 2009-2010 program theme “Speculating on Change.”

Where do we stand on issues of race and representation? Can today’s racial imagination be reconciled with that of hardly a century ago, when D.W. Griffith’s notorious film, The Birth of a Nation, became the first blockbuster in American film? The Vera List Center presents a screening and colloquium around Griffith’s notorious white supremacist manifesto, reconsidered in the context of the Obama call for change.

The speakers hail from different backgrounds including history, film, music, journalism, and photography. Presenting analyses of some of the most recent scholarship on slavery and racism, particularly as manifested during the conception, production and distribution of The Birth of a Nation, they examine the film’s legacy and reverberations today.

PROGRAM

Screening I – 10:00 a.m. to 1:00 p.m. D.W. Griffith, The Birth of a Nation, 1915, silent, 180 minutes Original sound score and live accompaniment by Michael Stein (Graduate of The New School for Jazz and Contemporary Music), introduced by faculty member Sonny Kompanek

Colloquium – 2:00 to 4:00 p.m.

Introduction

Bill Gaskins Photographer, essayist and Professor of Photography and Art History, Parsons The New School for Design

Presentations

Douglas A. Blackmon Atlanta Bureau Chief, The Wall Street Journal, Social historian of the Civil War, and Pulitzer-prize winning author of Slavery by Another Name

David W. Blight Class of 1954 Professor of American History and Director of the Gilder Lehrman Center for the Study of Slavery, Resistance and Abolition, Yale University; author of Race and Reunion and numerous other studies and books

Michelle Materre Assistant Professor, Media Studies and Film, The New School for General Studies

Miriam J. Petty Assistant Professor of Film and Media Studies, Rutgers University-Newark

Michele Wallace Professor of English, City University of New York

Roundtable – 4:00 to 5:00 p.m.

All participants, moderated by Margo Jefferson Associate Professor of Writing, Eugene Lang College The New School for Liberal Arts

Screening II – 5:30 to 7:00 p.m.

DJ Spooky, Rebirth of a Nation, 2008, color, sound, 90 minutes Followed by Q & A with filmmaker Paul D. Miller (a k a DJ Spooky That Subliminal Kid)

Presented on occasion of the Vera List Center’s 2009/2010 program theme “Speculating on Change,” with support of The New School for Jazz and Contemporary Music and The Andy Warhol Foundation of the Visual Arts.