A working-class family in London's East End is struggling to stay afloat during the recession under Prime Minister Margaret Thatcher's premiership. Only the mother Mavis is working; father Frank and the couple's two sons Colin, a timid, chronically shy individual and Mark, an outspoken, headstrong young man, are on the dole. This situation is contrasted by the presence of Mavis's sister Barbara, and her husband John, whose financial and social loftiness appears to be a comfortable facade over the unspoken soreness of a lackluster marriage.
Video store clerk Ed agrees to have his life filmed by a camera crew for a tv network.
The much sought-after, two-letter web domain suffix of the title is examined as both a form of capital and an emblem of a country on the brink of a climate-induced catastrophe in this simultaneously humorous and illuminating essay film centered on the environmentally contentious Pacific Islands of Tuvalu.
As a writer named Mike struggles to shepherd his semi-autobiographical sitcom into development, his vision is slowly eroded by a domineering network executive named Lenny who favors trashy reality programming. The irony, of course, is that every crass suggestion Lenny makes improves the show's response from test audiences and brings the show a step closer to getting on the air.
Police officer Frank Spivey is eating lunch in his squad car when he happens upon a crazed man with a butcher knife forcing a young woman onto the ground.
A celebration of the ever increasing depravity of television in our society-- it's a channel surfing adventure through the most utterly ridiculous spoofed television programming and commercials.
An animated fireplace by Academy Award Nominee PES.
"As a contribution to Gerry Schum's 'Identifications', Beuys adapted for television the 'Felt TV' action previously staged for a live audience at a Happening festival in Copenhagen in 1966. It was the only Beuys action executed specifically for the camera. It opens with Beuys seated in front of a TV set showing a programme which is invisible because the screen is covered by felt. The boxing-gloves used later in the action lie at the ready beneath his chair."
Set against the turbulent backdrop of London in the 1940s, this adaptation of Sarah Waters' bestselling novel, The Night Watch, follows four young Londoners inextricably linked by their wartime experiences. In a time when the barriers of sexual morality and social convention have been broken down, Kay, Helen, Viv and Duncan enjoy a freedom never experienced before. Moving back in time through the 1940s into the maelstrom of the Blitz, the lives, loves and losses of these four central characters are unravelled. For them, the post-war victory is bittersweet, for it returns them to the margins of society, from which they hoped they had been liberated. In order to build their future they must each make peace with their past.
Rachel Parris's comic guide to how women can get ahead in television "despite their bodies teeming with pesky oestrogen". Using a plethora of archive footage - some odd, some plain alarming - Rachel explains to women (and probably a few men) just how they can be successful appearing on, and working in, television.
Wally Sparks is a tabloid TV show reporter who's trying to boost ratings on his show. He goes to the governor's mansion to uncover a sex scandal.
A couple are watching television together. Over time, the shows become more bizarre: a news report about the arrest of two terrorists reveals they have the same faces as the two spectators; in another, a female strips for the man and finally a politician demonises the couple and declares them enemies of the people. Panicked, the couple phone a television exorcist.
The crew of a local horror movie showcase, used to broadcasting creepy stories of heinous killers, finds themselves trapped with a real killer among them.
Black TV is the title of Tambellini’s best-known videographic film, which is part of a large intermedia project about American television. Compiled from filmed television news programs and personal experimental videotapes, Black TV has been seen in many versions during the four-year period in which Tambellini constantly re-edited it (1964-68).
Ten works commissioned by the Scottish Arts Council were broadcast, unannounced, by Scottish TV in August/September 1971. Later, seven were compiled as TV Interruptions (7 TV Pieces).
TV Olho is a one-take documentary that tells the story of the first Community TV in Brazil.
Norman, a lost guinea pig, wanders in the pipe through apartments in New York, and his main recreation during his adventure is to see how the apartment residents live - with popcorn and remote controls.
Kren frames the image to suggest a proscenium, with a view to the harbor that conveys a literal sense of “tele-vision”. The static framing of the image and the clearly stratified mise-en-scène can hardly provoke interpretation. The sight of the girls does so all the more. Kren, the gentle voyeur - who turns the viewer into a secret accomplice - observes three teenagers, and probably like them, awaits a rendezvous. (Thomas Trummer)
A nasty, nasty comedy. A reality TV crew is making a programme, 'Ghost TV' about the haunted buildings that are the ruins of Seacliff Lunatic Asylum. As one might expect things do not go to plan. One of the crew is not very emotionally stable and when she discovers that she has been used callously by another crew member she snaps and runs off into the night, only to return with violent intent.