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Selection of works for a «Political Remix Video» programme

by ZEMOS98

As a result of the Political Remix Video call that both EMBED and Doc Next Network started last December, the following selection of remixing works will be screened during the next ZEMOS98 Festival (14th April):

“Glued” by Benoit Detalle (Belgium) – 5’42″
“Rock the Caucuses” by Smearballs (Canada) – 3’22″
“Now, Listen!” by Dominik Dušek (Czech Republic) – 3’
“Subasta II” by Smalouli (Marrocco) – 2’51″
“The Manufacture Of Consent” by Enrico Argento (Portugal) – 2’22″
“WakeUpArtists! (Dedicated to Malish)” by SpriteHat (Italy) – 4’
“Mutantes” by Duplex Corporeition (Spain) – 4’24″
“A mi tío” by Lacasinegra (Spain) – 1’33″
“Our Dangerous Demands” by Malaventura (Spain) – 2’
“Live Free or Die Hard (Project 12, 8/12)” by Diran Lyons (USA) – 1’12″
“Abra la boca (Open Your Mouth)” by Montserrat Santalla Gasco (Spain) – 3’31″
“Rap News X: #Occupy2012 (feat. Noam Chomsky & Anonymous)” by Hugo Farrant and Giordano Nanni (Australia) – 7’48″

Apart from this programme, two works produced by ZEMOS98 in the framework of Doc Next Network remix workshops will be premiered the same day:

“Cuentos ilustrados” by Pablo Domínguez (Spain) – 12’07″

“Esperanza Umbridge y la Marea Verde” by El Ejército de Dumbledore (Spain)- 2’48″

This Political Remix Video international call has received 124 audiovisual works in a month time. The selection committee has been formed by Felipe G. Gil and Pedro Jiménez de ZEMOS98, Joan Carles Martorell ( y Alberto Tognazzi (Movil Film Fest).

This committee highlights the fact that all these works go beyond the simple technique of «remixing the contraries». They (together with Jonathan McIntosh at understand political remix videos as an audiovisual genre which puts into practice the «situationist detournement», using the media to criticize power structures, to deconstruct social myths and defy the mass-media via «re-cutting» and «re-framing». This remix is done from media fragments mixed with pop culture. Could this way of understanding audiovisual remix be a new kind of documentary? How are we going to access the collective memory if it’s already remixed? Aren’t the media using remix techniques as a sort of aesthetic of social reality? Let’s carry on researching into this path and learn from our community.



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