Noam Chomsky – The Documentary

Schöner Trailer zur Noam Chomsky-Doku Requiem for the American Dream, die sich grade die Postproduktion über Kickstarter finanzieren lässt. Der Film macht zwar sehr einen auf amerikanisch, die Grund-Prämissen von Chomskys Aussagen – die finanzielle Ungleichheit in der Gesellschaft wird zur Gefahr für die Demokratie selbst, wird aber trotzdem von Politik und Wirtschaft vorangetrieben – dürfte aber universell gültig sein.

We were fortunate to be granted unparalleled access to Chomsky – a privilege that gave us two things:

Firstly, the extensiveness of the interview process provided him with the freedom to thoroughly unpack the social and economic forces responsible for shaping the America we live in today. The foundational material from his seminal works can be found here – Deterring Democracy, Manufacturing Consent, Failed States -– but all within the context of current headlines. Chomsky deftly interprets these headlines not as isolated events, but as a function of a larger dynamic that demands our attention and engagement.

Secondly, the scope of the interview process created a rapport that allowed for a warmth and humor few have witnessed from him. As a result, our film reveals a rare side of Chomsky - now 84 years old - as he ca­ndidly shares personal reflections on his life, his work and the myth of the American Dream.

Das Poster zum Film (Bild rechts) dürfte von Mark Wagner stammen, über dessen Arbeiten ich vor vier Jahren gebloggt habe und der jetzt in einem netten Clip der Avant Garde-Diarys portraitiert wurde:

 Vimeo Direktmoney, via Ignant

Artist Mark Wagner wastes no time with polemics. With dollar bills as his very material, the relationship between art and value is nearly inseparable and unmistakably transparent. His artistic production means first destroying, and then painstakingly reassembling this currency into complex visual systems of fantastical economic scenes where George Washington makes a regular appearance. A painter’s studio might be filled with drawers of gesso, oils and brushes, but Wagner maintains drawers labeled “dark lines,” “heads” and “light chunks”—all parts that together complete an intricate, graphic and organized whole.