Jiří Žák

The film is an author’s collage of archival materials, documentaries films from the 1960s and 1970s, which look at the activities of the then Czechoslovakia in Syria in a propagandistic way.

The piece is focus on semantic properties of “truth” and alternately “post-truth”, in the context of today's information smog and media manipulation.The video features the dancer Meïmouna Coffi, and her choreography inspired by gesture-based technology.

Alfréd Radok’s essay film Distant Journey (Daleká cesta, 1948) is a canonical classic of Czech cinema and a still unique answer to the question of how to express the inexpressible horrors of the Holocaust. However, such a self-reflexive film also needs a film theory that would extend this reflexivity in a videographic form, by means of using the images and sounds themselves and the context in which they appear in the digital space. The film’s “trick montage,” a technique that links storyline moments with archival footage of war destruction, Nazi emblems, and anti-Jewish terror within a single film shot, is thereby translated into the desktop interface and rethought anew.

The tourist appeal of ethically problematic destinations is a phenomenon known as dark tourism. The filmmakers' itinerary for their tour of Norway included sites such as the robust sculptures of Gustav Vigeland, criticised for their proximity to Nazi aesthetics, wind farms making Sami pastures inaccessible, and the island of Utøya. Using performative and post-production gestures, they have attempted to come to terms with the plight of dark tourists.