An 18-minute long single-channel video which uses CNN footage cut so that each word is spoken by a different newsperson. The pieces literally asks the viewers questions about media authenticity and give CNN a distinct voice

For the first 50 years of film history, the newsreel was a fixture in American movie theaters. From 1911 to 1967, these shorts proved an influential source of information – and misinformation – for generations of American moviegoers. Television news and public affairs programs became a great improvement over the scanty information offered by the newsreels. This documentary offers insight into a medium which has disappeared.

Images and sound captured in Zamboanga city Mindanao, Philippines. During sunset. Part of the Azan series &amp; the Philippines fieldworks.

"Filmed in Cairo, in Al-Azhar Park, sunset during Isha'a praying time. The city becomes a Chorus.  Dedicated to the people of Cairo. With love and hope."  Part of the Azan series & the Cairo fieldworks.

In this tape, Ko Nakajima and Video Earth Tokyo interview a homeless man. The subject is initially angry and frustrated, but gradually opens up and shares stories about his life. Under A Bridge was later broadcast on cable television.

Openland is an art film guided by issues surrounding micro states and its derivative definitions. Through intertwining interviews, meta-narratives, and digital landscapes, Openland unfurls a dialogue between consciousness, individuality and collectivity.

Mid-Missouri cult hero Nathan Truesdell sifts through a Cleveland TV station's archives and unearths a fancy wrist watch, blistered fingers and other casualties of a misbegotten exercise in civic pride. In September 1986, the city of Cleveland attempted to set a special record: the simultaneous launch of 1.5 million balloons. But fate intervened, and the result was both crazier and more tragic than anyone could have imagined.

Trance dances and out of body projection. In front of the camera, Parvaneh Navaï becomes a mediator who enters in contact with and immerses into the energies of Nature, while her own energy radiates and echos in the forest ("selva"). The camera amplifies and expands her presence, transforming the forest into an imaginary space. The camera becomes a painter's brush.

Szirtes's masterful experimental work is a dazzling composition of several years of filming within an industrial macro/microcosm, an abstract model of revolution and the beauty of daybreak.