Since 1967, Guy Debord’s critical manifesto ‘The Society of the Spectacle’ has been an essentiel theoretical basis for any attempt to analyse the capitalist society of images that permeates every aspect of life in the Western world. We live in a continuous sensory bombardment of distractions that keep us in the role of passive consumers – a condition that has not exactly improved since the revolutionary 60s. What to do? And how do you film a notoriously complicated theory that attacks the very image itself? Artist Roxy Farhat and filmmaker Göran Hugo Olsson (‘Black Power Mixtape 1967-1975’) bring Guy Debord’s ideas into the 21st century. Guy Debord’s own (anti)films are given a modern counterpoint by satirical interventions in a visual work that is not afraid to criticise neither itself nor the cult around Debord and situationism.

In the years 1958 – 1989, public service monopolies prevailed in Sweden and SVT's reporting from Israel and Palestine was unique. Their reporters were constantly on site in the war-torn area, documenting everything from everyday stories to major international crises. This extensive material is the basis for archivist Göran Hugo Olsson's (Black Power Mixtape 1967-1975, about violence/Concerning Violence) latest film in which images of the rise of the Israeli state are interspersed with Palestine's freedom struggle.

格兰·奥尔森是一名瑞典纪录片导演及制片人。在奥尔森的影片中，后殖民主义、种族问题以及暴力元素常常是他最为关注的话题。在近几年中，他以曾获第27届圣丹斯电影节——世界电影单元纪录片剪辑奖的《1967-1975黑权运动呐声集》和纪录片《暴力相关》为大家所熟知。《That Summer》是奥尔森第二次参选柏林电影节的影片，该片围绕摄影艺术家Peter Beard和Lee Radziwill展开，重新展现了一系列关于Beard和他的家人及好友在1972年之夏的珍贵画面。这一次，脱离了黑色元素的奥尔森或许能够在本次柏林影展中收获到不一样的关注。

“The Black Power Mixtape 1967-1975,” among other things an extraordinary feat of editing and archival research, takes up a familiar period in American history from a fresh and fascinating angle. In the late 1960s and early ’70s, Swedish television journalists traveled to the United States with the intention of “showing the country as it really is.” Some of the images and interviews they collected have been assembled by Goran Hugo Olsson into a roughly chronological collage that restores a complex human dimension to the racial history of the era.

繼好評如潮的《黑力量集錦帶1967-1975》後，奧臣再一次發揮剪輯的力量，走進瑞典電視資料庫，藉大量新聞片，展示非洲各國在二次世界大戰後前仆後繼的民族獨立運動。Lauryn Hill有力唸出法農的《地球上的苦命人》的關鍵文本，指出殖民主義的暴力本質，引發更多暴力衝突份屬必然。奧臣發掘革命新意象，如黑色維納斯的斷臂女人，在森林進行拯救戰士手術，都是深刻震撼的鏡頭，再配以葡語民歌及鏗鏘爵士樂，把九個反帝反殖自衛場景重塑過來。柏林影展法爾賓達電影獎。 Göran Hugo Olsson returns to the Sundance Film Festival (The Black Power Mixtape 1967–1975 played in the World Cinema Documentary Competition in 2011) with this bold, fresh, and compelling visual narrative about the African liberation struggles of the 1960s and 1970s. Concerning Violence combines newly discovered archival material depicting some... » About the Director Göran Hugo Olsson's previous film at the Sundance Film Festival, The Black Power Mixtape 1967–1975, won the 2011 Documentary Editing Award and became a huge hit in festivals and theatres and on... » Cast and Credits Director: Göran Hugo Olsson Producers: Annika Rogell, Tobias Janson Co, Producers: Joslyn Barnes, Danny Glover, Monica Hellström, Miia Haavisto Editors: Michael Aaglund, Dino Jonsäter, Göran Hugo Olsson, Sophie Vukovic Art Director: Stefania Malmsten Assistant Director: Sophie Vukovic Associate Producer: Corey Smyth Principal Cast: Narrated by Lauryn Hill