A dreamy animated tale of grief, friendship and a road trip to David Hockney’s house

‘You were too young to lose your mum. And we were too young to be organising a funeral.’

When her friend’s mother died, the UK filmmaker Alice Dunseath and her friend set out on an unplanned road trip through Yorkshire, mostly because they didn’t know what else to do. The only destination they gave themselves was the house of the artist David Hockney, supposedly somewhere in the town of Bridlington. Dunseath’s brief animation echoes some of Hockney’s signature stylistic flourishes, including dreamlike landscapes and saturated colours, but her narration offers an arresting counterpoint to the images – a simple, aching account of how grief can both heighten and numb the senses, render words meaningful and meaningless, and make goals simultaneously important and absurd.

Before Chomsky, there was Lippmann: the First World War and ‘manufactured consent’

While the ‘manufacture of consent’ is an idea now mostly associated with Noam Chomsky, the phrase was actually coined by the US journalist and writer Walter Lippman in his influential book Public Opinion (1922) – a fact that Chomsky and Edward S Herman, his co-author of Manufacturing Consent (1988), readily acknowledge. Lippman contended that, because the world is too complex for any individual to comprehend, a strong society needs people and institutions specialised in collecting data and creating the most accurate interpretations of reality possible. When used properly, this information should allow decisionmakers to ‘manufacture consent’ in the public interest. However, in one of the most damning critiques of democracy, Lippman identifies how public opinion is instead largely forged by political elites with self-serving interests – powerful people manipulating narratives to their own ends. This video essay from the YouTube channel Then & Now dives into Lippman’s legacy, starting with his study of the rise of the importance of public opinion during the First World War, and extending through an examination of why, a century after Public Opinion, democracy still has a major mass-media problem.

How the devotion of a canine companion enhanced the life of a disability advocate

Lorna Marsh, a UK dance instructor and disability rights advocate, uses a wheelchair due to cerebral palsy quadriplegia, which also limits the use of her arms. When the charity Canine Partners for Independence offered her an assistance dog, Marsh was initially reluctant to accept, worried that a working dog might not enjoy a fulfilling life. But she soon found that beyond helping her live with more freedom, her new dog Eli was a true companion, their relationship brimming with affection, mutual enjoyment and a bit of mischief. The UK filmmaker and casting director Leanne Flinn’s film Eli (2010) is a day in the life of Marsh and her canine partner, featuring many of the roughly 300 commands Eli has been trained to perform, as well as a hefty dose of play. The heartwarming short was created as part of the straight 8 project, which challenges filmmakers to craft shorts using only a single cartridge of Super 8 film with no additional post-production editing.

‘My cell is smaller than my size’ – how writing poetry saved a political prisoner

The poet Ghazi Hussein was born to a Palestinian family exiled in Syria. Starting at age 14, he was subjected to 20 years, on and off, of imprisonment and torture, and deemed ‘guilty of carrying thoughts’ though never formally charged. In prison, Hussein often felt hopeless and wished for death but, through his poetry, he was able to build a mental sanctuary that saved his life. In 2000, he arrived in the UK, where, after a three-year legal struggle, he and his family gained political asylum, settling in Edinburgh. Now a BAFTA award-winning playwright and acclaimed poet, Hussein continues to draw on his experience of oppression, using his writing to explore and confront the racism he encounters in Scotland. Despite this, he still considers Edinburgh his first and only home, a place where he has a voice. In this short film by the UK-Iranian artist Roxana Vilk, Hussein reflects on the pain and perseverance that has defined his life, performing poems from his book Taking it Like a Man: Torture and Survival, a Journey in Poetry (2006).

Can science understand everything? NASA scientists attempt to answer the question

‘Please define everything…’

This short documentary is built around a single question posed in 2005-6 to scientists working at the NASA Space Sciences Laboratory at the University of California, Berkeley: ‘Do you think science can understand everything?’ Most of them pause or take a deep breath before venturing out on such thin ice. From seeking clarity on the meaning of the question, to weighing careful, nuanced answers, to relative certainty one way or the other, their perspectives provide a fascinating window on to the varying motivations and world views of scientists working at the frontiers of human knowledge.