Chris Marker's politically direct Primetime in the Camps looks at the function of media for a viewership that has been stripped of a homeland. In the vandalized ruins of an army barracks in Roska, Slovenia lives a community of Bosnian refugees. What they know of world events comes not from Belgrade television, or even Radio Sarajevo, but from a unique video workshop run by fellow refugees. Pirating signals from CNN, Radio Sarajevo and Sky News, the workshop compares the ideological orientations of their news sources, tailoring interpretation to the needs of their companions. Rather than fashioning a media of (suspect) truths, one member of the news collective advocates "making propaganda for love." On another front: The fighting hadn't ceased behind the Iron Curtain when artist Gusztav Hámos returned to Hungary for the first time since he had fled ten years earlier. Hámos watched broadcasts from a collapsing Romania with his grandmother at his side. Weaving archival footage, interviews with newscasters, and personal observations, 1989-The Real Power of Television is a critically astute essay about the nature of officially sanctioned media. As for Grandmother: one short trip to the attic for a Christmas-tree ornament and she missed the execution of Ceausescu. -Steve Seid Primetime in the Camps (27 mins, In French and Bosnian with English subtitles and voice-over, 3/4" video, From the artist) 1989-The Real Power of Television (59 mins, In Hungarian with English subtitles, 3/4" video, From Electronic Arts Intermix)