The Mad Man’s Laughter
Lebanon/Austria 2021, 42 minutes
The Mad Man’s Laughter critically reflects the simulacrum of the so-called global war on terror, and the world of ubiquitous surveillance and simulation it has spawned ever since. By exploring the fictitious entities at play in the military-entertainment complex, the video embarks on a journey across artefacts and precepts shaped by modalities of power and control. Alaa Mansour uses archival material and computer generated imagery, sounds, and texts to navigate both latent and visible spaces of violence carved out by colonial and military image production and the data used to generate algorithmic biases.
Alaa Mansour― Artist
Alaa Mansour is an artist, filmmaker and archivist based between Marseille and Beirut. Her work examines the histories of violence and the power of images in the age of necropolitics. Her debut documentary film Aïnata (2018), shot in the south of Lebanon, is a seminal work embodying her interest in archives. It has been screened internationally. She is currently head of visual research for Bidayat, an intellectual and cultural quarterly magazine published in Beirut, and is also involved in other publications.