Dreams Rewired
- Description
- Reviews
- Citation
- Cataloging
- Transcript
If you are not affiliated with a college or university, and are interested in watching this film, please register as an individual and login to rent this film. Already registered? Login to rent this film. This film is also available on our home streaming platform, OVID.tv.
Tilda Swinton's hypnotic voiceover and a treasure trove of rare archival footage culled from hundreds of films from the 1880s through the 1930s-much of it previously unseen-combine to trace the anxieties of today's hyper-connected world back a hundred years. Then, too, electric media sparked idealism in the public imagination-hailed as the beginning of an era of total communication, annihilation of distance and the end of war. But then, too, fears over the erosion of privacy, security, morality proved to be well-founded.
DREAMS REWIRED traces contemporary appetites and anxieties back to the birth of the telephone, television and cinema. At the time, early electric media were as revolutionary as social media are now. The technologies were expected to serve everyone, not just the elite classes. Human relationships would become stronger, efficiency would increase and the society would be revolutionized... But these initial promises were very different from what new media eventually brought to daily life.
Using excerpts from early dramatic films, slapstick comedies, political newsreels, advertisements and recordings of scientific experiments culled during years of research in film archives around the world, co-directors Manu Luksch, Martin Reinhart and Thomas Tode unearth material that is by turns hilarious, revelatory, beautiful and prescient. The archival footage, combined with poetic narration and a virtuosic score by Siegfried Friedrich forges a cross-generational connection between contemporary viewers and their idealistic forbearers of a century ago.
'A lively, visually enthralling attempt to gaze into the future by remembering the past.' - The New York Times
'In brilliant archival footage, DREAMS REWIRED shows us becoming ourselves.' - Los Angeles Weekly
'Poetic... a film whose images of the past predict not only our present but our future.' - Chicago Reader
'Thrilling... the meticulously chosen clips are often hypnotic, but the instinctual narration is what grips the viewer.' - RogerEbert.com
'A feast for fans of early film.' - New York Post
'A film about the present and the future, illustrated with images of the distant past... A marvel of montage, charming and bizarre and frequently funny.' - Flavorwire
'A complete blast; what's old is new again.' - Santa Fe Reporter
'Beautifully rendered... well crafted and meticulous.' - Tiny Mix Tapes
'Marvelous... thorough and clever!' - The Guardian
'Playful and provocative.' - The Hollywood Reporter
'4 Stars! A marvelous essay film [that] leaves you fantasizing about what things there are to come.' - Jordan Hoffman, The Guardian
'A rich, media-archaeological account of the intertwined histories of visionary technologies, communication cultures, and cinema.' - University of Amsterdam Association of Moving Image Archivists
'This film essay features an intricately, crafted voice-over by Tilda Swinton, melding together historic fact and contemporary theories.' - Screen International
'A remarkably timely, compelling and revelatory exploration of the obscured origins of the full spectrum media environment we all inhabit; a work that learns from the past, with insight of an artist-innovator-theoretician's trio, to inform and illuminate current and ever more pressing concerns.' - Gareth Evans, Film Curator of the Whitechapel Gallery, London
'Weird uniqueness! ... a certain DECASIA-like power to conjure dreams of its own.' - Huffington Post
'Stunning ... exceptional... one of the must-see new documentaries of the last few years. I still cannot believe what the makers have achieved and just on a level of cinematic journey, it is amazing. As a total work, it is highly impactful and highly recommended.' - Fulvue Drive In
Citation
Main credits
Luksch (film director)
Reinhart, Martin (film director)
Tode, Thomas (film director)
Ivanceanu, Alexander Dumreicher (film producer)
Minck, Bady (film producer)
Swinton, Tilda (narrator)
Other credits
Narration written by Manu Luksch, Mukul Patel; original music composed by Siegried Friedrich; edited by Oliver Neumann; animation, Hanna Nordholt, Fritz Steingrobe.
Distributor subjects
Art; Cinema Studies; Communications; Cultural Anthropology; Film History; Media Studies; Science and Technology; Urban Planning and DesignKeywords
WEBVTT
00:00:15.000 --> 00:00:23.000
[music]
00:01:20.000 --> 00:01:28.000
[music]
00:01:40.000 --> 00:01:44.999
Our time is a time of total connection.
00:01:45.000 --> 00:01:49.999
Distance is zero. The
future is transparent.
00:01:50.000 --> 00:01:58.000
[music]
00:02:00.000 --> 00:02:04.999
Times tick in-sync.
00:02:05.000 --> 00:02:09.999
Unimaginable distances flash before
our eyes. Weeks become seconds.
00:02:10.000 --> 00:02:14.999
The natural order of time is destroyed.
00:02:15.000 --> 00:02:19.999
Now it\'s what\'s happening
at the end of the line,
00:02:20.000 --> 00:02:24.999
at the end of a wire.
00:02:25.000 --> 00:02:29.999
Distance means nothing if
it\'s bridged by a circuit,
00:02:30.000 --> 00:02:34.999
swept by a signal. The news is in.
00:02:35.000 --> 00:02:39.999
The world has a new rhythm.
00:02:40.000 --> 00:02:44.999
Every message travels as an equal.
00:02:45.000 --> 00:02:49.999
[music]
00:02:50.000 --> 00:02:54.999
To be is to be connected.
00:02:55.000 --> 00:02:59.999
The network will seek out everyone.
00:03:00.000 --> 00:03:04.999
[music]
00:03:05.000 --> 00:03:13.000
[sil.]
00:03:25.000 --> 00:03:29.999
Pulses snake through the deep.
00:03:30.000 --> 00:03:34.999
Deserts bloom with chatter.
00:03:35.000 --> 00:03:39.999
Geography is history.
00:03:40.000 --> 00:03:44.999
[sil.]
00:03:45.000 --> 00:03:49.999
A new electric intimacy,
00:03:50.000 --> 00:03:54.999
once we spanned a hundred
meters with a shout,
00:03:55.000 --> 00:03:59.999
now we bridge the globe with a whisper.
00:04:00.000 --> 00:04:04.999
[sil.]
00:04:05.000 --> 00:04:09.999
Wanted young educated ladies,
00:04:10.000 --> 00:04:14.999
a work place for women opens up.
00:04:15.000 --> 00:04:19.999
Operators guide bodiless
voices through the network,
00:04:20.000 --> 00:04:24.999
smoothing over the crackles on the line.
00:04:25.000 --> 00:04:29.999
Men are just too impatient,
too rude for the job.
00:04:30.000 --> 00:04:38.000
[music]
00:04:40.000 --> 00:04:44.999
The flood threatens.
00:04:45.000 --> 00:04:49.999
Nervous breakdown?
00:04:50.000 --> 00:04:54.999
No. Adrenaline rush. Well, I wish she\'d
leave me alone so I can get on the phone.
00:04:55.000 --> 00:04:59.999
Gone off you then. Okay, call
waiting, yes, well back to me,
00:05:00.000 --> 00:05:04.999
well, I\'m jolly and magnificently endowed.
00:05:05.000 --> 00:05:09.999
Oh, I like the sound of that, I\'d
like to see with my own eyes.
00:05:10.000 --> 00:05:14.999
Well, meet me at 2, at the
zoo, you frisky young buck.
00:05:15.000 --> 00:05:19.999
Consider that we know each other,
why don\'t we wave the handkerchief.
00:05:20.000 --> 00:05:24.999
Ooh! That\'s wonderful flag of love.
Lolz. Lolz.
00:05:25.000 --> 00:05:29.999
[music]
00:05:30.000 --> 00:05:34.999
Surrender to the lair of the voice.
She\'s got (inaudible).
00:05:35.000 --> 00:05:39.999
But some are far less
handsome in the flesh.
00:05:40.000 --> 00:05:44.999
If only she could see them before hand.
00:05:45.000 --> 00:05:49.999
Look up before the hook up.
00:05:50.000 --> 00:05:54.999
[sil.]
00:05:55.000 --> 00:05:59.999
If carbon granules can transmit speech,
00:06:00.000 --> 00:06:04.999
then why not pictures?
00:06:05.000 --> 00:06:09.999
No more blind dates, no
more longing for a face.
00:06:10.000 --> 00:06:18.000
[music]
00:06:25.000 --> 00:06:29.999
Just imagine,
00:06:30.000 --> 00:06:34.999
every home linked to every other.
00:06:35.000 --> 00:06:39.999
Having everything on demand,
00:06:40.000 --> 00:06:44.999
never missing a magic moment.
00:06:45.000 --> 00:06:53.000
[music]
00:06:55.000 --> 00:06:59.999
Being everywhere at once,
00:07:00.000 --> 00:07:04.999
the globe shrunk to the size of a village.
00:07:05.000 --> 00:07:09.999
Neighbors united
00:07:10.000 --> 00:07:14.999
in electric dreams.
00:07:15.000 --> 00:07:23.000
[music]
00:07:25.000 --> 00:07:29.999
But wouldn\'t that mean that
anyone could look into our rooms?
00:07:30.000 --> 00:07:34.999
Into our lives?
00:07:35.000 --> 00:07:43.000
[music]
00:07:45.000 --> 00:07:49.999
Word has it that the body has
already given up its secrets
00:07:50.000 --> 00:07:54.999
to the eye of the x-ray.
00:07:55.000 --> 00:07:59.999
[music]
00:08:00.000 --> 00:08:04.999
Don\'t just look inside the body but
inside actions, inside processes,
00:08:05.000 --> 00:08:09.999
pick up the pace of the new times.
00:08:10.000 --> 00:08:18.000
[music]
00:08:20.000 --> 00:08:24.999
In each step, wave of a hand, flap of a
wing, lies insight waiting to be revealed.
00:08:25.000 --> 00:08:29.999
An operation demanding to be streamlined,
00:08:30.000 --> 00:08:34.999
optimized.
00:08:35.000 --> 00:08:39.999
A future wanting to be predicted.
00:08:40.000 --> 00:08:48.000
[music]
00:08:50.000 --> 00:08:54.999
High speed shutters dissect natures flow.
A flipbook of life.
00:08:55.000 --> 00:09:03.000
[sil.]
00:09:05.000 --> 00:09:09.999
Time and motion studies are born.
00:09:10.000 --> 00:09:14.999
The military is the first client.
00:09:15.000 --> 00:09:19.999
To prevail in the scramble
for unconquered territory
00:09:20.000 --> 00:09:24.999
an army must tune its soldier\'s movements.
00:09:25.000 --> 00:09:29.999
Like the falling cat,
00:09:30.000 --> 00:09:34.999
it cannot rely on luck.
00:09:35.000 --> 00:09:39.999
[sil.]
00:09:40.000 --> 00:09:44.999
Nor can a busy mother. How do
you manage a household of 12
00:09:45.000 --> 00:09:49.999
and a career. Engineer and psychologist,
00:09:50.000 --> 00:09:54.999
Lillian Gilbreth develops
efficient work flows for her home
00:09:55.000 --> 00:09:59.999
and for industry. Her
research revolutionizes
00:10:00.000 --> 00:10:04.999
the design of the work place.
She attaches to tiny lights
00:10:05.000 --> 00:10:09.999
to workers hands to capture
the pattern of their motion.
00:10:10.000 --> 00:10:15.000
[sil.]
00:10:20.000 --> 00:10:24.999
Track, record,
00:10:25.000 --> 00:10:29.999
freeze the trays.
00:10:30.000 --> 00:10:34.999
Analyze it, then tune, control, accelerate.
00:10:35.000 --> 00:10:43.000
[music]
00:10:50.000 --> 00:10:54.999
An unnecessary movement
00:10:55.000 --> 00:10:59.999
is money lost forever.
00:11:00.000 --> 00:11:08.000
[music]
00:11:10.000 --> 00:11:18.000
[sil.]
00:11:20.000 --> 00:11:24.999
I am the Edison Phonograph.
00:11:25.000 --> 00:11:29.999
If you sing or talk to me, I\'ll
retain your songs or words
00:11:30.000 --> 00:11:34.999
and repeat them to you at your pleasure. I can enable
you to always hear the voices of your loved one,
00:11:35.000 --> 00:11:39.999
even though they are far away.
00:11:40.000 --> 00:11:44.999
I never get tired and you
will never tire of me,
00:11:45.000 --> 00:11:49.999
the more you become acquainted with
me, the better you will like me.
00:11:50.000 --> 00:11:54.999
Ah, vanilla…
00:11:55.000 --> 00:11:59.999
[music]
00:12:00.000 --> 00:12:04.999
For the first time, he hears
himself as others do.
00:12:05.000 --> 00:12:09.999
A voice absolutely familiar, yet estranged.
00:12:10.000 --> 00:12:14.999
Marvelous.
00:12:15.000 --> 00:12:19.999
Yes, marvelous.
00:12:20.000 --> 00:12:24.999
It\'s the essential new technology for the office
of tomorrow. The bosses presence is doubled,
00:12:25.000 --> 00:12:29.999
productivity multiplied.
00:12:30.000 --> 00:12:34.999
But her power also grows.
00:12:35.000 --> 00:12:39.999
By controlling his voice,
she controls her time.
00:12:40.000 --> 00:12:48.000
[sil.]
00:12:50.000 --> 00:12:54.999
A crossed line, uh, what\'s he plotting?
00:12:55.000 --> 00:12:59.999
Oh, gosh, she needs help.
00:13:00.000 --> 00:13:04.999
Diabolical, they got to be stopped now.
00:13:05.000 --> 00:13:13.000
[music]
00:13:15.000 --> 00:13:19.999
A conspiracy on the wire,
00:13:20.000 --> 00:13:24.999
and she\'s got just the machine to foil it.
00:13:25.000 --> 00:13:29.999
Tap the line, let it pour out
its secrets into the recorder,
00:13:30.000 --> 00:13:34.999
weather spoken next door
or in the next town.
00:13:35.000 --> 00:13:43.000
[music]
00:14:05.000 --> 00:14:09.999
[music]
00:14:10.000 --> 00:14:14.999
And here\'s the living proof.
The speaker immortalized…
00:14:15.000 --> 00:14:23.000
[music]
00:14:30.000 --> 00:14:34.999
Like ghosts, the traces rise to haunt us.
00:14:35.000 --> 00:14:39.999
Now they mimic our words,
00:14:40.000 --> 00:14:44.999
but soon enough they will be
shadowing every move we make.
00:14:45.000 --> 00:14:49.999
Living lives of their own.
00:14:50.000 --> 00:14:58.000
[music]
00:15:00.000 --> 00:15:04.999
Are they here to help us?
00:15:05.000 --> 00:15:09.999
Or to give us away?
00:15:10.000 --> 00:15:14.999
There is another, beckoning, from where?
00:15:15.000 --> 00:15:19.999
From the other side of the world?
00:15:20.000 --> 00:15:24.999
No, straight out of the lamp.
00:15:25.000 --> 00:15:29.999
[music]
00:15:30.000 --> 00:15:34.999
The idea of sound recording applied
to images. Inscribed on to a drum.
00:15:35.000 --> 00:15:43.000
[music]
00:15:45.000 --> 00:15:49.999
On one side, a groove edged in wax.
00:15:50.000 --> 00:15:54.999
On the other, pictures dance on glass.
00:15:55.000 --> 00:15:59.999
Moving images,
00:16:00.000 --> 00:16:04.999
the hottest ticket in town.
00:16:05.000 --> 00:16:09.999
[music]
00:16:10.000 --> 00:16:14.999
But a quick trick doesn\'t satisfy us,
00:16:15.000 --> 00:16:19.999
we want to watch for longer. Unwind
the pictures on a strip of film,
00:16:20.000 --> 00:16:24.999
perforated to continue the
illusion, to conjure up life.
00:16:25.000 --> 00:16:29.999
Almost live.
00:16:30.000 --> 00:16:34.999
A window opens
00:16:35.000 --> 00:16:39.999
unto ungoverned territory,
00:16:40.000 --> 00:16:44.999
a new public space illuminated.
00:16:45.000 --> 00:16:49.999
We emerge from the shadows, women,
00:16:50.000 --> 00:16:54.999
workers, migrants.
00:16:55.000 --> 00:16:59.999
Our latent desire realized,
00:17:00.000 --> 00:17:04.999
sex and violence always sell.
00:17:05.000 --> 00:17:09.999
To the Puritans, it\'s illegal, taboo
and they pursue it through the quotes.
00:17:10.000 --> 00:17:14.999
But these are mere phantoms
claim the image makers,
00:17:15.000 --> 00:17:19.999
this is not real life.
And the case is closed.
00:17:20.000 --> 00:17:24.999
[music]
00:17:25.000 --> 00:17:29.999
No not real life, more than real
00:17:30.000 --> 00:17:34.999
and larger than life,
00:17:35.000 --> 00:17:39.999
projected to reach a mass audience.
00:17:40.000 --> 00:17:48.000
[music]
00:17:50.000 --> 00:17:54.999
We watch where we can,
00:17:55.000 --> 00:17:59.999
moving images have fixed home.
00:18:00.000 --> 00:18:04.999
Set up in fairs and Luna Parks alongside
other spinning, wheeling devices.
00:18:05.000 --> 00:18:09.999
[music]
00:18:10.000 --> 00:18:14.999
The world turned upside down,
00:18:15.000 --> 00:18:19.999
new freedoms,
00:18:20.000 --> 00:18:24.999
hyper reality,
00:18:25.000 --> 00:18:29.999
defying gravity.
00:18:30.000 --> 00:18:38.000
[music]
00:18:40.000 --> 00:18:44.999
Defying social convention,
00:18:45.000 --> 00:18:49.999
defying authority.
00:18:50.000 --> 00:18:54.999
Thrills,
00:18:55.000 --> 00:18:59.999
revelations, flirtations,
00:19:00.000 --> 00:19:04.999
lampoonery, anything goes.
This is our turf,
00:19:05.000 --> 00:19:09.999
our new compass.
00:19:10.000 --> 00:19:14.999
Once again we travel together,
00:19:15.000 --> 00:19:19.999
privileged and poor. No
longer railway tracks,
00:19:20.000 --> 00:19:24.999
now it is moving images that connect us.
00:19:25.000 --> 00:19:29.999
[music]
00:19:30.000 --> 00:19:34.999
The real unwinds, breaking news.
00:19:35.000 --> 00:19:43.000
[music]
00:19:50.000 --> 00:19:54.999
We watch together, almost as it happens.
00:19:55.000 --> 00:19:59.999
A twitteringmass,
00:20:00.000 --> 00:20:04.999
questions into the arena.
00:20:05.000 --> 00:20:09.999
What\'s behind the image?
00:20:10.000 --> 00:20:14.999
Together we discuss, reflect,
00:20:15.000 --> 00:20:19.999
interpret, debate.
00:20:20.000 --> 00:20:24.999
But how long will we be
able to speak freely?
00:20:25.000 --> 00:20:29.999
If producers are to profit, they
will impose new conventions,
00:20:30.000 --> 00:20:34.999
a proper way of consuming.
00:20:35.000 --> 00:20:39.999
[music]
00:20:40.000 --> 00:20:44.999
And if we resist?
00:20:45.000 --> 00:20:53.000
[music]
00:21:35.000 --> 00:21:39.999
A current of people surges
through the world exposition,
00:21:40.000 --> 00:21:44.999
showroom of tomorrow.
00:21:45.000 --> 00:21:49.999
We write wide eyed,
00:21:50.000 --> 00:21:54.999
open hearted, ready for anything. On
electric pavements into the future.
00:21:55.000 --> 00:22:03.000
[music]
00:22:20.000 --> 00:22:24.999
Modern times, modern wonders,
00:22:25.000 --> 00:22:29.999
automatic push button remote control.
00:22:30.000 --> 00:22:38.000
[music]
00:22:45.000 --> 00:22:49.999
Things of the future now in our homes,
00:22:50.000 --> 00:22:54.999
electrified the last word
in comfort and efficiency.
00:22:55.000 --> 00:23:03.000
[music]
00:23:25.000 --> 00:23:29.999
The powers on display are almost occult.
00:23:30.000 --> 00:23:34.999
The pull of a lever, a simple
gesture, calls up a distant friend.
00:23:35.000 --> 00:23:39.999
The machines don\'t work yet,
00:23:40.000 --> 00:23:44.999
but the vision is clear
00:23:45.000 --> 00:23:49.999
and it\'s given a name, Television.
00:23:50.000 --> 00:23:58.000
[music]
00:24:10.000 --> 00:24:14.999
We see what lies even further ahead.
Travel to the edges of the world
00:24:15.000 --> 00:24:19.999
without leaving safety of the city.
00:24:20.000 --> 00:24:28.000
[sil.]
00:24:30.000 --> 00:24:34.999
Board the liner for a fully
immersive experience.
00:24:35.000 --> 00:24:39.999
Kilometers of painted canvas roll by,
but this is not just the (inaudible).
00:24:40.000 --> 00:24:44.999
We have rocked by the swell, smell
and feel the spume of the sea,
00:24:45.000 --> 00:24:49.999
all synthesized by machines.
00:24:50.000 --> 00:24:54.999
A perfect simulation, virtual reality.
00:24:55.000 --> 00:24:59.999
[music]
00:25:00.000 --> 00:25:04.999
But where have we arrived?
00:25:05.000 --> 00:25:09.999
On the shores of
00:25:10.000 --> 00:25:14.999
who is Utopia?
00:25:15.000 --> 00:25:19.999
It\'s another simulation,
00:25:20.000 --> 00:25:24.999
a reconstructed village. A theme park,
00:25:25.000 --> 00:25:29.999
a human zoo.
00:25:30.000 --> 00:25:34.999
A human zoo?
00:25:35.000 --> 00:25:39.999
Exhibit one,
00:25:40.000 --> 00:25:44.999
he will also want to join us, won\'t he?
00:25:45.000 --> 00:25:49.999
But it wasn\'t a free ride for everyone.
00:25:50.000 --> 00:25:54.999
Someone had to lift to us up,
00:25:55.000 --> 00:25:59.999
and who will lift them up?
00:26:00.000 --> 00:26:04.999
A contradiction, at a very heart of Utopia,
00:26:05.000 --> 00:26:09.999
at it\'s very heart of darkness.
00:26:10.000 --> 00:26:18.000
[music]
00:26:30.000 --> 00:26:38.000
[sil.]
00:26:40.000 --> 00:26:48.000
[music]
00:27:10.000 --> 00:27:14.999
Doesn\'t everyone want a piece of the star
singers. They can be everywhere at once,
00:27:15.000 --> 00:27:19.999
by replicating themselves with a
new electromechanical sound film.
00:27:20.000 --> 00:27:24.999
[non-English narration]
00:27:25.000 --> 00:27:29.999
[music]
00:27:30.000 --> 00:27:38.000
[non-English narration]
00:27:55.000 --> 00:27:59.999
Wave after wave of music promos,
00:28:00.000 --> 00:28:04.999
same suit, same curtain, different song.
00:28:05.000 --> 00:28:10.000
The production line of pop
culture in full swing.
00:28:15.000 --> 00:28:19.999
But over time, projector and
gramophone drift out of sync.
00:28:20.000 --> 00:28:28.000
[sil.]
00:28:30.000 --> 00:28:34.999
Who\'s idea was it to feature a
mime artist in a sound film?
00:28:35.000 --> 00:28:39.999
It was Alice\'s.
00:28:40.000 --> 00:28:44.999
Secretary at a photo company,
00:28:45.000 --> 00:28:49.999
Alice Key, has permission from her boss to use
his camera but only after her days work is done.
00:28:50.000 --> 00:28:54.999
She begins making films for
the company\'s catalog,
00:28:55.000 --> 00:28:59.999
unpaid, of course.
00:29:00.000 --> 00:29:08.000
[music]
00:29:45.000 --> 00:29:49.999
Her several hundred titles
help establish Gaumont
00:29:50.000 --> 00:29:54.999
as one of the biggest film companies.
00:29:55.000 --> 00:29:59.999
She turns on the gramophone in the
world\'s first playback studio.
00:30:00.000 --> 00:30:04.999
For the record, Alice Key,
00:30:05.000 --> 00:30:09.999
the first director of narrative films.
00:30:10.000 --> 00:30:18.000
[music]
00:30:45.000 --> 00:30:49.999
Licensed cinemas bring up everywhere
with strict codes of conduct.
00:30:50.000 --> 00:30:58.000
[music]
00:31:00.000 --> 00:31:04.999
Story films absorb our attention,
screen stars direct our desires,
00:31:05.000 --> 00:31:09.999
we become disciplined as audience.
00:31:10.000 --> 00:31:14.999
She\'s a fan.
00:31:15.000 --> 00:31:19.999
[music]
00:31:20.000 --> 00:31:24.999
He is off the hook.
00:31:25.000 --> 00:31:29.999
His eyes, seems like an angel.
00:31:30.000 --> 00:31:34.999
Her despairing mother,
00:31:35.000 --> 00:31:39.999
\"Oh Lord, not more pictures of him.\"
00:31:40.000 --> 00:31:44.999
He is gorgeous and he is mine.
00:31:45.000 --> 00:31:50.000
[music]
00:32:00.000 --> 00:32:04.999
Know how to behave in the cinema.
00:32:05.000 --> 00:32:09.999
No jumping, shouting,
00:32:10.000 --> 00:32:14.999
frolicking, or dancing.
00:32:15.000 --> 00:32:19.999
No buffoonery in short.
00:32:20.000 --> 00:32:24.999
No telephones either,
00:32:25.000 --> 00:32:29.999
except in the frame.
00:32:30.000 --> 00:32:38.000
[music]
00:33:20.000 --> 00:33:24.999
Cut between locations, on
screen and on the phone,
00:33:25.000 --> 00:33:29.999
tells us at the same time,
00:33:30.000 --> 00:33:34.999
but not in the same place.
00:33:35.000 --> 00:33:39.999
Mirroring the shape of our modern lives.
00:33:40.000 --> 00:33:48.000
[music]
00:33:50.000 --> 00:33:58.000
[sil.]
00:34:15.000 --> 00:34:19.999
Awoken by a spark.
00:34:20.000 --> 00:34:28.000
[music]
00:34:40.000 --> 00:34:44.999
All the waiting.
00:34:45.000 --> 00:34:49.999
A Ferial.
00:34:50.000 --> 00:34:58.000
[music]
00:35:00.000 --> 00:35:04.999
Uncontainable.
00:35:05.000 --> 00:35:09.999
[music]
00:35:10.000 --> 00:35:14.999
An instant open communication
channel, without wires.
00:35:15.000 --> 00:35:23.000
[sil.]
00:35:30.000 --> 00:35:34.999
Antenna are extended feelers
reach into the sky.
00:35:35.000 --> 00:35:43.000
[sil.]
00:36:00.000 --> 00:36:04.999
Simple enough for a child to build, an
electrical circuit generates sparks
00:36:05.000 --> 00:36:09.999
sending bursts of radio waves
across oceans and mountains.
00:36:10.000 --> 00:36:18.000
[sil.]
00:36:20.000 --> 00:36:24.999
The receiver translates the
signal into pulses of sound,
00:36:25.000 --> 00:36:29.999
conversations in code.
00:36:30.000 --> 00:36:34.999
Code hearers brought
together, an end isolation.
00:36:35.000 --> 00:36:43.000
[music]
00:36:50.000 --> 00:36:58.000
[music]
00:37:15.000 --> 00:37:19.999
Socialites pick up on the city\'s chatter.
00:37:20.000 --> 00:37:24.999
[sil.]
00:37:25.000 --> 00:37:29.999
I can\'t believe you haven\'t heard it yet.
00:37:30.000 --> 00:37:34.999
Oh, mine isn\'t working. I couldn\'t
survive a day without this.
00:37:35.000 --> 00:37:39.999
Check out the remix, y\'all.
00:37:40.000 --> 00:37:48.000
[music]
00:37:55.000 --> 00:38:00.000
[music]
00:38:05.000 --> 00:38:13.000
[music]
00:38:25.000 --> 00:38:33.000
[music]
00:38:50.000 --> 00:38:58.000
[music]
00:39:15.000 --> 00:39:19.999
What is the good of all this progress?
00:39:20.000 --> 00:39:28.000
[music]
00:39:35.000 --> 00:39:39.999
By overcoming distance,
we overcome difference.
00:39:40.000 --> 00:39:44.999
Encounters with other
cultures will create empathy,
00:39:45.000 --> 00:39:49.999
compassion, world peace.
00:39:50.000 --> 00:39:54.999
Albert Kahn is convinced of it.
00:39:55.000 --> 00:39:59.999
One of Europe\'s richest men
00:40:00.000 --> 00:40:04.999
and an outspoken pacifist, Kahn invests
his fortune in uniting the globe.
00:40:05.000 --> 00:40:09.999
He sends teams with the latest
cameras around the world
00:40:10.000 --> 00:40:14.999
to document daily life
00:40:15.000 --> 00:40:19.999
in color and motion.
00:40:20.000 --> 00:40:24.999
[sil.]
00:40:25.000 --> 00:40:29.999
What we need is a device that puts
his vision within everyone\'s reach.
00:40:30.000 --> 00:40:38.000
[music]
00:40:55.000 --> 00:41:00.000
[music]
00:41:10.000 --> 00:41:18.000
[music]
00:42:10.000 --> 00:42:18.000
[sil.]
00:42:20.000 --> 00:42:24.999
Greetings, a game, meals,
00:42:25.000 --> 00:42:29.999
rituals, we get to know
each other from afar.
00:42:30.000 --> 00:42:38.000
[music]
00:42:50.000 --> 00:42:54.999
As the space between the strings,
00:42:55.000 --> 00:42:59.999
so does the room for conflict.
00:43:00.000 --> 00:43:08.000
[music]
00:43:15.000 --> 00:43:19.999
But within arm\'s length,
00:43:20.000 --> 00:43:24.999
also means within striking distance.
00:43:25.000 --> 00:43:33.000
[music]
00:44:20.000 --> 00:44:24.999
[sil.]
00:44:25.000 --> 00:44:29.999
A great war erases the old world.
00:44:30.000 --> 00:44:34.999
The future asks to be invented once again,
00:44:35.000 --> 00:44:39.999
a future in which all people are connected.
00:44:40.000 --> 00:44:44.999
A society without Kings or subjects.
00:44:45.000 --> 00:44:49.999
A new beginning,
00:44:50.000 --> 00:44:54.999
the mobilization of dreams.
00:44:55.000 --> 00:45:03.000
[music]
00:45:25.000 --> 00:45:29.999
The cinema train comes into town,
carrying cameras and a lab.
00:45:30.000 --> 00:45:34.999
We film one day, process overnight,
00:45:35.000 --> 00:45:39.999
and screen the next. Shoot, edit, upload,
00:45:40.000 --> 00:45:44.999
real time media.
00:45:45.000 --> 00:45:49.999
[sil.]
00:45:50.000 --> 00:45:54.999
The revolution is carried by film.
00:45:55.000 --> 00:45:59.999
A medium of immense reach,
00:46:00.000 --> 00:46:04.999
without Bourgeois history, a
language under construction.
00:46:05.000 --> 00:46:09.999
[music]
00:46:10.000 --> 00:46:14.999
Our senses are electrified,
00:46:15.000 --> 00:46:19.999
along with our villages.
00:46:20.000 --> 00:46:24.999
Desires engineered,
00:46:25.000 --> 00:46:29.999
switched on, transmitted.
00:46:30.000 --> 00:46:34.999
A model of the new human
00:46:35.000 --> 00:46:39.999
is put into circulation.
00:46:40.000 --> 00:46:48.000
[music]
00:47:10.000 --> 00:47:14.999
Reels, screens, and projectors,
00:47:15.000 --> 00:47:19.999
a hole to the most remote
corners of new republics,
00:47:20.000 --> 00:47:24.999
generators of a just society.
00:47:25.000 --> 00:47:33.000
[music]
00:47:35.000 --> 00:47:39.999
In the vanguard is Sergei
Eisenstein\'s Battleship Potemkin.
00:47:40.000 --> 00:47:44.999
The blue print of propaganda film.
00:47:45.000 --> 00:47:49.999
[music]
00:47:50.000 --> 00:47:54.999
Out with the old and rotten.
00:47:55.000 --> 00:48:03.000
[music]
00:48:15.000 --> 00:48:19.999
The Moscow premier is heralded by a
sensational promotional campaign.
00:48:20.000 --> 00:48:24.999
Composer Edmund Meisel
00:48:25.000 --> 00:48:29.999
creates a radical score for the
films foreign distribution.
00:48:30.000 --> 00:48:34.999
In Berlin, it\'s recorded on to
the latest sound on disc system.
00:48:35.000 --> 00:48:39.999
By treating music, noise,
00:48:40.000 --> 00:48:44.999
and voice as equals, he pioneers
the idea of a soundtrack.
00:48:45.000 --> 00:48:53.000
[music]
00:49:10.000 --> 00:49:14.999
Sound and image plot
together to draw us in.
00:49:15.000 --> 00:49:19.999
Eisenstein cuts the picture fast and
personal, no longer the anonymous mass,
00:49:20.000 --> 00:49:24.999
each fate has a face.
00:49:25.000 --> 00:49:33.000
[music]
00:49:45.000 --> 00:49:49.999
Mourning losses,
00:49:50.000 --> 00:49:54.999
outraged at injustice,
00:49:55.000 --> 00:49:59.999
compelled to rise up.
00:50:00.000 --> 00:50:04.999
Battleship Potemkin takes
the revolution to the west
00:50:05.000 --> 00:50:09.999
so powerfully that it seems
a threat to public order.
00:50:10.000 --> 00:50:14.999
And even those who condemned its message,
00:50:15.000 --> 00:50:19.999
respect the language used to deliver it.
00:50:20.000 --> 00:50:24.999
And feel it. Potemkin must
battle the censors many times
00:50:25.000 --> 00:50:29.999
before it\'s allowed to sail on.
00:50:30.000 --> 00:50:38.000
[music]
00:51:05.000 --> 00:51:09.999
With the sinking of the Titanic,
00:51:10.000 --> 00:51:14.999
any hope for open communication
by wireless is lost too.
00:51:15.000 --> 00:51:23.000
[music]
00:51:30.000 --> 00:51:34.999
Rumors that radio enthusiasts jammed the ships
to stress signals, turn public opinion,
00:51:35.000 --> 00:51:39.999
government regulations,
stifles (inaudible) culture.
00:51:40.000 --> 00:51:44.999
Military and commercial interests
occupy most of the spectrum.
00:51:45.000 --> 00:51:49.999
We\'re left only the short wave band.
00:51:50.000 --> 00:51:54.999
Transmission becomes a
privilege, not a right.
00:51:55.000 --> 00:52:00.000
[sil.]
00:52:05.000 --> 00:52:09.999
[sil.]
00:52:10.000 --> 00:52:18.000
[music]
00:52:20.000 --> 00:52:24.999
Official stations broadcast to an eager
public synchronizing and uniting the nation.
00:52:25.000 --> 00:52:30.000
[music]
00:53:00.000 --> 00:53:04.999
Songs of liberation,
00:53:05.000 --> 00:53:09.999
broadcast across the land
and the entire planet.
00:53:10.000 --> 00:53:14.999
Local stations networked
to create a mass market.
00:53:15.000 --> 00:53:19.999
Huge audiences sold to advertisers.
A radio in every home.
00:53:20.000 --> 00:53:24.999
[sil.]
00:53:25.000 --> 00:53:33.000
[music]
00:53:40.000 --> 00:53:44.999
A companion for life.
00:53:45.000 --> 00:53:49.999
[music]
00:53:50.000 --> 00:53:54.999
At work, at play, on the road,
00:53:55.000 --> 00:53:59.999
tuning in is a lifestyle choice.
00:54:00.000 --> 00:54:08.000
[music]
00:54:25.000 --> 00:54:33.000
[music]
00:54:40.000 --> 00:54:44.999
Broadcast, once the word
meant to scatter seeds.
00:54:45.000 --> 00:54:49.999
The wide sweep of the hand spreading life,
00:54:50.000 --> 00:54:54.999
imparting insight, issuing forecasts,
00:54:55.000 --> 00:54:59.999
stay ahead of the weather.
00:55:00.000 --> 00:55:08.000
[music]
00:55:20.000 --> 00:55:24.999
The invention of the valve
allows voice and music
00:55:25.000 --> 00:55:29.999
to be carried by radio waves.
00:55:30.000 --> 00:55:34.999
The waves travel at the speed of light,
defining what simultaneous means.
00:55:35.000 --> 00:55:39.999
Information can travel no faster.
00:55:40.000 --> 00:55:44.999
High frequency transmissions
spark high frequency trading,
00:55:45.000 --> 00:55:49.999
the next big game.
00:55:50.000 --> 00:55:54.999
The market hangs on the words
of the radio announcer.
00:55:55.000 --> 00:56:00.000
[music]
00:56:05.000 --> 00:56:09.999
[music]
00:56:10.000 --> 00:56:14.999
Every once in a while,
00:56:15.000 --> 00:56:19.999
a revolutionary new product comes
along that changes everything,
00:56:20.000 --> 00:56:24.999
promises to fulfill every desire.
00:56:25.000 --> 00:56:33.000
[sil.]
00:56:35.000 --> 00:56:40.000
We\'re going on air. I\'m ready. I\'ll
see them instantly. Look over there.
00:56:50.000 --> 00:56:58.000
[music]
00:57:40.000 --> 00:57:48.000
[music]
00:58:05.000 --> 00:58:13.000
[sil.]
00:58:35.000 --> 00:58:39.999
[sil.]
00:58:40.000 --> 00:58:44.999
Scottish engineer, John Logie Baird, develops a
mechanical prototype in his home laboratory.
00:58:45.000 --> 00:58:49.999
But after one explosion too many,
he\'s thrown out of his apartment
00:58:50.000 --> 00:58:54.999
and brings his apparatus to London.
00:58:55.000 --> 00:58:59.999
He demonstrates it in the
corner of a department store.
00:59:00.000 --> 00:59:04.999
- This is the scanning
disc with its lenses.
00:59:05.000 --> 00:59:09.999
This is the second disc by which the light is
further divided and passes into the light cell.
00:59:10.000 --> 00:59:14.999
Baird captures the grain of the image
and sends it by cable to a screen
00:59:15.000 --> 00:59:19.999
where it\'s immediately reconstructed.
00:59:20.000 --> 00:59:24.999
His machine looks like a pile of junk.
00:59:25.000 --> 00:59:29.999
As for the image,
00:59:30.000 --> 00:59:34.999
grainy is a good description and it
barely travels the length of the room.
00:59:35.000 --> 00:59:43.000
[music]
00:59:50.000 --> 00:59:54.999
But it\'s enough to fire
up the entrepreneurs.
00:59:55.000 --> 01:00:00.000
[sil.]
01:00:15.000 --> 01:00:20.000
[sil.]
01:00:35.000 --> 01:00:39.999
Someone is going to make a killing.
01:00:40.000 --> 01:00:44.999
Competition hots up,
01:00:45.000 --> 01:00:49.999
around the world inventive minds
pursue practical television.
01:00:50.000 --> 01:00:54.999
From Vienna to Tokyo, the race is on.
01:00:55.000 --> 01:01:03.000
[music]
01:01:10.000 --> 01:01:14.999
Everyone\'s going to want one of these.
01:01:15.000 --> 01:01:19.999
Spectacles, shows, headlines,
01:01:20.000 --> 01:01:24.999
all at our fingertips.
01:01:25.000 --> 01:01:29.999
A screen in every home.
01:01:30.000 --> 01:01:34.999
And electric eye spanning the globe.
01:01:35.000 --> 01:01:39.999
Building one world to share.
01:01:40.000 --> 01:01:44.999
Making neighbors, of our
most distant friends.
01:01:45.000 --> 01:01:53.000
[music]
01:01:55.000 --> 01:01:59.999
But wouldn\'t that mean that
anyone could look into our rooms?
01:02:00.000 --> 01:02:04.999
Into our lives?
01:02:05.000 --> 01:02:10.000
[music]
01:02:25.000 --> 01:02:30.000
[sil.]
01:02:40.000 --> 01:02:48.000
[music]
01:03:15.000 --> 01:03:19.999
Husband\'s watch their wives.
01:03:20.000 --> 01:03:24.999
[sil.]
01:03:25.000 --> 01:03:29.999
police watch their suspects.
01:03:30.000 --> 01:03:38.000
[sil.]
01:03:50.000 --> 01:03:58.000
[music]
01:04:00.000 --> 01:04:04.999
Hey! Bosses watch their workers.
01:04:05.000 --> 01:04:09.999
Quit stalling, get back to work, go on.
01:04:10.000 --> 01:04:14.999
And the corporations watch everyone.
01:04:15.000 --> 01:04:23.000
[sil.]
01:04:25.000 --> 01:04:29.999
Personal profiles, passwords,
01:04:30.000 --> 01:04:34.999
biometrics fully documented,
01:04:35.000 --> 01:04:39.999
every trace filed.
01:04:40.000 --> 01:04:44.999
Bigger data, better analytics.
01:04:45.000 --> 01:04:49.999
Opt out and we lose our place in the world.
01:04:50.000 --> 01:04:54.999
So, we share the keys
01:04:55.000 --> 01:04:59.999
to our desires, our habits, to ourselves.
01:05:00.000 --> 01:05:08.000
[music]
01:05:10.000 --> 01:05:14.999
What do others buy after viewing this item?
01:05:15.000 --> 01:05:19.999
Well, if you like the sound of that,
01:05:20.000 --> 01:05:24.999
then you\'ll love what\'s coming up next.
01:05:25.000 --> 01:05:33.000
[music]
01:05:55.000 --> 01:05:59.999
[sil.]
01:06:00.000 --> 01:06:04.999
Your alarm call. Time is now 06:30.
01:06:05.000 --> 01:06:09.999
Hear the wake up call. London calling.
01:06:10.000 --> 01:06:14.999
Good morning, everybody. Are you ready?
01:06:15.000 --> 01:06:19.999
One, two. One, two. Times tick in sync.
01:06:20.000 --> 01:06:24.999
Homes tick in sync.
01:06:25.000 --> 01:06:29.999
In each step,
01:06:30.000 --> 01:06:35.000
wave of a hand…
01:06:40.000 --> 01:06:44.999
Tune, control, accelerate.
01:06:45.000 --> 01:06:49.999
[music]
01:06:50.000 --> 01:06:54.999
Opt in a lifestyle choice.
01:06:55.000 --> 01:06:59.999
Wide eyed, open hearted,
01:07:00.000 --> 01:07:04.999
ready for anything.
01:07:05.000 --> 01:07:09.999
At the end of the line,
01:07:10.000 --> 01:07:14.999
a privilege, not a right.
01:07:15.000 --> 01:07:19.999
[music]
01:07:20.000 --> 01:07:24.999
Hello. Hello. Hello! Don\'t
say hello to this subscriber
01:07:25.000 --> 01:07:29.999
and answer your identity. (inaudible) 2667.
Mr. Parslip speaking.
01:07:30.000 --> 01:07:34.999
Terms and conditions apply.
01:07:35.000 --> 01:07:39.999
Everyone has a front row seat
into our rooms, into our lives.
01:07:40.000 --> 01:07:48.000
[music]
01:09:00.000 --> 01:09:04.999
How should we authenticate a new medium?
01:09:05.000 --> 01:09:10.000
With an older trusted one.
01:09:25.000 --> 01:09:30.000
[music]
01:09:50.000 --> 01:09:58.000
[music]
01:10:05.000 --> 01:10:09.999
[music]
01:10:10.000 --> 01:10:14.999
Democratic,
01:10:15.000 --> 01:10:19.999
with mass appeal, creating
a new sense of belonging
01:10:20.000 --> 01:10:25.000
in the modern age.
01:10:35.000 --> 01:10:39.999
The city is transformed into
the largest set of all time.
01:10:40.000 --> 01:10:44.999
Regenerated and retouched.
01:10:45.000 --> 01:10:53.000
[music]
01:10:55.000 --> 01:10:59.999
The Olympic games are both
test bed and showcase
01:11:00.000 --> 01:11:04.999
of the latest television technology.
01:11:05.000 --> 01:11:09.999
Cables link the stadium to the
most advanced media center from
01:11:10.000 --> 01:11:14.999
where live images are
broadcast to the citizens.
01:11:15.000 --> 01:11:23.000
[music]
01:11:25.000 --> 01:11:29.999
In the TV receiver, the picture
is reconstructed, line by line.
01:11:30.000 --> 01:11:34.999
Line by line,
01:11:35.000 --> 01:11:39.999
we rewrite history as it happens.
01:11:40.000 --> 01:11:48.000
[music]
01:12:00.000 --> 01:12:04.999
Now, the torch relay isn\'t
some classical tradition,
01:12:05.000 --> 01:12:09.999
it invented for the television age.
01:12:10.000 --> 01:12:14.999
[music]
01:12:15.000 --> 01:12:19.999
The first mobile studios transmit
the torch bearers arrival live.
01:12:20.000 --> 01:12:28.000
[music]
01:12:30.000 --> 01:12:34.999
An instant myth,
01:12:35.000 --> 01:12:39.999
pure and divine,
01:12:40.000 --> 01:12:44.999
a bridge to the ancients.
Everyone has a front row seat.
01:12:45.000 --> 01:12:49.999
[music]
01:12:50.000 --> 01:12:54.999
See the fastest, the
highest, the strongest.
01:12:55.000 --> 01:12:59.999
A champion nation,
01:13:00.000 --> 01:13:04.999
a blue chip corporation
built on who\'s backs?
01:13:05.000 --> 01:13:13.000
[sil.]
01:13:25.000 --> 01:13:29.999
For those of you who are seeing
television for the first time,
01:13:30.000 --> 01:13:34.999
we\'d like to sound a note of caution. Television
is essentially the entertainment of a home viewer,
01:13:35.000 --> 01:13:39.999
do believe me when I say that you will enjoy it so much more
when you meet us once again in the interface of your home
01:13:40.000 --> 01:13:44.999
when you are sitting relaxed
in your own arm chair.
01:13:45.000 --> 01:13:49.999
A mighty maze of mystic, magic rays
01:13:50.000 --> 01:13:54.999
Is all about us in the blue And
in sight and sound they trace
01:13:55.000 --> 01:13:59.999
Living pictures out of space
01:14:00.000 --> 01:14:04.999
To bring a new wonder to you
01:14:05.000 --> 01:14:09.999
There\'s joy in store The
world is at your door -
01:14:10.000 --> 01:14:14.999
It\'s here for everyone to view
01:14:15.000 --> 01:14:19.999
Conjured up in sound and sight
01:14:20.000 --> 01:14:24.999
By the magic rays of light
01:14:25.000 --> 01:14:29.999
That bring Television to you.
01:14:30.000 --> 01:14:38.000
[music]
01:14:50.000 --> 01:14:54.999
Hypnotic currents.
01:14:55.000 --> 01:14:59.999
[music]
01:15:00.000 --> 01:15:04.999
Fleeting fluorescents.
01:15:05.000 --> 01:15:09.999
[music]
01:15:10.000 --> 01:15:14.999
Bend from the center.
01:15:15.000 --> 01:15:19.999
A one way straight.
01:15:20.000 --> 01:15:24.999
[music]
01:15:25.000 --> 01:15:29.999
Creating an appetite
01:15:30.000 --> 01:15:34.999
and feeding it.
01:15:35.000 --> 01:15:43.000
[music]
01:15:45.000 --> 01:15:49.999
Memories wiped,
01:15:50.000 --> 01:15:54.999
and reset.
01:15:55.000 --> 01:15:59.999
Wiped and reset.
01:16:00.000 --> 01:16:04.999
Wiped and reset.
01:16:05.000 --> 01:16:09.999
Wiped and reset. Wiped and reset.
01:16:10.000 --> 01:16:14.999
Wiped and reset. Wiped…
01:16:15.000 --> 01:16:23.000
[music]
01:16:25.000 --> 01:16:29.999
Condition to expect food, the
pigeon pecks at a target on screen,
01:16:30.000 --> 01:16:34.999
unlike its relative, the dove.
01:16:35.000 --> 01:16:39.999
This bird is a bird of war, nestled
in the nose of the missile it guides.
01:16:40.000 --> 01:16:44.999
[sil.]
01:16:45.000 --> 01:16:49.999
Thinking its desires will be fulfilled,
01:16:50.000 --> 01:16:54.999
its actual reward…
01:16:55.000 --> 01:16:59.999
[music]
01:17:00.000 --> 01:17:08.000
[sil.]
01:17:10.000 --> 01:17:14.999
[music]
01:17:15.000 --> 01:17:19.999
Take a moment,
01:17:20.000 --> 01:17:24.999
consider the present.
01:17:25.000 --> 01:17:29.999
A slice of time,
01:17:30.000 --> 01:17:34.999
a single frame.
01:17:35.000 --> 01:17:43.000
[music]
01:17:50.000 --> 01:17:54.999
Someone made off with our vision.
01:17:55.000 --> 01:18:03.000
[music]
01:18:40.000 --> 01:18:44.999
[sil.]
01:18:45.000 --> 01:18:49.999
What is this progress?
01:18:50.000 --> 01:18:54.999
What is the good of all these progress (inaudible).
We demand our hope, we demand our rest.
01:18:55.000 --> 01:18:59.999
You all think of life as happy
living, progress is not living,
01:19:00.000 --> 01:19:04.999
it should only be the preparation for
living. These men never to rest,
01:19:05.000 --> 01:19:09.999
never to be free, make
name to this progress now.
01:19:10.000 --> 01:19:14.999
[sil.]
01:19:15.000 --> 01:19:19.999
But if we could see what\'s in store for us,
01:19:20.000 --> 01:19:24.999
could we refuse it?
01:19:25.000 --> 01:19:29.999
[sil.]
01:19:30.000 --> 01:19:34.999
We broadcast ourselves,
01:19:35.000 --> 01:19:39.999
across the sky,
01:19:40.000 --> 01:19:44.999
from peer to peer,
01:19:45.000 --> 01:19:50.000
messages between equals.
01:19:55.000 --> 01:20:03.000
[sil.]
01:20:05.000 --> 01:20:09.999
A universal family portrait.
01:20:10.000 --> 01:20:14.999
[music]
01:20:15.000 --> 01:20:19.999
A book of faces.
01:20:20.000 --> 01:20:24.999
[music]
01:20:25.000 --> 01:20:29.999
Every age thinks it\'s the modern age,
01:20:30.000 --> 01:20:34.999
with this one really is.
01:20:35.000 --> 01:20:39.999
Connected to the world,
connected across time,
01:20:40.000 --> 01:20:44.999
we finally hold the future in our hands.
01:20:45.000 --> 01:20:49.999
The flight of rockets, the fall of stocks.
01:20:50.000 --> 01:20:54.999
What to do this evening?
We cannot rely on luck.
01:20:55.000 --> 01:20:59.999
[music]
01:21:00.000 --> 01:21:04.999
Our dream rewired.
01:21:05.000 --> 01:21:09.999
Telephone switch ports, radio valves,
01:21:10.000 --> 01:21:14.999
television tubes integrated.
01:21:15.000 --> 01:21:19.999
Their logical combination, computer.
01:21:20.000 --> 01:21:24.999
The device of our times.
01:21:25.000 --> 01:21:29.999
A magic mirror that
reveals what is to come.
01:21:30.000 --> 01:21:34.999
Our powers of prediction grow with
every new circuit crammed in.
01:21:35.000 --> 01:21:39.999
Leap into tomorrow, one
trillion calculations a second.
01:21:40.000 --> 01:21:44.999
And it grows more powerful,
01:21:45.000 --> 01:21:49.999
becomes small,
01:21:50.000 --> 01:21:54.999
smart,
01:21:55.000 --> 01:21:59.999
mobile, personal.
01:22:00.000 --> 01:22:04.999
Today in our pockets,
01:22:05.000 --> 01:22:09.999
tomorrow woven into our bodies.
01:22:10.000 --> 01:22:14.999
[music]
01:22:15.000 --> 01:22:19.999
Create and share, everything, everywhere.
01:22:20.000 --> 01:22:24.999
Life in the cloud,
01:22:25.000 --> 01:22:29.999
with a chance of blue skies.
01:22:30.000 --> 01:22:38.000
[music]
01:22:45.000 --> 01:22:49.999
Our time is a time of total
connection, distance is zero,
01:22:50.000 --> 01:22:54.999
the future is transparent.
01:22:55.000 --> 01:22:59.999
To be, is to be connected. The
network seeks out everyone.
01:23:00.000 --> 01:23:08.000
[music]
01:24:15.000 --> 01:24:23.000
[music]
/ 
