The appearance of a liberal hegemony has finally been wiped away in the United States. Climate change refugees are packing their bags and moving inland -- usually without the appropriate funds to do so. Minority groups in every country are bearing the brunt of capitalism’s worst sins as the top hundredth of one percent build luxury apocalypse shelters in New Zealand. The top nuclear scientists say that the threat of thermonuclear war is the greatest it’s ever been. People are reading Nick Land, not out of curiosity, but as a guide. That’s all, folks.

Or is it? Millenarianism is a bit boring if you ask me. This threat of the end is also the promise of new beginnings, hence the beginning of this quarterly publication. Young people are excited to take control of their destinies and work toward more radical, original, imaginative politics. The left has read Nick Land, too, but they have adapted his words for a more egalitarian (or, yes, utopian) society. The threat of The End has not paralyzed us.

Year Zero 01’s theme is “The End”, but “The End” in the best way possible. It’s about looking at the rubble and seeing what can be built anew. Light at the end of the tunnel. Darkest before dawn. Lots of metaphors here. So, let’s look at moving images that present a political ending or beginning. Why was that work made? What are those people fighting for? Why did they lose? Why did they win? Examples for potential pitches include:

  1. A survey of Kamran Shirdel’s social documentary subjects before the Iranian Revolution that includes research into the Shah’s “women’s prisons”, poverty in 1960s Iran, commentary on the films, and what happened to these subjects after the Revolution.
  2.  A dual investigation into Ken Jacob’s Capitalism: Slavery and Capitalism: Child Labor with commentary on these now defunct institutions and the relationship between the moving image (specifically, Jacobs’s stereoscopy of Victorian prints) and “human capital” (boy, oh, boy what a term) possibly leading into a discussion of “human capital” today.
  3. An in-depth look at Lizzie Borden’s Born in Flames and the feminist politics of ‘utopia’ (for what historical reasons might Borden thrust different factions of the left against each other? Etc.).

Of course, you’re welcome to follow more adventurous paths. If you’re a filmmaker, perhaps you’d like to comment on the political beginnings/endings acknowledged in your own film. If you’ve lived in the UK, perhaps a survey of films that have led to the beginning of Brexit (or films from long ago that have alluded to the Brexiteers’ concerns). Be as creative with these political beginnings and endings as you wish. 1200-3000 words but email if you have an idea that would be an exception.