“Voice 1: Howls for Sade, a film by Guy-Ernest Debord. Voice 2: Howls for Sade is dedicated to Gil J Wolman.” – opening of Debord’s Howls for Sade 1 (On a street corner, then running down the street) Old Alciphron: Sorry I’m late. I’m always late to these things! Young Alciphron: Don’t worry, older one. I’m …
Un-ideological Insurrection in Romain Gavras’ and Justice’s “Stress.”
A few months ago, amidst all the hype and talk about politico-hipster M.I.A.’s new music video “Born Free” directed by Romain Gavras making news, I stumbled upon some of the French director’s earlier work. While I’ve been a fan (whatever) of the French electro duo, Justice, for some time now, I hadn’t come across their video for their song “Stress” and was pleasantly surprised to see the depth that Romain Gavras brought to the project. His video for M.I.A., aside from being an example of remarkable cinematography, is extremely vapid in that its projected “political” polemics are explicit and operate entirely along the surface. The ginger-haired “othering” lends itself to a certain passive recognition of how such ethno-cultural differentiation is/can be supported by state-sanctioned violence. It requires nothing of the viewer except a passive acceptance that this IS (emphatic and totalizing agreement) how difference is codified and supported. Such inherently simplistic visual conventions and politicized contrivance makes the viewer tune out after the first twenty seconds or so, when shock is merely replaced with redundancy. Everything after the initial recognition that conventional ethno-cultural “othering” has been flipped upside down simply becomes superfluous and eventually beats the viewer over the head with brutal repetition of clichéd images. This pedanticism is strange, because what Gavras gets wrong with M.I.A.’s “Born Free” (2010) he had already mastered brilliantly with Justice’s “Stress” (2008).