Carnival and Cannibal, Ventriloquous Evil Baudrillard, Jean. London, New York, Calcutta: Seagull Books, 2010 92 Pages. More than others, Anarchists seem to suffer most under the Reign of Stupidity. Stupidity reigns, has always reigned and according to Jean Baudrillard, it is virtually a perk of holding office. Stupidity is what he says Power does to …
The death of print hasn’t killed people’s interest in watching the outside world. It has just added another layer between the windows and the world worth watching. As a result we no longer judge what we see on its merits but on the qualities of the glass between. Does it entertain? Is it beautiful? Are …
“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).
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A review of The Chicago Conspiracy
“We believe that the most honest position we can take is to reject any notion that a camera presents a detached and passive view of our world.”
Subversive Action Films
In Thomas Pynchon’s Vineland, one of the characters, an ex-hippy revolutionary who has dropped out of the struggle and into the Fed’s witness protection program, reminisces about her radical film collective in the ’60s, that naïvely presumed to use the camera as a weapon, turning it upon the ugly face of Authority, as though this ignition of consciousness would be enough to demobilize Power and encourage rebellion.
In their newly released documentary, The Chicago Conspiracy, the folks at Subversive Action Films have set themselves the project of surmounting the resident limitations and illusions of their medium. The Chicago Conspiracy tells of anticapitalist struggles in Chile in the years since the dictatorship, focusing on the students, battling neoliberal educational reforms; the residents of the poblaciones, struggling for the autonomy of their neighborhoods against the exclusions of capitalism and the incursions of police; and the Mapuche, fighting for their land and integrity against the continuing colonialism of the Chilean state and multinational timber corporations. The title of the film refers to the Chilean economists who studied under Milton Friedman at the University of Chicago and who utilized the brutal Pinochet dictatorship to implement their neoliberal theories on Chilean society.