- uploaded: Dec 13, 2012
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Unclear Holocaust is a feature-length autopsy of Hollywood's New York-destruction fantasy, gleaned from over fifty major studio event-movies and detourned into one relentless orgy of representational genocide. It is the unrivaled assembly of the greatest amount of capital and private property heretofore captured in one frame, that, with unfathomable narrative efficacy, suicides itself in an annihilatory flux of fire, water, and aeronautics.
"A Terrorist film collective hijacks the U.S. propaganda apparatus and detonates it over New York. Everything is obliterated and the world celebrates. Through fifty studio event-movies abstracted of all demokratic variation, we see the Cinema as it really is; an unequivocal annihilation, the auto-genocidal mass fantasy of a megalomaniacally depressed First World. Every screen is lifted and bares the obscene underside of all these images. Movements of character and narrative burst into pure and mechanically perfect propulsions of a psychotic camera from which all this violence emanates. The Mise-En-Scene becomes an inventory of the dominant visual-auditory arsenal, enumerating and measuring the power of every weapon available to the Spectacle. Utilizing them all with paradigmatic rigor, the Hollywood-Military complex launches an endless pre-emptive attack on its own shadow, the Terrorist. And, as in all encounters between doubles, the former ends up joyously suiciding itself." -A.B.U. Communique #1
"When I first heard of Unclear Holocaust, the debut project of nebulous situationist art collective The Anti-Banality Union, my initial impression was that these impious troublemakers would fully deserve the inevitable fatwa that will be vexed upon them. However, after viewing part of the work, which reconstitutes scenes from over 50 Hollywood New York City disaster porn films into a more or less coherent narrative, I am pleased to report it is a rather damning yet thoughtful–and dare I say hilarious and enjoyable?–reminder of how bad Hollywood had pushed this scenario. (In cinematic terms, what is 9/11, after all, other than all three* Die Hard movies–exploding tower, exploding airplane, exploding New York City–rolled into one?) “The Spectacle of Terrorism forces the Terrorism of Spectacle upon us…” the ABU wrote me in this mysterious, Frankfurt School-inspired communique. I’m reminded of the remarks Guardian critic Peter Bradshaw shared on 9/11 the other day:
'Perhaps the whole point of 9/11 was that it could never be represented on the cinema screen. The diabolic, situationist genius of the kamikaze attacks was that they were themselves a kind of counter-cinema, a spectacle very possibly inspired by the art-form, but rendering obsolete any comparable fictions it had to offer. The 9/11 attacks smashed Hollywood’s monopoly on myth-making and image production, and inspiring as they did only horror and revenge, aimed a devastating blow at imagination, and maybe for a while enfeebled the reputation of cinema and all the arts.'
Thankfully for the ABU, Hollywood pulled its shit together and made Nicolas Cage apocalypse thriller Knowing, providing Unclear Holocaust about half its runtime."