Posts Tagged ‘situationist’

Eric Roberts & Richard Harrison Battle It Out For The Title Of Greatest Movie Career Slide Of All Time!

Friday, January 13th, 2012

In terms of having the greatest film career slide of all time you’d have thought Eric Roberts had everything going for him. For starters his sister is Hollywood A-lister Julia Roberts, and he got Golden Globe nominations for his early starring roles in King of the Gypsies (1978 – best actor debut) and Star 80 (1983 – best actor). But by the time Roberts took the lead role in the martial arts flick Best of the Best (1989) you can see it has all gone wrong. Why Roberts was cast as a member of a fictional US karate team when he couldn’t fight his way out of a paper bag is a mystery in itself. Best of the Best has a tediously moralistic plot that is so predictable you could set your watch by it, and Roberts also displays his not so unique ability to over act (particularly in the hospital scene with his injured five year-old son). And Julia’s big brother also boasts a haircut that is even worse than his inability to fake the fight and exercise routines depicted throughout the flick…

Let’s skip Best of the Best 2 and a whole slew of other junk and move onto Ninja Creed AKA Royal Kill (2009). Despite the fact that Roberts refrains from any martial arts antics in this utter train wreck of a movie, he somehow manages to make his barnet look even worse than in Best of the Best. Having sat through the movie on DVD I can concur with the Washington Post’s verdict: “deliriously bad film-making… Royal Kill needs to be seen to be believed, but don’t see it, under any circumstances”. And Roberts followed this up with among other things Shartopus (2010), in which he appears to be drunk rather than acting….

All that said, Eric Roberts looks like a rank outsider in the movie career slide stakes when compared to muscleman Richard Harrison. After a bit part in South Pacific (1958), Harrison discovered the best way to get his career going was to marry the daughter of B-movie boss James H. Nicholson (of American International Pictures). For much of the sixties, Harrison found himself in Italy making an assortment of spaghetti westerns, spy flicks and sword and sandal movies. In the seventies and eighties Harrison went from being a B-movie star to having his name used to sell grade-Z flicks. He worked with virtual everyone who was considered to be no one in the film industry – ranging from the notorious Jess Franco and sleazy Joe D’Amato, to the utterly fabulous Godfrey Ho.

Godfrey Ho was the William Burroughs of martial arts films. As deftly as Billy Burroughs applied the cut-up technique to text, Ho utilised it to splice together unrelated celluloid elements. Working with producer Joseph Lai, Ho took footage from other films and more or less randomly intercut this material with his recurring motif of ninja fight scenes (usually featuring Richard Harrison) to create new movies. This is the situationist method of detournement deployed on an industrial scale, and it leaves more carefully wrought exercises in subversion – such as René Viénet’s Can Dialectics Break Bricks? (1973) – looking like tedious Hollywood bollocks by way of comparison.

Ho and Harrison’s masterpiece is Scorpion Thunderbolt (1988), which is basically two films mashed down into one. The earlier material comes from Name (1985), an unreleased Hong Kong horror flick about a woman who is half-human and half-reptile – she commits gory murders under the influence of a snake charmer and a witch (who has groovy erotic dance moves and really long finger nail extensions). Meanwhile a gang controlled by the same enchantress is attempting to assassinate Richard Harrison because he’s unknowingly in possession of a ring that poses a threat to the semi-nude sorceress’s occult omnipotence.

The early scenes set the tone for the whole of Scorpion Thunderbolt. In one of these sequences, Harrison drives past a hitchhiker. He changes his mind about not wanting to give the nubile young woman a lift after getting a flash of her tits. Once inside Harrison’s car, the horny wanton tells our man she’s an actress. After a bit of banter this dangerous seductress takes our hero to a sex cinema, where he dogs her as film of the ‘actress’ in a porn vehicle is projected behind them. However, what makes this episode particularly insane is that Jean Michel Jarre’s Oxygene is used on the soundtrack (presumably without anybody actually bothering to pay for the rights). The ‘actress’ attempts to kill Harrison during sex but bites a suicide pill when he foils her attack.

The plot of Scorpion Thunderbolt doesn’t matter much. It is enough to say it veers from the comic capers of badly dubbed cops investigating the snake murders to brutality and bloodshed, and back again. It is these startling shifts in tone and imagery that make Scorpion Thunderbolt a post-modern schlock classic. Unfortunately Hollywood and its fans failed to recognise that Ho’s pictures left Jeff Koons looking like a rank amateur when it came to transforming eighties post-modern tropes into high art: and as a consequence once these flicks were released in the USA on video, they did so much damage to Harrison’s reputation as an actor that by the mid-nineties he’d retired from making movies. So there you have it – a no contest – Harrison easily beats Eric Roberts to claim the title of greatest movie career slide of all time!

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

The “Game of War” film at the HTTP Gallery

Monday, September 28th, 2009

Yesterday I travelled to the far-north of London to catch the world premier of the Class Wargames film The Game Of War at the HTTP Gallery, close to Green Lanes. Divided into five segments of five minutes, the individual parts of this movie can be viewed in any order. While appearing to heap extravagant praise on Guy Debord, the film actually undermined his vanguardist positions by massively exaggerating the problematic self-promotional aspects of his film-making and other cultural-cum-politico activities. The spoken word Game of War soundtrack repeatedly exhorted viewers to play Debord’s game in order to make themselves more effective proletarian revolutionaries, and did so using the most blatant techniques of (post)-modern advertising. In their Communique 7 of 27/09/09, the Class Wargames collective put it this way:

“When Debord was working on the film adaptation of The Society of the Spectacle in the early-1970s, making a movie out of movie clips was very difficult. Buying celluloid stock, hiring editing suites and organising cinema screens had required serious money from a generous sponsor. Fortunately, over the past three-and-a-half-decades, digital technology has caught up with this Situationist technique. Class Wargames only needed a small grant from the Arts Council to fund a film constructed on a Mac laptop with Final Cut out of video from our performances and excerpts from our DVD collection. Best of all, we are now able to distribute our cinematic creation to a worldwide audience for free over the Net. Detournement is no longer the privilege of a minority of avant-garde artists. Media communism is now embedded in everyday life. Become a 21st century Debord – a director of remixed movies. Sweep away the anachronistic barrier of intellectual property. Switch on the computer, start up the video editing software, plug in an external drive filled with rendered DVDs and begin making your own film. Everyone is a practical Situationist. Ludic Labour!”

And while on the visual level The Game of War film appeared somewhat retro in its aesthetic (and this was clearly worked at and intended, because it isn’t typical of other pieces by director Ilze Black), the spoken script written by Richard Barbrook and Fabian Tompsett gave it a distinctively contemporary twist. Proletarian post-modern variants on the hoary tradition of mock praise are a groove sensation! “Guy Debord had the total revolutionary critique” (for the benefit of those not familiar with the genre of mock praise, this is a joke)! So look out for this movie once it hits the net, and if you are nearby check out upcoming Class Wargames events in The Hague (10 October), Newcastle (14 November) and Helsinki (14 November).

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!

Dispersible manifesto of situationist skinheads: part 1

Monday, September 14th, 2009

1. A situationist skinhead is a skinhead who engages in the construction of situations. This means the construction of concrete momentary ambiances of life and their transformation into a passionate and superior quality based on the principle of a permanent revolution of every day existence, from which, several of the principles below evoke a number of observations linked to the study of the situationist skinhead in his/her natural environment. If s/he realizes it by reading this, all skinheads can become situationists. All situationists can become skinheads for the same reasons, but not from one day to the next. As we know, even if all roads lead out of Babylon, the situationist hacienda will not be built in a single day but will in fact be a project of ongoing transformation. An intense cultural curiosity is necessary and must be accompanied by the sensation of a quasi-orgasmic osmosis, an effect well appreciated by situationist skinheads due to their enjoyment of skinhead reggae. Let’s state with candour that an authentic situationist skinhead, regardless of the way s/he first became involved in beating down Babylon, will recognize him/herself in what follows. In fact, a true situationist skinhead won’t care much for this manifesto because it is something they will want to move on from. A dyed-in-the-wool situationist skinhead is suspicious of manifestos, of anythings fixed, and thus this text is is 100% dispersible but nonetheless necessary. This manifesto does not prescribe; it dissects the situationist skinhead so that s/he might renew his/her attack on the Babylon, and finally destroy the false idols of capitalism.

2. The situationist skinhead is above all else working class by filiation or affiliation. Whether s/he is employed, working or not, whether his/her work is artistic, salaried, illegal or not, the situationist skinhead identifies with all attempts of his/her class to create a new, emancipatory and revolutionary situation. The situationist skinhead loves strikes and knows of nothing better than a good factory occupation.

3. The situationist skinhead absolutely rejects all isms –and for that reason all definitions of so-called “situationism” or “skinheadism”- which are nothing more than revisionist and reductive transformations of his/her culture into sterile stereotypes, and thus another reactionary set of doctrines. Therefore, s/he escapes all reifications and refuses to become invisible in the manner profit and bureaucracy demand. The situationist skinhead rejects authoritarian so-called “communism”, since all Bolshevik and Maoist regimes were in reality capitalist states. Isms are the instruments by which the dominant society transforms the proletariat’s endless reforging of the passage between theory and practice into doctrines. Thus certain “thinkers” define “anarchism” and thereby reduce its possibilities to the reproduction of individualist and western consumerist patterns of behaviour and thought. The situationist skinhead does not wish to replace one reductive system with another. S/he will destroy false representations or will be destroyed by them.

4 . The situationist skinhead has no leaders (not even Joe Hawkins); he is not a Marxist – indeed, Marx himself was the first person to deny he was a Marxist. The situationist skinhead is not a Leninist, Trotskyst, Guevarist or Buddhist either; and most emphatically not a Castrist or Maoist. S/he does not raise statues, temples or churches and does not put corpses in mausoleums. S/he says let the dead bury their dead while we blaze a trail to new modes of being. In brief, s/he does not idolize, does not pray, does not implore and does not even ask but takes what is his/hers as a member of the class that will abolish all classes.

5. The situationist skinhead stresses that the fundamental characteristic of this society is its division into classes. Therefore s/he is skeptical of the perfidious attempts of the ruling class (the bourgeoisie) to recuperate her uncontrolled rebellion. The situationist skinhead rejects the trajectory of petty bourgeois mods, or worse, that of those former revolutionaries who landed jobs in academies, whose writings are now studied by postgraduate students and recuperated by his/her enemy the bobo (aka “bohemian bourgeois”). For the contemporary situationist skinhead, this rank breed of socialite recyclers is far worse enemy than its ancestor, the baba cool (hippie). The bobo recuperation of elements of skinhead culture (shaved head and Dr. Martens), an attempt to “hipsterfy” a sterile vision of the world, has a far more deleterious effect than the baba who merely took drugs and attempted to withdraw from the material realities of capitalist exploitation.

6. The situationist skinhead rejects cults such as the “spirit of 69″ because, aside from rejecting all nostalgia, s/he knows that the skinhead movement, as a youth rebellion against the ruling order, is demographically much older today than during those years (but then we follow Isidore Isou in seeing youth as essentially a function of social position rather than age). Nevertheless, the situationist skinhead still refers to “the spirit of 69″ since it expresses the triolectical nature of his/her movement. To that effect, and leaving aside the delights of this egalitarian sexual position, the number 69 expresses the contradictions and semantic inversions that characterise the situationist skinhead. Let’s note that Sham 69 are and remain one of the seminal bands of situationist skinheads, since they helped purge punk rock of its socialite hangers-on. Furthermore, 1969 was marked by some of the most enthralling rhythms of skinhead reggae, including the mighty Liquidator. Likewise, in 69 the last issue of the Internationale Situationsite review appeared.

Communiqué of the International Situationist Skinhead, Combative Cell Yul Brynner In Sta-Prest

As far as I can tell this first appeared as a printed text around 2002 and can now also be found as a comment to a post on the L’En Dehors blog (scroll down to find it). Translated and adapted into English, there were a couple of points I wasn’t in complete agreement with in this section, so I modified them (I still don’t agree with everything here). This represents roughly 25% of the French language manifesto, I may or may not run more of it on future blogs. You can always go read the whole thing in French! I’m not in complete agreement with everything in the rest of this either, but it is amusing and curious, so I thought it more than worth running an adapted part of it here.

And while you’re at it don’t forget to check – www.stewarthomesociety.org – you know it makes (no) sense!