Posts Tagged ‘Kôji Wakamatsu’

Moondog Madness

Wednesday, November 21st, 2012

Fans of artistic exploitation/transgressive cinema should check out the site Moondog Madness, where among other things you’ll find posts on Nick Zedd (including some news about his new film, Love Spasm, and an old trailer for War Is Menstrual Envy), and a detailed obit for Kōji Wakamatsu.

I’m sorry, Mario, but your cultural critique is in another castle: some thoughts on hipster irony

Tuesday, November 13th, 2012

Last August I attended a live reenactment of Total Recall (the classic 1990 version, natch, not the remake). It was a deliberately shambolic affair, a loosely-focused variety show run by Everything Is Terrible and Odds N’ Ends, involving puppets, videos, intentionally bad acting, and dancing. It was, I suppose, what some would call “hip” or “ironic.”

At one point we watched a reedited version of one Total Recall‘s many chase scenes—the infamous escalator shootout where Arnold uses a bystander as a shield—now set to Drowning Pool’s “Bodies.” (You can watch the video here.) Which is about as cliched as it gets, but it totally works as comedy.

Part of what makes the video funny is that the Everything Is Terrible folks have upped the intensity of the Drowning Pool song: “Let the bodies hit the floor, let the bodies hit the floor … Oh, wait, they’re totally stepping on that dead guy’s squishy body—ick.” Here we must pause responsibly to acknowledge that Drowning Pool frontman David Williams has always stated that the song is not actually about “the violence thing,” but rather the “respect and code” of the mosh pit, or some such other bullshit. That hasn’t stopped Hollywood folk from using the song in numerous action movie trailers. Nor has it deterred legions of Drowning Pool fans from making their own YouTube versions.

In other words, the Everything Is Terrible video’s ironic effect depends on the pairing being a cliché. Like a lot of satirical and ironic art, it proceeds by imitating an otherwise naïve or sincere effect, then subverting it. (This is why “irony vs. sincerity” is often an unhelpful binary when thinking about phenomena like hipster irony or the New Sincerity; those scenes or movements aren’t strict artistic opposites, since they necessarily share a lot of their aesthetic maneuvers. Where they differ usually lies more in their degree of self-effacement, and in their authorial intention.)

Hipster irony is commonly perceived purely as dismissal: “You’re just making fun of Drowning Pool.” And there’s certainly truth in that—fuck Drowning Pool! But is that all there is? Because the EIT video, I think, and the entire Totally Recalled show, could be perceived as something more. Those behind the show, and those in attendance, I’d argue, were actually trying to appreciate “Bodies”—but in the only way they now can. Irony, in other words, allows hipster audiences to make use of material that would otherwise be off-limits to them.

It won’t surprise you that I want to turn here to Viktor Shklovsky, because he identified a concept that I think might help us. It is his concept of deterioration:

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Holy shit, Kōji Wakamatsu died

Saturday, October 20th, 2012

He got hit by a taxi three days ago. Cripes.

Wakamatsu started directing in the early 1960s, primarily making highly artistic and complex exploitation films. His 1969 feature Go, Go Second Time Virgin has long been a favorite of mine:

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