The full power of Jem Cohen's feature film Chain doesn't hit until the closing credits, which reveal that the movie's anonymous landscape of chain stores and highway interchanges was shot in seven countries and 11 American states.
Chain takes as its subject and setting the homogenised interzones of privately owned public space - shopping malls, hotel complexes, theme parks - that multinational corporations have remade in their own global-branded image, letting regional colour fade to a concrete grey. A hybrid of fiction and documentary, and a brilliantly discomfiting twist on the "location shoot", Chain is also something of a Ballardian horror story.
"I was trying to get a grip on the nature of globalisation, which is such a hazy, amorphous term," says the Brooklyn-based 42-year-old, who shot Chain on 16mm film over seven years. "The film is not about America, but there's no question that we're primarily responsible for how a lot of the planet ends up looking. So much of the world becomes a mirror of American business and culture and iconography." ...
Perhaps best-known for his music videos for REM and Elliott Smith, Cohen has spent much of his career compiling what he calls "city portraits", including This Is a History of New York (1987) and the extraordinary east-European travelogue Buried in Light (1994). With Chain, however, he has assembled a mosaic of the worldwide urban sprawl. "Whenever I would shoot places that I liked, often old neighbourhoods that were disappearing, I was always framing things out - putting McDonalds to my back or getting some billboard out of the frame - and I was starting to feel like I had to deal with the new stuff," he says. "In the mid-1990s, I started to collect these landscapes, and I found that I could travel anywhere in the world and shoot footage that you couldn't identify in terms of where it came from. I thought I could join all of that material together into a 'superlandscape'."
[...]
Chain's production was something of an underground operation. "You're simply not allowed to shoot in any of these places," Cohen says. "It had to be done in, let's just say, a very discreet way. The nature of the production ties in with the subject matter of the movie, because you're dealing with surveillance and security and the degree to which the corporate presence is embedded in the landscape and controls people's activity, including that of the film-makers.
"You're not allowed to show logos, even in a documentary, which I find absurd because you can't film the world without showing logos. And you just can't shoot in a mall, any mall, particularly post-9/11 - everybody uses it as an excuse all the time."
Cohen has become an archivist of public space at a time when much of that space has been colonised - and de-historicised - by corporations and transient consumer desires. But the heavy hand of the American fear factor is a new and unwelcome influence on his material, as he discovered on a recent train journey from Washington, DC, to New York.
"I've been shooting from train windows for 20 years, and recently I was stopped on a train and surrounded by cops who actually confiscated my footage for national security reasons," Cohen recounts. "I was really freaked out. I was shooting with an old hand-cranked 16mm Bolex, for God's sake. This kind of crackdown imposes a police-state mentality that is useful for public control. It's incredibly disturbing and it's happening to a lot of people: artists, tourists, anybody. And it's strange, because this incident has the effect of politicising this lyrical landscape footage." (Chain's video footage of emptied-out office interiors takes on an added dimension when you discover the offices belonged to Enron.)
Since completing Chain, Cohen has taken his camera on the road with Amsterdam band the Ex, and is now "getting little whispers of the next big project", he says. "I have a pretty large archive of material of Times Square and 42nd Street, from the mid-1980s through the Disneyfication process to where it is now, and I'm starting to suspect that I could do a period feature film on the cheap by using that archive."
If his Times Square project comes to fruition, it would mark Cohen's return to memorialising lost corners of urban life. Chain, meanwhile, documents commodified spaces so bland and omnipresent that we hardly bother to perceive them. "I hoped that people would feel they were seeing these landscapes anew, because I find them so strangely invisible to us," says Cohen. "When I started Chain they were putting up a Wal-Mart about every four days, and when I finished it was about every day and a half. These places are so big, they're everywhere, but who really looks at them?"
absolutist
aggresive
anti-Constitutional
anti-intellectual
arrogant
authoritarian
blame-placers
blameworthy
blinkered
buckpassers
calculating
class warriors
clueless
compassionless
con artists
conniving
conscienceless
conspiratorial
corrupt
craven
criminal
crooked
culpable
damaging
dangerous
deadly
debased
deceitful
delusional
despotic
destructive
devious
disconnected
dishonorable
dishonest
disingenuous
disrespectful
dogmatic
doomed
fanatical
fantasists
felonious
hateful
heinous
hostile to science
hypocritical
ideologues
ignorant
immoral
incompetent
indifferent
inflexible
insensitive
insincere
irrational
isolated
kleptocratic
lacking in empathy
lacking in public spirit
liars
mendacious
misleading
mistrustful
non-rational
not candid
not "reality-based"
not trustworthy
oblivious
oligarchic
opportunistic
out of control
pernicious
perverse
philistine
plutocratic
prevaricating
propagandists
rapacious
relentless
reprehensible
rigid
scandalous
schemers
selfish
secretive
shameless
sleazy
tricky
unAmerican
uncaring
uncivil
uncompromising
unconstitutional
undemocratic
unethical
unpopular
unprincipled
unrealistic
unreliable
unrepresentative
unscientific
unscrupulous
unsympathetic
venal
vile
virtueless
warmongers
wicked
without integrity
wrong-headed
Thanks to: Breeze, Chuck, Ivan Raikov, Kaiju, Kathy, Roger, Shirley, S.M. Dixon
recently seen
i've got a little list...
Elliott Abrams
Steven Abrams (Kansas BofE)
David Addington
Howard Fieldstead Ahmanson
Roger Ailes (FNC)
John Ashcroft
Bob Bennett
William Bennett
Joe Biden
John Bolton
Alan Bonsell (Dover BofE)
Pat Buchanan
Bill Buckingham (Dover BofE)
George W. Bush
Saxby Chambliss
Bruce Chapman (DI)
Dick Cheney
Lynne Cheney
Richard Cohen
The Coors Family
Ann Coulter
Michael Crichton
Lanny Davis
Tom DeLay
William A. Dembski
James Dobson
Leonard Downie (WaPo)
Dinesh D’Souza
Gregg Easterbrook
Jerry Falwell
Douglas Feith
Arthur Finkelstein
Bill Frist
George Gilder
Newt Gingrich
John Gibson (FNC)
Alberto Gonzalez
Rudolph Giuliani
Sean Hannity
Katherine Harris
Fred Hiatt (WaPo)
Christopher Hitchens
David Horowitz
Don Imus
James F. Inhofe
Jesse Jackson
Philip E. Johnson
Daryn Kagan
Joe Klein
Phil Kline
Ron Klink
William Kristol
Ken Lay
Joe Lieberman
Rush Limbaugh
Trent Lott
Frank Luntz
"American Fundamentalists"
by Joel Pelletier
(click on image for more info)
Chris Matthews
Mitch McConnell
Stephen C. Meyer (DI)
Judith Miller (ex-NYT)
Zell Miller
Tom Monaghan
Sun Myung Moon
Roy Moore
Dick Morris
Rupert Murdoch
Ralph Nader
John Negroponte
Grover Norquist
Robert Novak
Ted Olson
Elspeth Reeve (TNR)
Bill O'Reilly
Martin Peretz (TNR)
Richard Perle
Ramesh Ponnuru
Ralph Reed
Pat Robertson
Karl Rove
Tim Russert
Rick Santorum
Richard Mellon Scaife
Antonin Scalia
Joe Scarborough
Susan Schmidt (WaPo)
Bill Schneider
Al Sharpton
Ron Silver
John Solomon (WaPo)
Margaret Spellings
Kenneth Starr
Randall Terry
Clarence Thomas
Richard Thompson (TMLC)
Donald Trump
Richard Viguere
Donald Wildmon
Paul Wolfowitz
Bob Woodward (WaPo)
John Yoo
guest-blogging
All the fine sites I've
guest-blogged for:
Be sure to visit them all!!
recent listening
influences
John Adams
Laurie Anderson
Aphex Twin
Isaac Asimov
Fred Astaire
J.G. Ballard
The Beatles
Busby Berkeley
John Cage
"Catch-22"
Raymond Chandler
Arthur C. Clarke
Elvis Costello
Richard Dawkins
Daniel C. Dennett
Philip K. Dick
Kevin Drum
Brian Eno
Fela
Firesign Theatre
Eliot Gelwan
William Gibson
Philip Glass
David Gordon
Stephen Jay Gould
Dashiell Hammett
"The Harder They Come"
Robert Heinlein
Joseph Heller
Frank Herbert
Douglas Hofstadter
Bill James
Gene Kelly
Stanley Kubrick
Jefferson Airplane
Ursula K. LeGuin
The Marx Brothers
John McPhee
Harry Partch
Michael C. Penta
Monty Python
Orbital
Michael Powell & Emeric Pressburger
"The Prisoner"
"The Red Shoes"
Steve Reich
Terry Riley
Oliver Sacks
Erik Satie
"Singin' in the Rain"
Stephen Sondheim
The Specials
Morton Subotnick
Talking Heads/David Byrne
Tangerine Dream
Hunter S. Thompson
J.R.R. Tolkien
"2001: A Space Odyssey"
Kurt Vonnegut
Yes
Bullshit, trolling, unthinking knee-jerk dogmatism and the drivel of idiots will be ruthlessly deleted and the posters banned.
Entertaining, interesting, intelligent, informed and informative comments will always be welcome, even when I disagree with them.
I am the sole judge of which of these qualities pertains.
E-mail
All e-mail received is subject to being published on unfutz without identifying names or addresses.
Corrections
I correct typos and other simple errors of grammar, syntax, style and presentation in my posts after the fact without necessarily posting notification of the change.
Substantive textual changes, especially reversals or major corrections, will be noted in an "Update" or a footnote.
Also, illustrations may be added to entries after their initial publication.
the story so far
unfutz: toiling in almost complete obscurity for almost 1500 days
If you read unfutz at least once a week, without fail, your teeth will be whiter and your love life more satisfying.
If you read it daily, I will come to your house, kiss you on the forehead, bathe your feet, and cook pancakes for you, with yummy syrup and everything.
(You might want to keep a watch on me, though, just to avoid the syrup ending up on your feet and the pancakes on your forehead.)
Finally, on a more mundane level, since I don't believe that anyone actually reads this stuff, I make this offer: I'll give five bucks to the first person who contacts me and asks for it -- and, believe me, right now five bucks might as well be five hundred, so this is no trivial offer.