The politics of Illusion, a film by Message is the Medium
This film is about you, rumor, legend, myth, Derrida, stars, Barthes and a french guy named Xavier, 30 years old.
Rumor has it, Xavier, dressed head to toe in Acne, with a Lanvin bow tie, dances just like Michael Jackson.
This film attempts to unravel the nature of communication through an analysis of its mechanisms.
From rumor to legend to myth...
As we declare in the film, "Truth is illusionary but rumors are real."
In 1902 when Louis William Stern experimented on rumor involving a "chain of subjects" who passed a story from "mouth to ear" without the right to repeat or explain it, he found that the story was shortened and changed by the time it reached the end of the chain.
The three basic characteristics that apply to rumor: 1. They're transmitted by word of mouth; 2. They provide "information" about a "person, happening, or condition"; 3. they express and gratify "the emotional needs of the community."
Rumors often reflect public desires and wished-for outcomes. In the academic discipline of folkloristics, the truth value of legends is irrelevant. It's not whether the story told is true or not, it's the fact that the story is being told at all.
Myth is a system of communication, it is a message.
STEPHEN BECK MEETS FUCK BUTTONS CURATED BY MESSAGE IS THE MEDIUM
Stephen Beck: "I believe in spiritual technology. Video Weavings is a link between the modern (video) and the ancient (weaving) technologies. Video Weavings are based on poetic mathematical rhymes, or algorithms, visualized in real time on the warp and weft of video's horizontal and vertical scanning electron beams, color phosphors, plasma cells, and LCD pixels."
ABOUT THE FILM: "In NECROLOGY, a 12-minute film, in one continuous shot he (Standish Lawder) films the faces of a 5:00 PM crowd descending via the Pan Am building escalators. In old-fashioned black and white, these faces stare into the empty space, in the 5:00 PM tiredness and mechanical impersonality, like faces from the grave. It's hard to believe that these faces belong to people today. The film is one of the strongest and grimmest comments upon the contemporary society that cinema has produced." - Jonas Mekas, The Village Voice