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Categories: Video
Relevant passages:
Dieter Daniels «Television-Art or anti-art?
Conflict and cooperation between the avant-garde and the mass media in the 1960s and 1970s»
Rudolf Frieling «Reality/Mediality
Hybrid Processes Between Art and Life» | 2 Inke Arns «Social Technologies
Deconstruction, subversion, and the utopia of democratic communication»
Lennon, John; Ono, Yoko
«Rape»
«The premise for this [...] film comes from an Ono ‹film score,› published in 1968: ‹The cameraman will chase a girl on a street with a camera persistently until he corners her in an alley, and, if possible, until she is in a falling position.› The execution [...] is one of the most violent and sexually charged movies ever made–even if flesh never touches flesh. [...]
In one sense, Rape is a particularly brutal dramatization of the Warholian discovery that the camera‘s implacable stare disrupts ‹ordinary› behavior to enforce its own regime. In another, the film is a graphic metaphor for the ruthless surveillance that can theoretically attach itself to any citizen of the modern world.»
(source: James Hoberman, «John Lennon/Yoko Ono. Film No 6. Rape (Clip)», in CTRL [Space]. Rhetoric of Surveillance from Bentham to Big Brother, Thomas Y. Levin, Ursula Frohne, Peter Weibel (eds), ZKM, Center for Art and Media, Karlsruhe, 2002, p. 406f.)
