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this blurred the line between entertainment and tragedy. Television coverage stressed the extraordinary nature of the unfolding events (first transatlantic hijack, first live TV broadcast of a hijack, first attack on a skyjacked plane, etc.) as the only material suitable for television. On the other hand, for terrorists seeking to inscribe their struggle in history, the hijack devoid of the mediatized image of itself lost all of its communicative power. With the airplane always on the move between countries and borders as if belonging nowhere, the hijack came to symbolize the transgression across a violent border towards a political utopia.
246:
romantic revolutionaries, by the 1990s these have been replaced on television sets by anonymous bombs in suitcases. According to
Alexander Provan, "The end of the film seems to suggest that the media is now the ultimate author of fictions that transform themselves into events as they're broadcast." Correlating with a steep rise of the level of violence used, this depersonalization of the terrorist is merely the accommodation of terrorist spectacle for political gain.
183:, "providing a literary and philosophic anchor to the film". According to the director, "Dial H-I-S-T-O-R-Y's narrative is based on an imagined dialogue between a terrorist and a novelist where the writer contends that the terrorist has hijacked his role within society." The film's opening line, taken from
276:
suggests that hijackers and television evolved a deadly symbiosis: on the one hand, with their protracted duration, hijackings allowed for enough time to the television cameras to be set up. The nature of live television allowed for a minute-by-minute update of the hijack as the situation progressed;
236:
tell a reporter, "you westerners, you don't understand ... we have to fight outside our territory and we have to bring the hope to understand our case." The act of writing/terrorizing occupies the central paradox of democracy; it is the irreconcilable tension between the individual and mass culture.
245:
and the ubiquity of television, particularly its news coverage. As this image-saturated society amplifies throughout the 1960s and 70s, it becomes apparent by the 1980s that the hijackers' political message has been itself hijacked by the media. Whereas in the 1960s hijackers were portrayed as
29:
271:
charts a history of airplane hijacking, and illustrates how, as hijackers got progressively more television coverage, they became more and more deadly. In this sense, the underlying theme is that the hijack was becoming itself hijacked by news media corporations.
167:(Kassel). "This study in pre-Sept. 11 terrorism" is composed of archival footage material — interspersing reportage shots, clips from science fiction films, found footage, home video and reconstituted scenes. The work is interspersed with passages from
228:. As the plot progresses, it becomes clear that with the increasing media coverage of terrorist hijacks, this power of producing an inward societal shock has been wrestled from the writer by the terrorist. They are 'playing a
189:, introduces the skyjacker as protagonist. Interspersing fact and fiction, Grimonprez said that the use of archival footage to create "short-circuits in order to critique a situation" may be understood as a form of a
296:
provided for the passenger's edification and entertainment. It functions as an artistic manual for hijackers, equipped with such essentials as a safety instruction card and a barf bag. It includes excerpts from
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is an almost exhaustive chronology of airplane hijackings in the world. From
Raffaele Minichiello, the first transatlantic hijacker (1969), to an anonymous and dying terrorist in
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1029:
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McGirk, Tim (1999). "Wired For
Warfare; Rebels and Dissenters are Using the Power of the Net to Harass and Attack their More Powerful Foes".
361:
539:
434:
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Roberta Smith described the film as "exceptional for its juice and its stomach churning power". "A Holiday From
History", an essay by
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Provan, Alexander (July 2009). "If you see yourself, kill him: Johan
Grimonprez & Tom McCarthy interviewed by Alexander Provan".
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The
Guardian selected Dial H-I-S-T-O-R-Y (1997) as one of 30 works that tell the history of video art
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595:"If you see yourself, kill him: Johan Grimonprez & Tom McCarthy interviewed by Alexander Provan"
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Cotter & Birnbaun & Butler, Suzanne & Daniel & Cornelia H. (November 7, 2011).
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centers on an imagined dialogue between a novelist and a terrorist, based on passages from
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232:' where “what the terrorists gain, novelists lose!” We hear Mouna Abdel-Majid of the
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Zizek, DeLillo, Obrist, Ohner, Grimonprez, Slavoj, Don, Hans, Vrääth, Johan (2003).
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was published in conjunction with the DVD release of the film with contributions by
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as portrayed by mainstream television media. The film premiered in 1997 at the
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wrote the soundtrack to this "disquieting reflection on contemporary history"
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639:
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David & Chevreir, Catherine & Jean-Francois (June 2, 1997).
292:, is a parody based on the safety instructions pamphlets and glossy
313:('Beep' Theory), Jodi Dean ('No place like home') among others.
513:
From Warhol to Steve McQueen: a history of video art in 30 works
688:
Obrist, H.U. (1999). "Email interview with Johan
Grimonprez".
673:
Leighton & BĂĽchler, Tanya & Pavel (October 31, 2003).
309:("These Ears of Crime"), Tim McGirk (Wired For Warfare) and
1010:'It’s a poor sort of memory that only works backwards' Book
427:
492:""Supermarket History: Interview with Johan Grimonprez""
490:
Bernard & Grimonprez, Catherine & Johan (1998).
654:
Asselberghs, Herman; Grimonprez, Johan (October 1997).
909:
Aliens in
America. Conspiracy Cultures from Outerspace
826:
My people shall live: Autobiography of a revolutionary
410:
Cotter, Holland (February 20, 2004). "Art In Review".
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It's a poor sort of memory that only works backwards
557:"August 1969 7-Minute Detour Over Occupied Homeland"
128:
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72:
64:
56:
48:
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635:"Enter the Jetset and a New Word "Hijack!" 1958"
204:Against a backdrop of a chronology of airline
614:"First transatlantic hijack November 1, 1969"
8:
976:: CS1 maint: multiple names: authors list (
677:. Centre for Contemporary Arts. p. 121.
241:, this mass culture becomes synonymous with
954:dial H-I-S-T-O-R-Y, A Holiday From History
893:Stalking the UFO Meme Internet Underground
27:
18:
473:"Reality Mistaken for a Commercial Break"
355:San Francisco International Film Festival
452:"Skyjack captures telly! March 31, 1970"
373:
969:
662:]. Dietsche Warande & Belfort.
933:Smith, Roberta (September 12, 1997).
737:Grimonprez, Johan (August 31, 2011).
7:
143:, a 68-minute-long film by director
362:Toronto International Film Festival
1040:English-language documentary films
477:Hardcore, vers un nouvel activisme
259:The guiding visual thread through
14:
1030:Documentary films about terrorism
726:. Camera Austria. pp. 27–30.
675:Saving the image: art after film
593:Provan, Alexander (July 2009).
793:Burroughs, William S. (1981).
724:On Seeing, Flying and Dreaming
722:Ă–hner, Camera Austria (1999).
711:. Vol. 18. pp. 32–9.
601:. Vol. 18. pp. 32–9.
429:. Phaidon Press. p. 223.
353:Golden Spire 'Best Director',
1:
906:Dean, Jodi (March 26, 1998).
360:Director's Choice at Images,
1035:1990s English-language films
912:. Cornell University Press.
743:. Hatje Cantz. p. 226.
153:Musée National d'Art Moderne
852:D.B. Cooper: The Real McCoy
772:. 3775709932. Vol. 1.
1056:
764:Grimonprez, Johan (2000).
580:San Francisco Bay Guardian
389:. Hatje Cantz Publishers.
305:("Weapons Gave Me Words")
891:Thieme, Richards (1996).
191:Situationist DĂ©tournement
26:
828:. NC Press. p. 12.
796:Cities of the Red Nights
574:Lu, Alvin (6 May 1998).
288:, a companion reader to
147:, traces the history of
33:Hardcover with DVD video
855:. Univ of Utah Pr (T).
849:Rhodes, Bernie (1991).
157:Centre Georges Pompidou
824:Khaled, Leila (1975).
895:. St. Martin's Press.
530:. Ian Allan. p.
385:Documenta X: The Book
993:"Dial H-I-S-T-O-R-Y"
524:Arey, J. A. (1972).
299:William S. Burroughs
255:History of Hijacking
799:. Picador. p.
633:Grimonprez, Johan.
612:Grimonprez, Johan.
555:Grimonprez, Johan.
237:Throughout much of
995:. Time Out London.
956:. Argos Editions.
939:The New York Times
561:dial H-I-S-T-O-R-Y
479:. pp. 110–17.
450:Grimonprez, Joha.
412:The New York Times
341:New York composer
333:and Vrääth Öhner.
331:Hans Ulrich Obrist
317:Critical reception
290:Dial H-I-S-T-O-R-Y
274:Dial H-I-S-T-O-R-Y
269:Dial H-I-S-T-O-R-Y
261:Dial H-I-S-T-O-R-Y
239:Dial H-I-S-T-O-R-Y
210:Dial H-I-S-T-O-R-Y
149:airplane hijacking
140:Dial H-I-S-T-O-R-Y
22:Dial H-I-S-T-O-R-Y
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225:White Noise
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169:Don DeLillo
165:Documenta X
163:'s curated
81:Zap-O-Matik
57:Produced by
39:Directed by
1025:1997 films
1019:Categories
919:0801484685
862:0874803772
835:0919600298
810:0312278462
396:3893229116
368:References
343:David Shea
216:'s novels
171:'s novels
124:68 minutes
74:Production
68:David Shea
49:Written by
16:1997 film
972:cite book
301:(FORE!);
243:pop music
281:Inflight
267:(1993),
206:skyjacks
129:Language
65:Music by
640:YouTube
619:YouTube
502:: 6–18.
496:Parkett
457:YouTube
132:English
105: (
76:company
960:
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766:"No M"
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349:Awards
250:Themes
219:Mao II
186:Mao II
174:Mao II
658:[
337:Music
991:GE.
978:link
958:ISBN
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878:Time
857:ISBN
830:ISBN
805:ISBN
774:ISBN
745:ISBN
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431:ISBN
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222:and
200:Plot
177:and
107:1997
103:1997
234:PLO
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974:}}
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Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
