Brett Kashmere om Arthur Lipsetts VERY NICE, VERY NICE: Like - TopicsExpress

Brett Kashmere om Arthur Lipsetts VERY NICE, VERY NICE: Like all of his films, Very Nice, Very Nice disrupts the representational value of documentary image and sound, moving beyond the genres aesthetic codes of truth and reliability. The result is a sardonic re-reading of 1950s consumerism, mass media and popular culture. For example, over an anonymous claim that, “People always seem unwilling to become involved in anything… I mean really involved”, Lipsett shows the burnt corpse of a probable war casualty followed by two shots of different women looking down and away. We then hear another voice saying, “Almost everyone has a washing machine, a drying machine.” Seconds later we see a man holding a placard reading, “The End is at Hand”. Over a comic image of U.S. Air Force jets stacked up to the sky we hear mocking laughter at the suggestion that “the situation is getting worse”. And against a clip of McLuhans statement that, “People who have made no attempt to educate themselves live in a kind of dissolving phantasmagoria of a world”, Lipsett dissolves several blurry, disinterested faces into one another. These examples of “vertical montage”, as Sergei Eisenstein described the moment-to-moment juxtaposition of a films audio and visual tracks, indicate how sound influences a shots signification. William Wees observes that in found footage films such as those of Lipsett and Abigail Child, “the incongruity of sound and image expose, satirise, and produce new readings of the banalities, cliches and conventional modes of discourse – verbal and visual – that are endemic to the mass media.” The critique of mass media is an important aspect of Lipsetts work, although such a critique is easily undermined in our age of self-conscious advertising campaigns and political spin. I wonder if similar films could be made using todays images – or is the media itself now too saturated in postmodern irony? The images of the repulsive and often overlooked damage left by both war and technological progress which punctuate Very Nice, Very Nice give the film its lasting punch.

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