{"id":32319,"title":"dial H-I-S-T-O-R-Y","dimensions":"00:68:00","date_begin":"1997-01-01","material":"","art_status_id":13,"legal_status_id":47,"category_id":182,"platform_id":1,"deleted":false,"asset_count":2,"stream_count":0,"collection":"Courtesy of zap-o-matik","cached_tag_list":"","publishing_process_id":1,"annotation":"","date_end":null,"reference":"","stream_count_app":14,"permalink":"dial-h-i-s-t-o-r-y-cb077b6e-168a-4edb-835b-21d40bce4de9","description_ca":"","short_description_ca":"","description_it":"","short_description_it":"","cached_primary_asset_url":"http://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/213/medium_500/1997_dial_H-I-S-T-O-R-Y_JohanGrimonprez_three_hijacked_jets_on_desert_airstrip_Amman_Jordan_1970_september_12.jpg?1654087487","cached_actor_names":"Johan Grimonprez","hide_from_json":false,"prev_platform_id":null,"description_uk":"","short_description_uk":"","description_tr":null,"short_description_tr":null,"mhka_works":false,"category":{"en":"Film","nl":"","fr":""},"poster_image":"https://s3.amazonaws.com/mhka_ensembles_production/assets/public/000/084/213/large/1997_dial_H-I-S-T-O-R-Y_JohanGrimonprez_three_hijacked_jets_on_desert_airstrip_Amman_Jordan_1970_september_12.jpg?1654087487","poster_credits":"(c)Johan Grimonprez","translations":[{"locale":"en","short_description":"","description":"\u003cp\u003eGrimomprez\u0026#39; film \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e analyses the history of airplane hijacking as portrayed in television media, through an imagined conversation between a novelist and a terrorist based on passages from Don DeLillo\u0026rsquo;s novels Mao II and White Noise. The film utilises various types of archival footage, including news reportage, found footage, home movies and fragments of science fiction films, along with disco music and a special soundtrack from the renowned composer David Shea. Its chronology depicts the change in the perception of skyjackers. Romanticised as revolutionaries in the 1960s, they become replaced by depersonalised anonymous\u003cbr /\u003e\r\nindividuals by the 1990s. \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e\u0026rsquo;s narrators eventually clarify their thoughts, with the writer suggesting that the ability to create societal shock has been wrested from the writer and was now the domain of the terrorist. Grimonprez wishes to explore the politics of this transition, in the process highlighting society\u0026rsquo;s complicity through the desire for consuming disaster. Uncannily pre-empting the September 11 attacks in 2001, \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e was one of the acclaimed works presented at Documenta X, Kassel, in 1997.\u003c/p\u003e\r\n\r\n\u003cp\u003e\u003ca href=\"https://en.wikipedia.org/wiki/Dial_H-I-S-T-O-R-Y\"\u003eKnow more !\u003c/a\u003e\u003c/p\u003e\r\n"},{"locale":"nl","short_description":"","description":"\u003cp\u003eGrimomprez\u0026#39; film \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e analyseert de geschiedenis van vliegtuigkapingen zoals die in televisiemedia wordt geportretteerd, middels een ingebeeld gesprek tussen een romanschrijver en een terrorist dat gebaseerd is op passages uit Don DeLillo\u0026rsquo;s romans Mao II en Witte ruis. De video maakt gebruik van verschillende soorten archiefmateriaal, waaronder nieuwsreportages, found footage, amateurfilms en fragmenten van sciencefictionfilms \u0026ndash; plus discomuziek en een speciale soundtrack van de vermaarde componist David Shea. De chronologie toont de evolutie in de perceptie van vliegtuigkapers. In de jaren 1960 werden ze geromantiseerd als revolutionairen \u0026ndash; in de jaren 1990 werden het gedepersonaliseerde anonieme individuen. De vertellers in \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e maken uiteindelijk duidelijk waar het hen om te doen is. De romanschrijver suggereert dat hem het vermogen is ontnomen om nog langer een maatschappelijke schok teweeg te brengen \u0026ndash; en dat dat laatste voortaan het domein is van de terrorist. Grimonprez wil de politieke aspecten van deze overgang onderzoeken en daarbij de medeplichtigheid van de samenleving in de\u003cbr /\u003e\r\ndrang naar rampenconsumptie benadrukken. \u003cem\u003eDial H-I-S-T-O-R-Y\u003c/em\u003e, die de aanslagen van 11 september in 2001 unheimlich anticipeerde, was een van Grimonprez veelgeprezen werken. De film werd in 1997 op documenta X in Kassel gepresenteerd.\u003c/p\u003e\r\n"},{"locale":"fr","short_description":"","description":"\u003cp\u003eDans son film \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e, il analyse l\u0026rsquo;histoire des d\u0026eacute;tournements d\u0026rsquo;avions telle que pr\u0026eacute;sent\u0026eacute;e dans les m\u0026eacute;dias t\u0026eacute;l\u0026eacute;vis\u0026eacute;s, \u0026agrave; travers une conversation imaginaire entre un romancier et un terroriste, bas\u0026eacute;e sur des passages des romans Mao II et White Noise de Don DeLillo. Ce film fait appel \u0026agrave; diff\u0026eacute;rents types de s\u0026eacute;quences d\u0026rsquo;archives, notamment des reportages d\u0026rsquo;actualit\u0026eacute;, des images trouv\u0026eacute;es, des films amateurs et des fragments de films de science-fiction, le tout accompagn\u0026eacute; de musique disco et d\u0026rsquo;une bande sonore compos\u0026eacute;e par le musicien exp\u0026eacute;rimental David Shea. Sa chronologie illustre l\u0026rsquo;\u0026eacute;volution de la perception des pirates de l\u0026rsquo;air. Consid\u0026eacute;r\u0026eacute;s comme des r\u0026eacute;volutionnaires romantiques dans les ann\u0026eacute;es 1960, ces pirates sont ensuite devenus anonymes et d\u0026eacute;personnalis\u0026eacute;s au cours des ann\u0026eacute;es 1990. Les narrateurs de \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e pr\u0026eacute;cisent ensuite leurs pens\u0026eacute;es, l\u0026rsquo;\u0026eacute;crivain sugg\u0026eacute;rant que la capacit\u0026eacute; \u0026agrave; cr\u0026eacute;er un choc soci\u0026eacute;tal lui a \u0026eacute;t\u0026eacute; retir\u0026eacute;e et est d\u0026eacute;sormais le propre du terroriste. Grimonprez souhaite explorer la politique de cette transition, mettant ainsi en lumi\u0026egrave;re la complicit\u0026eacute; de la soci\u0026eacute;t\u0026eacute; par le biais de son d\u0026eacute;sir de consommation du d\u0026eacute;sastre. Devan\u0026ccedil;ant de mani\u0026egrave;re troublante les attentats du 11 septembre 2001, \u003cem\u003edial H-I-S-T-O-R-Y\u003c/em\u003e fut pr\u0026eacute;sent\u0026eacute;e \u0026agrave; la Documenta X, \u0026agrave; Kassel, en 1997, o\u0026ugrave; elle remporta un franc succ\u0026egrave;s.\u003c/p\u003e\r\n"},{"locale":"ru","short_description":"","description":""},{"locale":"de","short_description":"","description":""},{"locale":"es","short_description":"","description":""},{"locale":"el","short_description":"","description":""}],"actors":[]}