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The Remote Viewers (part one 2005)
A SHORT FILM BY SNAKE BEINGS 2005
Review by Spider monk EE, 2006
There’s a strong dystopian ideal driving Snake Beings’ short film ´Nana Shaemanic’; the air-waves have been controlled by the mass media mega-corps through “music enhancing additives which have been embedded in all radio transmittions since 1974”.
We find this out through a police-state voice-over, which is used throughout the film. There is also an underlying soundtrack consisting of some Snake-Beings tracks, in their various incarnations.
The action is a surrealistic interpretation of the dystopian voice-over, complete with exquisitely antequated radios, aerials and oscillators.
There are also an interesting array of production techniques, such as lo-fi blue screening, fish eye camera shots, word overlaps, microscopic viewpoints, stills speed sequences, and some sublime super 8mm footage that Snake Beings shot himself, in transit over Auckand N.Z, and to the pyramids of Mexico, by the way of some Fijian dried and numbered frogs.
The role of the title character seems to be to represent “the intuative process of the human psyche”, and there are some nice pictorial contrasts between pylon-revved settings and the transcendent lightness of the character. It appears that Nana Shaemanic is being manipulated by the negative transmittions. Sometimes she is shown to be experimented upon, in a state of negative rewiring.
The remote viewers in the film, lab-coated document makers, sometimes working outside on circuiting transmitters, at other times laying down clumps of reality in plastic classified bags, on a conveyer belt, trying to classify chaos. This, and their group viewing of the tortured Nana, are strong symbolic vehicles of the machinary of the mass-media, and its psychotic desire to control and classify; at times itself being chanelled by the elements of chaos that they find in remote viewing exercises.
The film has a lot of notions to take in, but the strong symbolism that is used makes it easy to get the basic gist of it, and on repeat viewings it becomes more apparent, and decipherable, especially if you pay attention to the narrative.
I would recommend this film to people interested in modern surrealism and also to anyone who thinks, or who can think, slightly outside of the square, for it is the square in a sense that this film is critiqueing, and it is the psychic notion of free thought, and the time slicing dimension represented by the at times Kali-like white figue of Nana Shaemanic that sets it apart from other films that also critique the mass-medias control of society.