ACIDEMIC Journal of Film and Media

Queen of Disks
HOME / #8: Brecht, Godard, Wood
#7: The Nordics
#6: Sex and the French
#5 Sympathy for the Devil
#4: Spotlight on the Spotless Mind Issue
#3: Mecha-Medusa and the Otherless Child
#2: Masculinity in Crisis Issue
#1: Drunk Feminism Issue
Submission Guidelines
Acidemic Films / Videos
Contact Us
Ze Staff

 

Ones and Zeros: Queen of Disks in the Post-Structuralist Context

 

All of nature and the world can be broken down into two symbols, and by no mere coincidence these are the basic blocks of computer language and DNA code: ones and zeros. These basic images are also part of the minor arcana in a tarot deck — the swords and wands vs. the cups and disks. The crux of Erich’s bold new film centers on the liquidity with which one can become the other, i.e. a disc changes to a dick with one letter altered.

Kuersten has noted that his film was partially inspired by Warner Herzog’s 2005 documentary, Grizzly Man: “I wanted to make a film that would do what Herzog’s did not; show a man eaten by a bear. the subject videotaped a lot of his interactions with nature, and even had the camera on when he was devoured by a bear. We only see Herzog listening to the death on headphones. What a gyp! I decided right then that if I was ever eaten by a bear I would want it captured on film for all the world to see.” (Feats, 122) Kuersten was working on a documentary about the tarot at the time, and the need to atone for Herzog’s squeamishness led to him going into the tarot too deeply, hoping with a manic fervor that some sort of similarly violent climax.

What does all this have to do with computer language? What, are you still harping on that angle? Who cares! How can one ever know what weird discoveries one will make when one penetrates the heart of darkness? As with his privately acclaimed 2004 film, The Lacan Hour, here Kuersten employs chance and the randomness of available actors and sets to let fortune structure the film. What began as a series of over-caffeinated improv sessions with actress and narcissist Clare Horgan gradually led to the suggested sodomy, bran naming and hanging out with vampire supermodels. “What it’s really about is redemption,” Erich noted when I spoke to him at the Saint Moritz hotel last June over croissants and non-alcoholic absinthe. “There is a hell, represented by the decadent languor of the vampire women, and a heaven.”

A few months later Kuersten noted: “What it’s really about is the artistic process, how randomness and chance work to influence reality and how this can be interpreted via the tarot, gambling, etc., with the whole bran thing a metaphor for writer’s block.” Whatever, man, whatever, you change your mind every three minutes. Let’s just say it’s different. In a world where films try to appease as broad an audience as possible, give Erich credit for making a film that succeeds admirably in appeasing almost no one, and doing so with class, style and expletives. 

  --- Lance Rock III c. 2007

c. 2007 - all rights reserved.

send all praise, condemnation and indifference to: erichk9@aol.com

C. 2013 - Acidemic Journal of Film and Media - BFG LCS: 489042340244