ParaTheatrical ReSearch and The Televisionary Oracle
A Cyber-Fi Feature by Antero Alli
in association with Rob Brezsny
"...a sensory cocktail with a stinging aftertaste...in The Drivetime, Alli's eye
has redefined a visually intoxicating, thematically sobering world..."
The Stranger (Seattle)
click this to watch an excerpt
"Alli is extremely effective at portraying a technocratic world without
excessive use of effects or over dramatization. The devices he uses to
reveal the technology - bites of commercial entertainment services,
hidden rituals in the Oddfellows Temple, and people huddled alone
in their rooms speaking to monitors - is emotionally
evocative and probing." -- The Seattle Rocket
Susan Mansfield | Michael George
"ZOOMING IN ON THE DRIVETIME"
Review by WIRED Magazine, October 1996
One of the most chilling yet innovative cinematic essays on the flaws of today's technology-obsessed society is Antero Alli's videofilm, THE DRIVETIME. This iconoclastic view of a future world projects a dazzling stream-of-consciousness skein of technical wizardry and provocative wordplay.
THE DRIVETIME follows a bemused time-traveling librarian named Flux from the serenity of 2023 to the chaos of Seattle in 1999, where he uncovers video footage from a riot that triggered the city's collapse. Society's obsession with communications technology has created the near-extinction of conversation. People communicate via e-mail and videofax; the film's few face-to-face encounters have a sourish, sitcom-type sting. On top of this jolting social examination, THE DRIVETIME presents police procedure as entertainment (a la programs like COPS) and disturbing abuses of police. THE DRIVETIME forces viewers to think about where our world is heading. This work should be seen by anyone who mistakenly believes that all's calm and well in our little digital sphere.
-- Phil Hall
It's 1999 and a virtual bureaucracy has enveloped Seattle in a seamless web of infomercials, propaganda, and manipulated fantasies. But there are glitches inside this techno-tyranny. "The Televisionary Terrorist Net Web" has broken from governmental control and is dispersing counter-info to the cocooned populace. Vid (Michael George), a stringer for the official network, has defected to make oppositional tapes with his lover Zola (Susan Mansfield), a devout member of Telepathics Anonymous. Meanwhile, Flux (Michael Douglas), a time-traveling librarian from 2023, infiltrates their dream-life in search of subversive video footage. Antero Alli's cautionary tale portrays a convincing technocratic future by submerging the story in a tantalizing visual scrap heap. A saturated mix of nomadic broadcast tags, hyper-layered audio detritus, and graphically fractured images conveys the smothering grip of dystopia. Provocative visuals aside, The Drivetime is at its best when plying its "televisionary" speculations about a spiritual resurgence that will overwhelm virtuality.
STEVE SEID, program director
Pacific Film Archive, Berkeley CA (April 1996)
With Michael George, Susan Mansfield, Michael Douglas, Kristin Kosmas, Joel Gilman, Michael Donovan, Camille Hildebrandt, Jim Jackson. Soundtrack by Rob Brezsny & World Entertainment War, Sylvi Alli, Contraband, and Jules Beckman. Sound design by Jim Jackson. Additional text by Rob Brezsny. Narratives by Antero Alli and Michael Douglas. Edited by Antero Alli and John Comerford. Produced by ParaTheatrical ReSearch and Televisionary Oracle. Photographed and directed by Antero Alli. (1995; 86:00. Color, BetaSP video, stereo)
DRIVETIME" ON DVD
"THE DRIVETIME" -- PRODUCTION DETAILS
THE DRIVETIME -- MAIN PAGE
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