positions 9:2 Fall 2001 the ï¬ction feature ï¬lm dissipates centrifugally and evolves into video art and hypertextual cyberspace, following a performance/installation/televisual aesthetic, the seemingly scattered references to toxic waste, ethnic tourism, homophobia, and colonialism, among many other issues, merge with a centripetal force that deï¬es linear reasoning. Fresh Kill is not just a radical call for environmentalism, anticapitalism, anti-imperialism, gay/lesbian rights, feminism, and radical multiculturalism. Its main claim for critical attention comes from the way it envisions the combination of dialectical thinking, new technologies, and media activism as a primer for the radical communications community. Fresh Killâs title refers to a ï¬ctitious landï¬ll that dominates Staten Island. Junk rules many of the ï¬lmâs compositions, and, thematically, the ï¬lm revolves around the detritus of an urban consumer society in which transnational corporations bring raw materials from the Third Worldâ contaminating goods and people in the processâand dump them in the borough. Fresh Kill makes sense out of this refuse by exploring connections among people on the edges of corporate capitalism and off-center in a white, bourgeois, heterosexual world. From the beaches of Taiwanâs Orchid Island, used as a nuclear waste site in the 1980s, to the shores of New
positions asia critique – Duke University Press
Published: Sep 1, 2001
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