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Dial H-I-S-T-O-R-Y
''Dial H-I-S-T-O-R-Y'', a 68 minute-long film by director Johan Grimonprez, traces the history of airplane hijackings as portrayed by mainstream television media. The film premiered in 1997 at the Musée National d'Art Moderne (Centre Georges Pompidou (Paris); and at Catherine David's curated Documenta X(Kassel). "This study in pre-Sept. 11 terrorism" is composed of archival footage material — interspersing reportage shots, clips from science fiction films, found footage, home video and reconstituted scenes — the work is interspersed with passages from Don DeLillo's novels ''Mao II'' and ''White Noise'', "providing a literary and philosophic anchor to the film." According to the director, "Dial H-I-S-T-O-R-Y's narrative is based on an imagined dialogue between a terrorist and a novelist where the writer contends that the terrorist has hijacked his role within society."〔(【引用サイトリンク】first=Joha )〕 The film`s opening line, taken from Don DeLillo`s Mao II, introduces the skyjacker as protagonist. Interplaying fact and fiction, Johan Grimonprez said that the use of archival footage creating “short-circuits in order to critique a situation”, may be understood as a form of a Situationist Détournement.
==Plot==
Against a backdrop of a chronology of airline skyjacks, Dial H-I-S-T-O-R-Y's plot centers on an imagined dialogue between a novelist and a terrorist. Based on passages from Don DeLillo's novels ''Mao II'' and ''White Noise.'' As the plot progresses, it becomes clear that with the increasing media coverage of terrorist hijacks, this power of producing an inward societal shock has been wrestled from the writer by the terrorist. They are 'playing a zero-sum game' where “what the terrorists gain, novelists lose!” We hear Mouna Abdel-Majid of the PLO tell a reporter that “you westerners, you don't understand... we have to fight outside our territory and we have to bring the hope to understand our case.” The act of writing/terrorizing occupies the central paradox of democracy; it is the irreconcilable tension between the individual and mass culture.
Throughout much of Dial H-I-S-T-O-R-Y, this mass culture becomes synonymous with pop music and the ubiquity of television, particularly its news coverage. As this image-saturated society amplifies throughout the 1960s and 70s, it becomes apparent by the 1980s that the hijackers political message has been itself hijacked by the media. Whereas in the 1960s hijackers were portrayed as romantic revolutionaries, by the 1990s these have been replaced on television sets by anonymous bombs in suitcases. According to Alexander Provan, “The end of the film seems to suggest that the media is now the ultimate author of fictions that transform themselves into events as they’re broadcast.” Correlating with a steep rise of the level of violence used, this depersonalization of the terrorist is merely the accommodation of terrorist spectacle for political gain.
抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』
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