time machine // database // travel guide
timespace coordinates: December 2022 > 2051 Miami Beach, Dominican Republic, the Atlantic Ocean, Russia.
The Tomorrow War is a 2021 American military science fiction action film directed by Chris McKay in his live-action directorial debut. The film stars Chris Pratt (who also executively produced), Yvonne Strahovski, J. K. Simmons, Betty Gilpin, and follows a group of present-day soldiers who are sent into the future to fight an alien army. (wiki)
timespace coordinates: 2010 Los Angeles
Sound of My Voice is a 2011 American psychological thriller film directed by Zal Batmanglij in his feature directorial debut and starring Christopher Denham, Nicole Vicius and Brit Marling. The plot focuses on two documentary filmmakers who attempt to expose a cult led by a charismatic leader (Marling) who claims to be from the future. The film was written by Batmanglij and Marling.
The film was originally intended to be the first installment of a trilogy. (wiki)
Thanks to Alin Răuțoiu from the excellent, unsparing and vital Dezarticast, and his quest for a quality copy of this gem. So, now you got to see it too, spreading it around as far and wide as possible. All my gratitude to Gabi ‘Pnea’, peripatetic chronicler and modern-day Naturphilosoph for sharing his treasures, for his tech support and for kindly providing invaluable input whenever his nudging managed to keep me busy.
In its portraiture and depiction of a contemporary city – Los Angeles Plays Itself remains to my knowledge unsurpassed. From Kiss Me Deadly noirs to Chinatown to Cassavetes to Who Killed Roger Rabbit(still acid drenched in my celluloid melting memories), it has got it all.
Made from the heart by Thom Andersen, patiently foraging & carefully embedding his suspenseful history within this W coast city, marking its architecture, its urban layout with close knit social textures via clips from the whole breath of cinema. To call it an exemplary critical theory essay or run of the mill ideological critique would sell it short. It is a sprawl (sprawling horizontally like the city Andersen would never shorten or reify), nearly capping at 3h long, its either full immersion or ur do ur own cuts – in your own time, anyway its a total treat. It is a well spent time and a tangible place to return to and revisit. It gives much needed context to what a city is and can be. How the city is much more than the sum of its movie roles or extras parts, even if Los Angeles does strike one like a readymade Map to the Stars. Even if being a snitch – as the narrator remarks, in dire times of the McCarthy era insured some famous name with a star on Hollywood’s Walk of Fame.
The whole essay somehow builds up on the way Los Angeles works and doesn’t work as a set piece. It is sprouting out from an uncensored love for a SoCal megalopolis that feels much mistreated, much misrepresented and downright brutalized whenever it gets glamorized or held up against big spotlights. Los Angeles Plays Itself always mistrusts the floating subjectivity of the omniscient narrator, even as it discards one camera-eye after another, able to follow what has been left out, making its own route trough many takes, jumps and cuts, managing in the end to somehow operate at ground level assembling blueprints, inserting press clippings with working class histories that do not make it into the limelight. Floating from camera to camera does not make for an unwieldy collage or jumble, but an even match of cut to cut, criss-crossing incompossible temporal jumps & slices of a kaleidoscopic urbanity. A slippery city that slips trough the fingers of best documentarists or cinematographers. It never relinquishes Los Angeles to its celebrated (American or European, lowbrow or highbrow etc) author star/ film directors. You can simply also enjoy every sample and wanna see more of the original source material (see below). As moviegoers for sure we can never go into full popcorn mode. Neither does it spare the film moguls that have calibrated & celebrated and selectively repurposed a city to fit their own projections and openly espoused ideological political agendas or class interests. The city cannot exist just as a pure disconnected location, as there is no “simple location” (as Whitehead puts in Science in the Modern World). No sequence seems to exists on its own. All sequences somehow communicate and each movie cut seems to intervene or presuppose another one. Without such overlaps any movie taken in its isolated solid state tends to eclipse the city underneath and beyond, even when it purportedly wants you to discover it. The city as a hidden reality is one that needs to be materially traversed.
A cinematic city abstracts from – and conceals whenever it ‘reveals’ or try to sell a ticket to an audience that buys its promised demi-monde land, the mondo tour, the shocking underbelly, the sleaze or the dazzling cyberpunk rain-soaked future (a washed out unresolved dream twinkling in the eyes of the city planners) or get lost on the byways of Sunset Boulevard.
Los Angeles police LAPD in movies part is just amazing. It is some of the best analysis of cinematic representation of police I’ve seen – especially during such a consistent proof of US police misdemeanor, militarization, brutality and point blank murder of African America or Lantinx. From the idealized self-image of a smug cop, to the incredibly arrogant and full of contempt Dragnet policemen to the unwittingly self-ironic scare quotes of “serve & protect”.
There is always streets and corners to be cut and entire building blocks that got razed, redeveloped, gentrified and that do not get credit, but also do not go completly under the radar of film crews – the only ones caring enough and painfully aware of filming another reality mostly (to me) by unknown black directors who are coming from a particular class background or from racially divided and economically oppressed segments of the city. Theirs is a completely different city. What could be more telling than a thermodynamically skewed 1980s – 2019 Los Angeles future?
Blade Runner got a lot of things wrong even if it has a dear and lasting retro-future afterglow. It made a landmark out of Bradbury Building (still after D. O. A. used it as location in 1949), while also making a timeless future bachelor pad out of neo-Mayan Frank Lloyd Wright Ennis house. Yet as Charles Mudede caustically and pointedly remarks, no futuresque movie is a predictive algorithm (nor should it strive to) and retrospectively no wonder it missed the crux of things since “there are no smartphones, no internet, no financialization, no investment banks”.
Modernism – as a style and legacy seems to get a bad rap in US movies and Andersen makes it painfully clear that somehow most villains, even the most cliché tabloid high corruption, bribery, ‘confidential’ supposed conspiracy – are framed within the most stark examples of modern architecture, against the aims and even the histories of these buildings. And this in an almost complete reversal of the aims of the entirety of such modernist architecture. Think of those wide un-decorated, egalitarian spacious living, defined by the geometry of clear lines that openly rejected the shackles of the past. An architecture of light and transparency (thinking here of the European Bauhaus impetus by Bruno Taut and further back to the Scheerbartian utopic potential of light), buildings that get recast in Hollywood as scandalous dens of vice. To me Anderson’s retrieval of modern architecture’s bad wrap in Hollywood movies echoes more recent anti-modernist or sort of pre-modernist revanchist Tartaria conspiracies (part of the QAnon conspiritual bouquet) amply discussed in recent article by Zach Mortice. Yes, the lost “Tartarian empire” has an awful lot of confusion, unfamiliarity and cultural dislocation & also suffers from something akin to the Mandela Effect. Yet as this video essay amply demonstrates there’s tremendous Hollywood overwriting and cinematic overcoding onto the very urban and architectural landmarks. These architectural landmarks have been imprinted into memory only after been rediscovered via location scouting, getting heritage status only after they were filmed in and retrospectively recognized as icons. Their whole existence risks being dependent on becoming part of skewed movie worlds. In retrospect and after so many past/present/future architectonic projections, buildings start acting like bona fide labyrinthine multiverse portals like the one from the OA series or the spiraling House of Leaves. As a response to Tartaria craze – to the perceived suddenness of modernist takeover, I would rather reserve the same feeling for something more close to home, i.e. how former forlorn monuments or Communist party buildings have achieved cosmist brutalist sublimity after the fact; an uneasy after-life for ex-Socialist architecture, only too quickly misconstrued or recast as lost civilizations – irretrievable end-of-history procedural.
In its incredible ambition to excavate the ‘real’ city from underneath the movie reels, Los Angeles Plays Itself plays particular attention to the cars – (like the view from the train cut by telegraph poles) sequentially open on all window sides to a sort of permanent TV diorama where Americana takes place (cars to watch road movies). The car is where everything is about individual freedom, post WWII consumerist boom and free expression. In the light of car ownership & peak oil it becomes paramount to see how car industry shapes a city that becomes unattainable on foot by definition, only to be traversed via motorized access or super highway. This is a cinematic story of dwindling infrastructure, of empty boulevards and public transport or lack of public transport, of non access and a public system that has endures steady degradation.
As much as human commuters, traffic and Lowrider car culture are part of iconic Los Angeles, there is no discussion in this ample video essay about the ATSAC (Automated Traffic Surveillance and Control) system of traffic control in Los Angeles that has been operating and continuously developed in the city for almost 30 years. I came across this man-machine assemblage trough an essay about New Media Pharmacology that adopts N. Katherine Hayles’s example of a nonconsious and distributed cognition that does not eliminate or completly circumvent human technical support (Unthought: The Power of the Cognitive Nonconscious 2017). This panspectron (a term proposed by Manuel deLanda) view from the control room looks like a spaceship and it is not driver-less. Looks like any NASA ground control or main deck of an USS Enterprise – wholly made up of divided & continuous surveillance screens of roads and continuous automotive traffic monitoring. It makes its own movie in a different way, yet I am not sure if the functioning or real footage from from ATSAC rooms got featured in any Lost Angeles movies (something tells me it did?). Being adaptive, evolutionary and flexible it is fitting all of Hayles’s criteria for a cognitive assemblage. It would be unthinkable without its human decisions and selectivity, bridging and bringing congruence to the various unconscious and conscious inputs that manage to connect and assemble the city of Los Angeles in a completely new post-cinematic way:
“Drawing input data from innumerable sensors, cameras, and detectors, processed by diverse algorithms, it is a massive technical system that requires various levels of human oversight and collaboration, from those who attend the complex computer output to individual drivers and pedestrians’ daily routines.“(Joseph Schneider). This self-correcting, machine-human learning traffic system sounds definitely closer to Chile’s pre-coup Project Cyberyn in that it serves the city and its residents with ‘no direct connection to market considerations’(Hayles 2017). Definitely one such rare example that does not have the in-built Coded Bias that is intrinsic to so much of today’s Algorithmic Capitalism. It feels that ATSAC subroutines even if not really prominent as a feature of the city or in our collective imagination, could subtend a lot of what gets registered either sensorially or cinematically recorded (think here of a drone camera perspective) as a nightly city grid – as blinking neural streams without any apparent behind-the-scenes, a false image of no -planning and of absent -invisibly, progressively evolving- large scale coordination.
Finally, Rotten Tomatoes makes certain that the critical consensus and appreciation for the tremendous effort and research that went into this essay is nearly universal: “A treat for cinephiles, this documentary is a comprehensive, academic, and enlightening film essay concerning Los Angeles and its depiction in the movies.”
Movies featured in Lost Angeles Plays Itself on IMDB
List of movies featured in Lost Angeles Plays Itself available on Mubi
timespace coordinates: Metropolis >> early 1940s France, the Bermuda Triangle, Atlantis, Manhattan.
Justice Society: World War II is an American animated direct-to-video superhero film produced by Warner Bros. Animation and DC Entertainment. It is the 41st film in the DC Universe Animated Original Movies line.
The Justice Society of America (JSA) is a superhero team appearing in American comic books published by DC Comics. The team was conceived by editor Sheldon Mayer and writer Gardner Fox during the Golden Age of Comic Books. The JSA first appeared in All Star Comics #3 (Winter 1940–1941), making it the first team of superheroes in comic books.
Two people live in different times. Seo-Yeon lives in the present and Young-Sook lives in the past. One phone call connects the two, and their lives are changed irrevocably.
timespace coordinates: 1972 / 2012 US
The Silent Age is a point and click adventure game, developed by Danish indie game studio House on Fire, and released for iOS, Android, Kindle Fire, Windows, Mac. The game’s story focuses on a janitor who is plunged into a task of saving humanity from an apocalyptic event by using time travel, discovering the future that will come about if the event is not prevented. The game was originally released as two episodes, before both were packaged together for sale. (wiki)
SYSTEM REQUIREMENTS (Windows – MINIMUM): OS: Windows XP Service Pack 3 / Processor: 2.4 GHz Intel Core 2 Duo / Memory: 2 GB RAM / Graphics: 256 MB NVIDIA GeForce 8600 GTS / DirectX: Version 9.0c / Network: Broadband Internet connection / Storage: 4 GB available space / Sound Card: DirectX Compatible Sound Card / Additional Notes: Mouse
timespace coordinates: near future HK China
Director: Henri Wong
based on novel: Monster by A Lee Martinez
I wanted to start with a critical quote by celebrated author and Sci-fi feminist Ursula K Le Guin as an entry point to something quite different: the new Chinese movie Monster Run taking risks. Indeed, we hear it more and more often: “Commodified fantasy takes no risks”.
a screen within a screen within a screen
21st century blockbusters tend to adhere piously to this dogma. Apart from instances of tokenism, it is less about world building new worlds, but only about propping up the old ones. Banking on previous successes is what big franchise do nowadays as a matter of good economic course. This stale creative output (i mean here mainly Marvel capitalist superheroines and superheroes) can be sure entertaining, yet incredibly predictable. And yes maybe they are not cinema and this for good reasons(and not especially becose M Scorsese sez so). I am not going to rehash old/new media-technologically significant histories of why the first half of XX c was ruled by cinema and why cinema gave way in the 1950s to TV in the US, or why 1970s Godfather gave way to the The Sopranos. The debates around post – continuity cinema from a few years ago, theoretically mapped by Steven Shaviro in his Post-Cinematic Affect have been stimulating to everyone, including me. What I’m trying follows up on those fruitful debates but also keeps an eye of fan studies and fandom in general. Cinema is not cinema anymore because it also commercially engulfed like a process of phagocytosis – all these previous non-artsy core fandoms, especially older comics/male-dominated geek cultures – that were already contested & blasted from within. Ursula K LeGuin is herself part of a generation of radical women writers (together with Octavia Butler, Joanna Russ & others) that actively & successfully challenged the most cherished ideals of Golden Age Sci-fi establishment in the 60s &70s & 80s that went hand in parallel with developments within comics. IMHO we are just entering a phase of truly global fandoms & one more diverse (artists, authors, publics, critics) than ever & completly bonkers in the best sense – one that the titans of media struggle to keep up with or try to ignore at their at their peril. Marvel nowadays exemplifies a sort of mise en abime mediatic spiral, the rush of older (retro) canons & fanon (full of contradictions & unsolvable antinomies) carried along and modulated by always mutating & rapidly changing technologies.
binging your way trough the time warp
New “structures of feeling” manifest as current meta- series reflect and build on our own binge status – #fullretromania churned by streaming giants (the Netflix Apple+ Disney + era) under Corona stress loockdown conditions. The soap opera TV series mass appeal success – gets to be lionized within the confines of streaming services such as Netflix. Importantly, and out of the Anglophone bubble – not everyone is Netflix & chill. There’s also in Eastern Europe (especially Romania satellite TV multi-channel bonanza) an acquired post 1989 TV taste & fandom of an older generation (those in their 60s or 70s and still quite gendered – say the generation of our moms) enjoying a whole array of Turkish dramas or Korean historical k-dramas. Otherwise no accident that some Marvel series and movies are self-reflexive, self ironic (postmodern cultural logic at work) chocke-full self-referential digital products. WandaVision is practically one single (and quite unsettling) uninterrupted history of home entertainment in a screen whitin a screen within a screen shot. To me they are like Nam Jun Paik art installations assembled for stay-at-home public in a serial form. Audience is akin to the special agent- (SHIELD-like?! NSA LOVINT?) pay-per-view binging and media analyzing to death 1950s 1960s 1970s US drama universes. The Marvel prosumers live within their screens and pay with their distracted & highly trained attention or continue tele- working uploading new YT replies or reaction videos about their favorite shows. For me it is not important to condamn binging or to relegate it to the addictive. Even if addictive it should still teach us something about our current status – of beings living trough very fast technological change, while almost doing the equivalent of a inter-planetary (or inter-galactic) trip. Binging feels almost like a trance state where nothing is portioned, where supposedly you get the whole season in one gulp. It is the media equivalent of constant guilty pleasures – basic ally what woman audiences have been been accused of all along. Binge and bulimic habits converge and a moralizing attitude akin to the moral panics of the 1980s has been internalized & casualized.
embracing the comics no risk formula
Hollywood embraced the comics majors formula AFTER independent comics artists (especially IMAGE comics) started their own publishing, changing and countering such formulaic franchise monoliths to start with. Comics Marvel or DC where pretty much over-extendeding themselves in a gamut of remakes of remakes BEFORE they ended onscreen. They were always banking on their wide distribution and wide readership by indulgin into canonic fan service, killing various titles ritually, constantly burying and resurrecting their stars, cashing in on the formulaic, extracting value from their pedigree pop iconicity. TimeWarner has been shrinking DC comics division – after it merger with Telecom+ Before this cinematic conglomerate – comics merger, there were re-issues and re-adaptions of previous 50-60 years of lesser or bigger successes – all ij tow with their widening readerships, stagnating sales and diversifying sub- audiences. Various pop cultural aspects were infinitely debatable & exciting with endless discussions even back then via letters from readers or during face 2 face atComic Cons etc Although Ursula’s insightful rant aims at heroic fantasy & space opera (mainly resuscitated by SW) tired tropes (culminating perhaps in ridiculous 1987 Masters of the Universe movie) , it still cuts across everything that is most despicable nowadays; entire media empires as an extension of global theme-parking. Now one single Marvel blockbuster makes as much box office money as the whole US comics industry. The gold is in the ownership and control over the characters – the milking of old & established caped hero brands. Cutting costs and pension plans has become a priority in comics industry, especially since blockbuster movies became so profitable. Yes, there is incredible reductionistic ‘toyfication’ going on – changing and reversing the flow of production chains, so that movies get made ONLY in order to sell more plastic merch and build even more experience economy parks.
world-building and world-playing
While this has been our lot since at least the 2000s, I would like to try and recover at least a certain uninteded effect of toyfiction. There is defintely a golden age of Chinese sci-fi going on – kehuan – uses original concepts, images, constructions, techniques sometimes derived from classical or ancient times to surprising effect. In view of Chinese 2020 Monster Run movie – all religions might have thus a bottom-up cosmological readiness, practicing their skill with various toy universes. Thinking this way makes a lot of ancient sacred artefacts – revered in their time, seem very much like sacred toys, and I am not saying this in order to belittle religious experience or draw attention on the ‘infantile’ aspects of religion or in order to draw ridicule at their attempt to world-build and world-play. Toys also have to do with models of the world, with the speculative capacity to model the universe. What is basically that essential Ptolemaic instrument – the armillary sphere, or what is that Antikythera mechanism but a long series of elaborate pre-electronic cosmic toys?!
toyfiction: lively automatons and religious toys
It is maybe useless to see toyfication and toy-fiction as anything but as further attempt to sanitize, to cutify, to subsume all creativity, to repackage innocence and ingenue aesthetics into further expansions of capital. But toys have lead us in other directions as well. Well, if we regard the first lively automatons as religious toys participating in a theo- robotic history, then they are all expressions of a certain restless (neo-vitalist?) mechanistic mystery play. More often than not there is the possibility that any cheap toy u buy might be poisoned or produced under inhuman forced labor (laogai) conditions and thus be the preferred vehicle & embodiment of the darkest toxic forces of capital. With that in mind, I consider Monster Run a new example of how toons and toys blend into religious mechanisms and Escherian geometrical puzzles – mystical complexes reinvented as weird playgrounds of Spirits, Demons, Monsters, Gods.
faux gold auratic glow of the bloody fun fair parks
Such a natural philosophy of toys would regard humankind itself as human toys of elemental forces(or humans as playthings of the Gods). I say this in order to reverse engineer their infantile consumerist function and cautiously map their preternatural cuteness across an unexpected both sacred&profane terrain. Aberrant toys, cheap copies, fake plastic artefakes, lucky cat faux gold do have an unsettling auratic glow even as they are mass produced and easily reproductible. They also end up on the same mall stall – the golden plastic toothpick box next to the electoplated orthodox incense burners (both made in China btw). In a thoroughly commodified fantasy world, of Spirited Away theme parks abandoned and new ones being built, heaps of plastic toys, puppet limbs on beaches and microplastic slowly filling our oceans, toys become harbingers of ‘numinous’ doom. On the more auspicious note – there is a link between ancient Chinese lucky cats, old sayings (recorded in The Miscellaneous Morsels from Youyang) about feline behavior and good omens that announce easy commerce or are supposed to ward off evil. Our 21 c plastic temples in contrast are left floating under more or less murky waters. Yet, they are more strange, more weird than your usual place of dedicated prayer. They are generally scary fun fair theme parks like party clubs mimicking Egyptian glitz or Las Vegas pyramids as sold and Made in and increasingly Created by China.
new elasticity of time & space in the 21st century
Monster Run could be one such backdoor entry, a portal towards the 21st c inter-dimensional thinking & feeling. Onr that id still at odds with 20th c notions & certitudes. Thinking about the MULTIVERSE or about PARALLEL DIMENSIONS, PORTALS – has become pretty common, even maybe a signature of 21 c century spatial and temporal restructuring under both unbridled speculative daredo & as insidious algo-capitalistic means of reproduction. While most non-essential dream-workers work from home(ones that David Graeber hoped to wake up from their productivity slumber) bouncing off the four walls (and sometimes singing from their balconies). These dream workers are also exposed to time warps and bouts of binge-induced non-locality. We are always elsewhere, on The Expanse riding together with the Rocinante crew or chased by mutant monsters on K-drama hallways or deep inside a game level. This restructuring usually arrives via Sci-fi tropes but is also felt as the accretion of a condensed all embracing atmosphere precipitating from our daily experiences under lockdown. Binging on series, YT or TikTopk videos, or reading various lenghty novels is not just a time filler – it also explains something universal about sentient beings. Either cyborg or human they might be spending their long pod-status onboard life under lockdown crunching trough and enjoying media. This has been one of the universal constants of COVID time – something that would feel familiar to (Martha Wells’s) MURDERBOT onboard the long stays in between the landing stations. We are not alone even when alone or most solipsistic, but surrounded by various invented, imaginary creatures, attachments and life support systems as well as very material cloud computing infrastructures burning a lot of fuels that keep us glued to the ultra-HD streaming. We are closely interdependently enjoying various cultural serialisms at a time of general distress. This basic mediatic serialism (with healthy interruptions) during COVID pandemic staycation exhibits a new chewy elasticity of time spent mostly inside closed, built environments. An elastic time best expressed by the Indonesian notion of rubber time jam karet (check interview with Riar Rizaldi by bv film critic Łukasz Mańkowski ), one also taken up by Irina Gheorghe in one of her lecture- performances in Yogyakarta.
homemade creepiness and animatronic mystery plays
What would such a sacrificial rite (sacrificing childhood dreams, naivete, plain fun etc) look nowadays? Toys (animatronic ones especially) offer bloody movable spectacles – empty (abandoned) creepy temples where few make it out to tell the gory tale. Under their healthy, family-oriented innocence, what lies beneath amounts to a splatter grand-guignolesque childhood spectacle where a ham-acting Nicholas Cage plays along. Material toys do take part in a larger creep that includes a longer trail of various creepy digital objects. In fact this homemade creepiness is key nowadays. From creepypasta to YT toons – we unwind a disturbing children’s world gamified, exploited and uploaded by automated editing toolz that push non curated content under ur nose to ur toddler. These creepy hard-to-follow (for adults) content loops have been explored in the essays of James Bridle and their follow-up of rules and manic content filtering.
Chinese Boxes and Matryoshka universes
To go back to Monster Run in spite of what critics have been calling a mess and “salad script” -you can just mainly watch it for fun (if you find a good subbed copy of it). On one level it is just a very fresh Cantonese Taoist Ghostbuster story. My interest was the setting of this monster hunt conflict between worlds that wanders between sino-futurist city cyperpunkish back alleys, CGI interiors etc New Chinese construction sites (including the Belt & Road Initiative). They are the current inter-dimensional nexus hiding in plain sight but also offering the comfort of tiny houses or private otaku room interiors that offer respite from very brutal outer worlds. In this movie backgrounds are morphing, being constantly remade almost in a Minecraft way and with a view (for me) for neglected aspects of the Chinese 21 c miracle – (as opposed to the NY skyline of Nolan’s Inception kaleidoscope let’s say). Of course there is a lot of shamanistic goings on, gate-keeping, sliding and hiding in-btw worlds and worlds that are nested inside worlds like Chinese boxes or Matryoshka universes.
convenience store gate-keeping & monster rampage
The convenience store is integral to this border crossing. It is the place where the young Jing Mo (Jessie Li), the movie’s heroine and future inter-dimensional gatekeeper works. She works at the convenience stores at a dead ends job(a typical experience of pre-Corona youth no?) after being diagnosed, medicated and separated from her mom (who seems to be her only living relative). She is transformed into a patient because she sees invisible entities that influence and affect our world in very material ways. She also gets paid to dress up as a furry – in a monster costume that looks very similar to the real monsters in the movie. She has to try hard and ignore otherworldly creatures (monsters), beings that are oblivious to everybody else but her in the beginning. Later on she finds out that she is part of a group that have made a living out of hunting monsters that wreak havoc to our world. Monster do stick to her, and she attracts some gigantic hairy creatures (akin to kinda cute Yeti’s) that seem to freeze their victims (but not kill them). This convenience store is almost a mythical place in itself. Very colored, overly full of all sorts of specific Asian packaged products, bright stalls with products that get chaotically thrown around and misplaced after consecutive monster romps.
maximalist space, armilary spheres and Egyptomania
Another scene is set in the backside of a street vendor’s shop called uncle Ping. In fact this very amiable street vendor is a mythical creature; a shape-shifting half-lion half human. He could be part of a long series of wondrous antique shop owners or your favorite from the nearest China Town. I also saw him like one of the Ming dynasty scientist. He could also remind us of the Zicawei portrait of the Italian Jesuit Matteo Ricci maybe because of the armillary sphere (no mother Mary thouh). There are all sorts of exotic artefacts in this liminal space, from Armillary spheres to incense burners. Egypt also plays a role too, although it is again almost a theme park show of Egyptian antiquity. Of course ancient Egypt was part of Imperial Orientalism and of course it became such an important iconic treasure trove to be ripped off by incipient European secret societies and even masonic iconography. Maybe indeed the Mummy’s curse was of course a memetic artefact of such British Imperial fears and hubris after pillaging most extra-European cultures, a process of appropriation that went unimpeded till recently. But this ‘hodgepodge’ is almost like an contemporary alchemist’s room, an unusually crowded, non- Ikea furniture space. No room for Marie Kondo, this is a non- minimalist maximalist environment akin to the setting of a Korean female shaman ceremonial or the dense arrangement of a Chinese pharmacist shop. Young Jing Mo is the next in line shamanic traveler & inter dimensional gatekeeper and the true battle of the movie pits her against an older, more power hungry (?!) matriarchal (shaman) generation.
There is also an incredible chase that feels like constantly folding space inside the lower lever of a construction site or parking lot. I really liked how the construction boom (cement) molded space is somehow itself folding and refolding into new temporal configurations as the monster hunters car tries to loose some pretty pesky nemesis. Importantly – folding paper is key in Monster Run.
folding space-time while folding paper
Somehow this topological art of the foldable translates perfectly into portal openings and folding space-time. Paper was invented in China and the main non-human character of the movie is Paper the sidekick of 2000s HK heathrob Shawn Yue – literally an animated spell (a piece of written paper that has taken a life of its own). The Chinese craft of paper sculpture is directly linked to the after-life and nether world. There are elaborate paper copies of golden ingots, paper money, paper humans, paper houses (even paper VHS or paper cars) also included figures of paper gods that were made (and sold) all over the Chinese diaspora, including Taiwan and Singapore. All these paper objects were intended to be ritually burned and thus mainly de-materialize HERE and re-materialize THERE in the great beyond. They are intended for the after-life and the ancestors cult. Recently this art form – as most of our paper products got replaced by (cheaper but much more noxious) petrochemical plastic replicas. Monster Run features some really nifty tricks involving recycled pop ephemera as idol posters, while -Paper- the Daoist side-kick appears to be made out of single use coffee cups or tetrapack packaging.
sentient flower portals
The novum of Monster Run is an inter-dimensional tunneling that is quite organic. I was totally surprised by this since it is not at all what inter-dimensional wormholes look like in usual Sci-fi settings or scientific illustrations. Monster Run spins these wormholes almost like the silk moth cocoon is spun. It almost fells like a soft funnel spider web without the poisonous arachnid chelicherae waiting for you. This inter-dimensional labyrinthine silky structure I dare say is quite different from other architectural mazes (as in The Maze Runner series for example) I have seen in movies, Sci-Fi books, science experiments (the famous maze solving slime molds!), comics or even speculative scientific renditions. This human-sized inter-dimensional spider web or silken cocoon blooms flowers portals at its ends. In fact these incredible moving gigantic peony(?!) flowers (see screenshot below) are the portals – like undulating, sentient fleshy sea anemones of sorts with moving, unfurling petals and feely touchy stamens. Peonies have been called “the longest-used flowers in Eastern culture” and they have such a diverse morphology ranging from your garden variety to 3 m deciduous shrubs! Last time we counted Paeoniaceae compounds it included 262 phytochemicals. What more do you expect of botanical alchemy? This amazing list include compounds that have shown antioxidant, antitumor, antipathogenic, immunomodulative, cardiovascular-system-protective activities and central-nervous-system activities (in vitro). Peonies are a cocktail of monoterpenoid glucosides, flavonoids, tannins, stilbenoids, triterpenoids, steroids, paeonols, and phenols. Monster Run CGI giant peonies are the first floral ‘sentient portals’ I have yet encountered in movies. Flowers of course are very important in Buddhism and Hinduism, and giant lotuses abound in Buddhist cosmology with a predilection for the floral as the seat of myriad Buddhas (such as the iconography of the Prabhūtaratna and Shakyamuni in the jeweled stupa wall painting from the Yulin Caves) or as spatial representations of various Buddhist realms. Hutzul minority in Ukraine & România also identified the lucky 4 leafed clover as a model of the universe. The various Lotus petals surrounding the central Pistil (mount Meru of Hinduism) are the various regions/cultural centers/worlds (Lokas). But you don’t need all these references – the CGI makes it something sui generis, aptly transporting us between computer game worlds and a backyard globalized reality. Anyways, the takeaway is that Monster Run, even without a big release is well worth watching even just for seeing these portals bloom!
TimeSpace Warps 
