Popular Culture Review 29.1 (Spring 2018) - Page 91

New Mexico, melting through prop homes, destroyers launching missiles, marshaling Nazis, Russian troops parading, American soldiers marching towards an A-bomb explosion all appear quickly. The narrative is one of man’s destructive power - not directed at a particular government, but rather at all governments. Also included are scenes of social protest. Part of the effectiveness of this narrative is the bombardment of images. One must watch the video over and over to disti nguish all the footage and events included. Together, they over-whelm the viewer with the totality of violence and the brutal history of twentieth-century man. Bombers swarm the sky in other parts of the video, overshadowing the male character who is lost in the desolate, post-apocalyptic landscape of remote Iceland. The ruins of a city flicker in and out of the frames like a ghost. This visual imagery is fairly indicative of the gloomy undercurrents of the album, all centering on loss, destruction, desolation. The montage of historical footage here, which overlays the two human figures of the video, provides a fantastic, overarching perspective of the sudden, often violent technological and political surges of human production. Much of this footage looks like it is part of the material filmed by the U.S. government during testing and wartime 91