Camera Obscura's 'Virtue' — Rarelyseen Cautionary Tale At The Roxie
“We are in the midst of the deepest technological event to hit humanity since the fire. Is fire good or bad? -John Perry Barlow, in Virtue.
The late 1990s was a time of tremendous change, both technologically and culturally. In this context, Camera Obscura's "Virtue" sounds like a modern version of James Whale's "Frankenstein", actually "Fire bad!"
The film follows Handi who loses her husband in an autoerotic accident at the beginning of the film while watching virtual porn with VR glasses. The search for a virtual replacement for her husband (“Chip Man”, as she calls him) Tripp (Philip R. Ford) and his provider Dr. Hay, introduce Pluto (Timmy Spence) to the world of VR chips.
Notably, the film depicts "real" events in black and white, while scenes viewed through VR goggles are in color. It should also be noted that the black and white world portrayed in the film is a remote area of South Market (which was deserted at the time due to the many deaths and bankruptcies during the AIDS crisis).
One of the film's VR characters lives in a makeshift house under the freeway, which sounds dystopian but feels close enough to reality to suggest that our current housing crisis has been on our minds for a long time.
Announced but paused
The film was not well received after its initial release. Peter Stack condemned the film as "essentially a form of voyeurism" and called it a "virtual waste".
In 1999, Wesley Morris of The Examiner wrote that the film conservatively suggested that "maybe all there is in technoculture is Grade D pornography and phantasmagoria".
Perhaps the critics' naivety can be explained by considering that streaming providers like Xtube didn't get onto the internet until the middle of the decade when the film came out, and they might have thought, "The internet won't be." Often used for porn used. like in the movies. If you believe that, you are wrong. According to a 2018 Business Insider article, there are more porn sites viewed than Twitter, Netflix or Wikipedia.
Admittedly, it's a bit difficult to capitalize on the spooky elements, and I had to leave out some of the more graphic dissection and piercing scenes. However, keep in mind that the action of this film takes place in the middle of the Modern Primitive era, which makes these elements a bit more understandable.
The cast is captivating and includes the late Arturo Galster as Patsy Cline, Miss (like Elvis Herselvis), Jello Biafra as the VR poker dealer and even stars like Barlow, Timothy Leary and William Gibson commenting on online culture.
It might have been a drip when the film hit theaters, but to anyone who's had to dodge mesmerized pedestrians or babbled around the internet under the influence of conspiracy theories, it looks pretty creepy and camera obscura. She looks like Cassandra.
The director of Camera Obscura will conduct a post-screening interview with San Francisco historian Jack Bulwer during a panel discussion featuring Lee Crowe (Elvis Herselvis), Philip R. Ford, Lou Reed (Fudgy Frottage), Alvin Orloff, Beth Custer and RU Sirius. and RU Sirius. other.
I recently interviewed Camera Obscura at the June 5th screening.
Michael Flanagan. I was fascinated by the series starring Philip R. Ford Tripp and Timmy Spence Dr. meet. Pluto. Is it a real club and if so where was it filmed?
Camera obscura. Yes, it was recorded in the back room of the DNA Lounge. The Star Spangled Banner scene was filmed in Marsh at the Mission. The Sisters of Perpetual Indulgence scenes were filmed at Club Townsend.
One of the scenes that will end soon is when VR Addict plays with Jello Biafra, his abode under the freeway in SoMa. Were all street scenes filmed in the SoMan?
Yes, both scenes were filmed south of the market. Located on Berwick Street near 10th and Folsom. Now it looks like another way. All over the street graffiti with expensive condoms; the perfect metaphor for the current state of the city.
The film features a number of local personalities including Sisters of Perpetual Indulgence members Miss X, Alvin Orloff and Elvis Herselvis/Lee Crowe. Is there a show or performing group that inspired you during filming?
Oh my god yes Immersed in their humanity, these people have explored every nook and cranny, traditional or foreign, with great detail and curiosity. It's so liberating and inspiring. They lead the community by showing how to live life with joy, humor and authenticity.
Perhaps even more inspirational than individual artists is the way the city itself supports the network of clubs that become spaces in this creative exploration. Club Uranus, EndUp, Pleasuredome, Colossus, Eagle, Stud, DV8, Klubstitute; I mean the list goes on. The scene itself is an inspiration.
Wouldn't it be great if clubs that really add value to society took advantage of the tax breaks offered by Facebook and Twitter?
I am a regular weekly member of Klubstitute. I've always said that its founder, the Popstitute Diet, was a high priest. It is spiritual sustenance for me and many others. I dedicate my film to her, but also to my X-stasy sister Marie Colette and my mother.
And let's not forget that before the 1990s club scene there was Doris Fish, The Coquettes, Angels of Light and Hula Palace, not to mention the Empress party and the leather and modern primitive scenes. And after "Virtu" came the trannyshack and drag king moves. Therefore, half of the film's proceeds will be donated to the GLBT Historical Society. It is a heritage to which "virtue" owes everything. It must be appreciated.
The ritual scene with the sisters is reminiscent of Kenneth Anger. Was that the inspiration for this part of the film?
Yes, good eyes! "Virtue" is a deliberate homage to precedents: Jean Cocteau, Kenneth Anger, Bruce Connor, Jack Smith, Curt McDowell, including John Waters. I was thrilled to have Lou Weinert as the cinematographer in this and several other scenes because he intuitively understands how to amplify the light as it hits the silver surface of the film emulsion to make the magic work.
I asked him to recreate the dreamy, flamboyant style of cinematographer Cocteau Henri Alecan. Unfortunately, since the entire cast and team are volunteers, Louie is unable to choreograph the lighting for every scene. He also performed the rainbow scene "Star-Spangled Banner".
At the time of the film's release, there were reviews of Investigator and Chronicle, and none of them understood the film. Do you think it was because they didn't understand the non-narrative structure, or because they were so fascinated by the technological changes of the time that they couldn't hear the dystopian voices? :
I think it's because they have no idea how much digital technology is going to change our lives and society. Like everyone else, all media believe that technology “empowers us”, “levels the playing field”, “democratizes” society and gives us more free time.
I remember sitting in the back of the theater while the audience was finishing a movie and hearing people mumbling things really loud like, "That's so funny!" No way." "Shouldn't. demonize technology. It's just a tool" and "These glasses are stupid".
Well well well! See who's crazy now! (funny, not funny).
As someone who has witnessed the rise of virtual reality and virtual video craze, are you surprised that the amount of time (à la TikTok) seems to be shrinking, or do you think computers and smartphones are doing it quite naturally? attention span?
Algorithms are programmed, or as they say, "tuned" to compete with each other to purposefully distract us. This naturally causes our attention spans to become shorter and shorter as our lizard brain's reactions teach us algorithms that help us be more successful.
As a result, our attention spans become shorter and shorter in a negative feedback loop between people and devices. A five-minute recording of Arturo Galster singing all four verses of "The Battle Hymn of the Republic" as Patsy Cline on "Virtue" is a statement about the medium and attention span, much to the dismay of those living with Spotlight Deficit Disorder Suffer . . .
But one more thing about algorithms. The constant race for short attention spans not only continues, but shows how it has polarized our community. It's also scientifically proven. Focus group studies have shown that of all human emotions, anger is the most powerful driver of social media engagement. A click or a like or whatever.
Hence, these social media algorithms are designed to generate outrage. And so we're in fierce competition at every possible dividing point — trans rights, gun control, vaccines, critical race theory — whether the earth is round or flat. It would be funny if we weren't on the brink of civil war. Honestly, when I see all the hostile policies being written against transgender people and other marginalized people, I blame social media.
In a way, the small screen size also makes it harder to maintain focus compared to sitting in a comfortable chair in a dark room in front of the beautiful Cinemascope screen. Perhaps the wisest prophetess is Norma Desmond in Sunset Boulevard's " I'm Tall , It's a Shrinking Image."
“Virtue,” June 5, 6:30 p.m., The Roxie, 3125 16th St. Free (Member) – $10. www.roxie.com/film/virtue
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