At the last drive-in movie theater in Los Angeles, located in a lonely neighborhood known as the City of Industry, a short experimental documentary is being shot for the first time. Dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections on and surrounding the multiple screens, which are set against a backdrop of smokestacks, beacon towers, and passing trains. The nighttime landscape is viewed as a border zone, aglow with dreamy illusions that reveal overlapping realities at the confluence of nostalgia and alienation, as depicted in the film VINELAND.
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At the last drive-in movie theater in Los Angeles, located in a lonely neighborhood known as the City of Industry, a short experimental documentary is being shot for the first time. Dislocated Hollywood images filled with apocalyptic angst are re-framed and reflected through car windows and mirrors as the displacement of the radio broadcast soundtrack collides with the projections on and surrounding the multiple screens, which are set against a backdrop of smokestacks, beacon towers, and passing trains. The nighttime landscape is viewed as a border zone, aglow with dreamy illusions that reveal overlapping realities at the confluence of nostalgia and alienation, as depicted in the film VINELAND.
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