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Cannibal Holocaust is a Italian cannibal horror film directed by Ruggero Deodato and written by Gianfranco Clerici. It stars Robert Kerman as Harold Monroe, an anthropologist from New York University who leads a rescue team into the Amazon rainforest to locate a crew of filmmakers. Played by Carl Gabriel Yorke , Francesca Ciardi , Perry Pirkanen , and Luca Barbareschi , the crew had gone missing while filming a documentary on local cannibal tribes. When the rescue team is only able to recover the crew's lost cans of film, an American television station wishes to broadcast the footage as a sensationalized television special. Upon viewing the reels, Monroe is appalled by the team's actions and objects to the station's intent to air the documentary. Influenced by the documentaries of Mondo director Gualtiero Jacopetti ,   Cannibal Holocaust was inspired by Italian media coverage of Red Brigade terrorism.
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I don't get off on death, so when my Twitter feed exploded Wednesday morning with reports that two TV journalists in Virginia had been shot, live on camera, I followed the news but didn't watch, let alone retweet, the video. Or the first-person footage the murderer posted later before shooting himself. I did see a half-dozen journalists and many others — including some who had the footage auto-play in their feed without warning — call on Twitter to take down that snuff film along with the account the killer posted it from, which it did. Understanding the anguish at losing two of our own, there's something wrong with journalists, of all people, insisting that videos are too offensive to be seen at all, and demanding platforms remove them. Generally, this only gets answered, if at all, after some new horrific thing appears, and then with some twist on Justice Potter Stewart's famous obscenity definition: "I know it when I see it. The idea that Twitter or any ad-supported social media site — not the virtual public commons they like to sell themselves as but rather, like shopping malls, spaces open for business — should decide what violence we can see is nuts. Where newscasts have limited time and newspapers limited space, Twitter — where we can all afford e-ink by the barrel — has to make an active decision to strike down content as beyond the pale.
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John N. Productive Postmodernism addresses the differing accounts of postmodernism found in the work of Fredric Jameson and Linda Hutcheon, a debate that centers around the two theorists senses of pastiche and parody. For Jameson, postmodern texts are ahistorical, playing with pastiched images and aesthetic forms, and are therefore unable to provide a critical purchase on culture and capital. For Hutcheon, postmodern fiction and architecture remain political, opening spaces for social critique through a parody that deconstructs official history. Thinking in the space between these two sharply different positions, the essays in this collection investigate a broad range of contemporary fiction, film, and architecture from such narratives as Don DeLillo s Libra, Toni Morrison s Beloved, and Ridley Scott s Blade Runner, to the vastly different spaces of Las Vegas casinos and the United States Holocaust Memorial Museum in order to ask what the cultural work of a postmodern aesthetic might be.
Such films are reputedly shot in Third World countries where officials are bribed into ignorance and loved ones frightened into silence. Films which are then sold or screened for vast sums of money to wealthy decadents, who are so bored with life that they can only get their kicks from watching the final taboos being shattered… or videos that are circulated amongst underground networks of child molesters and rapists, ensuring that the violation of the victim continues long after their death. The term for these movies is at once shocking in its cynicism, and unforgettable in the horror of its implications: Snuff. Nobody is entirely sure when, exactly, the stories began. Some claim that rumours were circulating as far back as the Forties, but the modern fixation with the idea of the Snuff Movie can be traced to that turbulent period as the Sixties crossed over into the Seventies, and long-held ideas of morality began to crumble.