Although modernism has come to an end, modernist thought is still alive. The idea of changing the world and bringing new order is prevailing and subject to numerous transmutations. So is socialism, which keeps changing and seeking to put revolutionary ideas into practice. In my film, I wish to juxtapose Soviet socialism with an intellectual and sophisticated French socialism, as well as, with Polish social reality. As a result, the film’s recipients will be able to transfer certain values and mental situations from one area to another. Images taken from the home archive of people belonging to post-punk culture were here put side by side with the pictures showing the dark side of living in a post-soviet reality and D. Vertov’s film Enthusiasm: Donbass Symphony. Moreover, the film The Society of the Spectacle was re-edited to fit G. Debord’s text. Apparently then, the work becomes a recycling of culture and memory enriched with abstract elements, closed-eye visions and the aesthetics of video images.
The technique of digital electronics was used in the film completion. However, it only simulates other media and employs temporal aspects of time during which the film was made. Hence, it seems to be a perfect medium for Found Footage mystification. My approach to the simulation of other media effects is a flexible one. Occasionally, I tend to cause a disturbance by distorting video and marking it with the traits of film images, or vice versa. It is then an innocent play with the role of propaganda films, even those from the home archive.
Each and every medium is, after all ideologically marked.