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InterLace began to buy current feature films for its rental menus, and also advertised the cartridges with one-off spontaneous disseminations. At first glance, the film was Trash, the kind of shocksploitation film that would have shown in the multiplex for two weeks in Cinema 8 and higher and then wandered straight into the hurricane of the magnetic videos in their bland brown boxes. Hal’s interpretation boils down to the fact that at certain dark points, at which abstract theoretical problems offered an escape from the far more painful creative work on humanly true or entertaining cartridges, he himself shot films in various commercial genres, but so mercilessly to the same product specifications That the results had become ironic meta-cinematographic parodies of genres: “sub- / inversions of genres,” as the experts would later call them. The meta-cinematographic parody concept is aloof and too sophisticated for Hals’s taste, and he doesn’t like the idea that He Himself always seems to be seduced by the very commercial formulas that he turns upside down
wanted, especially the seductive formula of brutal retribution, d. H. the cathartic blood bath, d. H. the hero who wants to escape the genre of stick and fist with every fiber of his being, but is repeatedly driven to use violence by adverse circumstances, to the cathartic carnage at the end, which makes the audience applaud instead of mourning. His own masterpiece in this manner was The Night Wears a Sombrero, a meta western in the footsteps of Fritz Lang, but also a really good western, with plush self-made interiors but breathtakingly grandiose landscapes that were shot near Tucson, Arizona ; the story of a first hesitant and then punishing son, who unfolded in front of dust-colored skies and wide long shots of flesh-colored mountains, also with minimal slaughter: the people who were shot only pressed their hands to their chests, sank to the side and kept their hats on.
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