Frenesi and the Pisks had taken over of what was left of the Death to the Pig Nihilist Film Kollective, based in Berkeley, a doomed attempt to live out the metaphor of movie camera as a weapon. The stands, Movieola, hydraulic camera mount, fridgeful of ECO, and, at first anyway, a rump of the Kollective's more stubborn personnel, who had put some of the language of their old manifesto into 24fps's new one – »A camera is a gun. An image taken is a death performed. Images put together are the substructure of an afterlife and a Judgment. We will be architects of a just Hell for the fascist pig. Death to everything that oinks!« – which for many was going too far, including Mirage, on her feet to insist that pigs are really groovy, in fact far groovier than any humans their name ever gets applied to.
Thomas Pynchon: Vineland. London: Vintage, 2000.


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