Visual trash: The dis­qual­i­fied, that with­out taste, ot thought of as wor­thy of se­ri­ous study.

Buster Crabbe: Pilot of the 25th Century, and more im­por­tantly Flash Gordon in the 1940s. At that time, peo­ple would go to the cin­ema all the time - so there were all these se­ri­alised films.

[Flash Gordon con­quers the uni­verse]

These films were made for as lit­tle money as pos­si­ble: Usin stock footage, mu­sic from other films, cos­tumes and sets that hap­pened to be ly­ing around the stu­dio. This is the be­gin­ning of cut-up cin­ema. The pur­ple death is the first one in the se­ries. It has this weird, jum­bled un­der­stand­ing of tech­nol­ogy: Kind of prim­i­tive and ex­oti­cised, but also mass-me­dia and sci­ence fic­tion.

1944: Captain America The pur­ple death

What is it about pur­ple that these black and white films are ob­sessed with? For one, pur­ple is the least com­mon colour in na­ture: This is why it’s as­so­ci­ated with wealth and power. It’s also the first ar­ti­fi­cial dye. So it’s con­nected to the ar­ti­fi­cial, un­nat­ural, but also power and wealth.

Cobra Woman (1944) Maria Montez aka The Queen of Technicolor

Jack Smith (1962): The per­fect filmic ap­po­site­ness of Maria Montez

The vast ma­chin­ery of a movie com­pany worked over­time to make her vi­sion into seets. They achieeved only in­ept ap­prox­i­ma­tions. but one of the atro­cious ac­ing sighs suf­fused a thou­sand tons of dead plas­ter with life

Flaming crea­tures (1963)

Juvenile does not equal shame­ful and trash is the ma­te­r­ial of cre­ators. It ex­ists whether one ap­proves or not.

I grew up in dark­ness, spend­ing most of my time in dark­ness or with a bro­ken brush­ful of pu­trid paind

Choppers Surfers Cross

Kids started to wear Nazi mem­o­ra­bilia that their par­ents had brought back from the war.

Time:

Dug out of at­tics and cu­rio shops and freshly minted by the thou­sandsm the German Iron Cross has be­come the news­est surfer’s em­blem and high school fad.

Tax Haven