On Photography, the Post-Empire State of Mind and Bebe Zeva (Part I of III)

The first slurred sounds on Bebe Zeva seem innocuous enough: “Nice to meet you, finally.” But, then, you have to consider who is saying them and why. After all Bebe Zeva documents the first (irl) meeting between Megan 'Ass' Boyle (blog, co-honcho of MDMA films), Tao Lin (e-livre ici) and Bebe Zeva (muse of Richard Yates and fashion blogger). If you sift though the always emanating from blue-to-purple hyperlinks, you're going to find an equally convoluted story.

After all, as anyone with an ex can attest, the politesse of everyone tripping over their heels to be well-behaved can be cinematic. Regardless, Boyle and Lin’s film isn’t merely about cultivating the low-budget dram’ between Tao, his new wife and his former muse, as naysayers might suggest.

Bebe Zeva made me realize, in terms of thinking critically, the extent to which I project my ‘interpretations of exploitation’ upon the film-making process. But, before I begin, I'd like to address the polemics of new media distribution.

For those unfamiliar with the story behind this made-for-reality-tv-movie, the film was shot on November 27th, 2010. I received this film in the mail (in a plain, manila envelope with red permanent marker) sometime during the first week of April before I left for New York.

While I was gone, the movie patiently waited on the table in the entry at my house, Big Dick Peyote Snake Church.*


The cycle of production is as such that Bebe Zeva was filmed, edited and distributed within approximately five months. In turn, the movie was distributed to me, consumed and reviewed within about two weeks. I screened the movie with a couple friends after making a Facebook event, "jordan castrol's fucked." I would say that 90% of the people invited were sorely confused, wondered whether this event was circuitous to some sort of hallucinogen binge (no, that's just the name of their film co-op), a party (I don't think so, but I bought boxed wine), or who just who the hell did Tao Lin/ Jordan Castro(l)/ et. al think they were (idk).

On Photography and New Media

Personally, I was curious about what happens when someone primarily considered a writer translates their experience into film. The first theorist that came to mind after I actually watched the film was Susan Sontag (left). Since Sontag addresses the narrative of the image, I revisited her work because she, like myself, attempts to describe the cultural meaning of a photo (or in the case of Bebe Zeva, a series of images generated in a loop or stream) in a style of words most resembling critical theory.

On Photography (1977) is one of those texts that endures despite the evolution of form and the fact that it is critical ("blah blah blah") theory because of the precision of Sontag's ideas about media.

After all, Sontag suggests that "photographs really are experience captured, and the camera is the ideal arm of consciousness in its acquisitive mood” (3). In other words, she hypothesizes that photographic images are the result of the generation of content that happens when you wish to capture a moment (instance in time), person (character), or perspective (vision, ideology). Sontag also asserts that "Photographs, which package the world, seem to invite packaging," which brings me back to my original consideration (4).

This applies to our desire to 'package' or somehow possess any type of medial expression. After release, the medium (the movie) is packaged physically (on a DVD in a box in an envelope), abstractly (into this review) and into software (the codex that run the program that runs the DVD, etc.). These are disparate entities, therefore first, let's examine the physical packaging of the film and distribution.

Net-erview with Justin Kavoussi

My first question, beyond what type of experience can we 'expect' from an author-turned-director, does this new media film manifest typical distribution and post-production processes? I wanted to know whether new media was somehow influencing the speed of production, consumption and distribution. I asked director Justin Kavoussi to clarify my questions about the film.

I asked him,"How long does it usually take to edit a film of about an hour and a half of length for say, an indie film of average post-production attention?" And, "2. How long does it usually take to distribute a film of average post-production attention?"

He replied (via the internet),

What I understood from conversation was that the implications of directors producing their own film without editors could transform the industry. The role of the editor could evolve into something like being relegated into big budget projects with visually demanding pieces. However, it must be noted that Tao Lin is radicalizing the genre as is specific to his style. Tao's walking around Las Vegas with his Macbook and arms extended, but this is part of what I perceive to believe is what he considers art.

Tao advocates that anyone has a voice, that the facets of art that allude detachment of the heart in favor of form/ convolution of meaning are ajar. I have theorized that this is a simplification of style might be in order as a reaction against the established, dominant culture. In other words, his project is a complement and extension to the tenements of independent film industry.

*I do not get credence for making this term up. Unfortunately, such debauchery was created by one of my housemates. We are, also, it should be noted unaffiliated with Fred Phelps.co. In addition, I would also like to acknowledge and privately thank an affiliate of big dick peyote snake church with linking me to the Brett Easton Ellis article that will be referenced in the later segments of this post. Thank you.