Kramer’s Ice staged the revolution’s violence as collective fantasy

Evidence

As did Godard in La Chinoise, Kramer begins interpolating slogans: WE MUST NEGATE THE PRESENT IN ALL ITS FORMS. (This followed by some negative images.) The women’s group is making bombs. A government official is assassinated. There are shoot-outs in Washington Square Village. Counter-revolutionary vigilantes assault and seemingly castrate a radical (played by Kramer). The revolutionaries liberate a prison and summarily shoot a designated “rat.” — J. Hoberman, Everything Is Now, 1659

Categorization

• XREF: connects to: Kramer’s Ice blurred the line between revolutionary role-play and actual revolutionary action — J. Hoberman, Everything Is Now: The 1960s New York…, 1658; Kramer’s Ice was a thought experiment built around how radicals organize internally — J. Hoberman, Everything Is Now: The 1960s New York…, 1655; Politically committed critics read Ice as personal fantasy, not politics — J. Hoberman, Everything Is Now: The 1960s New York…, 1662
• yield-rescued: below the book’s yield-target cutoff, included anyway for connecting to: Kramer’s Ice blurred the line between revolutionary role-play and actual revolutionary action — J. Hoberman, Everything Is Now: The 1960s New York…, 1658; Kramer’s Ice was a thought experiment built around how radicals organize internally — J. Hoberman, Everything Is Now: The 1960s New York…, 1655; Politically committed critics read Ice as personal fantasy, not politics — J. Hoberman, Everything Is Now: The 1960s New York…, 1662

Broader Connections

• Politically committed critics read Ice as personal fantasy, not politics #complicates (0.82) — J. Hoberman, Everything Is Now, 1662