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Especially extreme bodily sports are suited for media production to establish an element of identification to the audience. About this element the issues 'nation, race, social affiliation and class' are formed and transformed.

In focussing and repetition of single player’s moves or spectacular sequences there is created as well the desire as the fulfilment of star cult and heroism. The simultaneity of collective effort and individual bodily performance serves the group feeling and patriotism. Exemplarily therefore in the installation American Football is shown where just through a pretended vanquishing of racial and social differences a supposed climate of liberality and a following moral and politically correct predominance is generated.

The above mentioned method of accentuation and exposition is used in GAME solely. And at the same time it is undermined by the extreme slow-motion. The simultaneously slowed sound track mutates the players’ shouts and encouragements to brutalized grunts. As fragments separated from the play and its (safe) rules the contained violence and stupor defame themselves.

In the length of the video loop there is both fascination and its exposure in brute volition and aggressiveness. A disrupt to the heroism and pathos of the surrounding photos and contrasts the museum-like composition. This ambivalence is amplified in the negative images assisting the aesthetic look but it also de-individualises the player; they look like externally controlled automats. GAME deals with old male myths of the victorious warrior, brave companionship or lone fighters; analogue to typical promotional codes for a mainly youth target group. These images correspond to innumerous rituals set in by mass media culture.


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