Exit Through The Gift Shop

When I was in sixth grade, 1995 or so, I started to really get into reading books. If there was a book on World War 2 or Michael Crichton I was going to get my hands on it no matter what. The way I usually got the books was through mail order. My family would get catalogs that sold books and I would fill out the ordering form, I would exchange some sort of work for my parents to cut a check, some postage and then wait. Usually the typical six to twelve weeks. I had to wait. Immediacy was a luxury and most times I would forget that there were books coming and then one day a package would be awaiting me and new books would be ready to be read. For some reason, the notion of waiting and time was on my mind while watching the documentary Exit Through The Gift Shop (Banksy, 2010).

Exit Through the Gift Shop centers on the story of Thierry Guetta, an obsessed videographer/cum-filmmaker who's full on head dive into street art and vandalism leads him to the top of respectability among the best street artists of the world. Thierry begins his journey as a man who's obsession with filming everything in his life. His obsession to never miss a moment of his life leads him to filming Space Invader, a street artist known for placing mosaics of the video game icons of the aliens from Space Invaders throughout cities. From Space Invader he films other artists and begins to develop an idea for making a documentary film about street artists but one artist alludes him, that is the infamous Banksy.



Banksy's reputation for subversion and social commentary through stenciling and placing doctored paintings in museums led him to becoming a prolific street artist in Britain. As Banksy began to stretch his horizons to other countries, Thierry's desire to film the street artist leads him to dead ends until a fortuitous encounter which propels Thierry into Banksy's world. Thierry is absorbed into the subversion of Banksy's art but also into Banksy's private world. Banksy sees Thierry as a filmmaker who may very well be able to create an accurate account of street art and street artists. Thierry's filming stretches over nine years, with hundreds and hundreds of hours of footage and his final product is nothing more than snippets of those years. The amount of time and footage that Thierry was able to have with making a film was futile and in Banksy's eyes a piece of crap.



The world in which Thierry captured on film became the world in which he would embody. Thierry becomes a street artist and is caught up in the idea of taking up an artist name for himself and becoming as big as Banksy. He takes over an abandoned television studio to develop an arts show that would showcase his prolific work, even though his time as a street artist is limited. In almost a coup to the system of street artistry, Thierry becomes a sensation by being sensational. When looking at Thierry's art work one can see that he took what he liked best from the artists that he followed for many years and incorporates those ideas as his own. The art show becomes nothing more than a temple to worship and give praise to Thierry, but then to, in turn, sell himself and his work without even a hesitation.

The immediacy in which Thierry becomes famous at the end of the film is coupled with the amount of time Thierry spent filming street artists. Banksy looks at Thierry as someone who has cheated the system of street artistry and has not put in the time. But then there is the seven or so years of just filming and watching artists. I can not help but think that as we are capable of ingesting media and artistry through various forms of new media, are we creating the immediacy of artistry in various mediums?Does the time it takes to perfect a craft now become compromised due to the access in which we have online or is the "how to guide" mentality creating an immediacy that is shallow and hallow? These questions come from the fact that Thierry employs graphic artists to print images he finds and then doctor those images and then selling them as art. It is as if Thierry has created a factory mentality to street art but is ignorant of the excess.



There was a time when an artist would go under the tutelage of a senior/professional artist and learn tricks and trades that would help the fledgling artist develop his craft. Time was expected and time seemed to teach something that could only be learned through itself. Exit Through the Gift Shop can be seen as an exposé of street art or the exposing of Thierry Guetta and his art. If anything the film is a swan song to street art. Sure young people will go into the streets and literally put their mark on the world. But now that cultural capital and commercialization have infiltrated the ranks and the common man being able to mass produce said art and make a profit, street art's viability seems to wain. But then again all art movements come and pass.

Visual Acoustics: The Modernism of Julius Shulman

The term visual acoustics probably doesn't peak the interests of many people. When I told some of my friends that I was going to watch a film with a title of Visual Acoustics I was greeted with a sarcastic, "Have fun." Well I did my best to have fun, and I have to say that seeing a film about the photographic works of Julius Shulman was very rewarding. Julius Shulman was a photographer who's pictures documented the architectural movement of modernism that swept through America in the nineteen forties and nineteen fifties. For a reference of Shulman's photographs click on reference.

Eric Briker's 2008 film Visual Acoustics: The Modernism of Julius Shulman not only praises the artwork of an artist who has brought an appreciation of an architectural movement but also celebrates the vitality of a man who has strived for the recognition of a greater architect of design, and that is a spiritual one. Now it is not to say that Shulman was a believer in a Judeo-Christian God, for in fact the film does not so much go into his spiritual beliefs. But the film does show Shulman walking in his garden in his southern california home in which he says that this is his church, his sanctuary. A moment that is transcendental but also compliments his ideals of photographing architecture. The intricacy and design of the very defined modernist buildings is evidence of a aesthetic beauty and harmony. This harmony not only exists in nature but it exists in the photographs of Shulman.



Throughout the film Shulman revisits the sights of some his famous photographs and his recollections of taking the pictures are revelatory. In one instance a house that he photographed was once surrounded by pristine mountain landscapes. Now a run of the mill development is next to the house, blocking the beautiful view that once graced the photo. Shulman knows that times do change but there is a cost to the way we change things. Part of the documentary focuses on Shulman's advocacy of the environment. Footage of an interview, from the nineteen seventies, is incorporated and shows Shulman proposing conservationist rhetoric but the rhetoric is looked down upon. Not only does Shulman wish to conserve the moments captured in his photographs he also wishes to conserve the word in which he lives. By following Shulman and hearing his insight we are shown a world that has a beauty that is parrellel to what Shulman was able to capture in his photographs. A stillness that shows God's design and man's design working in harmony. Maybe that is hard to see for some but one photograph that may very well touch upon this balance is Case Study House #22.



In this one photograph a glass walled room hovers over the lights of Los Angeles. Inside the house two women on couches that are precariously close to the glass edge. Their demeanor is non-chalant, the round chinese lantern type lights that hang inside the house seem to also hang outside of the house. The picture is a moment in time, nothing seems out of place but yet there is a transcendent quality that the stillness offers. Maybe it is the possibility that in structural order of design there can be a structured world. Shulman revisits the house and its owners and mentions that the shot was nothing more than a chance opportunity. The photo was just one of many different shots of the house taken that night. While Shulman is at the house he is asked about how he was able to create such an effective image. Dante Spinotti, cinematographer, creates a highly organized series of dolly shots around the same set up that Shulman had captured years before. The shots that Spinotti creates are evocative but yet do not fully capture what Shulman had photographed in nineteen sixty.

Shulman's charisma and passion for photographer continued his exploration into capturing architectural spaces on photograph, even up to his death in two thousand and nine. In one scene towards the end of the film Shulmans archive of photographs are donated to the Getty Museum. Shulman bears witness to giving over his collection of photo's, and knowing Shulman these are not your ordinary photo's. A treasure trove of beauty and the profound are continually being released even though Shulman has now passed away. Watching a film about photographing houses may not sound exciting but for anyone who has ever created something or has had the desire to create, the potential for beauty and connecting to others is always a possibility. We may never fully understand how it is that art can be such a moving force but maybe we can come to understand when we are still and take in the design that is around us.

Searching For The Wrong-Eyed Jesus

The United States is anything but united when it comes to varying cultures in different regions of the country. America has always had these varying cultures, even back to the days of the thirteen colonies. Today one of the biggest cultural differences in America is the difference between Southern and Northern culture. Now I know that this can be problematic to even define what southern culture is, for in fact what is done in one state may be chided in another. I'm sure certain people in Texas would wish to differentiate themselves from people in South Carolina and I'm sure South Carolina would wish to differentiate themselves from North Carolina. Even within the states themselves there are differences. But at least someone tries to understand what it is about the southern culture that creates an authenticity that is somehow wholly American. Searching For The Wrong-Eyed Jesus (Andrew Douglas) is a film that looks into the back roads culture of the south. The small towns, rural back roads, dives, bars and churches all play a part in creating a world that is strangely beautiful.



Jim White, a converted southerner goes on a journey through the backroads of the south in order to find the meaning behind the southern culture. Along his travels the film interjects moments where musicians perform snippets of songs that reflect the southern culture. The music can been described as alt-rock or rather eclectic folk. The film includes music from varying musicians, including Jim White, The Handsome Family, Melissa Swingle and Lee Sexton. Even David Johansen (ex-New York Dolls member) appears in the film. The music of the film compliments the southern world that is presented, with songs inspired by heartache, death, and religion.



Religion is the main talking point with many of the people who are interviewed in the film. The value that church has on people throughout White's journey is at times odd, profound, hypocritical and traditional. The film does not posit what the differences are between religion in the south compared to that of other states across America, but what is seen is a religious fervor that the filmmakers can only show as something that is southern. In one segment prisoners are interviewed about their crimes and their coming to a redemptive moment. This only seems common amongst prisoners but then there are interviews with those who are not prisoners and redemption is something wholly different. Bar patrons speak of their desire to live life to the fullest on Saturday nights but then find salvation come Sunday morning. Though what is seen in the film is a Protestant belief system, the thinking behind some of those interviewed almost seems Catholic. Penance and forgiveness comes with confession on Sundays but then it is back into the world, the cycle ongoing.



Throughout the film White travels in a beat up Chevy that he borrows from someone he sees as a typical southerner. Early in the film he comes upon a junk yard of sorts and finds a Jesus statue. He purchases the statue and its size is more than the trunk of the Chevy can handle. Jesus sticks out of the car as White travels the south. The statue can be seen as the burden of religion upon the people of the south. As the people try to live up to standards or traditions that have been upon them, the pressure to continue is unnecessary. By the end of the film the statue is left on a desolate road, White drives off and the camera tracks in on the statue. It is as if White is saying that the burden needs to be abandoned if anyone is to truly live. This is one possibility but maybe there is another.



The statue of Jesus shows Jesus pointing to a heart near his heart. As White had intentionally chose to go through the backroads of the south to find the authentic, real southern world. It is possible to say that in essence he chose to become lost in the southern world in order to find the reasons behind the southern culture. The leaving of the statue marks the leaving behind of what was being searched for. The leaving of the statue on the side of the road may very well let us know that one can search for the reasons why the south is unique but to truly find those reasons you have to lose yourself. If religion is so close to the hearts of southerners then Jesus may very well hold the south close to his heart.



Searching For The Wrong Eyed-Jesus shows a world that is at times so different from what is regularly seen on television and news stories across the country. But in that world that is so rarely seen there is an authenticity and beauty that is reflected within the people who live within the back road world. The people reflect what they know to be true, which may be more than what most of us can bare.

The Weather Underground

There is this big part of me that wants to believe that terrorism and acts of terrorism are still a distant reality from the American soil. The reality is that regardless of what I want to feel the truth is terrorism is here. The events of September 11th 2001 can be called day one of the age of terrorism in America, but the documentary film The Weather Underground (Sam Green and Bill Siegel, 2002) can be considered the prologue to terrorism in America. In the turbulent 1960's, university students raised their voices in protest over many issues. Those issues ranged from the war in Vietnam, Civil Rights, the military draft and the actions of the United States government.

During those years students from colleges and university's organized different protest groups in order to unify their frustrations. One group was the S.D.S. (Students For A Democratic Society). S.D.S would gain moment on campus's across the United States making them one of the loudest voices of protest in the country. With the escalation of the Vietnam war and the deaths of prominent protest figures (Martin Luther King Jr., Malcolm X) and the increased violence coming upon protesters, S.D.S went through inner turmoil over differences in the means to protest their ideology. By 1969 the S.D.S fractured and a new group of extreme radicals formed called the Weathermen.



The Weather Underground interviews members of the Weathermen and their explanations about their actions are all in the guise of violent protest which they display as revolution. The violence that the Weathermen propose is in reaction to the believed failure of peaceful protest. The films use of footage of the Vietnam war and the recollections of the former Weathermen coalesce into a believed justified cause for the actions of the Weathermen. These actions include a jailbreak of Timothy Leary and the bombing of the Pentagon, amongst other bombings. But the price of being a group of revolutionaries did not come without its cost. Three members were killed when a homemade explosive detonated in an apartment in Greenwich village New York. After this incident the United States government began monitoring the members of the Weathermen and warrants for their arrests led them to go underground.



Throughout the film reasons are given for the attacks that are made by the Weathermen. The former members of the group espouse the United States government as the real killers with their actions in Vietnam. Every attack that the Weatherman planned or executed was seen as part of a greater war for humanity. The juxtaposition of Vietnam footage along with recollections of former members seems to show a world gone wrong and life being expendable. The manifesto's and declarations of war by the Weathermen seem heartless but for the greater good. But after the death of their own members in the explosion in Greenwich village, the members of the Weathermen realized that any violence that killed innocent people was terrorism and that they would do whatever it took to not kill anyone who was innocent.

The Weather Underground seems to be a film that looks at the spirit of the Weathermen as a necessity and a justified cause, one that only makes sense in light of the desperation of the counter culture. But what is disturbing about the rhetoric spoken by the Weathermen in the film is the similarity of ideas and tactics by modern day terrorists. Though many agree that todays form of terrorism is connected to religious ideology, there is still a sense of a bond between today's terrorism and terrorism of the past. Maybe that is because of the frustration of knowing that at times the voice of the people is lost in times of turmoil. As governments choose violence or ignore the people they serve, radicalism will exist. With the Weathermen, time led to their downfall. Disillusionment set in as the acts of violence that they proposed did not have the effect that they intended. Within the Weathermen fractures began to form and it seems that some of the members began to see life as something greater than violence. Many surrendered to the government and jail sentences were commuted do to illegal investigations by the United States government.



By the end of the film one member of the Weathermen sees the danger in today's terrorism and comes to understand that the Vietnam war led many people to act outside of who they were. War does root out a high string of emotions and an illusion of extremeness. As long as there are those who feel injustice and are ignored violence will emerge. What will also emerge is the inner turmoil of knowing that violence breeds more violence. May we all discern the lessons learned by the Weathermen.

Paris Is Burning

Competition is a part of who we are. It is this ingrained mindset that manifests itself in various forms. Whether it be football, baseball or basketball, or even to things like spelling bee's, cooking or singing; competition can be found in most everything. Paris is Burning (Jennie Livingston, 1990) is a film about a unique competition in New York city. A competition that is based on fashion and glamour. The name of the competition in the film is called "The Ball." The Ball is not a typical fashion competition of the best dressed or which designs are better than another, though those things are a factor, but rather the Ball is based upon who looks like they could pass as one of the various categories within the competition. Pass? The competitors of this event are homosexuals and drag queens. There goal is to not only look fashionable but to also try to look as if they belong in the heterosexual world they live.

The Ball of Paris is Burning and its' various categories are examined by those who participate in the event. Along with the different categories that are examined there is an examination into the people who participate in the Ball and the hopes and dreams that they have. One particular member of the Ball is Dorian Corey. Dorian is an elder-statesman, so to speak, of the Ball and being a drag queen. Dorian's life experience as a drag queen makes her a type of wise sage. Her perspective seems calmer and introspective rather than the younger drag queens. But there is one thing that is common among all of those interviewed in the film, and that is of fame and fortune.



The Ball is a place where legends can be made. Certainly they may only be legends of the community of New York drag queens that take part in the Ball but none the less they are legends. By becoming a legend at the Ball there is the glory and honor of being the best and a level of respect that one can carry with them. For as much as the Ball is a niche event, the chance to win a trophy and be accepted by one's peers is very much a way of coping with the reality of living in a world where being a drag queen and being an outsider can be very cruel.

What may be one of the most fascinating aspects of Paris is Burning is the measure in which the different categories of the Ball are judged. Some of the categories that are featured are; dressing to go to school, military, opulence, street dress,town and country, work dress, among many other categories. One of the main points of being judged is whether or not the contestant looks as though they could fit into the outside world without getting noticed. The ability to pass as the opposite sex without being noticed is a desire that at times outweighs fame or fortune. But many of the contestants see the outside world and the manner in which "normal people" live as the acme in which to strive for. Jennie Livingston at times juxtaposes shots of workers and businessmen and women as they walk the streets of New York. These shots show the fashion and the standard in which many in the film are desiring to live. In the segment of the film on opulence the contestants who dress to be like those who are rich seems ridiculous. For in fact the ideas of opulence are garnered from fashion magazines and the media. Even though the dress and the mannerisms of the contestants may seem ridiculous it is not far fetched to be someone who has been raised with little to no chance of ever being opulent to want to act opulent.



Though the mask of opulence can be portrayed, the reality of actually being opulent is far off. For one participant in the Ball, Willi Ninja, there does seem to be some hope for success. One segment of the film is about Vogueing, a form of competitive dance that represents mimicking poses from Vogue magazine. The angles in which the competitors move their bodies are described as sharp knives. Competitors will move around each other vogueing but without touching each other. Willi Ninja is seen as the best and his desire to take vogueing to the world is fulfilled. Vogueing becomes a legit performance art and Willi is a spokesman for it. What the director Livingston is able to do is show that Vogueing becomes legit because the mainstream world accepts it. This is seen through the showing of a television news report on vogueing. The same media device in which those who participate in the Ball look to for acceptance becomes the device in which acceptance is affirmed.



As the American dream is talked about in the film the harsh reality of that dream is also seen. As Dorian says in one segment about clothing, even if you wear a designer label that symbolizes wealth it doesn't mean that you have wealth. Dorian's statement is a good allegory for which those in the Ball are living their life. It seems that the Ball means something but at the same time it means nothing. The Ball will continue to change but the desires of those who participate may never change. Dorian says at the end of the film if a few remember who you are then you left a mark rather than change the whole world. Dorian calls for enjoyment and if you find success then so be it. These words are reflective of the wise teacher of the biblical book of Ecclesiastes that says ,"A man can do nothing better than to eat and drink and find satisfaction in his work." Dorian's last words seem to reflect the resignation of what time can do to someone who has strived for acceptance in the straight world. If wealth is the goal then what is the goal for the wealthy? Maybe it is the lyrics to the song that is repeated throughout Paris is Burning; to be real.

Small Town Gay Bar

The American landscape is littered with small towns that were always portrayed as the model of perfection for raising a family and developing citizens with American qualities. Whether a small New England town, southern backwoods town or a western stop along the way; the American small town has always been billed as a nice community. So it comes to no surprise that the great qualities of small town life are present when Malcolm Ingram, the director of Small Town Gay Bar (2006), briefly interviews Bill Curtis, the mayor of Shannon, Mississippi. The mayor advertises that the folks are nice and welcoming and everyone is important to the community. But then there's the gay bar. And in a moment of brief resignation the only thing that the mayor can say is that some people don't agree with that but it exists because it has a right to exist. Maybe that's just the politically safe remark to make but the body language in a few brief seconds is one of the many feelings that are examined in Small Town Gay Bar.



The gay bar that is in Shannon is called Rumors, the place is nothing more than a small run down shack whose insides are crudely decorated to look like a paradise. The owner Rick Gladish knows that having a bar for gay people in a community where homosexuality is looked down upon is difficult. For those who are gay in Shannon and some of the surrounding towns the bar is a paradise. Many of the patrons view the bar as a place where they can be themselves. The patrons are fully aware that a completely "out" lifestyle is looked down upon in their part of the world. The owner of Rumors knows how difficult it was and is to have a place where homosexuals could gather and be themselves. Many patrons of straight bars seem okay with there being a gay bar as long as it is out of sight and out of mind. But for others the gay bar is dangerous to the quality of life and the town.

The film looks at these dangers by examining past gay bars that existed in rural Mississippi and by hearing the stories from those who used to go to those bars. One bar, Crossroads, is described as an open air free for all atmosphere that included; drinking, boxing, wrestling, and a litany of sexual activities. The pressure of the anti-gay movements and mismanagement led to Crossroads downfall. For other bars there were random shootings, threats made, and an overwhelming sense of danger that led other bars to become no more. Ingram interviews one family who's son was found dead, an apparent victim to a hate crime, due to his sexuality. By sharing this crime, Small Town Gay Bar raises the issue of the importance of life.



Small Town Gay Bar includes the anti-gay groups, A.F.A (American Family Association) and Fred Phelps synonymously known God Hates Fags group. Both groups represent a conservative fundamentalist christian backdrop for their ideology. Phelps is interviewed and he is not short of negative words towards the repercussions of homosexuality. He recounts the story of his first protest sign and how he felt that people would join his protests in riding his community of homosexuals. Unfortunately, in Phelps mind, this only made him see people as homosexual loving God haters. Phelps rhetoric is strong but in a more tone down approach the A.F.A is able to feel the same way without being so harsh. Tim Wildmon, an A.F.A representative, is interviewed and champions the need for wholesome family values and a moral law for all people. He is also portrayed as a hypocrite by the gay community because a family member of his is gay and Wildmom denies that Rumors exists even though he knows it does.

The film does not go into the political debate of homosexuality and the issues associated with that but it certainly shows that there is a resilience to those who are homosexual. The pressures of being homosexual in a small town are constantly told by those interviewed in the film but those interviewed continually find places to meet and form relationships with each other. At the end of the film the owner of Rumors decides to sell the bar and move on. The pressures of operating and owning a bar are tiresome and stressful but the end of the road for one bar there comes news of a new bar, Different Seasons. Different Seasons is the new name of the renovated Crossroads bar and is looked at as the new place for homosexuals in rural Mississippi to go to.



Whether the small town gay bar comes or go's there is ample evidence that the gay community will continue to exist even in places where they are not welcome or looked down upon. What is clear in the film is that the divisions between those who are gay and those who are straight are very deep. The film chalks this up to the make up of rural Mississippi culture and bible-belt ethics. Small Town Gay Bar does not posit any solutions to clearing the gap. The film itself may be a piece for an argument for tolerating the gay lifestyle, but it certainly doesn't offer the hope for reconciliation and understanding to those groups who are against the gay lifestyle. To further drive the divide wider, before the credits, Fred Phelps appears again and says that all of those who are homosexuals are going to burn in hell and there is nothing they can do about it. Some may see this as a laughing point or another attempt to devalue what already self devalues, but maybe it is the last shot in an argument that wraps itself up after eighty one minutes. Unfortunately, the debates still exist and the final words are yet to be spoken.

Who Killed the Electric Car?

First off I have to say it wasn't me.

Though I may very well be part of the problem that the filmmakers of Who Killed the Electric Car? (Chris Paine, 2006) come to as part of their conclusion. The question of the electric car is intriguing and that is what the film focus's on. Most specifically the film focus's on the EV1 and the cars rise and fall. But for as much as the film is the story of a car. It is also a film that addresses the ever popular issue of global warming or, if you prefer, climate change. As Chris Paine weaves in and out of the stories of those who owned the EV1 the wheels of conspiracy spin on what led the vehicle to be pulled from the roads.



The film opens with a tongue and cheek funeral for the EV1 and Martin Sheen's narration that touts the car as a savior machine. A brief history of electric vehicles and the b-roll footage of old electric cars being replaced by combustion engine vehicles becomes the ground work for the real problems of pollution. Though Who Killed the Electric Car? is a film that is for all audiences, the film is very much a California centric film. What is briefly stated in the film is that the EV1 was not sold nation wide but rather in California and Arizona. Though this is not the focus of the film and is told as a minor fact , it is paramount to the effect of the real problems of electric vehicles and possibly what the problems are of Who Killed the Electric Car?

Much of the film can be seen as a commercial for the EV1 and electric vehicles. As the EV1 is glamorized by Hollywood celebrities and the few owners it seems that the electric vehicle is the solution to California's and even the nations pollution problems. In a time where the rhetoric surrounding gasoline prices and vehicle carbon emissions a film like Who Killed the Electric Car? is a perfect voice for discourse. Though the film is heavily handed towards the electric vehicle. Chris Paine very much touts the vehicle as an underdog in the world of SUV's and gas guzzlers. But the underdog is more a less a fall guy for the oil industry and car manufactures. The film makes connections between the oil industry and their collusion with the government and car manufacturers. As California's regulations on car emissions began to falter so to did the electric car. General Motors ad campaign's come across as odd at best and the concerns and questions of the general public were not answered.



The film also addresses the governments move towards the hydrogen fuel cell vehicle as another reason for the electric vehicles demise. The film disposes the hydrogen fuel cell vehicle as a futurist concept. The gap between non-emitting vehicles and carbon emitting vehicles becomes the place where the film finds itself in the end. By 2003 California turned aside their emissions mandate and began pulling the electric vehicles off the road. The electric vehicle's defeat becomes a rallying cry for those who want electric vehicles. Who Killed the Electric Car? shows that in death the ghost of the electric vehicle will continue to haunt us. It may haunt those who used to own the vehicles but for those who have not, the vehicle becomes a relic, and to be saved for museums. Many of the EV1's found their resting place in car compacters and car shredders and it is the filmmakers view that the car manufactures wanted the electric vehicles absolutely terminated.



Even though the film looks for answers as to the question of who? Where do we go next with the knowledge that we know about electric vehicles? The filmmakers constantly show that there is a demand for electric vehicles. As there is a demand there is also, from street interviews, a lack of knowledge about electric vehicles. Even though the film shows this, there is not much details as to the negative aspects of the electric vehicle. Edward H. Murphy of the American Petroleum Institute believed that the electric car failed do to inadequate technology. As much as Murphy may be on the side of oil the film does not divulge into what he means by inadequate technology. History does show that car manufacturers and the oil industry do have influence on what is driven and how transportation is developed. The fingers pointed at the oil industry by the filmmakers tries to connect, and not adequately, the electric vehicle and the nations addiction to oil with the Iraq war and policy's of the government.

If anything the killer of the electric vehicle is money. Whether it be money to; make, sell or lose do to gas prices, money is the driving factor. But with questions being asked by Who Killed the Electric Car? the pull towards fuel efficient vehicles grows stronger and stronger. Certainly Who Killed the Electric Car? is populist in nature and in a way a form of propaganda. But if the discourse of global warming, pollution and solutions, becomes an open forum for everyone, then Who Killed the Electric Car? is another voice in the forum.



If one day electric vehicles make their return and are not concept vehicles but practical vehicles for everyone, I would not be surprised if the price of the vehicles is out of reach for most of us. As the hydrogen fuel cell vehicle is still is a mirage and part of a slight of hand, as proposed by the filmmakers. The cry's for fuel efficiency may be falling into a void. Who Killed the Electric Car? very well does its best to let us know of those voices and to even join in and demand some action to be taken by the car manufactures and the government, even if nothing happens. The hope of maybe one day having vehicles with zero emissions may still be a long ways off. We may never fully know the full extent of the possibilities of the first electric vehicles but there is one thing that is certain. That the killer of the electric vehicle is still out there.