JOI's filmography — "zone-plating laser holography by James O…"
zone-plating laser holography by James O. Incandenza and Urquhart Ogilvie, Jr.; holographic fight-choreography by Kenjiru Hirota courtesy of Sony Entertainment–Asia […] Mobile holograms of two visually lethal mythologic females duel with reflective surfaces on-stage while a live crowd of spectators turns to stone.
Context
The Medusa v. the Odalisque: lethal sight staged as content, with the holography credited to JOI's own hands. Two women who kill by being seen, fighting with mirrors, while the film's onscreen audience is destroyed by watching — the Entertainment's mechanism rehearsed as myth years early, and the soundtrack is "audience-noises appropriated from network broadcast television": spectators watching spectators die, scored with canned spectation. Scene 085 gives the family's account of the screening; 098's holography-diffraction theory of the samizdat is the state rediscovering what this catalogue entry already documents. Note the depression-anhedonia pass's finding stands: this film's spectators "turns to stone" — the "irreversibly catatonic" phrase belongs to Low-Temperature Civics (pp. 991-992), not here.