INSTRUMENTS OF DESTRUCTION UNEDITED FULL

The film concludes with another image of the Great Gallery pictograph, this time with smaller figures. A rocket is seen lifting off to sudden explosion the camera follows the flaming engine and a white smoky trail as the debris falls. Night shots of buildings are shown, as well as of people from all walks of life, from beggars to debutantes. Shots of microchips and satellite photography of cities are shown, comparing the lay of each of them. In slow motion, several people react to being candidly filmed the camera stays on them until the moment they look directly at it. Time-lapses of various television shows being channel surfed are shown. Daylight highway traffic are shown, followed by the movement of cars, shopping carts, televisions in an assembly line, and elevators.

INSTRUMENTS OF DESTRUCTION UNEDITED FULL

The sequence begins to come full circle as the manufacture of cars in an assembly-line factory is shown. Many labors are aided with the use of technology. It sees visceral depictions of traffic, followed by people hurrying to work, and the operation of machines packaging food. The next sequence features a sunset reflected in the glass of a skyscraper, before depicting people interacting with modern technology. A time-lapse of a crowd queueing is followed by shots of people walking along streets in slow motion. Destruction of large buildings were depicted, including the demolition of the Pruitt-Igoe housing project in St. Time-lapses of cloud shadows move across skyscrapers, and various housing projects are in disrepair. A shot sees sunbathers on a beach, with the San Onofre Nuclear Generating Station in the background, before moving on to an aircraft, cars, and military vehicles. The film then incorporates humanity in the environment, with shots of choppy water, cultivated flowers, the artificial Lake Powell, a large mining truck causing billows of dust, power lines, mining operations, oil fields, the Navajo Generating Station, the Glen Canyon Dam, and atomic bomb detonations in a desert. It then fades to a desolate desert landscape, before progressing to various natural phenomena.

The next scene depicts the Saturn V rocket during its Apollo 11 launch. The film begins with the Great Gallery pictograph in Horseshoe Canyon, Canyonlands National Park, depicting several tall figures standing near a taller, crowned one. In 2000, the film was selected for preservation in the United States National Film Registry by the Library of Congress for being 'culturally, aesthetically, or historically significant'. However, because of copyright issues, the film was out of print for most of the 1990s. Koyaanisqatsi is the best known of the trilogy and is considered a cult film. The trilogy depicts different aspects of the relationship between humans, nature and technology. The film is the first in the Qatsi film trilogy: it is succeeded by Powaqqatsi (1988) and Naqoyqatsi (2002). It no longer describes the world in which we live.' In the Hopi language, the word koyaanisqatsi means 'life out of balance'. It's because, from my point of view, our language is in a state of vast humiliation.

Reggio explained the lack of dialogue by stating 'it's not for lack of love of the language that these films have no words. The visual tone poem contains neither dialogue nor a vocalized narration: its tone is set by the juxtaposition of images and music. The film consists primarily of slow motion and time-lapse footage of cities and many natural landscapes across the United States. Koyaanisqatsi ( English: / k oʊ ˌ j ɑː n ɪ s ˈ k ɑː t s iː/ ), also known as Koyaanisqatsi: Life Out of Balance, is a 1982 American experimental non-narrative film directed and produced by Godfrey Reggio with music composed by Philip Glass and cinematography by Ron Fricke. Grand Central Terminal in New York City is shown several times in the film.

Instruments of destruction unedited