According to one myth, the kingdom of Ulster had at one time no rightful heir. Because of this it was agreed that a boat race should take place and that “whosoever’s hand is the first to touch the shore of Ireland, so shall he be made the king”.
One potential king so desired the kingship that, upon seeing that he was losing the race, he cut off his hand and threw it to the shore — thus winning the kingship. The hand is most likely red to represent the fact that it would have been covered in blood. According to some versions of the story, the king who cut off his hand belonged to the Uí Néill clan, which apparently explains its association with them. Another variation of this story concludes that it was none other than Niall of the Nine Hostages who severed his own hand in order to win his crown from his brother.
A different myth tells of two giants who engaged in battle. One had his hand cut off by the other, and a red imprint of the hand was left on the rocks.
The beginning of the fifth installment to the WOAD series drops hints at the mortality of innocence and youth. A screeching noise followed by the ominous “nuclear power” symbol tells the viewer to prepare for a ride that he or she will never forget. However, moments later, the introduction of the film’s actresses does nothing but foreshadow the imminent destruction of the innocence of youth. The contrast between vitality and degradation has never been so laid out for the viewer in the “Weapons” series. Jules Jordan clearly had a vision when he wrote this screenplay.
The first scene involves a nurse — a commentary on the health care system of the United States. Jordan clearly feels that the medical profession has been inundated by corporations who have made profits a top priority over the well-being of patients. This concept is illustrated by the nurse who takes good care of her patient, yet overwhelms his sexuality with anything and everything except for tenderness and care.
The second scene is an abstract piece about aging that transitions nicely into the third scene, a blatant social expose on international affairs. It is fitting that in this scene, the actress is a British girl, Isabel Ice, making her finest film since “My Ass is Haunted.” The symbolism is powerful — two Americans smothering a single foreign girl, so lost and so afraid in the corporate capital of America known as Hollywood. The attention paid to her, according to the director, is an attempt to compensate for the mistreatment that she is truly receiving. The end of this scene has an interesting twist that reminded me of the “rosebud” scene from Citizen Kane. Hearing the haunting phrase will never again have the same connotations to you after seeing this film.
I would suggest to anybody who enjoys this genre to pick up a copy of WOAD 5 today. It may change your outlook on film, but it also might just change your outlook on life. I won’t spoil the ending, but if you think Jordan was satisfied with his metaphors relating to health care, loss of innocence, international relations, and aging, you are sorely mistaken.
The Gerogerigegege, Ai-Jin (Love), burning/performance, 1988. (Fool’s Mate, no.84) / 7” single, flexi-disc, track: Cover Song Of Teresa Teng (鄧麗君).
Interview excerpt from Life Without Sex magazine 2001 :
"2000 flexi discs were made to be burned out in live from the beginning. So I had advertised it, on any kinds of musical magazines, as "Release Memorial Performance". Many many people came on that day. Of course, they expected some performance, but all they could see was that I burned out all the discs in front of them. The remained discs were simply forgotten there to be brought. Well, I cannot answer your question "Why?" but can only say that this is THE GEROGERIGEGEGE! While I was burning out them, GERO 30 was having fun with his masturbation. Teresa Teng is a Taiwanese singer who once hits explosively the numbers in Japan." (Juntaro Yamanouchi)