She's Nobody's Baby - Champagne Perfume Music Video

This music video operates in the dialectical tradition of Eisenstein's intellectual montage, where meaning emerges not from individual images but from their collision. The edit constructs a paranoid epistemology through velocity and juxtaposition—political violence cuts to domestic manipulation cuts to scientific instruction cuts to pop-cultural absurdity, each fragment too brief to stabilize into coherent narrative. This is Eisenstein's "montage of attractions" weaponized for the attention economy: a stream of found images that produces meaning through accumulation and friction rather than exposition. The viewer doesn't watch the video so much as undergo it, bombarded into a state of heightened pattern-recognition where every cut implies conspiracy.

The work also extends Harun Farocki's investigation of what he called "operational images"—images that don't represent the world but act upon it, shaping bodies, behaviors, and perception itself. This video performs a similar archaeology, assembling archival fragments that reveal how the body is constructed through violence, media, history, and fear. The montage doesn't illustrate this thesis—it enacts it, making visible the very mechanisms of psychic colonization through the destabilizing rhythm of the edit.

Against this chaos, the recurring UFO functions as rupture—a symbol that refuses assimilation into the paranoid system. Where Farocki's work often ends in entrapment (the image-world as prison), here the UFO offers something like the soul's escape vector: an image of flight, self-direction, and liberation from the colonized body. It is the one element that doesn't collide but floats, pulling the viewer toward a freer future that the surrounding montage insists is almost impossible to imagine.

Awarded Best Music Video and Best Original Song in the Indie Short Fest in Los Angeles

Screened at the Boathouse Microcinema in Portland and at the Echo Park Film Center in LA as part of the Goddex Resistrex film series, curated by Hannah Piper Burns