The remainder of the film folows the pattern of voice-over, segment from news media and interviews, and repetition of ambient/ chill/ lounge/ techno samples. Most often, the samples reemerge at those moments when the voice-over is mentioning particularly telling facts, facts that need to be linked to other facts, facts the conection together of which produces the knowledge of a conspiracy within the U.S. government. A segment on Rani Hanjour, the alleged pilot of American Airlines flight $^ { 7 7 }$ the one presumed to have crashed into the Pentagon, features an interview with a staf member from Hanjour's training school. The hypnotic beat and repetitive sampling come in just after the staf member finishes describing how inept Hanjour was as a pilot and the voice-over mentions that air-trafic controllers at Dules presumed the plane was flown by a military pilot.
The satisfying repetitions of the ambient/ chill/lounge /techno tracks reinforce the pleasures of conspiracy theory. They provide the film with an edginess, a trangressive allure that reiterates the transgressions the film purports to reveal. It's a soundtrack of revelation and disconcealment inviting viewers and hearers to share in the secret, the secret knowledge of political violence and obscenity. As mainstream a magazine as Time gets it. In a page-one article from the September n, 2oo6, issue, the columnist Lev Grossman writes: 'Watching Loose Change, you feel as if you are participating in the great American tradition of self-reliance and nonconformist, antiauthoritarian dissent. You're fighting the power. You're think: ing diferent:'19 We don't need to believe the Bush administration's lies when we can see the evidence and know what really happened.
CERTAINTY
157