Seite - 77 - in JRFM - Journal Religion Film Media, Band 06/02

Heavy Metal Bricolage | 77www.jrfm.eu 2020, 6/2, 65–85 of walking scenes. Both scenes situate hooded figures in a much larger landscape. Seen side by side, the scenes lack the associative support of their individ- ual framing bricolage and are only visual. While Uada’s climax is a sacrifice that ends the video, the sacrifice in Venom Prison’s video is less climactically staged and is followed by falling action. The closing scenes show the old man in a dark void, drawing attention to his crown of thorns. In Asura’s Realm the active participant – the “martyr” in light of the crown of thorns – seems to act under pressure. He is given orders and later the knife by oth- er figures. The unnatural authority figure in the church keeps himself free Fig. 1: Music video still from Asura’s Realm, Venom Prison, 00:02:01. Fig. 2: Music video still from Cult of a Dying Sun, Uada, 00:06:50.