It would be reasonable to assume that, since Red Action's inception, its members have given assistance of all kinds and at all levels to the cause of Irish Republicanism, both to the IRA and to the INLA (prior to the INLA's auto-liquidation in 1987 amid vicious feuding).The question is - with a ceasefire and peace talks in Northern Ireland on one hand, and the relative success of Anti-Fascist Action on the other - where do Red Action go from here? Red Action's activists are guarded about this, partly because they have not yet met to decide on their future course. But the likelihood is that they will pursue their distinctive brand of street politics, including the use of violence if necessary, by picking issues close to what they see as their natural constituency - the dispossessed working class often referred to (with peculiarly left-wing snobbery) as the lumpenproletariat.In that sense, RA's anti-Fascist activity may be seen as a rehearsal for more conventional revolutionary socialist objectives - redistribution via insurrectionary self-help.

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Does this mean that Red Action now poses a threat to ordinary citizens as well as to Fascists? Can we expect IRA-style atrocities in the name of socialism in Britain? A Scotland Yard source says that police expectation of Red Action is two-fold: first that "there may be some forging of closer links with revolutionary groups on the Continent, particularly where those groups are involved in violent clashes with Fascists"; and secondly that RA will "associate themselves with causes [other than Ireland] where they see potential opportunity for the overthrow of the British government."With Special Branch now apparently so short of subversives to trail that it has started "targeting" people who object to road-building schemes, the monitoring of Red Action is bound to intensify. Their next move may be of the bread-and-butter variety, perhaps involving housing, or jobs or benefits. It might be a rent strike, organised in rundown estates which can be turned into defensible pockets of resistance, temporary no-go areas - Free Derry comes to Free Hackney.

If so, Red Action will increasinglyfind itself in direct confrontation with the police. But this is guesswork, for if Red Action has learnt anything from the IRA it is the value of being unpredictable. With two "boys" in prison for the Republican cause, though, Re d Action is buoyed up with confidence; Joe is deadly serious when he says: "We have more ambition.". OH, THE acres of commercials, of undead film and TV programming circuiting from cinema to cable and satellite to Mr Patel's grocery and video-hire centre Sky Movies, Patel movies, UK Gold and Bravo The stuff goes round forever. However omnivorou s and insomniac, however eclectic and determinedly populist you are, it doesn't take long before deja vu sets in. So this is choice? All those empty American desert roads seem startlingly similar Shanghai 1929 looks very like Manila 1937. That felt hat that Monsieur Poirot is wearing: switch over and there it is in Cold Comfort Farm You've seen it all before.

It's lovely, seeing the days and weeks tear off the calendar and flutter away like leaves; it's marvellous to watch the newspaper headlines spinning round ("O'Neil opens in St Louis/Pittsburgh/NEW YORK"). However often you see them in pre-war films, these visual devices never fail to please. Until, that is, someone - let's say Dawn and Jennifer - spoofs them. Then an ad spoofs them too, and suddenly you find you're unaccountably irritated by it all, by the image itself, by the writers who put it in their ad, and by the attitude - we're superior to this naive, hokey, cliche'd old stuff. But in fact it's the spoof that's the cliche. You need a while to get your eye in with the new visual cliches. But every 18 months or so brings a crop, travelling the cycle from recognition to denunciation. Every period brings its characteristic enthusiasms, the wisdoms that dumb directors express in their visual one-liners.

There's a whole trainload coming into focus from the past couple of years - early-Nineties ways of seeing.Visual cliches are absolutely not what they were. There are so many more of them, because there's so much more media output, put out by people raised on output, REWD-ing and FFing away, pausing and freezing and inching the image forward. And there's the danger, among the My Little Ponytail classes, of simultaneous "recovered memory" syndrome (you don't remember when or where you saw it but it was awful being abused by Blue Peter). Something provokes all those commercials directors, pop promo sexualists and almost-auteurs to dredge up the same bit of media memory, all at the same moment - and all in the name of originality.The other problem is just how hard these new cliches try, what a lot they think of themselves.

Instead of a narrative device or a lovely cliche-on-legs (another would-be Garbo or Dietrich, wreathed in smoke) you get cliches built from attitude, sensibility and reference. Cliches that are meant to be oblique, enigmatic, contradictory or funny-brutalist.And the rules of the game have changed for the cliche-monger: reference, quotation, irony; there's the cop-out and the killer. The deliberate cliche, the obvious steal can be toughed out now we all speak Post-Modern. You can claim to be doing it for every kind of reason.It doesn't wash for long.