Cronenberg’s Videodrome and the Post-Modern Condition
In past years, when an artist or philosopher critiqued the reality of the world, it was always presumed that there was a reality to be criticized. However, post-modernity has presented those people with a horrifying new challenge -- a world that has literally been so overcome by its technology that the important issues of man's existence no longer consist of finding answers to questions like "Why are we born to suffer and die?" but merely trying to distinguish between the real and the unreal, which to post-modern man is not esoteric philosophical speculation, but a practical day to day issue. The post-modern trajectory is one that leaves humans fighting not to maintain political supremacy or to break the shackles of injustice, but simply to maintain their identities as real beings in the face of technology's blurring of the lines between man and mechanics, humanity and machinery, reality and image. This struggle seems to be a losing battle for mankind, as each day the inventions that were meant to bring us pleasure and increase our leisure time, instead dehumanize us by taking a piece of our selfhood for their own with every passing moment. The post-modern social theorist Jean Baudrillard posits that the world of today is a never-ending "virtual apocalypse" of reality yielding to the hyperreal--reality defined not as what, in fact is. but rather that which can be simulated, reproduced, or Xeroxed. Desperate times call for desperate measures, and never has this been more true than in the world of the post-modern, where the only viable strategy left is to take technology's weapons and turn them to our advantage, in one final attempt to preserve our humanity by somehow finding meaning in the hallucinatory, cybernetic, hyperreal spectacle that is the post-modern condition.
Of all the possible means of gaining the insight into our nature and the nature of the world that is necessary to survive technology's siege on reality, few media are as powerful as cinema (after all, film provides a uniquely accessible and intense vehicle for ideas), and few film-makers are as adept at dissecting the concept of post-modernity as the Canadian author David Cronenberg. In an age where every passing moment constitutes a further obscuring of the boundary between reality and image, this prophetic director clarifies, cuts through, and captures the very essence of post-modernity, through masterfully done pieces of cinematography that bring technology, obsession, and carnality together and pit them against each other in the horrific battlefield of the mind, each fighting for control of the human psyche.
Jameson, Frederick. "Postmodernism, or The Cultural Logic of Late Capitalism" New Left Review. 146 (July-August 1984) Rpt in Storming the Reality Studio. Larry McCaffrey, ed. Durham, NC: Duke UP, 1992.
reduce it to ten simple articles and declarations. It took only four weeks to be
so Coppola let Lucas work for him on the movie. With his hard work, Lucas
The postmodern cinema emerged in the 80s and 90s as a powerfully creative force in Hollywood film-making, helping to form the historic convergence of technology, media culture and consumerism. Departing from the modernist cultural tradition grounded in the faith in historical progress, the norms of industrial society and the Enlightenment, the postmodern film is defined by its disjointed narratives, images of chaos, random violence, a dark view of the human state, death of the hero and the emphasis on technique over content. The postmodernist film accomplishes that by acquiring forms and styles from the traditional methods and mixing them together or decorating them. Thus, the postmodern film challenges the “modern” and the modernist cinema along with its inclinations. It also attempts to transform the mainstream conventions of characterization, narrative and suppresses the audience suspension of disbelief. The postmodern cinema often rejects modernist conventions by manipulating and maneuvering with conventions such as space, time and story-telling. Furthermore, it rejects the traditional “grand-narratives” and totalizing forms such as war, history, love and utopian visions of reality. Instead, it is heavily aimed to create constructed fictions and subjective idealisms.
Originally, technology is an ontological mode of revealing beings in their Being, but modern society has heavily distorted this essence (QCT 319). This distortion comes with the danger of “overwhelming…all other possible ways of revealing” and thereby permanently concealing the true essence of technology (QCT 309). This danger can be removed via the realm of art, where Heidegger promises a mysterious “saving power” that will return modern man to technology’s essence. More accessibly, however we can find this saving power through technology itself and its reduction of humans to a mere standing reserve. In this state, humans experience the primordial moods of anxiety and profound boredom in which they withdraw from all relationships, thus allowing for the establishment of a free relationship to technology.
REFERENCESJean Baudrillard Simulations--1983 Semiotext[e]. America--1988 (English Edition) Verso. Seduction--1990 (English Edition) St. Martin’s Press. The Illusion of the End--1994 (English Edition) Stanford University Press. Simulacra and Simualtion--1994 (English Edition) University of Michigan Press. Jean-Francois Lyotard The Postmodern Condition: A Report on Knowledge--1984 (English Edition) University of Minnesota Press. The Postmodern Exaplained--1993 (English Edition) University of Minnesota Press. Michel Foucault Madness and Civilization--1973 Vintage Books. Discipline and Punish: The Birth of the Prison--1977 Vintage Books. The History of Sexuality--1980 Vintage Books. Linda Hutcheon A Poetics of Postmodernism: History, Thoery Fiction--1988 Routledge. The Politics or Postmodernism--1989 Routledge.
John Komlos is trying to inform his audience about the federal minimum wage, so they won’t be misled by smoothtalkers like Donald Trump. He appeals to the audience’s sense of logic by using statistics and numbers to justify his claims. Komlos appeals to the audience’s sense of emotion by relating the hardships of the working poor. He also establishes his credibility as a
THX 1138, American Graffiti, Star Wars, The Empire Strikes Back…the list goes on and on. Although many have not heard of each of these films, everyone certainly has to know the man behind them. George Lucas has, in many cases, written, produced, and directed, not to mention edit, his own films. His vision was the driving force that imagined and created these movies. All have made back the cost of the film and most have received millions of dollars in profit.
Since the very first actualities from the Lumière brothers and the fantastical shorts of Maries Georges Jean Méliès, cinema has continually fulfilled its fundamental purpose of artistic reflection on societal contexts throughout the evolution of film. Two French cinematic movements, Poetic Realism (1934-1940) and French New Wave (1950-1970), serve as historical bookends to World War II, one of the most traumatic events in world history. The Rules of the Game (Jean Renoir, 1939) is a classic example of French Poetic realism that depicts the disillusionment in society and government politics by a generation already traumatized by the monumental loss of human life during the First World War. Breathless (Jean Luc Godard, 1960), one of Jean Luc Godard’s most iconic films, portrays the next generation’s consequential feelings of loss and struggle. Both Rules of the Game and Breathless embody the spirit of their respective movements while exploring realism and redefining the purpose of cinema. However, while Rules of the Game contrasts the formative and realistic traditions through long takes and deep focus, Breathless breaks cinematic conventions through distanciation techniques and disjunctive editing to convey disillusionment and cinematic realism. Though these techniques and definitions of realism are seemingly oppositional, Godard and Renoir both hold to the same cinematic purpose of communicating their feelings of disillusionment towards society with the audience.
For centuries, the death penalty has been used by nations throughout the world. Practices such as stoning, the guillotine, firing squads, electrocution, and lethal injections have all been common practices to condemn criminals who had enacted heinous crimes. In concurrent society, however, capital punishment has begun to be viewed as a barbaric and inhumane. From these judgments, arguments and controversies have erupted over whether or not the United States should continue to practice the death penalty. With advocates and critics arguing over the morality of the death penalty, the reason to why the death penalty exists has been blurred. Because of the death penalty’s ability to thwart future criminals through fear and its practical purposes, the practice of capital punishment should continue in the United States.
Postmodernism is a vague term that can describe a variety of disciplines that include, architecture, art, music, film, fashion, literature…etc. (Klages). In the case of “Videotape”, postmodern literature would be the main focus or area of study. This type of literature emerged in the era that succeeded World War II and relies heavily on the use of techniques such as, fragmentation, the creation of paradoxes, and questionable protagonists. Furthermore, postmodern literature also exudes ambiguity and critical thinking where the focus is mainly on the reader and his/her experience of the work rather than the content and form. Building upon that, the selected passag...
Bodies have instead become cyborgs. We, as humans, are a mix of organic and technological/scientific enhancement. She argues that “The cyborg is text, machine, body, and metaphor, all theorized and engaged in practice in terms of communications.” (212) Joseph Schneider, a professor of sociology at Drake University and a writer of many books about Donna Haraway, argues in his article that indeed, Haraway’s ideas were a radical redefinition of humanity, especially our relationships with other living beings. He does, however, reemphasis the limitations of the human body, and its susceptibleness to disease. His viral analysis calls into question the use of this manifesto to further the idea of human exceptionalism based on the improvement of technology. He warns that Haraway’s ideals were to keep the human “in the game” as an important being, even if not the most important or the most capable. (Schneider 300) The idea of the cyborg is profound, and has the potential to the change the construction of identity in a divided and inconsistent world. Our relations with new technologies and living beings are deviations from original expectations, jobs, and cultural needs. We should instead be aiming to change for the new requirements emerging in
environmentally, how the money spreads across from place to place and the way it rotates from
The death penalty has been a strong controversial argument since it first got ratified into the law. It gives the power of taking an individual’s life into the hands of those around them. The peers around him may only need to state one effortless word that can sentence the person to incarceration leading to their inevitable execution that. The death penalty has inflicted a new type of concern in the minds of many Americans, in which many are not entirely sure such punishments are necessary anymore, not only through opinions but also through substantial facts that support the abolishing of such an inhumane punishment which has proven to have become less beneficial than anything else.
In Conclusion William Gibson created a cyberpunk/ postmodernism tale that has blurred not only the physical state between mechanics and human anatomy, but has as well blurred the line between the natural and virtual world. He is making the reader contemplate how both software and hardware have influenced the natural world. Gibson’s fictional world would have not been possible without the existence of software and hardware, that is why the distinction between them is very crucial and play a different part within the text. Without these two things, the reader would not be able to comprehend and relate to Gibson’s view on how our society is interlocking with the advances of technology and the normality of today will no longer exist in the future.