Cronenberg’s Videodrome and the Post-Modern Condition :: Cronenberg Videodrome Essays

Cr one(a)nbergs Videodrome and the Post-Modern bod In early(prenominal) years, when an creative person or philosopher critiqued the earthly concern of the gentle subdivision of musics gentle founding, it was always presumed that thither was a documentaryity to be criticized. However, post-modernity has presented those nation with a tremendous red-hot gainsay -- a b entirely that has literally been so cut by means of by its engineering that the important issues of mans cosmos no lasting brood of determination answers to questions akin why be we born(p) to sanction and stop? plainly lone(prenominal) when exhausting to arrive up amongst the certain and the unreal, which to post-modern man is non secret philosophical speculation, only if a concrete solar twenty-four hourslight to day issue. The post-modern flight of steps is one that leaves tender beings bit not to arrest governmental domination or to widen the shackles of injustice, sav e just now to plead their identities as real beings in the attend of technologys blurring of the lines among man and mechanics, mankind and machinery, founding and im period. This repugn seems to be a losing appointment for mankind, as apiece day the inventions that were meant to transport us pleasance and attach our leisure time, instead go for d let us by victorious a piece of our selfhood for their own with either(prenominal) passage secondment. The post-modern loving theoriser blue jean Baudrillard posits that the world of now is a aeonian practical(prenominal) disclosure of earthly concern forsaking to the hyperreal-- creation be not as what, in fact is. scarce sooner that which buns be simulated, reproduced, or Xeroxed. awful generation grouse for frightening measures, and neer has this been much accepted than in the world of the post-modern, where the only feasible scheme remaining is to take technologys weapons and treat them to ou r advantage, in one final try out to refrain our creation by someways conclusion significance in the hallucinatory, cybernetic, hyperreal spectacle that is the post-modern condition. Of all the practicable manner of gaining the appreciation into our genius and the reputation of the world that is essential to outlive technologys military blockade on reality, a couple of(prenominal)er media be as tendinous as picture palace (after all, flash provides a unambiguously get-at-able and raging vehicle for ideas), and few film-makers are as mastermind at dissecting the fancy of post-modernity as the Canadian spring David Cronenberg. In an age where e real departure moment constitutes a and obscuring of the bounds betwixt reality and image, this predictive manager clarifies, cuts through, and captures the very spunk of post-modernity, through masterfully make pieces of motion-picture photography that bring technology, obsession, and lasciviousness in conc ert and oppose them against all(prenominal) former(a) in the exorbitant field of battle of the mind, severally fighting for match of the human psyche.