Videodrome turns 30

Videodrome’s depiction of techno-body synthesis is, to be sure, intense; Cronenberg has the unusual talent of making violent, disgusting, and erotic things seem even more so. The technology is veiny and lubed. It breaths and moans; after watching the film, I want to cut my phone open just to see if it will bleed. Fittingly, the film was originally titled “Network of Blood,” which is precisely how we should understand social media, as a technology not just of wires and circuits, but of bodies and politics. There’s nothing anti-human about technology: the smartphone that you rub and take to bed is a technology of flesh. Information penetrates the body in increasingly more intimate ways.

  • I also came across this short piece by Joseph Matheny at Alterati on Videodrome and YouTube:

Videodrome is even more relevant now that YouTube is delivering what cable television promised to in the 80s: a world where everyone has their own television station. Although digital video tools began to democratize video creation, it’s taken the further proliferation of broadband Internet and the emergence of convenient platforms like YouTube and Google Video to democratize video distribution.

  • There’s also my Videodrome-centric post from a couple of years ago. Coincidentally, I watched eXistenZ for the first time last week. I didn’t know much about the film going in, and initially I was enthusiastic that it seemed to be a spiritual successor to Videodrome, updating the media metaphor for the New Flesh from television to video games. I remained engaged throughout the movie (although about two thirds into the film I turned to my fiancee and asked “Do you have any idea what’s going on?”), and there were elements that I enjoyed but ultimately I was disappointed. I had a similar reaction at the ending of Cronenberg’s Spider, thinking “What was the point of all that?” when the closing credits started to roll, though it was much easier to stay awake during eXistenZ.
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