Episode 157: Long Live the New Flesh: On David Cronenberg's 'Videodrome'
Nov 8, 2023
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In this live episode, the hosts discuss David Cronenberg's 'Videodrome', exploring its plot, themes, and philosophies. They also delve into the influence of Toronto and City TV on the film, the enigmatic nature of 'Videodrome', and the symbolism in the main character's apartment. The chapter ends with a discussion on various themes and factions in the movie.
'Videodrome' explores the inseparability of perception and the body, raising questions about the role of technology in shaping human existence.
The setting of Toronto in 'Videodrome' represents a fusion of countercultural ideals, technological advancements, and the city's intellectual history.
'Videodrome' delves into abstract and dreamlike politics, blurring the lines between fascism, sexuality, and a mysterious and unsettling intersection of technology and politics.
Deep dives
The Philosophy of Technology and Body Horror
Video Drome explores the intersection of technology and the human body, presenting an enigmatic and nightmarish vision. It raises questions about the inseparability of perception and the body, as well as the possibility that technology becomes an extension of ourselves. The film delves into the idea that technology is not separate from us, but rather something we excrete and create as humans. It examines the potential utopian and dystopian implications of this technological non-dualism, questioning our responsibility in shaping the future. The abstract and surreal violence in the film serves as a commentary on the limitations of reason and rationality when confronted with irrational and horrific experiences. Overall, Video Drome offers a cold and clinical examination of complex themes, grounded in a philosophical exploration of the evolving relationship between humans and technology.
Toronto's Cultural Strata and the Influence of Communication Theorists
The setting of Toronto plays a significant role in Video Drome, showcasing the layers of cultural strata within the city. It captures the juxtaposition of a modern and electrified atmosphere, with remnants of countercultural utopianism. The film incorporates elements of the countercultural movement, where technological advancements were seen as a means to achieve a greater connection and a future of redemption. Toronto's rich history of communication theorists, exemplified by figures like Marshall McLuhan and Northrop Frye, adds depth to the exploration of media and technology in the film. Video Drome's depiction of Toronto encapsulates the city's unique blend of influences and its impact on the narrative.
The Enigmatic Politics and Themes of Video Drome
In Video Drome, there are glimpses of recognizable real-world politics, particularly in characters like Harlan and Masha. Harlan's speech and actions reflect themes of fascism, anxieties surrounding sexuality, and a fetishization of tough bodies. The film also explores a politics that is difficult to fully understand or articulate, presented through the character of Bianca Oblivion and her enigmatic charge to Max. The politics in Video Drome are abstract, dreamlike, and resist clear interpretation. They serve to create a sense of tension and intrigue, leaving the audience with an ambiguous and unsettling feeling about the intersection of technology, politics, and the human experience.
Horror as a Combination of Fear and Disgust
Horror films, like the ones directed by David Cronenberg, are not only about inducing fear but also about evoking a sense of disgust. The genre of horror bridges these two emotions - fear and disgust - to create a unique affect on the viewer. Cronenberg, much like Hitchcock, is interested in the physiological dimension of cinema and how it affects not only the body on screen but also the body of the viewer. This physiological aspect of horror, which leans more toward disgust, is what makes it a compelling genre for Cronenberg as a filmmaker.
The Intimate and Invasive Nature of Horror
Horror films, along with pornography and melodramas, belong to what film scholar Linda Williams calls 'body genres'. These genres elicit embodied responses from the audience, breaking down the barrier between subject and object. This merging of the viewer and the on-screen events is achieved through physical sensations and visceral affects. In the case of horror, the genre invades the viewer's senses and bypasses the rational faculties, creating an intimate and immersive experience. This invasive quality of horror is akin to the way technology can also breach the barriers between subject and object, generating a sense of anxiety and paranoia.
It was perhaps inevitable that the modern Weird, driven as it is to swallow all things, would sooner or later veer into the realm of political sloganeering without losing any of its unknowable essence. David Cronenberg's 1983 film Videodrome is more than a masterwork of body horror: it is a study in technopolitics, a meditation on the complex weave of imagination and perception, and a prophecy of the now on-going coalescence of flesh and technology into a strange new alloy. In this episode, recorded live after a screening of the film at Indiana University Cinema in Bloomington, JF and Phil set out to interpret Cronenberg's vision... and come to dig the New Flesh.
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