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Media resistance is a recurring theme in contemporary culture, and inspire fiction writers as well as film-makers. This chapter discusses dystopian films where media are portrayed as evil, dangerous or bad in other ways. Being there (1979), Videodrome (1983), The Truman Show (1998), Disconnect (2012) and Her (2013) reflect criticism of network television, video and cable, reality television, social and online media, and virtual reality. The films aid the discussion in the book by providing speculative answers to the question: What if resisters were right? What would our world look like if their warnings came true?
Andrejevic, Mark. Reality TV: The Work of Being Watched. Lanham: Rowman and Littlefield, 2004.
Bakøy, Eva, and Jo Sondre Moseng. Filmanalytiske tradisjoner. Oslo: Universitetsforlaget, 2008.
Barker, Martin. A Haunt of Fears: The Strange History of the British Horror Comics Campaign. London: Pluto, 1984a.
———. “Nasty Politics or Video Nastes.” In The Video Nasties: Freedom and Censorship in the Media, by Martin Barker, 7–38. London: Pluto, 1984b.
Death Race 2000. Directed by Ron Bartel, 1975.
Biltereyst, Daniel. “Big Brother and Its Moral Guardians.” In Big Brother International: Formats, Critics and Publics, by Ernest Mathijs and Janet Jones, 9–15. London and New York: Wallflower, 2004.
The Matrix. Directed by The Wachowski Brothers, 1999.
Dawson, Nick. Being Hal Ashby. Life of a Hollywood Rebel. Lexington: Kentucky University Press, 2009. CrossRef
Enli, Gunn. Mediated Authenticity: How Media Construct Reality. New York: Peter Lang, 2015. CrossRef
The Social Network. Directed by David Fincher, 2010.
Gonzales, Francisco. Videodrome. 2013. http://filmconnoisseur.blogspot.no/2013/03/videodrome-1983.html
Grace, Dominick. “From Videodrome to Virtual Light: David Cronenberg and William Gibson.” Extrapolation, 2003: 44(3): 344–357. CrossRef
Heritage, Stuart. “Disconnect: The Internet Thriller that’s not Plugged in”. The Guardian, 6 March 2013.
Herman, Edward S., and Noam Chomsky Manufacturing Consent: The Political Economy of the Mass Media. London: The Bodly Head, 1988.
Hornig, Susanna. “Digital Delusions: Intelligent Computers in Science Fiction Films.” In Beyond the Stars 3: The Material World in American Popular Film, by Paul Loukides and Linda Fuller, 207–215. Bowling Green: Bowling Green State University Popular Press, 1993.
Her. Directed by Spike Jonze, 2013.
Kavka, Misha. Reality-TV. Edinburgh: Edinburgh University Press, 2012.
King, Geoff, and Tanya Krzywinska. Science Fiction Cinema: From Outerspace to Cyberspace. London and New York: Wallflower, 2000.
Kosinski, Jerzy. Being There. New York: Grove Press, 1970.
Lippmann, Walter. “Public Opinion.” Project Gutenberg. 2002 . http://www.gutenberg.org/cache/epub/6456/pg6456-images.html
Loukides, Paul. “Introduction. Plot Conventions in American Popular Film.” In Beyond the Stars 2: Plot Conventions in American Film, by Paul Loukides and Linda Fuller, 1–5. Bowling Green: Bowling Green State University Popular Press, 1991.
Loukides, Paul, and Linda Fuller. “Introduction. Conventions of the Material World in Popular Film.” In Beyond the Stars 3: The Material World in American Popular Film, by Paul Loukides and Linda Fuller, 1–4. Bowling Green: Bowling Green State University Popular Press, 1993.
Network. Directed by Sidney Lumet, 1976.
Mander, Jerry. Four Arguments for the Elimination of Television. New York: Morrow, 1978 .
McLuhan, Marshall. Understanding Media: The Extension of Man. London: Sphere books, 1968 .
McNair, Brian. Journalists in Film. Heroes and Villains. Edinburgh: Edinburgh University Press, 2010.
Natale, Simone, and Gabriele Balbi. “Media and the Imaginary in History.” Media History, 2014: 20(2): 203–218. CrossRef
S1m0ne. Directed by Andrew Niccol, 2002.
Postman, Andrew. “Introduction.” In Amusing Ourselves to Death, by Neil Postman, vii–xvi. London: Penguin, 2005b.
Postman, Neil. Amusing Ourselves to Death. London: Penguin, 2005a .
I, Robot. Directed by Alex Proyas. 2004.
The Quiz Show. Directed by Robert Redford, 1994.
Rommetveit, Ingrid, and Anne-Lise With. “Tematisk analyse som balansekunst.” In Filmanalytiske tradisjoner, by Eva Bakøy and Jo Sondre Moseng, 107–113. Oslo: Universitetsforlaget, 2008.
The Hunger Games. Directed by Gary Ross, 2012.
Trust. Directed by David Schwimmer, 2010.
Blade Runner. Directed by Ridley Scott, 1982.
Smith-Isaksen, Marthe, and Vegard Higraff. Videovold: Regulering av videomediet 1980–2004. Oslo: Statens filmtilsyn, 2004.
Turkle, Sherry. Alone Together: Why We Expect More from Technology and Less from Each Other. New York: Basic Books, 2011.
vanZonen, Lisbeth, and Minna Aslama. “Understanding Big Brother: An Analysis of Current Research.” Javnost, 2006: 13(2): 85–96. CrossRef
Vint, Cherryl, and Mark Bould. “All that Melts into Air is Solid: Rematerialising Capital in Cube and Videodrome.” Socialism and Democracy, 2006: 20(3): 217–243. CrossRef
The Truman Show. Directed by Peter Weir, 1998.
———. Quite Contrary. An Autobiography. London: Pan Books, 1993.
Winn, Marie. The Plug-In Drug. New York: Bantham, 1980 .
Worland, Rick. The Horror Film: An Introduction. Oxford: Blackwell, 2007.
Modleski, Tania. “The terror of pleasure: The contemporary horror film and post-modern theory”. In The Film Cultures Reader, by Graeme Turner, 268–275. London: Routledge, 2002.
- What if Resisters were Right? Speculations about Bad Media in Popular Films
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