Videodrome (Cronenberg, 1983)

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Cronenberg uses film theory to transform mediate objects into perceivable flesh. From Bergson to Deleuze, the cinema is conscious; it is consciousness reified. Perception of an image is always a subtraction of said image. The visual image is reality and the world which perceives it is a reality less than the image.

Through Videodrome (1983), a new reality has been borne wherein reality is no longer dictated solely by what is perceptible to the senses. The new flesh permits the reification of image. What begins as an image, a hallucination, crosses into physical reality via the new organ. Videodrome permits the crossing of borders, making inseparable the world of the physical concept and the world of the image concept. A comment on the effects of spectacular society today.

Cronenberg’s ability to make visible such complex concepts is astounding.

93/100 – Amazing.

5 Stars

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Images were taken by me while attending the press & media event day prior to the launch of Cronenberg: Evolution at the Toronto International Film Festival.

Slideshow and interview with Noah Cowan, artistic director of TIFF, found here:

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About Kamran Ahmed

I have a Masters in Cinema Studies from the University of Toronto. I work as a freelance writer and film critic in Vancouver. My writing is primarily distributed through Next Projection, an online film journal based in Toronto.
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