Anatomy of an Adult Film by R. Richard, Sunset Thomas

By R. Richard, Sunset Thomas

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Extra info for Anatomy of an Adult Film

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Considered as a productive pathology, Leonard’s amnesia would remind one of the importance of forgetting, rather than remembering. , the way that repetitive tasks are inscribed in the body, and by the manner in which revenge becomes a meaningless concept, the film foregrounds the idea of “programming,” as opposed to remembering: it points to the importance of the change from a society based on law/ The Mind-Game Film 29 prohibition (so strong in analyses of myths and narratives) to one organizing itself around procedures and protocols (in systems analysis, engineering, and information sciences).

There, Johnson develops a theory about the “post-industrial” role for the modern media, by arguing that computer games, and especially contemporary American television, notably some of the HBO-produced or inspired programs such as The X-Files, The Sopranos, 24, or Lost (as well as “weird” movies: more or less the same titles I cite as mind-game films), are “good” for the young, because they train new cognitive skills and teach appropriate ways of responding to and interacting with automated systems of surveillance and control, such as increasingly predominate on the work-floor and in offices, as well as in the home and in interpersonal discourse.

Pehla, K. 1991. “Joe May und seine Detektive. Der Serienfilm als Kinoerlebnis,” in H-M. Bock and C. ), Joe May. Regisseur und Produzent. München: edition text + kritik. Rushkoff, D. 1995. Playing the Future: What We Can Learn From Digital Kids. New York: Riverhead Books. Sankey, D. 2001. ca/blog/131/mindfuck-films (accessed September 5, 2006). Simons, J. 2007. Playing the Waves. Lars von Trier’s Game Cinema. Amsterdam: Amsterdam University Press. Smith, M. 2001. “Parallel lines,” in J. ), American Independent Cinema: A Sight and Sound Reader.

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