>>
You're Reading...
Film Essays

VIDEODROME MARATHON: Videodrome is Dangerous

Videodrome is dangerous.

I’m talking literally and metaphorically. The Videodrome signal, within the confines of the narrative film Videodrome, is a dangerous, flesh mutating, life-changing broadcast. Videodrome the frame, the movie by David Cronenberg, is dangerous in a far more ephemeral way.

Videodrome is a hallucination, a series of subjective dreams and nightmares experience by Max Renn (James Woods). It could be argued nothing about the film is real, as it begins with full-screen television static (anticipating the similar, albeit bleaker and less fulfilling, Benny’s Video by Michael Haneke) which returns intermittently to fill the entire screen, indicating to us, the viewer, that everything we are seeing is un-reality. A program– not necessarily “a movie”. It could be argued, using the same post-modern lense, that the ultimate producer and distributor of the Videodrome signal is David Cronenberg himself, tormenting his protagonist Renn and his universe.

Videodrome is a sick set of programming and Cronenberg is a sick programmer. Never before has a Cronenberg movie (or perhaps any movie) so thoroughly and easily dismantled the viewer’s worldview and sense of place. “I don’t know where I am anymore,” Renn mumbles at the end of the film, as he sits alone on a dirty mattress in a condemned boat. Neither do we. The scant preceding 89 minutes, when properly received, can de-center almost any worldview. There are movies that dismantle rationalism, there are movies that dismantle humanism, and there are movies that dismantle pragmatism– Videodrome dismantles all –isms.

The true power of Videodrome, both the signal and the frame, is not in indoctrinating you into a world of frightening hallucinations– it’s in deprogramming you of the ones you already have. And the deprogramming is always more painful, as Bianca O’Blivion warns.

When Barry Convex (Leslie Carlson, in a role modeled after televangelist Jim Bakker) explodes into a mass of mutated flesh (in surely one of the more horrific sequences in film history) it is not simply a painful death but an explosion of a lifetime of artificial beliefs, coalescing and devouring the flesh. It is a lifetime of artificial slogans, simplistic morals, and deplorable binary philosophies, breaking through his skull and torturing the still-conscious Convex. The Videodrome signal, after all, turns the viewer against himself more than it does against others– ultimately Convex is devoured by his own body and mind.

But yet, it is not simply that Convex, Harlan and their beliefs are “bad”. No Cronenberg film is ever so black and white. When Renn is de-programmed he must then be immediately re-programmed, this time by the “New Flesh”. Both philosophies are sloganeering, hierarchical belief systems that work best through direct control and manipulation, and both ask Renn to kill for them. Neither Renn nor the audience truly believes or understands either of the philosophies. Renn is simply asked to sacrifice himself for them.

The most disturbing and dangerous thing about Videodrome is not the imagery, the idealized fuckscape, or the famous Croenberg mutations. The most disturbing thing about Videodrome is the presentation that every thought you have, have ever had and will ever have, every philosophy you subscribe to, is a program someone else is playing. Videodrome presents this insidious, terrifying idea that the entire system is something complex and unstoppable, something you will never understand, and that is controlling you. Call it “philosophy”. No matter what channel you’re on—the capitalist channel, the Christian channel, the atheist channel, the Marxist channel, the Dada channel—they’re all programming. And, as we all know, the medium is the message. Whose program are you playing, and how and when did they fuck you? Videodrome is dangerous because it deconstructs, among other things, philosophy. Full stop. Not just a philosophy, but the concept entirely.

“I don’t know where I am anymore.”

Neither do we, Max.

By Britta R. Moline  9/22/2011

Advertisements

Discussion

5 thoughts on “VIDEODROME MARATHON: Videodrome is Dangerous

  1. Huh.

    Britta: I had never thought about Videodrome the same way as Cache. The fact that Cronenberg is tormenting his own character much like Haneke is torturing his. Intriguing thought.

    Posted by Guy | September 23, 2011, 2:01 am
  2. Very incisive essay. Reminds me of many of the less thoughtful members of the ‘Occupy’ movement. So many of them are expousing political and economic philosophies that they accept as dogmas with even attempting to understand what they mean, even as they so blithely (abeit rightfully) condemn traditional beliefs as mind-control programming. The cognitive dissonance is thick enough to spread on toast.

    Posted by Phillip Lozano | October 17, 2011, 8:47 pm
    • Thanks for the comment, Phillip. I think this could be said of a lot of (if not most of) politics. Sometimes it feels that one must be dogmatic to be heard in our black and white world. Whether it’s Videodrome or the New Flesh, it’s all just programming.

      — Britta

      Posted by VideoWordMadeFlesh | October 18, 2011, 1:24 am

Trackbacks/Pingbacks

  1. Pingback: 4 David Cronenberg Cameos « Video Word Made Flesh - December 19, 2011

  2. Pingback: Me, Myself and Iron Man « Video Word Made Flesh - March 7, 2012

Leave a Reply

Fill in your details below or click an icon to log in:

WordPress.com Logo

You are commenting using your WordPress.com account. Log Out / Change )

Twitter picture

You are commenting using your Twitter account. Log Out / Change )

Facebook photo

You are commenting using your Facebook account. Log Out / Change )

Google+ photo

You are commenting using your Google+ account. Log Out / Change )

Connecting to %s

%d bloggers like this: