Videodrome Quotes

Long live the New Flesh!

The abject is evident in the bizarre bodily changes found in films as different as Videodrome (1983) and M Butterfly (1993), both of which focus on mutating or deviant men. Cronenberg’s work at this level achieves a rupture of the categories constituting gender difference: as Williams has it, in these films ‘mutation signals a more pervasive postmodern gender-fuck at work: women conceive without men (The Brood), and men turn themselves into women’. In the ‘fisting’ scene in Videodrome, for example, when Harlan thrusts his arm into Renn’s vagina slit what is attempting is a form of rape. However, the vagina dissolves his arm, and he is left with a bleeding stump, prefiguring the stump of a hand and dissolved ankle which Stathis Borans is left with at the end of The Fly. In Crash (1996), the complexities of this order of conceptualization are developed further, as the question of the boundaries between the inner and outer, the private and the public, of which the male body has been the focus, finds the automobile a new kind of expression.

Staring into the naked orange flames of the firepit, naked flesh, naked Carrie Donaldson on the bare rug in exhausted, sated semi-sleep beside him, Jack Barron felt a carapace of image-history-skin encysting him like steel walls of a TV set, a creature imprisoned in the electronic circuitry of his own head perceiving through promptboard vidphone fleshless electronic speed of light ersatz senses, separated from the girl beside him by the phosphor-dot impenetrable glass TV screen Great Wall of China of his own image. First time I remember being blown feeling like wet put-down ugliness, he brooded. Ugly, he told himself, is a thing you feel — truth is ugly when it's a weapon, lie is beautiful when an act of love ugly when it's one-sided fuck is beautiful when it's simple, mutual, nobullshit balling, ugly when chick gets her kicks off you that really isn't there, is why you feel like a rotten lump of shit, man. Getting blown Sara go down being dug by woman's a pure gas; being sucked off, image-statue living lie, someone else's lie being eaten (Let me eat you, let me eat you, baby!) is a dirty act of plastic cannibalism, her dirtiness, not mine. Whole world's full of plastic cannibals feeding their own little bags off meals of my goddamned image-flesh, eating Jack Barron ghost that isn't there. And now Morris and my so-called friend Luke are hot to package my living-color bod into TV dinners, sell to hundred million viewer-voter cannibals for thirty pieces of power silver.

Having a child has become a prodigiously artificial thing. It no longer has anything of the passionately accidental event about it; it has become the parthenogenetic fruit of a calculation of biological, dietary and psychosocial data and you wonder to what extent dream, desire or fatality are still involved. But perhaps the race is losing its interest in sexuality, preferring instead a sort of protozoan transplantation. Leaving out of account that what has been conceived by artificial insemination is very likely to continue its life in artificial intelligence and to die of built-in obsolescence. After the mechanical bride, the mechanical widow. Now every human being is the product of a sexual act, a sexual pact or else we should not be the human race. It takes a sexual copulation successfully to produce a human being, just as, among the Hindus, it takes a copulation between the word and silence for a sacrifice to be successfully carried out. In a sense the child is indeed the continuation of the species. But in another, he or she is a biological vestige of it. The further we go with change, genetic innovations and fashion, the more unreal it becomes, with each new generation, to put our trust in the processes of childbirth and organic growth. The simplicity and slowness of those things are entirely outside the range of our contemporary experience. How can we claim to exercise judgement if we have lost a sense of punishment? How can we claim to judge anything at all if we no longer accept being judged? And if we are no longer able either to judge or be judged, then we lose all hope of being absolved or condemned in the past or the future. Now, what can no longer be reflected in the past or the future takes place in a single instant with all its consequences. The Last Judgement becomes an immediate reality. We have right here before us the unchecked proliferation in epidemic proportions of all processes, the multiplication of all cancers on an epidemic scale.

Vous détournez la tête de l'écran quand s'y agite Videodrome, vous ne voulez pas voir, vous ne voulez pas connaître, vous ne voulez pas y être. Vous voulez dire : je ne sais pas, je ne saurai pas, nous ne savions pas. Alors vous ne comprenez pas, vous ne comprenez rien. Votre tête est pleine d'oiseaux morts et votre conscience prend le train.

Export Credit Guarantees.‘After all, Madame Nhu is asking a thousand dollars an interview, in this case we can insist on five and get it. Damn it, this is The Man . . . ’ The brain dulls. An exhibition of atrocity photographs rouses a flicker of interest. Meanwhile, the quasars burn dimly from the dark peaks of the universe. Standing across the room from Catherine Austin, who watches him with guarded eyes, he hears himself addressed as ‘Paul’, as if waiting for clandestine messages from the resistance headquarters of World War III. Five Hundred Feet High. The Madonnas move across London like immense clouds. Painted on clapboard in the Mantegna style, their composed faces gaze down on the crowds watching from the streets below. Several hundred pass by, vanishing into the haze over the Queen Mary Reservoir, Staines, like a procession of marine deities. Some remarkable entrepreneur has arranged this tour de force; in advertising circles everyone is talking about the mysterious international agency that now has the Vatican account. At the Institute Dr Nathan is trying to sidestep the Late Renaissance. ‘Mannerism bores me. Whatever happens,’ he confides to Catherine Austin, ‘we must keep him off Dali and Ernst.’ Gioconda. As the slides moved through the projector the women’s photographs, in profile and full face, jerked one by one across the screen. ‘A characteristic of the criminally insane,’ Dr Nathan remarked, ‘is the lack of tone and rigidity of the facial mask.’ The audience fell silent. An extraordinary woman had appeared on the screen. The planes of her face seemed to lead towards some invisible focus, projecting an image that lingered on the walls, as if they were inhabiting her skull. In her eyes glowed the forms of archangels. ‘That one?’ Dr Nathan asked quietly. ‘Your mother? I see.