“To describe the spectacle, its formation, its functions and the forces which tend to dissolve it, one must artificially distinguish certain inseparable elements. When analyzing the spectacle one speaks, to some extent, the language of the spectacular itself in the sense that one moves through the methodological terrain of the very society which expresses itself in the spectacle. But the spectacle is nothing other than the sense of the total practice of a social-economic formation, its use of time. It is the historical movement in which we are caught.” – Thesis 11 from Society of the Spectacle by Guy Debord
Olivier Assayas’ Demonlover (2002) is a genre-bending corporate espionage thriller that takes elements from neo-noir, David Cronenberg’s Videodrome (1983), and Guy Debord’s Society of the Spectacle to depict the final triumph of the image over organic solidarity in late-capitalism. Beginning as a simple thriller about a multinational conglomerate named the Volf Corporation,...
Olivier Assayas’ Demonlover (2002) is a genre-bending corporate espionage thriller that takes elements from neo-noir, David Cronenberg’s Videodrome (1983), and Guy Debord’s Society of the Spectacle to depict the final triumph of the image over organic solidarity in late-capitalism. Beginning as a simple thriller about a multinational conglomerate named the Volf Corporation,...
- 1/22/2014
- by Cody Lang
- SoundOnSight
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