In the introduction to his book Killing For Culture: An Illustrated History of Death Film From Mondo to Snuff, David Kerekes states “Film doesn’t simply document, it creates. Whatever is put before the camera imbues the celluloid with life, grants those frames their existence. When somebody is seen to lose their life on film, their death becomes a product subject to change”. It seems that the death described by Kerekes is quite obviously more real in nature than what most audiences would ever think of buying a ticket to see – or would they? – his opening remarks ring true to enigmatic reaction that VIDEODROME’s Max Wren (James Woods) has when he first encounters streams/recordings of “real” people meeting their demise.
By Mel Cartagena
Videodrome – 1983 – dir. David Cronenberg
If at times you feel overwhelmed by the tidal wave of ‘entertainment’ that comes at you from your all around, then you understand how Max Renn (James Woods) was feeling in Videodrome. In his quest for the ultimate cheap thrill he finds himself caught in the zone between the real and the manufactured fiction he peddles.