Films such as A Scanner Darkly signal a current shift in narrative cinema, and prompt a kind of spectator-engagement much in line with posthumanist views on subjectivity. Rather than pertaining to traditional notions of illusionism and suspension of disbelief, these "mind-game films" (Thomas Elsaesser) employ unreliability and spectacle for the creation of unstable and synthetic storyworlds. While firmly embedded in the institution of narrative fiction cinema, A Scanner Darkly presents novel and significant modes of signification and agency (even if limited or dystopian), both for those "trapped" within its filmic story and for the spectators on its other end.
If you believe that digital publication of certain material infringes any of your rights or (privacy) interests, please let the Library know, stating your reasons. In case of a legitimate complaint, the Library will make the material inaccessible and/or remove it from the website. Please Ask the Library, or send a letter to: Library of the University of Amsterdam, Secretariat, Singel 425, 1012 WP Amsterdam, The Netherlands. You will be contacted as soon as possible.