Abstract

The 1991 science-fiction film Total Recall exhibits the kind of "political amnesia" that Michael Rogin has called an essential aspect of the "postmodern American empire." At the same time, the film insistently undermines the cinematic amnesia that helps to make film narrative possible, by repeatedly representing the cinematic apparatus within the film's own story. The relationship between these two impulses—broadly, the film's recuperation of its political content and its interrogation of its cinematic form—is the subject of this essay.

pdf

Additional Information

ISSN
2578-4919
Print ISSN
2578-4900
Pages
pp. 41-56
Launched on MUSE
2003-01-29
Open Access
No
Back To Top

This website uses cookies to ensure you get the best experience on our website. Without cookies your experience may not be seamless.