In the everlasting process of technology becoming an inseparable
part of human lives, the definition of ‘being human’ has been altering accordingly.
This change, more than a simple dystopian society captured by technology, refers
to the coalescence of technology and human as a new subject ‘beyond’ the human.
Canadian filmmaker David Cronenberg is telling stories of human evolution that
modern man has seized control of and the complex relationship of this evolution
within his triangle of consumption, ...
In the everlasting process of technology becoming an inseparable
part of human lives, the definition of ‘being human’ has been altering accordingly.
This change, more than a simple dystopian society captured by technology, refers
to the coalescence of technology and human as a new subject ‘beyond’ the human.
Canadian filmmaker David Cronenberg is telling stories of human evolution that
modern man has seized control of and the complex relationship of this evolution
within his triangle of consumption, body, and technology in his movies.
Cronenberg’s cinema was mainly focused on the bodily transformation of modern
man by diseases, especially in the early period of his cinema; giving the notion of
‘disease’ that humanity is obsessed with today -an exceptional meaning. Besides,
he makes a comeback to this philosophical infrastructure with his first novel
Consumed (2014). As a result of this bodily transformation, the term ‘new flesh’
emerged in the middle of the consumption, body, and technology triangle. In this
comparative study, Cronenberg’s ‘new flesh’ concept which refers becoming of
technology and body, and diseases as a mediator between the ‘old’ and ‘new’ flesh
in his cinema will be examined in the light of contemporary cultural studies since it
would be a pathfinder to understand the digital cinema which is the ‘new flesh’ of
contemporary cinema.
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