Out from the realist underground; or, the Baron of Blood visits Cannes
Recursive and self-reflexive patterns in David Cronenberg’s Videodrome and eXistenZ
in Monstrous adaptations
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In an overview of David Cronenberg's career, the author has deliberately chosen Videodrome and eXistenZ as crucial turning points for several reasons. Both films share a host of thematic interests that extend beyond the scope of authorial consistency most critics are willing grant all of Cronenberg's films, even those not based on an original script by Cronenberg himself. David Thomson singles out Videodrome when he argues for the emergence of a self-reflexive turn in Cronenberg's films. Having appeared in brief cameos in directors' films, Cronenberg established a public persona in 1999 when he served a term as president of the jury at the Cannes Film Festival. It was a form of public recognition unthinkable for the man who had been dubbed the 'King of venereal horror' and 'Baron of blood' in the early years of his career.

Monstrous adaptations

Generic and thematic mutations in horror film

Editors: Richard J. Hand and Jay McRoy

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