JUMP CUT
A REVIEW OF CONTEMPORARY MEDIA

Notes

1 From 1959-1964, Rod Serling’s The Twilight Zone repeatedly employed the mindfuck device. In at least a dozen episodes, concentrated largely in its first season, The Twilight Zone offered plots in which characters were deluded about the nature of their existences. In The Hitchhiker, a woman believes she has survived an accident only to discover she has in fact died. Similarly, in Perchance to Dream, a man has an entire adventure in the space of his last moment alive. In Judgement Night and The Passerby, (a weaker episode very much like Alejandro Amenabar’s The Others), characters do not know they are dead. In other episodes, characters were unaware of their true physical nature, like in The Lateness of the Hour, in which a woman discovers she is a robot. In probably the best of these constructions, The After Hours, a woman does not learn until the end that she is in fact a mannequin.

2 Thomson, David. A Biographical Dictionary of Film. New York; Alfred A. Knopf, 1994. pg. 98.

3 Butler, Judith. Gender Trouble (10th Anniversary Edition). New York: Routledge, 1999.

4 Baudrillard, Jean. Global Debt and Parallel Universe. Trans by Francois Debrix.
Website: http://www.uta.edu/english/apt/collab/
texts/globaldebt.html
. April, 2003.

5 Ibid.

6 Baudrillard, Jean. Disneyworld Company. Trans by Francois Debrix. Website:
http://www.uta.edu/english/apt/collab
/texts/disneyworld.html
. April, 2003.


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