Ursula Hentschlaeger
Zelko Wiener
Vice Versa. Mediatised
Projections in the Worlds of Science-Fiction Movies
1998
This work aimed at focusing on a
mediatised notion of the mirror, which can mainly be defined on
the basis of distinctions: If, in visions of the future, the
traditional mirror still serves as
1. an
instrument of observation, self-knowledge and exposure, and
2. as a means
to condense interior worlds and dream worlds then the
"new" ways of mirroring, which are eventally always
mediatised project-ions, find their equivalents in
3. digital
instruments (of control) or as
4.
constructions of reality in a fictitious cyberspace.
BACKGROUND
OBSERVATION
4. Constructions of one's own image
Building reality
The creation of mediatised images which
are and remain dependent on the original "source
file" (even if it is a human being) can also be considered
a reflection of one's own image. This principle becomes clear
in Future Lover: A hologram transmission simulates a TV
reporter in a studio where he is not physically present. In
Total Recall, holography serves to create an identical mirror
image that can be used to confuse pursuers. If the point is to
construct one's own image, its generation in cyberspace becomes
a matter of interest. When the lawnmower man escapes to
cyberspace in Part 1 to get away from his pursuers in
"reality" he becomes his own mediatised image which
he has created earlier. This does not primarily correspond to a
reflection in the traditional sense, yet it is one: All the
wishes, needs, dreams, physical characteristics and idea of
one's own self have been projected onto the digital mirror
image. Thus, he is himself and the person he wants to be.
However, in physical reality he remains the man with the
cyberhelmet and as such, he is vulnerable. Nirvana also shows a
combination of various levels.
INTRERIORWORLD
CONTROL
CONSTRUCTION
CONCLUSION
