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0:25:15 (desensitized/reassembling)

by Jim Benz

Cast:

First speaker: Keith Maxwell Hardy
Second speaker: TS Eliot
Third speaker: William Blake
Fourth speaker: Charles Olson
Fifth speaker: Elizabeth Barrett Browning
Sixth speaker: Alice Notely
Seventh speaker: HD
Eighth speaker: William Shakespeare
Ninth speaker: Jacques Derrida
Tenth speaker: Hélène Cixous
Eleventh speaker: Maurice Meleau-Ponty
Twelfth speaker: Antonio Negri
Thirteen speaker: David Cronenberg
Final speaker: Philip Aegidius Walshe

Setting:

There is a little more space in here than usual, but if so it is not immediately obvious, especially as
the main difference is the presence of a man sitting by an open window with a book from which he
now looks up. Through the open window we notice an old woman who has come close to the
window opposite so that she might continue to hear everything. Apart from this chair by the window,
there is nowhere anywhere in the room where we might sit. It is very tidy. We wander through the
next room into the one beyond, the door of which is already open. The speakers have already begun
to assemble.



I. According to the interpretation

You feel free
With a helmet and dark hair the nameless female stood
Voyage in whose arm, whose left arm rests
Unheard, sublime in upper air, the bird of Jove appeared

Turned & left me
Seems almost ready for this sacrifice
Remember him hereafter
Phonetic writing, valorized as the telos

(One of the privileged alibis
Neither truth nor falsehood)


"Antihumanism, then, conceived as a refusal of any transcendence, should in no way be confused
with a negation of the vis viva, the creative life force that animates the revolutionary stream of the
modern tradition."

0:53:49: Aah!
0:53:54: Aah!
0:54:10: Aah!
0:54:15: Aah!
0:54:23: Aah!
1:04:28: Aah.
0:40:05: A-- an accident.
0:29:23: About a new twist in video that he may not be aware of.
0:30:12: Absolutely.
0:43:39: After all, there is nothing real.
0:15:35: A friend. I think he'd like Videodrome.
1:15:53: Ah. (Been busy, Max)
0:10:10: A harmless outlet for their fantasies and their frustrations.
1:02:30: Ah, we did record your hallucinations, Max.
1:15:08: Ah, what's this.
0:14:29: Ain't exactly sex.
0:08:25: Already workin' on it.
0:39:02: All right. Good.
0:01:02: Although I've been told I'm a vision of loveliness.
0:47:06: And as I'm sure you know.
0:43:32: And control hallucination.
1:01:37: And direct.
0:10:04: And do you care? (Certainly, I care)
0:10:51: And he would've been right. I admit it.
0:46:50: And I'd like to invite you into the world of Spectacular Optical.
0:33:58: And I guess I'm still not out of it.
0:33:59: And I guess I'm still not out of it.
0:30:17: And I guess you encourage Father's derelicts to make home movies?
0:36:17: And I had visions.
0:01:21: And I have a message.
0:26:42: And I'll make Apollo and Dionysus part of the package.
0:57:57: And I'll tell you what's going on.
0:50:19: And I think an analysis of one of your hallucinations...
0:56:10: And I want you to take a look at what's in my bed.
0:09:32: And media prophet Professor Brian O'Blivion.
0:47:00: And missile guidance systems for NATO.
0:01:35: And needless to say, it's your first of the day.
0:36:23: And not the reverse.
0:09:21: And now here it is: The Rena King Show.
1:12:44: And now that you are the video word made flesh.
1:19:42: And our theme for this year is based on two quotes.
0:35:45: And reality is less than television.
0:38:55: And start them on the road to $12,000.
1:01:39: And strong.
0:50:59: And that allows the Videodrome signal to sink in.
0:14:03: And the Emotional Rescue show in just a moment.
1:19:55: And "The eye is the window of the soul."
1:01:25: And the rest of the world is getting tough.
0:41:56: And they killed him. Quietly.
1:10:43: And they want you to destroy whatever is left of Brian O'Blivion.
0:32:51: And this came to the office for you by courier.
0:09:24: And this afternoon, Rena's guests are Max Renn...
0:09:55: And, uh-- and we do that.
0:07:02: And, uh, automatically changed its code on us.
1:01:53: And, uh, your people who wallow around in it.
1:01:56: And, uh, your viewers.
1:02:36: And we did analyze them.
1:01:34: And we're going to have to be pure.
0:13:52: And you need it.
0:46:54: An enthusiastic global corporate citizen.
0:59:42: An intriguing combination. Very interesting.
0:43:15: A new organ.
0:43:17: A new part of the brain.
1:00:43: Anybody who watches it, Max.
0:19:16: Apollo and Dionysus.
1:14:04: A quarter. You got somethin', Teddy.
0:27:23: Are they goin' in now? (Got a cigarette)
0:20:28: Arnold on line three.
0:33:25: Are you all right? Bridey, I didn't mean to hit you.
0:10:14: As far as I'm concerned, that's a socially positive act.
1:02:33: As I said we would.
0:42:00: At the end, he was convinced that public life on television...
0:59:12: Aw, fuck! (Not ever)

"My father saw the old house again with a confused kind of pleasure; he went out into the old
orchard and looked up at the apple tree cradle; it was covered with snow."




II. Before I do this

What branches grow out of this stoney rubbish
Voices weak, eyes downcast
Uncertain is, as sex is, as money are, facts!
Tears repentant glisten in his eyes

Streaked with color
Remembering past enchantments
Prize me at her worth
Of grammatology

(Not having any for being frigid
More likely produced by the apparatus)


"Through their language and their action they first define the enemy as privation (in the hope of
preventing serious damage) and then recognize the enemy as sin."

0:25:39: Because it has something.
0:39:33: Because your father admits he's somehow involved with Videodrome.
1:15:57: Been readin' about you in the papers. (Hmm)
0:20:22: Better on TV than on the street.
0:29:04: Bianca O'Blivion? (Yes)
1:10:03: Bianca O'Blivion.
0:27:04: Brian O'Blivion.
0:41:19: Brian O'Blivion died quietly on an operating table 11 months ago.
0:57:21: Bridey said she came by a couple of days ago. You were...
1:00:56: Business reasons.
1:24:49: But don't be afraid.
0:09:57: But don't you feel such shows contribute...
0:50:40: But for now, I think that you'll find a little S&M...
0:13:40: But I do. I do.
0:47:18: But it's not ready. Those were test transmissions you picked up.
1:12:28: But now that we have...
0:43:12: But that it is in fact...
1:24:22: But that's only the beginning.
0:40:12: But that tape is just your father sitting at his desk.
0:40:20: But the Videodrome signal, the one that does the damage...
1:13:58: But, uh, I can't, so...
0:26:23: But, uh, you're a little older than I prefer.
0:36:36: But when they removed the tumor.
0:36:54: But who is behind it? What do they want.
1:00:45: But why would anybody watch it.
0:03:58: But you won't understand anything. Everything is set up in the first two...

"Why, what is this language that these poor people are singing?"



III. Clearly, the Copenhagen interpretation

Vines from which a golden Cupidon peeped
Ungenerous
To take to the field, march, obey!
She said, and melted into air

Reddish eyes
Picture of a toy, I was not interested, I was not instructed
Of nothing: speak again
No longer have the form of logic

(Militant male, his shadow we must kill
Lending his body to the world)


"The struggles do not communicate despite their being hypermediatized, on television, the Internet,
and every other imaginable medium."

0:56:04: Camera. Flashgun. What's up? Ya wanna be a centerfold?
0:33:46: Can I get you something? (Uh, no, uh...)
1:15:17: Can't imagine you'd see things too clear without them, you know.
1:14:08: Can't ya put somethin' in, Teddy?
0:05:10: Can we get away with it? Do we wanna get away with it?
0:55:55: Can you come over to my apartment? Right away?
0:14:55: Can you get it any clearer?
0:39:17: Careful. It bites.
1:01:49: (cesspool you call a television station)
0:19:06: Cigarette. Office. Masha. Go. (All right. Masha)
0:03:09: Cindy, open the door, will ya? (Go away)
0:13:14: Can't ya tell? lsn't that why you called me?
0:24:49: Channel 83 is a little small to be considered public.
0:00:46: Civic TV.
0:01:47: Civic TV, the one you take to bed with you.
1:07:48: Come-- Get out!
0:37:15: Come on.
0:38:04: Come on.
0:38:08: (Come on)
0:56:00: Come on in.
0:58:56: Come on in.
0:25:12: Come on, Masha. What are we talkin' about?
0:28:21: Come on. Step along.
1:17:51: Come on. We're going home now.
0:03:12: Come on. You know I love ya.
0:37:08: Come to me.
0:38:15: Come to me now.
0:37:11: Come to Nicki.
0:38:19: Come to Nicki.
1:24:58: Come to Nicki.
0:19:34: Contemporary.
0:09:27: Controversial president of Channel 83, radio personality Nicki Brand.
0:09:02: 'Course, that's part of the excitement of it. (Mm-hmm)

"He came back just before the dinner-hour, his eyes once more bright, his face flushed, his whole
soul braced for the coming struggle."




IV. Discussion of the Quantum Medium

Unstopper'd lurked her strange synthetic perfumes
The dark air, silent she stood as night
Stand with God and say IT IS GOOD
Reverend air, that lofty mien

Piece of cold steak, rimmed with fat
Or a run of notes on a lyre
Night, by all the operation of the orbs
Means "where and when does writing begin?"

(Lets go of herself, she flies
Kind, clear, manageable, and homogenous)


"The postmodern situation is eminently paradoxical when it is considered from the bio-political point
of view--understood, that is, as an uninterrupted circuit of life, production, and politics, globally
dominated by the capitalist mode of production."

0:40:33: Damage?
0:19:29: Darling, I am looking for something a lot more...
1:13:01: (death to videodrome)
1:13:07: Death to Videodrome.
1:20:33: Death to Videodrome! Long live the new flesh.
1:10:50: Destroy you?
0:57:03: Did you?
1:01:12: Did you enjoy that?
0:20:43: Did you ever think...
0:24:28: Did you get in touch with our friends in Pittsburgh?
0:12:40: Did you have any trouble locking onto it this time?
0:58:59: Did you look at the tape?
0:59:03: Did you see me on Videodrome? (There was no tape)
0:57:23: Did you tape Videodrome last night?
0:49:50: Do I get to keep the copyright?
0:23:27: Don't.
1:06:34: Don't.
1:07:06: Don't.
1:11:36: Don't back away.
1:24:51: Don't be afraid to let your body die.
0:38:21: Don't keep me waiting.
1:08:50: Don't let her hurt us, Max.
0:59:46: Don't let me interrupt. (I think I was saying something like...)
0:37:17: Don't make me wait.
0:21:33: Don't stay in the sun too long. I hear it's bad for the skin. (Oh, come on)
0:01:39: Don't you know anyone who works 9 to 5?
0:24:23: Do you have a hangover? (No. Stayed up late watching TV)
0:19:59: Do you know a show called Videodrome?
0:11:05: Do you think erotic TV shows and violent TV shows...
1:24:34: Do you think you're ready?
0:22:11: Do you understand me?
0:33:39: Do you want me to stay here?

"Instead of writing himself, he was led to forget the very salutary principle which he had set before
him."




V. Even matter is considered a wave packet

There the nightingale filled all the desert
Still on high my spirit soars
"Rime" the demon calld it
Protection from the flaming God

One mother
No answer
More than words can wield the matter
Language is peacefully installed

(Kept under seal, it will tear her away
Just as my substance passes)


"Here is where the primary site of struggle seems to emerge, on the terrain of the production and
regulation of subjectivity."

0:35:36: Emerges as raw experience for those who watch it.
0:10:32: Emotional or sexual, and I think that's bad.
0:08:57: Even if you've been doing it all your life, don't you think?
0:39:50: Ever since-- (What?)
1:19:29: Every one of you!
0:09:42: Everything from soft-core pornography...
0:57:59: Everything. I promise. Okay?
0:11:25: Except on television.
0:39:14: Exciting. Very lively.

"I say old man, I don't like asking; it seems beastly mean, but I'm in an awful hole. Could you lend
me ten bob till next screw-day?"




VI. For example, a real substance

Still she cried and still the world pursues
Raging, fathomless abyss
Perjorocracy is here
One pure stream of heaven collected light

Navy-blue
Marred with stint of petals
Lear is mad
Knowing what sort of word is the object

(Job of analysis and illumination
It meant nothing to us)


"These theorists thus find themselves pushing against an open door."

1:23:58: Finding my way around.
0:39:47: First time ever? (No, l-- l've been hallucinating for a while)
0:36:51: First victim.
0:03:22: For fuck's sake, open the door!
0:30:57: Format.
0:12:25: For perverts only. (It's absolutely brilliant)
0:51:04: 'Fraid not. You don't have to actually hurt anybody.
1:19:47: From the famous Renaissance statesman and patron of the arts...

"Down once more came a mighty wave of feeling upon him: he could have fasted on bread and water;
he could have kissed the sores of lepers, clothed himself in rags, and begged from door to door."




VII. Gray arrows represent the center or the axis of rotation

Rattle of the bones, and chuckle
Panting, struggling womb
O my people, where shall you find it
Now for you my shivering shade is driven

Men, made out of man-thought
Labyrinth that I kept in my brain
Know you what you are
Just one fact among others

(I refuse to strengthen them by repeating them
Human creations)


"All this, however, did not really have to be realized; its promise served rather as the ideological
carrot to ensure sufficient consensus for the modernizing project."

1:07:45: Get out! Just clear outta here!
0:03:14: Get outta here! (Will you open the door? For fuck's sake, open the door)
0:13:06: Get professional help. (But it's not me)
1:03:52: Give it to us.
0:25:55: Give me a name I can talk to. Masha, Masha, you know me.
1:03:55: Give us Channel 83.
1:05:48: Give us Channel 83.
0:14:46: God, I can't believe it. (I'll turn it off)
0:12:10: Goes on like what? (Like that)
0:22:24: Got a cigarette?
0:14:13: Got any porno? (You serious?)
1:16:41: Got something I wanna play for you.
0:27:30: Gotta have a smoke and a cup of coffee. (Wait a minute)
1:15:50: Got your head in this box.
0:08:19: Grotesque, as promised.
0:21:24: Guess where?

"This was surging in my childish brain, but my lips refused to move."



VIII. Hence, the wave vibrates

Perilously spread
On the eastern sky, pale, quiv'ring toward the brain
Nothing is anything but itself measured so
Mother and the Queen of Love

Look in our emeralds
Know the script, the shape of a bird
Justification, he wrote
In the name of which we have long spoken

(Has always been ridiculously small
Gift of the visible, as we say)


"In its inclusionary moment Empire is blind to differences; it is absolutely indifferent in its
acceptance."

0:12:51: Har-- Harlan, where is it coming from?
0:55:51: Harlan,
0:42:38: Harlan. (Si, patron)
0:42:41: Have you been hallucinating lately?
1:16:01: Have you been to see Bianca O'Blivion?
0:41:40: He had so much to offer.
1:06:02: Hello, Max.
0:27:55: Hello. Move along.
0:28:07: Hello. Straight down the hallway.
1:07:40: Help!
0:49:26: Here she is. This is our prototype.
0:06:43: Here we go.
0:01:10: Here with your wake-up call of today, which is Wednesday the 23rd.
0:41:45: He saw it as the next phase in the evolution of man as a technological animal.
0:11:50: He's certainly a menace to me.
0:47:25: He's good, that Harlan. Good pirate.
1:06:28: He's in a meeting with Rafe.
0:40:59: He's in there.
0:41:54: He tried to take it away from them.
0:42:07: He wasn't afraid to let his body die.
0:06:38: Hey, Harlan, uh-- Huh?
0:27:21: Hey. Hey, buddy. Got a fag?
0:21:55: Hey. Listen to me.
0:26:49: Hey, the world's a shithole, ain't it?
0:46:46: Hi, I'm Barry Convex, Chief of Special Programs.
1:06:57: Hi, Max.
0:32:48: Hi. This is your wake-up cassette.
0:33:29: Hit me?
0:39:59: How did you come to be exposed to it?
1:24:41: How do we do it?
0:03:37: How many shows you got ? (Thirteen)
1:06:14: How ya doin', Max?

"Although a traditionalist, he was not blind, but rather a most discriminating follower of tradition."



IX. If two photons are identical, they can interfere constructively

One final patronizing kiss
Naked and glowing with the lusts of youth
Merry was so many pieces
Little strength his aged arm retains

Know yet if it will stop burning
Joy, joy, joy...because he has done it at last
If it shall please you to suspend your indignation
Historicity itself

(Governed by the phallus
For our ingenious schemes)


"According to these three variables, each subjectivity must become a subject that is ruled in the
networks of control (in the early modern sense of the one who is subject [subdictus] to a
sovereign power), and at the same time each must also be an independent agent of production
and consumption within networks."

0:49:09: I...
0:08:55: I always find myself getting nervous.
0:03:35: I am interested a little bit.
1:12:40: I am the video word made flesh.
0:11:43: I am very interested. (Nicki, is Max Renn a menace to society?)
0:42:55: I believe...
0:36:20: I believed the visions caused the tumor.
0:48:58: I brought it with me for a trade show here in town later this week.
0:19:14: I call it...
1:23:49: I can help you.
1:13:55: I can't dance. I would if I could.
0:10:08: I care enough, in fact, to give my viewers a...
0:20:51: I could be your agent.
0:36:26: I could feel the visions coalesce and become flesh.
0:20:55: I could sell subterranean for you everywhere.
0:29:09: I did a panel show with Prof. O'Blivion. The Rena King Show.
0:50:17: I'd like to find out why.
0:25:26: I don't believe it.
1:10:26: I don't kill people.
0:05:34: I don't know.
0:33:19: I don't know, man. I think I'm gettin' like a rash or somethin'.
0:15:27: I don't know. Nobody ever seems to come back next week.
1:23:51: I don't know where I am now.
0:05:21: I don't like it. Not tacky enough.
0:27:37: I don't need to put up with this shit. I'm a young woman.
0:56:56: I don't see anything.
0:19:04: I don't think I'm ready for this. (Coffee)
0:13:37: I don't want to. It's ripping me up inside.
0:58:05: I don't work with you for the money. (I know that)
0:07:16: I'd say somewhere, uh...
0:40:44: I expect them to come to me eventually to hurt me. I thought it might be you.
1:02:16: I have a hunch it's gonna be very popular-- for a while.
0:30:45: If he does, it's gonna make conversation a little difficult.
0:30:42: If he does, which format would you like?
0:57:25: If it was transmitted, the machine would've caught it.
1:01:42: If we're gonna survive them.
0:50:36: If you do, just relax and enjoy it. It'll soon go away.
0:36:04: If you're not careful, it will become total hallucination.
1:24:38: I guess I am.
0:36:15: I had a brain tumor.
0:59:26: I had to bring in the reinforcements.
0:13:32: I hate my sister.
0:48:50: I hope you realize you're playing with dynamite.
0:36:46: I-- I...
0:51:56: I just can't cope with the freaky stuff.
0:15:02: I like it.
0:10:54: I live in a highly excited state of overstimulation.
0:51:47: I'll come back for you later.
0:57:27: I'll meet you in the lab in one hour. I wanna see it.
0:34:00: I'll remember to set the timer. Don't worry.
0:20:33: I'll see that you get the agent's commission.
1:06:30: I'll tell him you want him.
0:29:48: I love the view.
0:31:20: I love the view.
0:41:38: I keep him alive as best I can.
0:40:08: I made some tapes.
0:21:06: I mean, for the subterranean market.
0:49:53: I mean, I'd hate to see it show up as a Movie of the Week and not get paid for it.
0:12:27: I mean, look, there's almost no production costs.
0:54:41: I mean, really.
0:08:39: I mean, uh, this is supposed to be a clandestine operation, you know what I mean?
0:12:01: I mean, who is this black guy? ls he a political prisoner?
0:41:05: I'm afraid he'll disappoint you.
0:33:54: I'm exhausted. I was in a deep sleep when you knocked,
0:21:44: I'm gonna audition.
0:31:50: I'm gonna audition.
1:23:55: I'm having trouble...
1:23:40: I'm here to guide you, Max.
0:20:35: I'm interested. Let me try.
0:05:45: I'm lookin' for something that'll break through, ya know?
0:29:06: I'm Max Renn. I, uh-- I run Civic TV.
0:01:06: I'm nothing less than your faithful girl Friday, Bridey James.
0:11:48: I'm not sure.
0:59:24: I'm out of my depth now, patron.
0:35:51: I'm so glad you came to me.
0:26:18: I'm sure you would be very beautiful.
1:13:42: (is being sought in connection with the shooting deaths of two executives at Channel 83)
0:39:29: It changed my life. (I'm not surprised. It's dangerous, you know)
0:24:32: In a way. At a distance.
1:07:43: In here! ln here!
0:07:19: In Malaysia?
0:29:57: In their case, Mr. Renn, it's not a style.
0:34:10: I promised I'd hand-deliver it directly to you.
1:10:06: I run Civic TV.
1:16:03: I saw her. (And she give you any trouble?)
0:32:57: (is definitely not on assignment for them)
0:21:37: Isn't that where they make Videodrome?
0:26:00: I stay away from the scary stuff.
0:31:03: Is that a Japanese configuration?
1:16:15: Is that why you're here? (Maybe)
0:30:26: Is the Professor here? (I am my father's screen)
0:43:45: Is there?
1:11:38: I stole it from them just for you to see.
0:22:31: I swear. You know, in Brazil, Central America, those kinds of places.
0:47:13: It can be a giant hallucination machine and much, much more.
0:40:24: It can be delivered under a test pattern, anything.
1:00:30: It didn't affect you because you never watched it!
0:25:45: It has a philosophy, and that is what makes it dangerous.
0:32:00: It has a philosophy, and that is what makes it dangerous.
1:00:07: It has been-- two years, hasn't it, Harlan?
0:31:55: It has something that you don't have, Max.
1:00:38: It really does work on just about anybody.
0:42:32: I think he's up in V.T.R. Max-- (Not now)
0:05:17: I think it'll get us an audience we've never had before.
0:24:59: I think it's dangerous, Max.
0:07:48: I think it's electrified.
0:20:17: I think it's what's next.
0:05:14: I think Oriental sex is a natural.
0:43:04: I think that it is not really a tumor.
0:49:11: I think that machinery you're wearing is...
0:43:20: I think that massive doses of Videodrome signal...
0:47:33: I think we oughta have a little talk, don't you?
0:47:36: I thought maybe-- my place?
0:26:57: It is.
0:24:45: It is definitely not for public consumption.
0:24:54: It is still too public. Do you understand me?
0:12:08: It just goes on like that for an hour.
0:50:57: It opens up receptors in the brain and the spine,
0:30:01: It's a disease forced on them by their lack of access to the cathode ray tube.
0:19:26: It's all good.
1:12:20: It's always painful to remove the cassette.
0:14:57: It's a pirate tape. They scrambled it.
0:12:22: It's a real sicko. (Brilliant)
0:57:15: It's disa-- (Max, are you in some kind of drug warp?)
1:25:04: It's easy.
0:25:20: It's for real.
0:31:48: It's for real.
0:20:11: It's just torture and murder.
0:07:00: It sensed that we were unscrambling...
0:55:53: It's Max.
0:57:46: It's momentum. I'm runnin' like an express train here. I don't know how to stop.
0:13:10: It's my sister. (It's not your sister. It's you, lover)
0:22:29: It's not a challenge.
0:25:22: It's not acting. It's... snuff TV.
0:12:45: It's not coming from Malaysia?
0:05:36: It's soft.
0:40:38: It's the tumor that creates the hallucinations.
0:19:44: It's too sweet, like you, darling.
0:10:42: It's very stimulating, and-- and it's red.
0:57:19: I've got friends who can help.
1:03:13: I've got something I want to play for you.
0:36:39: It was called Videodrome.
1:07:28: It was from the boardroom!
1:13:29: It was only 26 hours ago in the building you see behind me...
0:50:30: It won't hurt you.
0:12:37: It's worth checking out.
0:39:43: It triggered off a series of hallucinations. I woke up with a headache.
0:35:55: I've been through it all myself, you see.
0:45:45: I've got a car waiting downstairs for you, sir.
1:02:21: I've gotta be hallucinating now, right? I mean...
0:13:28: I've got your number, haven't I?
1:23:43: I've learned a lot since I last saw you.
1:23:46: I've learned that death is not the end.
0:29:21: I wanna talk with your father...
0:19:36: I want something that's gonna show people what's really goin' on under the sheets.
0:36:59: I want you, Max.
0:37:56: I want you, Max.
0:03:18: I want you out of this place!
0:56:08: I want you to go into my bedroom.
1:02:55: I want you to open up, Max.
0:22:03: I want you to stay away from it.
1:23:38: I was hoping you'd be back.
0:21:47: I was made for that show.
0:31:52: I was made for that show.
1:10:09: I was on a talk show with your father.
0:59:51: I was playing you tapes, Max.
0:08:27: I was pretty insulted when it just shrugged us off in less than a minute.
0:36:43: I was the...
0:15:24: I wonder how you get to be a contestant on this show.
0:49:36: I would like you to try this on for size.
0:49:40: I would like to use this machine to record one of your hallucinations now.

"The line, if invisible, has at least the material quality of length. The point determines where a line
shall begin and where leave off. Therefore that which has no parts or magnitude controls that which
has length."




X. Just coincidental

Now dying, with a little patience
My tenfold chains
Let her robe uncover and her part take him in
Keeping the place in heaven, of what on earth is weeping

Joy of darkness
Inked-in, as if with shadow
His obedience
Goes without saying, the subordination

(From which they have been driven
Entwined in the very roots of being)


"The spectacle destroys any collective form of sociality--individualizing social actors in their
separate automobiles and in front of separate video screens--and at the same time imposes a new
mass sociality, a new uniformity of action and thought."

0:57:30: Jeez, it's not even 7:00 a.m. (I'm not fucking around! Do you understand me?)
1:07:25: Jesus!
1:07:36: Jesus! Look out!
0:33:10: Jesus, Max, you scared me.
1:24:55: Just come to me, Max.
0:15:13: Just-- just a little.
1:15:00: Just looking. (Yeah, man)

"My first thought was that a bat might have become entangled in the wires."



XI. Keep this work simple

Mountains in the faint moonlight, the grass is singing
Like that of night, when pestilence
Knows a thing or two, has written
Joys of youth which once refreshed our mind

Illegally
How could I veil my face?
Give me an egg
Formulated as a task, idea, project

(Ever suspected or admitted
Definition, the object x of our operations)


"It expresses the movement and controls the sense and direction of the imaginary that runs
throughout these communicative connections; in other words, the imaginary is guided and
channeled within the communicative machine."

0:28:16: Keep going, keep going.
0:28:13: Keep on. Straight down the hallway.
1:08:42: Kill Bianca O'Blivion.
1:08:53: Kill her. Kill Bianca O'Blivion.
1:04:01: Kill them.
1:05:53: Kill them.
1:03:59: Kill your partners.
1:05:51: Kill your partners.
1:05:55: Kill your partners and give us Channel 83.
1:04:04: Kill your partners and give us Channel 83.

"It was Friday, as I have said, and there was macaroni in butter and cheese; there were eggs in a
tomato sauce; there was boiled carp; and for the young gentleman from Manchester there was a
fillet and fried potatoes."




XII. Light is treated as a transversal wave

Lean solicitor in our empty rooms
Knees and thighs like silver
Judicium, the judge or mischievous woman
Is this the faith of Jove?

Her wings were clipped
Girdle of sea-weed or a painted crown
Fault undone, the issue of it being so proper
Exhausts the critical problems

(Determined by the past
Concerning humanity and history)


"To live in the unhomely world, to find its ambivalences and ambiguities enacted in the house of
fiction, or its sundering and splitting performed in the work of art, is also to affirm a profound desire
for social solidarity."

0:21:27: L.A.
0:11:08: (Ieads to desensitization, to dehumanization)
1:07:50: Let me see.
0:27:47: Let's go.
0:53:21: Let's open those neural floodgates.
0:53:18: Let's perform.
0:40:52: Like Father was.
0:10:58: Listen, I'd really like to take you out to dinner tonight.
0:22:00: Listen to me. (What?)
0:42:21: Listen to him.
1:13:04: Long live the new flesh.
1:13:14: Long live the new flesh.
1:25:34: Long live the new flesh.
1:26:26: Long live the new flesh.
0:57:50: Look, I'll meet you in the lab in one hour.
0:15:15: Looks like somebody's beat me to it.
1:19:51: Lorenzo de Medici.
1:19:53: "Love comes in at the eye."

"She was kept down at the bottom of her well as inevitably by a mistake in the dust of a butterfly's
wing, as in the disk of the sun, the moon, and all the stars.'"




XIII. My abstract rules

Know only a heap of broken images
Joy, and my red eyes seek to behold thy face
I am no hypocrite
He said, and melted into air

Grew feathers, a small beak
Few were the words
Every dream, each buzz, each fancy
Does not interfere with the generality

(Classifiable into codes
Back into the world for this reason)


"Inside and outside are becoming indistinguishable."

0:22:35: Making underground video is considered a subversive act.
0:19:01: Masha. (What were you doing last night? Didn't you get my message?)
0:19:23: Masha, does it ever get good?
0:20:41: Max,
0:21:15: Max,
0:22:52: Max,
0:24:39: Max,
0:26:06: Max,
0:35:48: Max,
0:49:34: Max,
0:56:51: Max,
0:59:38: Max,
1:07:16: Max,
1:07:55: Max!
1:07:57: Max,
0:49:57: Max, I'm trying to help you.
0:00:50: Max, it's that time again:
0:09:17: Max, just relax. (Okay)
0:09:37: Max Renn.
0:49:03: Max Renn, I'm Barry Convex.
0:45:37: Max Renn? (Yes)
0:18:57: Max, thank God. Masha Borowczyk has been in your office for an hour.
0:34:06: Max, that other cassette is from the office of Brian O'Blivion.
1:07:30: Max, what happened? Are you hurt?
0:05:30: Maybe.
1:16:13: Maybe you'd like to visit somebody else now.
0:31:16: Mention it to your father. He may want to have a conversation.
1:06:49: Mm-hmm. And you'd be the one to write it.
0:21:17: Mm-hmm. (I'm goin' away tomorrow for two weeks)
0:40:28: Mmm.
1:17:41: Mommy, look what he did to the wall!
0:49:21: More delicate.
0:25:10: More political than that.
0:39:36: More than that. It bites. Isn't that what you said?
0:28:05: Move out of my way!
0:46:30: Mr. Convex has recorded a little introduction for you.
0:12:18: Mutilation.
0:04:02: My audience ain't gonna see the first two shows. Show me the last one.
0:29:19: My exact words. (What do you want?)
0:30:48: My father has not engaged in conversation for at least 20 years.
0:41:43: My father helped to create Videodrome.
0:42:17: My father knows much more about it than I do.

"What is more, no one could remember that the sample-books had ever once been wanted or used."



XIV. No interference pattern exists behind the second barrier

Jove, they say, was happy
In the dark air, silent she stood as night
Hanged bodies
Grief unspeakable which swelled his breast

Flowers which were their own victims
Embers?
Did all their thunders bend?
Contradicted but indeed confirmed

(By coming to know her -- by loving
At rare intervals)


"This is not a utopian or unrealistic political demand."

0:11:36: Names designed to cause the cathode ray tube to resonate.
0:52:48: Nicki?
0:23:03: Nicki, don't!
0:23:20: Nicki, don't.
0:52:52: Nicki. (Well, here we are at last)
0:42:44: No.
1:16:06: No.
1:20:19: No!
0:21:50: Nobody on Earth was made for that show.
0:03:53: No, hold it. Uh, show me the last one.
0:20:58: No, I don't have the temperament. (But if you did...)
0:33:49: No, I'm just, uh...
0:00:59: No, I'm not a dream,
0:50:02: None of our test subjects has returned to-- normality.
1:10:18: No. No, I'm Max Renn. I run Civic TV. I don't...
0:25:06: No, no. It's more, um-- how can I say?
0:33:34: No? No. No, I know I didn't hit you. I meant...
0:14:49: No, no, no. It's okay. I can take it.
0:20:13: No plot, no characters. Very, very realistic.
1:01:22: North America's getting soft, patron.
0:12:42: Not after I realized the Malaysia delay was a plant.
0:43:08: Not an uncontrolled, undirected little bubbling pot of flesh.
0:09:12: No, thanks. (Mmm)
0:05:24: Not tacky enough for what? (Tacky enough to turn me on)
1:00:02: Not yet. (I guess Barry sent you here, what, two years ago?)
0:24:57: No. What's the punch line?
0:40:49: Now I realize you're just another victim...
1:19:57: Now, I think that even Pete...
0:06:47: Now, it'll come through on that.
0:06:50: Now, we only got about 53 seconds, so keep your eyes open.
1:01:44: Now, you and this, uh...
0:50:12: Now, you seem to be functioning reasonably well...
0:03:56: Number 13.

"This was his great dream, and, the dream being for the most part passed in prayer, it became his
fixed idea."




XV. Of dipping my finger in and out

I was frightened
Hide thee from my sight
Gloucester too is out of her mind
Flaming in the burning lake

Encrusted with dirt and scum
Dreamed of all this phantasmagoria
Call, call, but now I have heard the strange news
Between speech and writing at the very moment that it affirms

(As the arrow quits the bow
Yet again, their manifest visibility)


"Capital seems to be faced with a smooth world--or really, a world defined by new and complex
regimes of differentiation and homogenization, deterritorialization and reterritorialization."

0:11:27: Of course, O'Blivion is not the name I was born with.
0:50:34: (of a hallucinatory state after this is all over)
0:20:45: (of producing your own show)
0:43:29: (of the human brain, which will produce)
0:16:30: Oh,
0:16:37: Oh,
0:54:43: Oh,
1:10:28: Oh, but you do.
0:56:28: Oh, God.
1:20:16: Oh, God!
1:15:42: Oh. (Gotta introduce the spring line)
0:12:35: Oh, help me. I think he wants it. (Come on)
0:55:15: Oh, Masha.
1:03:19: Oh, my God!
0:06:40: Oh. Okay.
1:15:40: Oh, setting up his trade show...
0:13:56: Oh, thank you, Nicki.
0:09:00: Oh, yeah. Oh, for sure.
0:29:13: Oh, yes. You said some very superficial things.
0:57:53: Okay? And then we'll see if we pulled in any Videodrome last night...
0:08:22: Okay. Can you hang a search on it next time it...
0:07:22: Okay, here we go.
0:58:01: Okay. I'm sorry if I freaked out on you.
0:51:32: Okay, we're rolling.
0:30:38: Once you've told me what this visit is all about, he may choose to send you a cassette.
0:41:32: On tape. He made thousands of them.
0:43:42: Outside our perception of reality.
0:01:43: Over and out, Commander.
0:21:21: On assignment.
0:53:00: On Videodrome.
1:02:58: Open up to me.
1:16:28: Open up to me.
0:57:41: Otherwise, I'll see you during office hours. (Harlan...)
1:20:01: Oughta be able to sell the hell out of a classy campaign like that.
0:49:15: (overwhelms you)

"To look at him you would have said: a high-born gentleman, perfect in speech, perfect in manner,
radiating refinement and ennobled by the added lustre of sanctity."




XVI. Plus, in a medium, a point-wave cannot stand

Heart of light, the silence
Give me life in regions of dark death
Followed by squirrels
Eternal car, with gold celestial burns

Dirty in blackened water
Can you read the past like a scroll?
Bad, too bad
And the acts of language

(You can't talk about a female
With the real world)


"In the rest of the world a strange effect of proximity, simultaneously pulling it closer and isolating
it away in a ghetto."

0:56:18: Pictures of what's in your bed? (Yeah. Do it)
0:40:02: Pirate satellite dish.
0:12:55: Pittsburgh.
0:13:00: Pittsburgh.
0:13:03: Pittsburgh.
0:21:29: Pittsburgh. (Fabulous)
0:37:23: Please.
0:38:25: Please.
0:38:31: Please.
0:46:25: Please direct your attention to the television set in front of you, Mr. Renn.
0:59:54: Prerecorded cassettes.
0:27:10: Professor Brian O'Blivion.
0:30:23: Prof. O'Blivion sends video letters all over the world.

"A feeling of anxiety came over me: there was a bright light coming from my father's room, just as I
had seen it when I was a tiny boy."




XVII. Rapidly disappear

Green and orange, framed by the coloured stone
Faces pale and yellow
Every council member rose
Dust from their proud height, the first demand

Car to car
Brother, are you alive?
A rascal; an eater of broken meats
Yet all the more rigourous by that very fact

(What the new woman will be
Visions and movement, I have only to see)


"We should remember that this is a fable and nothing more."

0:01:23: Remember your meeting this morning at 6:30...
0:20:48: Right here?
0:52:57: Right where we oughta be.

"Now, sir, where have you been?"



XVIII. Square of the distance from a center

Fiery points glowed into words
Empire is no more, and now the lion and wolf shall cease
Degradation, each bundle unbound and scattered
Cries, flames black and fearful flashing from his eyes

Became mine too
A cup, a bowl half-filled with sand
Yet the moon shines
With the generality of my argument

(Violently as from their bodies
Upon things themselves)


"When we are incapable of expressing adequately the enormous importance of this passage, we
sometimes quite poorly define what is happening as the entry into postmodernity."

0:14:32: Says who?
1:13:48: See what I'm sayin', Teddy? You know how much my monkey's batteries cost?
1:17:28: See ya in Pittsburgh.
0:26:39: Sell me a name,
1:08:47: She can hurt us.
1:11:28: She died on Videodrome.
0:32:59: She had a month off coming and decided to take it. (Don't touch that!)
1:08:45: She knows too much.
0:19:09: She's hot to trot.
0:42:46: Should I be? (Yes)
0:39:55: Since I first saw Videodrome.
0:08:44: Si, patron.
0:07:08: Snooker, I think. (Country of origin?)
0:25:31: So-- don't believe.
0:50:15: So far.
0:05:41: Soft about it.
1:10:12: So it was to be you after all.
0:09:53: Something they can't get anywhere else.
0:50:52: Something to do with the effects of exposure to violence on the nervous system.
0:05:38: Something too...
0:05:48: Something-- tough.
0:41:35: Sometimes three or four a day.
0:26:31: So much.
1:12:14: So much better.
0:11:32: Soon all of us will have special names.
0:10:39: Sorry? (That dress...)
0:39:00: So tell the staff about that.
0:14:27: Sounds great.
0:22:13: Sounds like a challenge.
1:17:47: Stay with Mommy. (I want-- I wanna see it)
0:24:35: Subterranean grapevine. (And?)
0:01:32: Suite 17.
0:56:23: Sure. Okay.
1:00:58: Sure. Sure.

"Then he spoke in his cold, hard, fierce way, and his words were more powerful than his blows."



XIX. The core constructed

Evening hour that strives homeward
Drink in cups of iron
Construction, the fake which covers the emptiness
Bow to this proud upstart of your power

A pale gel
You?
Whoreson cullionly barber-monger, draw
Voice and sense in general

(Uniform, homogenous
To treat everything as though it were an object)


"Constructing concepts and what they call 'common names' is really an activity that combines the
intelligence and the action of the multitude, making them work together."

0:27:42: Take a good look at me. I'm a good-lookin' woman. I got nice tits.
0:09:34: Take it away, Rena.
0:15:10: Take out your Swiss Army knife and cut me here...
0:42:15: Tell me about my Videodrome problem.
0:34:04: Thanks, Bridey. Tomorrow.
0:26:29: Thank you...
1:13:33: (that a bizarre, apparently motiveless shooting occurred)
0:26:47: That hurts me, Max.
0:27:06: That is the only name I have to give.
1:24:00: That's because you've gone just about as far as you can with the way things are.
1:12:10: That's better.
0:12:57: That's in the U.S.A.
0:08:14: That's it?
0:08:17: That's it.
0:11:30: That's my television name.
0:48:54: That's our spring line.
1:02:43: That's terrific.
0:50:49: That's why our Videodrome show is so strange.
0:42:57: (that the growth in my head)
0:25:42: That you don't have, Max.
0:35:14: The battle for the mind of North America.
1:24:24: The beginning of the new flesh.
0:41:23: The brain problem? (The Videodrome problem)
1:19:40: The Medici line.
0:30:53: The monologue is his preferred mode of discourse.
0:20:20: Then God help us.
0:49:45: Then I would like to take that tape back with me to home base for analysis.
0:31:10: Then there have been serious gaps in your education.
0:10:35: Then why did you wear that dress?
0:00:48: The one you take to bed with you.
1:15:05: There ain't much to see here, but take your time and have a good look anyway.
0:35:41: Therefore, television is reality.
0:35:27: Therefore, the television screen is part of the physical structure of the brain.
0:35:31: Therefore, whatever appears on the television screen...
0:25:53: There must be a name.
0:12:05: There's no plot.
0:59:08: There was no Videodrome transmission last night? (Not last night)
0:40:35: The signal induces a brain tumor in the viewer.
0:51:35: The taping mechanism is all self-contained.
0:11:14: The television screen has become the retina of the mind's eye.
0:35:22: The television screen is the retina of the mind's eye.
0:40:15: The tone of the hallucinations is determined by the tone of the tape's imagery.
0:35:20: The Videodrome.
0:30:21: The world's mixing board?
1:14:57: They call me Brolley. How can I help you, sir?
1:10:40: They can make you do what they want.
1:10:36: They can play you like a videotape recorder.
1:10:33: They can program you.
1:13:52: They don't last in the cold. The cold knocks 'em right out.
0:27:33: They don't serve coffee there. They just serve piss water.
0:22:39: They execute people for it. In Pittsburgh, who knows?
1:11:21: They killed her, Max. They killed Nicki Brand.
1:07:32: They killed-- they-- (What happened?)
1:07:34: They killed us! (What happened?)
0:13:50: They'll tell you where to get help, lover.
0:22:08: They play rough, rougher than even Nicki Brand wants to play.
0:50:07: They're all in need of intensive psychiatric care.
0:06:55: They've got an unscrambler scrambler, if you know what I mean.
1:11:31: They used her image to seduce you, but she was already dead.
1:10:48: They want you to destroy me.
0:29:54: Think it's a style that's coming back?
1:13:39: Thirty-four-year-old Max Renn, president of the Civic TV Corporation.
0:43:00: This head, this one right here.
0:41:15: This is all that's left. (What are you talking about?)
0:14:06: This is CRAM in Toronto, and we've got the weather for you.
0:41:13: This is him.
0:07:26: This is it.
0:40:10: This is part of my own Videodrome collection.
0:49:29: This is the little number that started it all.
0:01:29: This meeting is to take place at the Classic Hotel.
0:19:41: This stuff is too-- it's too naive.
0:22:05: Those mondo weirdo video guys, they've got unsavory connections.
0:00:54: Time to slowly, painfully ease yourself back into consciousness.
0:10:00: To a social climate of violence and sexual malaise?
1:24:43: To become the new flesh, you first have to kill the old flesh.
1:12:24: To change the program.
0:38:51: Today Lady Luck may smile on these four players...
1:24:13: To do that, you have to go on to the next phase.
1:00:26: To expose you to the Videodrome signal.
1:00:22: To get you involved.
0:09:44: (to hard-core violence)
0:05:28: Too much class is bad for sex.
0:49:13: Too much for the shape of your face.
0:48:56: Top secret stuff.
0:12:13: Torture, murder...
0:14:24: Torture, murder...
0:31:39: Torture, murder, mutilation.
0:43:35: To the point that it will change human reality.
1:17:45: Tracey, come back here!
0:49:17: T-- try something more, uh, spidery.
1:00:12: Two. Two wonderful years.

"That evening he begged to retire early. He felt the need of being alone. The emotions of the day had
been great.'"




XX. Unknown and may never be known

Decided, he assaults at once
Chains are loose, his dungeon doors are open
Blow its cotton against her body from the ankle so!
All-revolving fate

Yellow blossom
Was it a question asked to which there was no answer?
Vigilance does not attend to my taking
Upon which Plato already reflected

(Their stream of phantasms
Sensitive to intellectual fads and fashions)


"The concept of private property itself."

0:07:10: Uh, let me see. Uh-- assuming 53 seconds represents the period of delay.
0:15:42: Uh-huh.
0:33:51: Uh, I'm...
0:33:43: Uh-- (You look awful)
0:33:22: Uh-- what?
0:36:31: Uncontrollable flesh.
0:56:12: Uncover it. Don't be shy. I want pictures.

"Must have divined his answer from his manner and not from his speech."



XXI. Vice versa

Clatter and a chatter from within
Bottomless deeps
A tree, she curled
Youth no more for you shall shine

With emerald rings
Vulture, a hieroglyph, the sign or a name
Unnecessary: on my knees I beg
To the possibility of writing

(Sensitive -- intuitive -- dreamy
Rumination of the world)


"The entire culture industry--from the distribution of newspapers and books to films and video
cassettes--has traditionally operated along this model."

1:15:14: Very tricky grind.
1:01:28: Very, very tough.
0:25:15: Videodrome.
0:31:01: Videodrome.
0:31:14: Videodrome.
0:31:43: Videodrome.
0:59:57: Videodrome has never been transmitted on an open broadcast circuit.
1:11:46: Videodrome is death.
0:24:41: Videodrome is something for you to leave alone.
0:20:05: Videodrome, like video circus, video arena.
1:24:05: Videodrome still exists. It's very big, very complex.
0:25:02: Videodrome. (Why? It's Mafia? They do business)
0:20:01: Video-what? (D-R-O-M-E)
0:29:16: Violence, sex, imagination, catharsis.

"He was on his knees, shedding a great flood of comfortable tears, pouring forth broken words of
self-accusation and disjointed petitions"




XXII. While I spin in this complete circle

Bones in whispers
America's shore, piercing the souls of warlike men
You are to me, love, half family half tree
We'll triumph or with freedom die

Voice replied
Upon the ramparts, no art is beneath your power
The blest gods!
Should define the field of a science

(Reserved for the guilty
Process, itself conceived on the model)


"Its functions have been integrated into mechanisms of command on the global level of the
transnational corporations."

0:27:19: Wait, where you goin'? Come back here.
0:09:08: Want a smoke?
0:42:03: (was more real than private life in the flesh)
0:36:48: (was Videodrome's)
1:25:01: Watch. I'll show you how.
0:30:08: Watching TV will help patch them back into the world's mixing board.
0:47:04: We also make Videodrome, Max,
0:10:29: We always want more, whether it's tactile...
0:26:12: We can take a shower together, anytime you say.
0:10:24: We crave stimulation for its own sake.
1:16:24: We'd like to keep using you until you're all gone.
0:01:17: Wednesday the 23rd.
1:06:45: We dub in a funny track. Gentle comedy.
0:10:27: We gorge ourselves on it.
0:38:58: We have a new group of people coming in this afternoon,
1:02:07: We intend to stop that rot.
0:56:46: Well?
1:15:20: Well, don't worry at all. I'm gonna get you fixed up in no time flat.
0:57:34: Well, fuck you. I'm not some fucking servo mechanism you can switch on.
1:14:55: Well, hello, sport.
0:56:02: Well, here I am, patron.
0:15:48: Well, l-- l don't know.
0:03:32: Well, I looked over the stills.
0:10:21: Well, I think we live in overstimulated times.
0:19:53: Well, it's your market.
0:47:31: Well, now that you have...
0:08:31: Well, patron, interested?
0:14:01: We'll return to Nicki Brand.
1:15:03: Well, that's a good one.
1:16:08: Well, that's good.
1:19:23: Well, you know me.
0:46:57: We make inexpensive glasses for the Third World.
1:01:31: We're entering savage new times.
1:02:09: We're gonna start with Channel 83, Max.
1:02:12: We're gonna use it for our first authentic transmissions of Videodrome.
1:19:36: We're here to celebrate the arrival of our spring collection.
0:09:49: We're, uh, small. In order to survive, we have to give people...
0:47:23: We thought nobody could tap into them.
1:03:49: We want Channel 83, Max.
0:51:19: Wha-a-a-- That's too bright! I can't take it!
0:10:18: What about it, Nicki? ls it socially positive?
1:01:02: What about the other reasons?
0:59:49: What are you talking about?
0:53:16: What are you waiting for, lover?
0:32:54: What did they say at CRAM? (They said that Nicki Brand...)
0:15:31: What did you say happened to your shoulder?
0:05:07: What do ya think?
0:15:45: What do ya think?
1:02:52: What do you, uh-- what do you want from me?
0:07:41: What is that wall behind her? What is that, clay?
0:21:03: What kind of show would you do?
0:39:41: What kind of teeth do you think it has?
0:49:59: What makes you think I need help, Barry?
1:24:16: What phase is that?
0:07:06: What satellite is it coming from?
0:54:38: What's going on, Prof. Oblivion?
1:15:45: What's in the box? (Your head)
0:14:22: What's this? (Videodrome)
1:07:19: What the fuck?
0:33:16: What the hell's wrong with you?
0:59:17: What-- what are you talking about?
0:25:17: What you see on that show.
0:31:45: What you see on that show,
0:11:58: When does the plot, uh, start to unravel here?
0:41:50: When he realized what his partners were going to use it for.
0:47:09: When it's ready for the marketplace, things will never be quite the same again.
0:12:32: Where do they get actors who can do this?
0:40:54: Where is your father? I think I'd better talk to him.
1:15:37: Where's Convex?
0:42:30: Where's Harlan? He's not in the lab.
1:06:25: Where's Moses?
1:13:35: (which has triggered off an intensive manhunt by Metro Police)
0:45:40: Who is this? (Barry Convex would like to talk to you about Videodrome)
0:25:50: Whose philosophy?
0:01:04: Who told you that?
1:01:58: (who watch you do it)
1:00:15: Why?
1:01:05: Why deny you get your kicks out of watching torture and murder?
1:00:54: Why did you watch it, Max?
0:25:35: Why do it for real? It's easier and safer to fake it.
0:09:46: Why? (Well, it's a matter of economics, Rena)
1:00:49: Why would anybody watch a scum show like Videodrome?
0:12:20: We never leave that room. (Nope)
0:35:17: (will be fought in the video arena)
0:50:44: (will be necessary to trigger off a good, healthy series of hallucinations)
0:50:28: Will it hurt?
0:43:25: (will ultimately create a new outgrowth)
0:34:13: Will you call me if you need me?
0:13:44: Will you call our Distress Center?
0:13:46: Will you call the CRAM Distress Center?
0:03:39: With a possibility of another six if the sales go well.
0:58:08: With pirates, it's never just for the money, is it?
0:01:26: With Shinji Kuraki of Hiroshima Video.
0:20:53: Worldwide.
0:50:22: Would be the right place to start.
0:21:09: Would you do-- Videodrome?

"The mixture is then put into jars, and in a short time the acid of the tamarind penetrates the fish
completely, dissolving the bones and imparting to it a delicate garnet colour and delicious flavour."




XXIII. Yet they repel each other

Among the mountains which are mountains
You may pass to the golden world
Waste, and call myself a weed, a nettle
Veins, and kindled in his soul, in thoughts

Upstairs and walk around in our time
The intimate labyrinth
So will you wish on me
Related to the concept and the adventure

(Philosophic domination
Operating within its own realm)


"By adopting a realistic standpoint, he managed to anticipate modernity’s own critique of
sovereignty."

0:14:16: Yeah. Gets me in the mood.
0:08:36: Yeah. Harlan, can you do something about these labels?
0:55:58: Yeah, I'm serious.
1:15:10: Yeah, this is one hell of a script you got here.
0:07:45: Yeah. White clay.
0:21:40: Yeah. Why?
1:19:26: Yeah, we know you. (And I sure know you...)
0:15:04: Yeah? (Yeah, it turns me on)
0:51:41: Yeah. Yeah. Okay.
1:06:52: Yeah. Yeah, I would. I used to write in high school, then I lost it.
0:51:23: Yeah. Yeah. Yeah, that's fine.
0:11:40: Yes, I am, actually. (Yes)
0:51:21: Yes! I forgot! Sorry! How's that? (Fuck)
0:26:54: Yes, Max.
0:11:21: Yes. (That's why I refuse to appear on television)
0:37:03: You.
0:38:00: You.
0:26:08: You are going to have to be nice to me for this.
0:12:48: You cannot fool the Prince of Pirates for long.
0:43:50: You can see that, can't you?
0:12:30: You can't take your eyes off it. It's incredibly realistic.
1:17:49: You come with me.
0:33:32: You didn't hit me.
0:57:00: You didn't just want me to shoot your bed, pillows, sheets...
0:57:02: You didn't just want me to shoot your bed, pillows, sheets...
0:51:38: You don't have to do anything now but hallucinate.
0:03:42: You got cassettes? (Of course)
1:14:00: You got some change, Teddy? You got somethin'. Half a buck. Teddy, yeah.
0:01:15: You got that?
0:41:28: You have it too. (But he was on that panel show with me)
1:24:28: You have to go all the way now. Total transformation.
0:20:31: You interested in, uh, tracking it down for me?
0:03:29: You just gotta open the fucking door!
0:51:08: You just have to think about it.
0:20:08: You know it? (No)
0:10:48: You know what Freud would have said about that dress.
0:40:42: You let me watch it?
0:15:39: You let somebody cut you?
0:51:52: You'll forgive me if I don't stay around to watch.
0:36:09: You'll have to learn to live in a very strange new world.
1:12:31: You'll see that you've become something quite different from what you were.
1:00:35: You knew what was there. You didn't have to see it.
1:12:48: You know what you have to do.
0:29:51: You look like them, like one of Father's derelicts.
0:51:02: You mean I'm gonna have to hurt you, Barry?
0:50:32: You might catch yourself sliding in and out.
1:01:09: You murdered Brian O'Blivion, didn't you, you freak?
0:13:54: You need it now. (I will. I will)
1:24:19: Your body has already done a lot of changing.
1:10:30: You're an assassin now for Videodrome.
0:11:01: You're beautiful in that dress. What do you think? Professor O'Blivion.
0:13:22: You're going insane. I can hear you disintegrating while you talk to me.
1:06:59: You're just in time to throw some light on an interesting problem.
1:02:40: You're ready for something new.
0:57:44: You're right.
1:02:02: You're rotting us away from the inside.
0:34:02: You're sure? Are you sure? (I'm sure. Yeah.)
0:35:58: Your reality is already half video hallucination.
0:09:39: Your television station offers its viewers...
0:42:49: You should be.
0:30:05: You think a few doses of TV are gonna help them?
1:12:53: You turn against Videodrome.
1:02:24: You two can't possibly be for real.
1:12:56: You use the weapons they've given you to destroy them.
1:12:35: You've become the video word made flesh.
1:16:21: You've been very useful to us, Max.
1:10:15: You've come to kill me.
1:24:09: You've hurt them, but you haven't destroyed them.
0:31:08: You've never heard of it? (No)
1:13:46: You wanna see the monkey dance, you pay the piper.
0:15:50: You wanna try a few things?
0:58:11: You want a cup of cof-- (No, look. I'll meet you in the lab in an hour)
0:13:19: You want help. You need help.
0:57:37: You want me to run around like an asshole, tell me what I'm doing it for.
0:39:26: You watched the cassette? (Yeah)

"Dimly he realized that this service, too, was an act, though he had not the faintest conception
of its nature or grandeur."

04/25/2011

Posted on 04/25/2011
Copyright © 2020 Jim Benz

Member Comments on this Poem
Posted by Gabriel Ricard on 04/25/11 at 10:01 PM

This was one hell of a read, but I'm glad I took it on. This deserves the largest audience possible.

Posted by Laura Doom on 01/28/14 at 06:00 PM

17:52:75 [Gregorian Mime Timeshift]
Some is greater than its parts, so I've erred--faultless, epic gigglefest; it should be shot.
I am rapt.

Posted by Chris Sorrenti on 02/02/14 at 09:17 PM

OMG! Jim. I've always contended that anything longer than a page is an epic, and this one certainly fits in this category. I was only able to read the first few stanzas then scan over the rest, as my short attention span kicked in. Suffice to say, I know the quality of your writing, and so this one will be good to come back to again and again; kinda like dining at a seven course wedding dinner. :)

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