Scanners - your thoughts can kill

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Movie
German title Scanners - your thoughts can kill
Original title Scanners
Country of production Canada
original language English
Publishing year 1981
length 99 minutes
Age rating FSK 16
Rod
Director David Cronenberg
script David Cronenberg
production Claude Héroux ,
Pierre David ,
Victor Solnicki
music Howard Shore
camera Mark Irwin
cut Ronald Sanders
occupation

Scanner - your thoughts can kill [ ˌskænɚs ] is a Canadian film directed by David Cronenberg from the year 1981 . The film can be assigned to the genre of fantastic films, with Cronenberg using set pieces from horror films , science fiction films , action films and thriller . Scanners deals with the conflict between two groups of telepathically and telekinetically gifted people. Scanners is considered to be Cronenberg's most conventional film of the middle creative phase in terms of themes and staging, and at the same time marks his commercial breakthrough.

action

Cameron Vale is a seedy man who suffers from voices that manifest in his head. After involuntarily causing a woman to have a seizure with his telepathic abilities, he is captured and taken to the research facility of Dr. Paul brought Ruth. Ruth explains that Vale is a so-called "scanner", the cause of his torment is the inherent power of telepathy and telekinesis. With the drug ephemerol he frees Vale from the voices in his head and shows him the possibilities of his mental powers.

Ruth works for the security and armaments company ConSec , for which he recruits scanners in order to then use them in the service of the company. ConSec 's biggest enemy is Darryl Revok, also a scanner. He smuggles his way into a ConSec marketing event , where his mental powers cause the head of a domesticated ConSec scanner to explode. Vale is set by Ruth to find Revok and then to render it harmless. While searching for Revok, he first meets the artist Benjamin Pierce, a scanner who has freed himself from his mental stress caused by preoccupation with art. Pierce is murdered by Revok's henchman, but Vale is able to read from his dying brain an indication of the existence of another, independent group of scanners. Vale seeks out the group that, with their leader Kim Obrist, frees themselves from their psychological burden through a kind of group meditation. Revok's henchmen attack the group, but Vale and Obrist escape.

They find out that Revok has a chemical plant producing large quantities of ephemerol. The drug, originally a sedative for pregnant women, triggers the mutation of the scanner. Revok wants to use the computer program RIPE to distribute the drug nationwide and to supply a large number of pregnant women with it in order to cause the mutation in unborn children. This new generation of scanners is designed to help Revok seize power. Vale and Obrist inform Dr. Ruth at ConSec about it. Braedon Keller, the head of security at ConSec, has been working secretly with Revok and is now trying to kill Obrist. Obrist can avert this with her telepathic skills. Shortly afterwards, however, Keller succeeds in getting Dr. Shoot Ruth. Vale infiltrates the RIPE computer with its scanner capabilities over a telephone connection and thereby destroys it. Keller falls victim to a computer explosion.

Revok has Vale and Colonel captured. He explains to Vale that he is his brother and that Dr. Ruth was the father of the two. Ruth was the inventor of ephemerol and had unscrupulously used the drug on his own wife. Revok tries to get Vale on his side, but Vale refuses. A duel ensues between the two brothers who use their scanner skills against each other. In the course of this fight, Vale's body is destroyed and burned. When the Colonel faced Revok, however, he spoke in Vale's voice; Vales spirit has passed into Revok's body.

History of origin

Script and preproduction

David Cronenberg in 2002, 23 years after making Scanners

Cronenberg had already dealt with the topic of telepathy in the early 1970s. He had offered Roger Corman a treatment called Telepathy 2000 , which dealt with rival telepath groups in the underground, without the project having been realized. As part of a tax-saving model, the Canadian film producer Pierre David was entrusted with a large sum of money from private individuals in the autumn of 1979, on the condition that the funds were used to reduce taxes on a film project that same year. David asked Cronenberg to submit appropriate ideas for this. Among the three concepts that Cronenberg came up with was a story called The Sensitives , which David chose. In this story, Cronenberg was inspired by the thalidomide scandal in Germany in the medical aspect, the origin of the mutation from a drug taken during pregnancy .

The company Filmplan International was founded in great haste to realize the project, with a budget of 4,100,000 CAD Cronenberg's most expensive film to date. The preparation time up to the start of filming was extremely short at two to three weeks in order to preserve the chance of being able to complete the main filming by the end of the year. Cronenberg started scripting his story and changed the title to Scanners . Jennifer O'Neill , Stephen Lack , Patrick McGoohan and Michael Ironside were hired for the leading roles , all of whom were established actors who were able to guarantee the film a certain star potential.

Production and post-production

The shooting took place from October to December 1979 in Montreal . Cronenberg comments on the filming: "Because the story was very complex and had a lot of special effects, it was the most difficult filming of my life." Even the first day of shooting was unfortunate: There were neither the required props nor the costumes for the actors available. When Cronenberg turned on the edge of the Montreal city motorway, onlookers caused a rear-end collision in which two women died.

It was bitterly cold in Montreal throughout the shoot. The team filmed under difficult conditions in, among other places, uninsulated, abandoned buildings from the 1967 Montreal World Exhibition . Cronenberg had to work in the morning between five and seven o'clock on the scenes of the still unfinished script, which should be shot during the day. In addition, the relationship between the director and the main cast was very tense. Patrick McGoohan suffered from self-doubt and stage fright and tried to compensate for this by adding too much to alcohol. Finally, Jennifer O'Neill was appalled by the violence of the film. She had been tempted to take part in the film with a "defused" version of the script in which the splatter scenes were missing.

For the special effects, Cronenberg hired effects artist Chris Walas , at the time in the service of Industrial Light & Magic . The scene with the exploding head, for which Walas was responsible, was supposed to be the opening sequence of the film, but was moved further back in the film after test screenings. The producers were concerned about the drastic elaboration of the effect and had other, less explicit versions shot. However, Cronenberg insisted on the original version.

At the end of December 1979, the main shooting of the film was completed. The filmed material could not be put together into a logical whole. Therefore, re- shoots were necessary, which took place weeks and even months later. Among other things, the complete subway sequences in the Toronto subway were re-shot. The editing process of the film turned out to be extremely long and arduous. Cronenberg spent nine months in the editing room in order to cut the material without any logical breaks or film errors .

reception

Publication and contemporary criticism

Scanners celebrated its premiere on January 18, 1981. Thanks to a clever marketing campaign, the film was a hit with the public and landed at number 1 on the variety charts. Scanners grossed over US $ 14 million in US theatrical release, making it Cronenberg's greatest commercial success to date.

The contemporary criticism was cautious to negative about the film. Variety wrote that the film follows “the pattern of many effects-oriented low-budget films,” the story “goes back a gear after the first act in which a man's head explodes in front of the camera.” The “lack of aspects that Keeping the audience engaged ” spoils any tension, the “ highly elegant visual style ” counteracts a great shock value.

Roger Ebert criticized that the film did not involve the viewer and did not touch them through his personal drawings. Cronenberg's reputation as the creator of excellent low-budget shockers has been "overused" with scanners . The story reminded Ebert "of old James Bond films and half-forgotten television programs" .

Vincent Canby complained in the New York Times that Cronenberg made the mistake of going beyond the realm of the horror genre and working with elements of mystery . In contrast to pure horror films, these require comprehensible explanations and background information; in Scanners, however, the explanations provided would only underline the film's “fundamental stupidity” . Canby calls the actor's performance "quite satisfactory" and praises the mask and special effects.

Many negative voices were also heard in the German-language press. Urs Jenny wrote in the Spiegel that Cronenberg was waiting “with an all too complicated, all too self-important story of intrigue” . The “rather chunky” director Cronenberg had to cede his job to the trick specialists; It is less the content than the “smoking ketchup fountains” that has a positive impact on sales . The Kölner Stadt-Anzeiger ruled that the film was an "unproductive mixture of science fiction thriller and agent film" . Hartmut Wilmes writes in Die Zeit that Scanners is a “fragile synthesis” of various genre motifs that let the tension lessen. The effects are "vainly celebrated [...] magic tricks to which the pale vision of a fully technical surveillance state and the criticism of irresponsible pharmaceutical research are grafted as an alibi" . The final battle with its gore effects "should go down in the annals of the horror genre as a masterful hideousness".

Pierre Lachat from the Tages-Anzeiger is more enthusiastic. Scanners is "of a rather lurid character" , but "perfectly made, by [...] compelling and original logic" . Cronenberg gave the story plausibility according to Hitchcock's pattern; the struggle between the brothers becomes "a vivid and thought-provoking metaphor for the homo faber of modernity, who, as is well known, commands forces that allow the perpetration of 'absolute evil'." Eckhart Schmidt ruled in the Süddeutsche Zeitung that Cronenberg gave Science- Fiction horror a "new dimension" . In the last shot he blurs “irritatingly the boundaries between good and bad” , so there were no moral categories in this “ancient family drama” . Ultimately, the victor and the vanquished are interchangeable, a basically “ anarchist manifesto” by Cronenberg. The film is "the gloomy, but not only pessimistic vision of the human being as a being who has to learn to survive in the world he has destroyed [...] or who inevitably perish" . Humans have no choice but to control and transform their environment, an "inconvenient thesis" at the time of the emerging ecology movement , which accommodates "Cronenberg's desire for punk-like irritation" .

Awards

Scanners won the Saturn Award for Best International Film and Best Make-Up ( Dick Smith ) in 1981 . In 1983 he received the Fantasporto International Fantasy Film Award for Best Film. He was also nominated for eight Genie Awards in 1982 .

Classification and evaluation

Riepe notes that the film is "not necessarily one of the Canadian's masterpieces" and that it has "clear features of a B-movie " . Beard says: "Scanners may not be Cronenberg's best or most distinctive film, but it made him a perceived filmmaker." Grünberg states that Scanners was "the film that brought Cronenberg the attention of a larger audience and the major Hollywood studios" . The subject is less personal than in Die Brut , for example , in which Cronenberg processed the separation from his first wife, but rather “more existential” .

O'Pray misses the strong sexual impact of Cronenberg's earlier films and judges: "Perhaps the inferiority of scanners compared to Rabid and parasite killers is due to the fact that there is no female element" . Omasta also points out that the film lacks the animal appeal of the body horror of the previous films. Scanners is "the first film by Cronenberg in which the horror does not begin between the legs, but between the eyes" .

Rodley states that Scanners is "the least disturbing film apart from the famous shock effect of the exploding head [Cronenberg's] . " He criticizes the "slackness" of Lack's performance as an actor. Beard thinks that lacquer fills his role visually well, but his performance suffers from "awkwardness in the dialogues" .

Aftermath

Cronenberg was courted by the major Hollywood studios after Scanners . He knew, however, that he could not realize his preferred remote topics in the context of studio operations and resisted the temptation to turn to mainstream films as a well-paid commissioned director. In his subsequent films, such as Videodrome and Die Fliege , he was able to independently develop his world of ideas of body mutations and at the same time to maintain the popularity of the cinema audience and thus to work commercially successfully.

Sequels

Pierre David produced with scanner II (1991) and Scanners III (1992), two direct-to-video - sequels of scanner , which although based on Cronenberg's figures, but emerged without his participation. Christian Duguay directed both films . This was followed as spin-offs Scanner Cop (1994) and Scanner Cop II (1995), both also produced by Pierre David. The former was also staged by him.

Film analysis

Staging

Visual style

Cronenberg uses only very sparse images in scanners aimed at the shock effect. While in his earlier films monstrously deformed bodies in agony were extensively used staging means to create a feeling of nihilism and hopelessness, these effects in scanners are limited to just two scenes: in the first third of the film Revok leaves one of the head Domesticated Consec scanners explode, and in the final confrontation, Cronenberg shows bursting blood vessels, burning body parts and vaporizing eyeballs as the result of the trial of strength between Revok and Vale.

Instead of making excessive use of such shocking effects, Cronenberg uses the effects of the modern architecture he depicts to create a dark and harsh mood. According to Dreibrodt, the film begins “with the cold, sterile functionality of a huge room.” From the shopping center through which Vale wanders, Cronenberg shows “just a confusing tangle of escalators as a detail of these rooms, which lead to a dead end for the Cameron Vale scanner will " . Beard also attests to Cronenberg using the "cold, aggressive modernism of architecture" as a cinematic medium. Beard comments on the establishing shot of the Consec building: "The use [...] of the wide-angle lens [...] here achieves a razor-sharp image sharpness, an exaggerated linear perspective and thus a somewhat alienated view of space itself."

Cronenberg films the interior of the building, which is made of chrome, glass, steel and raw concrete in aseptic-looking, evenly brightly lit images, while in contrast to this, in Ruth's research facility only the walls made of exposed brick walls are illuminated and the faces of the protagonists remain in penumbra . Only when the narrative shifts more to the depiction of violence and its effect on human bodies does the director use a warmer color spectrum, use close-up shots of faces and longer focal lengths .

dramaturgy

Beard sees Scanners as a “classic construction of the narrative”. Cronenberg tells his story based on quick cuts and conventional tension build-up, suspense- oriented and according to the usual thriller scheme. Chases and shootings as, according to Dreiboth, “standardized templates for action films” drive the plot forward and stand in contrast to Cronenberg's “otherwise rather calm, almost melancholy style”.

Riepe notes that there is "some idle time in the form of average action sequences" in the film, the connections are "extremely conventionally knitted". In Cronenberg's reference to classic thriller situations, Omasta even feels reminded of Hitchcock's Die Vögel , especially in the scene in which Vale, who is in a telephone booth, creates a chaotic situation through the infiltration of the computer network, as a result of which the neighboring gas station is filled with leaking gasoline Flames.

The inconsistencies of the plot, which Beard criticizes, are probably due to the difficult conditions of script writing and filming, especially Vales’s transformation from human wreck to perfectly adapted and smartly acting vicarious agent of Ruth, which is not logically comprehensible for the viewer. Beard sees such logical omissions as "sketchy improvisations in the narrative structure", which he attributes to Cronenberg's peculiarity of cutting his films efficiently, radically and elliptically .

At the end of the film it remains unclear whether Vale has completely taken over the brother and thus the “good” defeated the “bad”, or whether the merging of the two rivals leads to an amalgamation of the people into a new, separate being. Cronenberg's own evidence suggests the second variant. Dreiboth and Beard therefore see the end of the film as a typical Cronenberg rejection of a closed end of the narration. The contradictions and conflicts raised in the film remain unresolved and the viewer is denied a typical Hollywood resolution.

volume

The conventional use of filmic means in visual staging and dramaturgy is continued in the sound design. Cronenberg implemented the experience of the scanning by Vale in such a way that the observers present when Vales was admitted to Ruth's institute are visually silent, but their thoughts can be heard as confused scraps of conversation in the soundtrack. Cronenberg underscores the active scanning process with the acoustic effect of a whirring sound, which increases in height depending on the intensity of the scan. Distorted and slowed breathing and heartbeat sounds are mixed in.

On the musical level, classical instrumentation was largely dispensed with. Instead, means of synthetic sound generation were increasingly used.

Themes and motifs

Man and machine

Omasta notes that a central theme of the film is "the merging of man and machine" . Cronenberg shows, as Meteling explains, "the power of spirit over matter" in the sequence in which Vale infiltrates the RIPE computer. In this scene it becomes apparent that “human thinking must be comparable to a machine, an electronic brain or a radio receiver” .

Cronenberg thus lets his preferred topic of body mutations become effective in a technical area; According to Riepe, there is an “alienation of the nervous system through computer networks” , an early variant of the idea of cyberspace . Similarly, in the film, Cronenberg chooses the technical term of scanning as the term for mind reading. Riepe says: "By technically interpreting a human ability - reading minds - it increases the uneasiness inherent in this originally ' gothic ' motif of the romantic romanticism ."

Power and masculinity

Riepe judges that Scanners is "the most asexual film by Cronenberg" ; Beard notices a "masculinization" of Cronenberg's themes. There is neither a love story nor female characters at all that make a decisive contribution to the narration. The emotionally based suffering, which is often represented by the female characters in Cronenberg's earlier films, is replaced by the greed for rule and power. Dr. Ruth represents the type of mad scientist who, out of obsession with power and pathological scientific ambition, unscrupulously exploits his wife and then his sons and only shows remorse when he realizes that his plans will end in a nationwide catastrophe for him beyond control. Beard leads to the figure of Dr. Ruth from: "Like all scientists [in Cronenberg's films] he wants to channel his desire for the female body by manipulating the object of his desire through the means of science" . Cronenberg also uses this motif in his films Rabid , Parasite Murderer , The Inseparable and The Brut .

His father's greed for power takes Revok to the level of capital and corporations. Revok, according to Humphries, is ready to "destroy anyone who does not submit to their narcissistic self-image" ; this is a " fascist attitude" . Through the means of business and technology, his striving for domination is given an anonymous and "clean" look. Cronenberg joins a series of films from the 1970s that, such as Der Dialog , Witness zu einer Konspospel ( The Dialogue , Witness to a Conspiracy) or The Three Days of the Condor , deal with power-political conspiracies behind the opaque walls of corporations or political institutions. These films were an expression of personal persecution fears and doubts about the moral integrity of companies and politics at the time.

psyche

Cronenberg can also use scanners to demonstrate the transformation of mental sensitivities and developments into filmic code. Riepe connects the conflict between the brothers with the concept of the Lacanian mirror stage . He explains: “It's about how the self 'emerges' from the deadly rivalry with its mirror image. [...]. In relation to this arising, something is lost at the same time, a loss is made. [...]. This creation through loss is one of the central themes of Scanners. ” Humphries also refers to Lacan and notes: “ The Lacanian concept of the Great Other is represented in Scanners by the voices that Cameron Vale cannot keep out of his head and which Darryl tried to drive Revok away by drilling a hole in the middle of his forehead ” .

Also O'Pray makes reference to a possible psychoanalytic background of the main subject of the film - the possibility of the protagonists, heads to explode - and calls it "a single powerful idea" , a "Urphantasie" that in his eyes the anal phase in originates from psychosexual development, from the will to control and shape one's own faeces .

According to Beard, the dominant overarching theme to this process of self-awareness of the brothers is the motive of fear . Scanners researched "the fear of breaking the boundaries of mental and physical self-control and the fear of [...] losing yourself, being overrun, being taken over" . Cronenberg also uses this motif in films such as Die Fliege and Naked Lunch . However, in the figure of Benjamin Pierce - one, as Riepe notes, " Cronenberg's alter ego "  - Cronenberg shows that there is a way out of this fear, namely to deal with it artistically. With Pierce, Cronenberg shows "the artist as a figure who, in order to survive psychologically, keeps her terrifying mental contents in check through her art," as Beard notes.

The fact that Cronenberg codes mental archetypes in his characters can also be demonstrated in his habit of giving them meaningful names . As in all of Cronenberg's other films, the names in Scanners give rise to speculation and associations. For example, Robnik and Palm bring the name Vale in connection with the English meaning ( “Jammertal” ) or also with the phonetically identical veil ( “veil / cover” ). They associate Revok's name with the tape recorder manufacturer Revox , but also with the verb to revoke ( "revoke" ). The name can also be read as an almost anagram of to cover ( "to cover, to hide" ).

Good and evil

Atypical for Cronenberg, who otherwise avoids clear ethical assignments, the battle between brothers in Scanners becomes “a simplistic good- versus- evil dichotomy,” as Browning notes. The gleaming white clothes that Vale wears after his appointment by Ruth identifies him as the "good guy" very early on in the film. He is an atypical hero of Cronenberg insofar as he "masters" the narrative at all times and actively works towards the final battle, while in earlier Cronenberg films the main characters are mainly determined by the chaos of uncontrollable events.

The function of Vale and Revok as ethical antipodes is finally brought to a head in the final battle: Beard sees in this sequence a “strong religious echo of the images” . While Revok is vicious and raging, Vale is shown suffering in silence. Flames beat out his palms, and stigmata wounds reminiscent leave a märtyrerischen act Vales think. Beard analyzes that Vale sacrificed himself so that his “bad” counterpart Revok would be good.

In the eventual merger of the brothers, however, Cronenberg leads back to his own world of ideas. The Janus-faced quality of the mental gift, which is represented by the brothers, in Cronenberg's mind only represents an orderly unity in the ensuing union. Dreiboth explains: “Cameron Vale and Darryl Revok form the (positive and negative) half of a single personality in which the balance between the 'good person' and the 'bad person' has been destroyed [...]. The only way out of this misery is to try to bring what has been divided back together ” . The fact that this attempt apparently succeeds gives the film an optimistic quality that seems rather strange to many in the context of Cronenberg's oeuvre. Silverman notes: "The critics, counts for only the destructive and nihilistic force in Cronenberg's work, the end of the film find morally confident." .

literature

  • William Beard: The Artist as Monster - The Cinema of David Cronenberg. University of Toronto Press, Toronto, Buffalo and London 2006, ISBN 0-8020-3807-7 .
  • Thomas J. Dreibrodt: Long live the meat - The films by David Cronenberg. Paragon-Verlag Steingaß & Zöllner, Bochum 1998, ISBN 3-932872-03-7 .
  • Wayne Drew (Ed.): David Cronenberg. BFI Dossier Number 21. British Film Institute 1984.
  • Serge Grünberg, Claudine Paquor (Ed.): David Cronenberg - Interviews with Serge Grünberg. Plexus Publishing Ltd., London 2006, ISBN 0-85965-376-5 .
  • Reynold Humphries: The American Horror Film - An Introduction. Edinburgh University Press, Edinburgh 2002, ISBN 0-7486-1416-8 .
  • Manfred Riepe: Image ulcers - bodies and foreign bodies in David Cronenberg's cinema. Transcript Verlag, Bielefeld 2002, ISBN 3-89942-104-3 .
  • Drehli Robnik and Michael Palm (eds.): And the word became flesh. Texts about films by David Cronenberg. PVS Verleger, Vienna 1992, ISBN 3-901196-02-1 .
  • Chris Rodley (Ed.): Cronenberg on Cronenberg. Faber & Faber, London 1997, ISBN 0-571-19137-1 .
  • Marcus Stiglegger (Ed.): David Cronenberg . Bertz + Fischer, Berlin 2011, ISBN 978-3-929470-90-1 .

Premieres

  • Canada January 16, 1981
  • Germany March 5th 1981

DVD releases in Germany

  • Scanners Part 1–3 (Limited Edition) (Warner Home Video) Release: November 10, 2006, FSK: 18
  • Scanners (Warner Home Video) Release: May 4, 2007, FSK: 18
  • Scanners Edition Part 1–3 (Koch Media GmbH) Release: October 16, 2009, FSK: May 18, 2009
  • Scanners (Koch Media) (DVD + Blu-ray) Release: June 10, 2011, FSK: 16 (re-examination)
  • Scanners (Media Target Distribution GmbH) (DVD + Blu-ray) Release: December 20, 2012, FSK: 16

Web links

References and comments

  1. ↑ Release Certificate for Scanners - Your Thoughts Can Kill . Voluntary self-regulation of the film industry , May 2007 (PDF; test number: 52 197 DVD).
  2. ^ Rodley: p. 85
  3. ↑ Grünberg: p. 58
  4. ↑ Grünberg: p. 60
  5. ↑ a b c Rodley: p. 86
  6. ↑ Robnik / Palm: p. 176
  7. ↑ quoted in: Grünberg: p. 61
  8. ↑ a b Grünberg: p. 61
  9. ^ Rodley: p. 88
  10. ^ Rodley: p. 87
  11. ^ Rodley: p. 90
  12. ↑ When it was released in theaters on March 6, 1981, attempts were also made in the Federal Republic of Germany to use aggressive marketing to make the film a success. The tagline at that time was: Your breath is catching! Your flesh is burning! Your body explodes! Bodo Traber: Late 20th Century. The early years - From Stereo to Rabid in: Robnik / Palm: p. 19
  13. ↑ a b Grünberg: p. 62
  14. ↑ Critique of Variety ( Memento of the original from December 22, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.variety.com
  15. ^ Review by Roger Ebert
  16. ^ Review by Vincent Canby
  17. ↑ Criticism by Urs Jenny im Spiegel on davidcronenberg.de ( Memento of the original from December 21, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / davidcronenberg.de
  18. ↑ Critique of the Kölner Stadtanzeiger on davidcronenberg.de ( Memento of the original from December 21, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.davidcronenberg.de
  19. ^ Critique by Hartmut Wilmes in the time on davidcronenberg.de ( Memento of the original from December 21, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.davidcronenberg.de
  20. ^ Criticism by Pierre Lachat in the Tages-Anzeiger on davidcronenberg.de ( Memento of the original from December 21, 2007 in the Internet Archive ) Info: The archive link was inserted automatically and has not yet been checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / www.davidcronenberg.de
  21. ↑ Critique by Eckhart Schmidt in the Süddeutsche Zeitung on davidcronenberg.de ( Memento of the original from December 21, 2007 in the Internet Archive ) Info: The archive link was automatically inserted and not yet checked. Please check the original and archive link according to the instructions and then remove this notice.  @1@ 2Template: Webachiv / IABot / davidcronenberg.de
  22. ↑ Awards and nominations for scanners in the imdb
  23. ↑ a b Riepe: p. 65
  24. ^ Beard: p. 120
  25. ↑ Grünberg: p. 46
  26. ^ A b Michael O´Pray: Primitive Phantasy in Cronenberg´s Films in: Drew: p. 50
  27. ↑ a b c Michael Omasta: Mutations of the third kind in: Robnik / Palm: p. 24
  28. ↑ Rodley: p. XVIII
  29. ↑ Beard: p. 119
  30. ↑ Riepe states that this scene has become Cronenberg's “trademark par excellence” . For the TV version of Scanners , Cronenberg replaced the exploding head with the victim's heart attack. Riepe: p. 65
  31. ↑ Beard: p. 100
  32. ↑ Three Both: p 80
  33. ↑ a b Beard; P. 117
  34. ^ Beard: p. 118
  35. ↑ a b Beard: p. 97
  36. ↑ a b Dreiboth: p. 42
  37. ↑ a b Riepe: p. 62
  38. ^ Beard: p. 96
  39. ↑ a b Beard: p. 103
  40. ↑ Three Both: 46 S.
  41. ↑ Three Both: S. 101
  42. ^ Arno Meteling: Monster. On physicality and mediality in modern horror films. Transcript Verlag, Bielefeld 2006, ISBN 3-89942-552-9 , p. 202.
  43. ↑ a b Riepe: p. 63
  44. ↑ a b c Beard: p. 106
  45. ↑ Beard: p. 111
  46. ↑ a b Humphries: p. 181
  47. ↑ Beard: p. 99
  48. ↑ Riepe: p. 71
  49. ↑ Beard: p. 102
  50. ↑ Robnik / Palm: p. 175
  51. ^ Mark Browning: David Cronenberg - Author or Film-maker? Intellect Books, The University of Chicago Press, Chicago 2007, ISBN 978-1-84150-173-4 , p. 91.
  52. ↑ Beard: p. 101
  53. ↑ a b Beard: p. 110
  54. ↑ Three Both: p 56
  55. ↑ Three Both: 61 S.
  56. ↑ Michael Silverman: A Post-modern Cronenberg in: Drew: S. 32
This version was added to the list of articles worth reading on December 23, 2007 .