The Mind-Game Film
DOI link for The Mind-Game Film
The Mind-Game Film book
Mind-game films thus transcend not only genre but also authorial signature and national cinema. If mind-game films are indeed harbingers of such changes in audience-address and spectator-engagement, then the underlying transformations of the ‘institution cinema’ would presumably have to be correspondingly momentous. A countervailing strategy in the field of narrative analysis has been to consider the mind-game films as leftovers of classical narrative, during a period of transition, when the default value of cinematic storytelling is rapidly becoming that of the interactive video game and the computer simulation game. The consequence is that narrative has to contend and rival with the archive and the database and their forms of organization and user-contact. The author see a certain radical ambivalence in the way these films present their characters as suffering from particular pathologies, for – as indicated – mind-game films tend to revolve around mentally or psychologically unstable characters, whose aberrations fall into three major types: paranoia, schizophrenia, and amnesia.