Theodor Adorno was opposed to the cinema because he felt it was too close to reality, and ipso facto an extension of ideological capital, as he wrote in 1944 in Dialectic of Enlightenment.1 What troubled Adorno was the iconic nature of cinema – the semiotic category invented by C.S. Peirce where the signifier (sign) does not merely signify, in the arbitrary capacity attested by Saussure, but mimics the formal-visual qualities of its referent.2 Iconicity finds its perfect example in the film’s ingenuous surface illusion of an unmediated reality – its genealogy (the iconic), since classical antiquity, lay in the Greek term eikōn which meant “image”, to refer to the ancient portrait statues of victorious athletes which were thought to bear a direct similitude with their parent divinities.3 For the post-war Hollywood film spectator, Adorno said, “the world outside is an extension of the film he has just left” because realism is a precise instrument for the manipulation of the mass spectator by the culture industry, for which the filmic image is an advertisement for the world unedited.4 Mimesis, or the reproduction of reality, is a “mere reproduction of the economic base”. It is precisely film’s iconicity, then, its “realist aesthetic … [that] makes it inseparable from its commodity character”.5