Spider: The hallucination as a spring of reality
DOI:
https://doi.org/10.24310/tlc.6.2024.19759Keywords:
Body, Hallucination, Writing, Language, MemoryAbstract
The objective of this article is to show the way in which Cronenberg addresses the question of hallucination, in the particular case of Spider, as well as to situate it in the whole of his work. From a comparative analysis between McGrath's novel and Cronenberg's adaptation, the role of hallucination in both proposals will be observed, focusing on the fact that it goes beyond being a simple effect of schizophrenic symptomatology. At the same time, it will be analyzed, as a conclusion, how Spider, based on the axis of hallucination, will become the culmination of the series begun in Videodrome, and subsequently continued by Dead Ringers, Naked Lunch and eXistenZ and which shows in in what way Cronenberg's ontology is gestated by the indefinition of reality.
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