Positive identification though he insists that they

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positive identification, though, he insists that they also contain the word "hermeneutics.")’ ( PR 278). The posters who discuss the footage can be divided in to two groups: the Progressives and the Completists. The first group assumes the footages consists of fragments of a work in progress, something unfinished and still being generated by its maker. The Completists, on the other hand are convinced that the footage is comprised of snippets from a finished work, one whose maker 7 Fullscreen is a creator of content and brands for YouTube. 8 In her article for Cinema Journal, Lisa Nakamura argues that Pattern Recognition chronicles the ‘rebirth of cinema engendered by the digital age’ (137), and argues that Gibson’s novel takes place in a ‘post -YouTube media culture’ (137). She does not elaborate on this last comment, which I therefore cannot think of other than a misunderstanding of the year the novel was first published.
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36 chooses to expose in pieces and in nonsequential order. The intellectual depth of the discussions on the forum is impressive, but is simultaneously reflected upon and rediculed. For instance, a post reads: Really it is entirely about story, though not in any sense that any of you seem familiar with. Do you know nothing of narratology? W here is Derridean “play” and excessiveness? Foucauldian limit-attitude? Lyotaridan language-games? Lacananian Imaginaries? Where is the commitment to praxis, positioning Jamesonian nostalgia, and despair as well as Habermasian fears of irrationalism as panic discourses signaling the defeat of Enlightenment hegemony over cultural theory? But no: discourses on this site are hopelessly retrograde. (PR 278-279) The display of intellectual knowledge is significant here and the poster argues that the other ‘discourses’ on the site are ‘retrograde’, meaning that the other footageheads are not discussing the footage in the right way. But as Frederic Jameson pointed out, this name-dropping is illustrated throughout the novel and can be seen as its style. Jameson merely focuses on the brand names in the novel, using as an example Case’s description of her outfit ‘a fresh Fruit of the Loom T -Shirt, her black Buzz Rickson’s MA - 1, anonymous black skirt from a Tulsa thrift, […] black Harakuju shoes’ ( PR 3). He argues that it constitutes an ‘in -group style: a wink to the rea der in the know’ (Jameson 109). Jameson remarks that ‘name -dropping is a matter of knowledge, and an encyclopedic familiarity with the fashions of world space as those flow back into the boutiques or flea markets of the West (109). Rather than stating that the name-dropping is a wink to the reader, it also functions as in- group language for the footageheads on the forum, within the novel’s world.
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