The focus of this article falls on the extent to which the digital time-images – or silicon-crystals – of
Zack Snyder’s Sucker Punch (2011) function as a form of counterinformation within contemporary
control society, where digital information otherwise comprises the dominant technology of continuous
control. In this regard, after recalling Tania Modleski’s argument concerning the subversive potential
of certain horror films, and after establishing that Snyder’s cinematic works continue along this
critical trajectory, the historico-discursive context out of which Sucker Punch emerged, and to which
it responds, is detailed. To this end, relevant works by Michel Foucault and Gilles Deleuze are drawn
upon, in which they theorise, respectively, the dynamics of segmentary disciplinary/bio-power, and
the post-World War Two transition to continuous control society. And particular attention is paid
to Deleuze’s concern over the reduction of individuality to dividuality within the latter context.
Against this backdrop, the silicon-crystals of Sucker Punch are then analysed as a composite digital
reconfiguration of four analogue hyalosigns thematised by Deleuze in his Cinema 2: The Time-
Image, before their status as counterinformation is considered – both in relation to the contentions of
David Rodowick, and on the basis of the interplay between materiality and time which such siliconcrystals
entail
Zack Snyder se Sucker Punch (2011) funksioneer as ’n vorm van teeninformasie in die hedendaagse
beheersamelewing, waar digitale inligting grotendeels die dominerende tegnologie van volgehoue
beheer uitmaak. In aansluiting by Tania Modleski se opvatting rakende die ondermynende potensiaal
van sekere rillers en nadat vasgestel is dat Snyder se kinematiese werk voortbou op hierdie kritiese
ingesteldheid, word die histories-diskursiewe konteks gedetailleerd waarin Sucker Punch ontstaan
het, asook verwys. In dié verband word die tersaaklike werke van Michel Foucault en Gilles
Deleuze betrek waarin hulle onderskeidelik teoretieseer oor die dinamika van die gesegmenteerde
dissiplinêre/bio-mag, asook die oorgang na die Tweede Wêreldoorlog na ’n volgehoue beheerde
samelewing. Spesifieke aandag word geskenk aan Deleuze se problematisering van die vermindering
van individualiteit na dividualiteit binne die breër konteks. Teen hierdie agtergrond word die
silikoon-kristalle van Sucker Punch ontleed as ‘n samegestelde digitale herstrukturering van vier
analoë hyalosigns wat deur Deleuze getematiseer word in sy Cinema 2: The Time-Image, asook op
die basis van die wisselwerking tussen wesenlikheid en tyd wat sulke silikoon-kristalle omvat.
