Materiality and time in Zack Snyder’s Sucker Punch (2011)

Abstract

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 entailZack 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.