“Index” in “The Medium Is the Monster”
Index
50 Cent, 55
2001: A Space Odyssey (film), 105, 173
Adaptations of Shakespeare (Fischlin and Fortier), 40–41
adaptation theory, 7–8, 10, 35, 40–46, 57–58, 201–2
Addams Family (TV show), 50, 167
advertising, 50, 88–89, 99, 190, 201
Afro-Futurist music. See music
AI. See artificial intelligence
Alberta tar sands industry, 10, 175–80, 184–85, 188
Aldini, Giovanni, 81
Aldiss, Brian, 36
Aliens (film), 185
Amusing Ourselves to Death (Postman), 192
Another Piece of Presumption (Peake), 81
Appadurai, Arjun, 33
Apple (corporation), 19
ArchAndroid, The (Monáe), 47
Arthur, W. Brian, 11
The Nature of Technology, 14
articulation (definition), 46–47
artificial intelligence, 105, 125, 189, 200, 204
artists, role in technology, 89, 91–92. See also art installations
Astronauts of Inner-Space, 99
Atwood, Margaret, 26
The Handmaid’s Tale, 142
MaddAddam, 142–43
Oryx and Crake, 142–46
poetry, 140–41
Speeches for Doctor Frankenstein, 140–41
Survival, 141
The Year of the Flood, 142–43, 146–47
Auslander, Philip, 158
Automaton Biographies (Lai), 138–40
Autonomous Technology (Winner), 10, 21, 190
Avatar (film), 83, 176, 185–87
Baldick, Christopher, 39, 64, 69
In Frankenstein’s Shadow, 37–38
Barney, Darin, 64
Barthe, Roland, 88
Battlestar Galactica (TV series), 68
Beard, William, 113
βehemoth (Watts), 148
Bell, Alexander Graham, 191
Beller, Jonathan, 33
Benedetti, Paul: On McLuhan, 130
Rationale of Judicial Evidence, 71
Béraud, Antony: Le monstre et le magicien, 80
Bhabha, Homi, 31
Bigelow, Jacob, 71
Elements of Technology, 62, 73–74
Blackenstein (film), 50
Black Sabbath (band), 53
Blade Runner (film), 68, 125, 139
Blake, William, 92
Blindsight (Watts), 148, 151–53
Blu, Sydney, 169
Botting, Fred, 82
Boyd-Barrett, Oliver, 28
Bradbury, Ray, 168–69
Brainbug (band): “Nightmare,” 165
Branagh, Kenneth: Frankenstein, 41
Brand, Dionne, vii
Bride of Frankenstein (film), 49, 89
Brown, James: “Funky Drummer,” 56
Brown Girl in the Ring (Hopkinson), 136–37
Brydon, Diana, 31
Burtynsky, Edward, 179, 181, 186
OIL, 180
Butler, Samuel: Erewhon, 90
Byronic hero, 89
Byron Lee and the Dragonaires (band): “Frankenstein Ska,” 47, 52
Caleb Williams (Godwin), 92
Cameron, James: Aliens, 185
The Titanic, 185
Canada: “Canadian content,” 26, 29–30, 118
counterculture events, centre for, 98, 99, 101, 103
Indigenous literature, 25
media imperialism, 25–26, 28, 30, 31–32
multiculturalism, official, 27–28
popular culture, 6, 24–28, 29, 30–32, 117, 174
technological nationalism, 10, 24–25, 26–27, 123, 188, 189, 197
Canadian Film Development Corporation. See Telefilm Canada
Čapek, Karel: R. U. R., 105
Carlyle, Thomas, 69, 71, 87, 95
Sartor Resartus, 91
Cavell, Richard, 42, 98, 116, 141
CGI, 16
“Champ, The” (song), 54
Charles, Ray, 54
Cherniawsky, Todd, 186
Chiang, Cliff: Neil Young’s Greendale, 43
Christenson, Jonathan: Frankenstein, 182–85
Cinematic Rebirths of Frankenstein, The (Picart), 37
Clayton, Jay, 35
climate change, 7, 16, 176, 177, 178, 184, 188
Clinton, George, 47, 51, 52, 158
Clones of Dr. Funkenstein, The (album), 48, 52, 168
Cohen, Leonard, 43
communications terminology, 44, 46
“Complications” (song), 168
in film and other media, 111, 112, 113, 117, 124, 126, 128, 140, 173. See also CGI; gaming; World Wide Web
consumerism, 20, 24, 29, 88, 109, 111, 125, 145–47, 178
Cooke, T. P., 78
Corbett, John, 47
Corporation, The (film), 146, 198
corporations, 33, 88, 135, 194, 197–99, 201
in film and other media, 103, 104, 108, 109, 110–12, 116, 118, 124–25, 137–38, 142–43, 147, 150, 152. See also Enbridge
costume, in performances, 159–61, 164, 167
Counterblast (periodical), 99
Crane, Jonathan, 122
Crazy Horse (band), 43
Dead Ringers, 172
Eastern Promises, 125
eXistenZ, 113, 122, 123, 125, 126
The Fly, 122
History of Violence, 125
Stereo, 122
Videodrome, 9, 17, 22, 103, 106, 107–9, 111, 112–15, 116–17, 120–23, 124, 128, 136, 154, 172
Crotchet Castle (Peacock), 74
“Cthulhu Sleeps” (song), 168
cyberpunk science fiction, 104
cyberspace, 103, 104, 110–11, 129, 154
Daft Punk (band), 166
Daily Show, The (TV program), 4–6, 16, 31
Darwinism, 150, 151, 152, 171–72
Dawkins, Richard, 39
“Cthulhu Sleeps,” 168
Disney dispute, 167–68
“Ghosts ’n’ Stuff,” 168
“Moar Ghosts ’n’ Stuff,” 168
performance practices, 166, 168–71
“The Veldt,” 168–69
Dead Ringers (film), 172
DeHart, Nancy: On McLuhan, 130
de Kerckhove, Derrick, 115
Devadas, Vijay, 25
Dewdney, Christopher: Last Flesh, 134–35
A Paleozoic Geology of London, Ontario, 178
The Secular Grail, 133–34
De Wilde, Samuel, 76
Dick, Philip K.: Do Androids Dream of Electric Sheep?, 139
Dickens, Charles, 71
disco dance culture, 17, 156–157
Disney. See Walt Disney Company
DJ culture, 23, 156, 158–59, 163, 169
Do Androids Dream of Electric Sheep? (Dick), 139
Doctorow, Cory, 115
Douthwaite, Julia, 70
Down and Out in the Magic Kingdom (Doctorow), 115
“Draining Faces” (song), 127
Drake, Paul, 128
Dr. Dre, 55
“Dr. Frankenstein” (song), 55
“Dr. Funkenstein” (song), 52, 168
Dr. Jekyll and Mr. Hyde (film), 50
Dr. Octagon. See Kool Keith
Dr. Phibes (films), 53
Dubois, W. E. B., 51
Duchamp, Marcel, 89
Dysart, Joshua: Neil Young’s Greendale, 43
Eastern Promises (film), 125
Echopraxia (Watts), 148
Eco, Umberto, 99
Edgar Winter Group (band), 53
Edutrends (Thornburg), 22
Electric Lady, The (album), 47
electronic dance music (EDM). See music
Elements of Technology (Bigelow), 62, 73
Ellul, Jacques, 11, 14, 63, 190
La technique, 12
Eminem, 55
Enbridge, 177
Endurance of Frankenstein, The (Levine and Knoepflmacher), 36
Energy Tomorrow oil lobby, 177
Erewhon (Butler), 90
Eurythmics: “Sexcrime (1984),” 43
eXistenZ (film), 113, 122, 123, 125, 126
Extraction (play), 182
Feenberg, Andrew, 6: Transforming Technology, 13
Fekete, John, 95
film, 49–50, 113, 114, 117. See also titles of individual films
Fiore, Quentin, 130–31
Fischlin, Daniel, 41
Flesh and Gold (Gotlieb), 133
Foremost Poets: “Moon–Raker,” 165
Forry, Steven: Hideous Progenies, 37, 48
Fortier, Mark, 41
Fort McMurray, Alberta, 175, 183, 184
fossil fuels, 178, 188. See also Alberta tar sands industry
Foster, Derek, 110
Foucault, Michel, 59, 195, 199
Frankenpheme (definition), 8, 35, 38–39, 40, 45–46
Frankenstein (film, 1931), 49, 53, 136
Frankenstein (film, 1994), 41
Frankenstein (play), 182–85
Frankenstein (Shelley): adaptations, 3–4, 35–40, 45–46, 48–49, 51–53, 81–82, 155, 201 (see also titles of individual works)
Canadian adaptations, 4, 6–7, 8–10, 25, 32, 67, 103–4, 133, 175–76, 198–99, 201, 203
as founding symbol of technology, 7, 18, 33, 36, 39, 60, 66, 68, 70, 105, 122, 200
and global technologies, 32–33, 176–77, 197–98
and meaning of technology, 3, 8, 15, 21, 37, 59–60, 64, 70–74
music adaptations (see music and individual band names)
as modern myth, 36, 37–39, 55, 57
plot (skeleton story) in adaptations, 37, 40, 46, 105, 108, 122, 123, 143, 153, 171, 183, 186
in poetry (see Atwood, Margaret; Gotlieb, Phyllis; Lai, Larissa)
print version, scarcity of in nineteenth century, 36, 75, 79
revolution, images of, 66–67, 69
shock, affect of, 68
social climate during writing of, 18, 66, 69, 77, 188
stage adaptations, 8, 36, 75–77, 79–82 (see also titles of individual plays)
and technology discourse, 7, 17, 59–60, 70–71, 83, 176–77, 200–1, 204
Frankenstein: A Cultural History (Hitchcock), 37
Frankenstein barrier (narrative device), 36–37, 107, 153, 186
Frankenstein Meets the Wolf Man (film), 49
“Frankenstein Ska” (song), 47, 52
Frankfurt School, 88
Frank-in-Steam (play), 77
Franklin, Benjamin, 66
Franklin, Ursula: The Real World of Technology, 14
From Cliché to Archetype (Watson and McLuhan), 95
Front 242 (band): “Masterhit,” 127
Frye, Northrop, 141
“Funky Drummer” (song), 56
Future Shock (Toffler), 6, 100
gaming, 41, 43, 44, 123, 126, 163
gangsta rap, 55
García, Pedro Javier Pardo, 37, 41
Gattaca (film), 125
Gehlen, Arnold, 12
“Gettin’ Down on the Mountain” (song), 180, 182
“Ghosts ’n’ Stuff” (song), 168
McLuhan’s influence on, 101, 111–12, 122
Neuromancer, 9, 103, 104–107, 110–11, 115–16, 118–20, 125, 128–30
Virtual Light, 126
Gilbert, Jeremy, 16
Gilroy, Paul, 51
globalization, 15, 20, 24–26, 27, 31, 32–33, 142, 197–99, 204. See also Canada—globalization
“global village,” 98, 110–11, 116–17. See also McLuhan, Marshall—and global village
Godwin, William: Caleb Williams, 92
golem (Jewish legend), 55, 152, 196
Good Fences (play), 182
Gordon, Alastair, 97
Gotlieb, Phyllis: Flesh and Gold, 133
“ms and mr frankenstein”, 133–34
O Master Caliban, 133
Gramophone, Film, Typewriter (Kittler), 136, 195–96
Grant, Peter, 29
Grundrisse (Marx), 63
Guillory, John, 4
Gutenberg Galaxy, The (McLuhan), 111
Habermas, Jürgen, 66
Handmaid’s Tale, The (Atwood), 142
Handsome Boy Modeling School (band), 48
“Once Again (Here to Kick for You)”, 55–56
Hawthorne, Nathaniel, 71
Heidegger, Martin, 12, 63, 194
Her (film), 105
Hideous Progenies (Forry), 37, 48
history, as series of technological advances, 23, 95, 152
History of Violence (film), 125
Hitchcock, Susan Tyler, 75
Frankenstein: A Cultural History, 37
Hoeveler, Diane, 76
Hoggart, Richard, 88
Hollywood, 29, 48–49, 118, 124
Holmes, Richard, 79
Holocaust Memorial, Berlin, 196
Hopkinson, Nalo: Brown Girl in the Ring, 136–37
Hughes, Walter, 158
Hutcheon, Linda, 38, 39, 41–43, 44, 45, 183
A Theory of Adaptation, 41–44
Ice Cube: “Dr. Frankenstein,” 55
“iconflation” (definition), 49
ICTs. See information and communication technologies (ICTs)
iDisorder (Rosen), 19–20
information and communication technologies (ICTs), 14
In Frankenstein’s Shadow (Baldick), 37–38
innovation, hostility against, 22, 23
internet, anticipated in fiction, 104, 110, 129–30
Internet meme, 43. See also meme (definition)
intertexuality, 36, 38–40, 41, 70, 89, 173
Island, The (film), 125
Jackson, Michael: “Thriller,” 48, 52–53
Jefferson Airplane (band), 98
Jenkins, Philip, 157
Johnson, Robert, 54
Jonker, Julian, 54
Jonze, Spike: Her, 105
Karloff, Boris, 37, 49, 50, 53, 79
Kellner, Douglas, 193
What Technology Wants, 14
Kingwell, Mark, 204
Kittler, Friedrich, 10, 22, 86: Gramophone, Film, Typewriter, 136, 195–96
Klein, Naomi, 176
“Wild and Crazy,” 51
on McLuhan 27
Technology and the Canadian Mind, vii, 26
Kubrick, Stanley: 2001: A Space Odyssey, 105, 173
Kurzweil, Ray, 46
Lai, Larissa: Automaton Biographies, 138–40
Salt Fish Girl, 137–38
Last Flesh (Dewdney), 134–35
Last Man, The (Shelley), 67, 144
Lee, Christopher, 49
“Let Your Backbone Slide” (song), 54–55, 56
Living Dead (films), 53
logocentrism, 21–22
Loudon, Jane Webb, 71
Lovitt, William, 12
Lucas, George: Star Wars, 45, 124
Luddite protests, 18, 69, 77, 152
Luna C (band): “Mind of a Lunatic,” 128
Lund, Corb: “Gettin’ Down on the Mountain,” 180, 182
“The Roughest Neck Around,” 182
MacFadzean, Matthew: richardthesecond, 9, 155, 171–74
MaddAddam (Atwood), 142–43
Madness (band), 52
maelstrom, image of in fiction, 151–52
Maelstrom (Watts), 148–49, 151, 197
“Let Your Backbone Slide,” 54–55, 56
Man and the Monster, The (Milner), 79, 80
Marks, Laura, 31
Marx, Karl, 17–18, 62, 64, 69, 71, 161
Mary Shelley’s Frankenstein: A Sourcebook (Morton), 37
“Masterhit” (song), 127
Matrix, The (film), 105, 125, 161, 193–94
Max Headroom (TV series), 115, 136, 173
McKitterick, David, 23–24
McLuhan, Marshall, 42
adaptations, 3–4, 118 (see also Neuromancer (Gibson); Videodrome (film))
cars, views on, 177
and consumerism, 88
From Cliché to Archetype, 95
corporate culture, views on, 197–198
counterculture, influence on (1960s), 8–9, 96–100, 156, 163
discourse of technology, influence on, 8, 9, 14, 26, 85, 90, 95, 100–1, 103, 189–90, 199–200
and global village, 27, 95, 98, 111, 152 (see also “global village”)
global influence, 8, 10, 96, 189–96, 197–99
The Gutenberg Galaxy, 111
and internet, development of, 130–31
The Mechanical Bride, 88, 89, 141, 142
media theory, 4, 8, 24, 69, 87, 91, 95, 98, 101, 110–11, 112–13, 115–17, 130, 154, 191, 203–4
The Medium Is the Massage, 96, 99
and nuclear weaponry, 87
Playboy interview, 94, 95, 99, 100
Poe, Edgar Allan, influence of, 92–93
and popular culture, 3–4, 9–10, 86, 88–90, 96, 103–4, 131–33, 155, 163, 165–66, 197
and the press, 8–9
Romanticism, influence of, 8, 87–89, 91–93
and sound, 44
technological change, hostility to, 87, 91–92, 93–95, 131, 189, 204
technological humanism, 27, 66, 89–91, 112, 116, 123–24, 177, 190, 193
technology, theory of, 12, 33, 63, 70, 89–95, 111–12, 131, 135, 152, 189–90
transferable subjectivity, 115, 117, 136
and underground press, 98–99
Understanding Media, 90–91, 95, 97, 123, 177, 191
War and Peace in the Global Village, 94
World War II, influence of, 86–87
McRobbie, Angela, 57
Mechanical Bride, The (McLuhan), 88, 89, 141, 142
media, new, 22–24, 86, 96–97, 112, 131, 199–200
Medium Is the Massage, The (McLuhan), 96, 99
Mellor, Anne K., 79
meme (definition), 39. See also Internet meme
Merle, Jean-Toussaint: Le monstre et le magicien, 80
Messiah (band), 127
“Prince of Darkness,” 128
“You’re Going Insane,” 128
Metropolis (film), 89
Mighton, John: Possible Worlds, 136
Milner, Henry: The Man and the Monster, 79, 80
“Mind of a Lunatic” (song), 128
“Moar Ghosts ’n’ Stuff” (song), 168
Mohawks, The (band), 55: The Champ, 54
Monáe, Janelle, 43
The ArchAndroid, 47
“Monster Mash” (song), 50
monstre et le magician, Le (Merle and Béraud), 80
Moody, Jane, 75–76
Moon (film), 125
“Moon-Raker” (song), 165
Morton, Timothy, 38, 39 40, 66
Mary Shelley’s Frankenstein: A Sourcebook, 37
“ms and mr frankenstein” (poem), 133–34
multiculturalism, in Canada. See Canada—multiculturalism, official
multimedia shows, 75, 97, 99, 101, 174. See also special effects, in stage productions
Mumford, Lewis, 91
Munsters, The (TV show), 50
music: Afro-Futurist music, 8, 47–48, 50, 51, 53–54, 56, 57, 128, 158
electronic dance music (EDM), 9, 17, 52, 127–29, 155–63, 168, 169–71
jazz, 51
organ music, 47–48, 49–54, 57, 168
popular music, 17, 22–23, 42–45, 53, 57, 101, 156–57
reggae, 52
ska, 47, 52. See also individual band names
National Wildlife Federation, 177
Nature of Technology, The (Arthur), 14
Neil Young’s Greendale (Dysart and Chiang), 43
Neuromancer (Gibson), 9, 103, 104–7, 110–11, 115–16, 118–20, 125, 128–30
New Keywords (Ross), 62
New York Dolls (band), 53
“Nightmare” (song), 165
Nightmare Abbey (Peacock), 74
OED. See Oxford English Dictionary
OIL (Burtynsky and Roth), 180
oil industry. See Alberta tar sands industry
O Master Caliban (Gotlieb), 133
“Once Again (Here to Kick for You)” (song), 55–56
“One Step Beyond” (song), 52
On McLuhan (Benedetti and DeHart), 130
organ music. See music
Oryx and Crake (Atwood), 142–46
Oxford English Dictionary, 60–62, 71
Pachter, Charles, 140
Paladin Project, The, 9, 155, 159–61
performance practices, 162–66
Paleozoic Geology of London, Ontario, A (Dewdney), 178
Parliament (band): “The Clones of Dr. Funkenstein,” 48, 52, 168
Parsons, Alan, 43
Crotchet Castle, 74
Nightmare Abbey, 74
Peake, Richard Brinsley: Another Piece of Presumption, 81
Presumption, 48, 77, 78, 79–80, 81, 83
Pearson, Ewan, 16
Pennee, Donna, 30–31
Phaedrus (Plato), 22
Phantom of the Opera, The (film, 1925), 50
Picart, Caroline: The Cinematic Rebirths of Frankenstein, 37
Pickett, Bobby: “Monster Mash,” 50
Plato: Phaedrus, 22
plays, 8, 9, 75–77, 79–83, 155, 171–74, 192–95. See also Frankenstein—stage adaptations; special effects, in stage productions; and titles of individual plays
Poe, Edgar Allan, 43, 49, 50, 71, 92, 152
influence of Frankenstein, 93
poetry. See Atwood, Margaret; Brand, Dionne; Dewdney, Christopher; Gotlieb, Phyllis; Lai, Larissa
Polidori, John, 48
The Vampyre, 76
popular culture. See Canada—popular culture; McLuhan, Marshall—and popular culture
popular music. See music
Possible Worlds (Mighton), 136
postcolonialism, 24–28, 30–32, 188
Amusing Ourselves to Death, 192
Technopoly, 192
Prentice, Chris, 25–26
press, alternative, 98–99
Presumption (Peake), 48, 77–80, 81, 83
Price, Vincent, 53
Prince Buster: “One Step Beyond,” 52
“Prince of Darkness” (song), 128
Randel, Fred, 69
Rationale of Judicial Evidence (Bentham), 71
Raven, The (film), 50
Real World of Technology, The (Franklin), 14
Return of the Vampire (film), 50
Reynolds, Simon, 9, 55, 156–58
Rich, Nathaniel, 130
richardthesecond (MacFadzean), 9, 155, 171–74
Robins, Kevin, 24
Times of the Technoculture, 13–14, 199
Robocop (film), 125
robot (origin of word), 105
Rockwell (musician): “Somebody’s Watching Me,” 48, 53
Rocky Horror Picture Show, The (film), 50
Rohmer, Richard: Ultimatum, 178–79
Romero, George: Living Dead, 53
Ronell, Avital: Telephone Book, 10, 190, 191–92
Rooke, Constance, 203
Rosen, Larry: iDisorder, 19–20
Ross, Andrew, 60
New Keywords, 62
Roth, Paul: OIL, 180
“Roughest Neck Around, The” (song), 182
R.U.R. (play), 105
Rush (band), 26
Ryall, Emily, 40
Rycroft, Simon, 97–99, 163, 190
Salt Fish Girl (Lai), 137–38
sampling, 22, 42, 44, 52, 55, 158
Sartor Resartus (Carlyle), 91
Satanism, 81–82
Scanners (film), 113, 122-24, 126
science, 62, 71–72, 77, 79, 81
science fiction literature, 9, 36–37, 46–47, 103–5, 112, 129, 133, 153–54. See also individual titles
“Search and Destroy” (song), 101
Secular Grail, The (Dewdney), 133–34
“Sexcrime (1984)” (song), 43
Shakespeare, William, 171, 173, 174
Shaw, George Bernard: Pygmalion, 55, 56
Shelley, Mary, 48, 55, 59, 63, 64–68, 73, 79, 184
compositional technique, 92
Frankenstein (see Frankenstein [Shelley])
influence of German writers, 72
Shelley, Percy, 92
Simpson, David, 73
Sinclair, Upton, 176
Skinny Puppy (band): “Draining faces,” 127
Skin of Culture, The (de Kerckhove), 115
Smith, Christian, 128
Smith, Don, 93
Social Sciences and Humanities Research Council (Canada), 30
“Somebody’s Watching Me” (song), 48, 53
Space Is the Place (film), 52
Spark (radio program), 199–201
special effects, in stage productions, 8, 46, 75–77, 80–83, 159–63, 165–66, 173
Spectres of McLuhan, 193
Speeches for Doctor Frankenstein (Atwood), 140–41
Splice (film), 125
SSHRC. See Social Sciences and Humanities Research Council (Canada)
staging technology. See special effects, in stage productions
Starfish (Watts), 148
St. Clair, William, 36, 75, 79
Stein, Atara, 89
Stooges, The (band): “Search and Destroy,” 101
Space Is the Place, 52
Survival (Atwood), 141
Szeman, Imre, 176
Tales of Mystery and Imagination (Alan Parsons Project), 43
technique (concept), 11, 12, 60–62, 71, 190
technique, La (Ellul), 12
“technological singularity,” 46
Technological Society, The (Ellul). See technique, La (Ellul)
technology: as an adversary, 20, 204
American response (nineteenth century), 71–73
definitions, 3, 11–13, 14–16, 21, 59–65, 71–72, 73–74, 90–91, 190
determinist theory, 6, 11, 63, 69, 81–82
English view (nineteenth century), 8, 17, 71–73, 74
fetishization, 8, 15, 20–21, 23, 69, 70, 157, 163
and gender, 204
German contribution to meaning, 12, 61, 72, 73–74, 194
and humanity, 14, 20, 21, 65–66, 68, 135–36
“index of visibility,” 16–17
instrumentalist theory, 6, 11, 13, 69–70, 81, 82
Marxist view, 17, 18, 62–64, 69, 71, 74, 152
military purposes, development for, 86, 94, 195, 196
as revolutionary, 23–24, 69–70
social constructivist theory, 63
steam power, as icon of, 74, 77
substantivist theory, 6, 11, 12, 13, 14, 190
translations of word, 12, 193, 194–95
usage, colloquial, 4–6, 16, 59, 62, 86–87, 129
Technology and the Canadian Mind (Kroker), vii, 26
technology discourse, 7, 15, 16–17, 20, 42, 59, 63–65, 70, 74, 155, 164, 193, 200–1
Technopoly (Postman), 192
techno-Romanticism (definition), 9, 101, 158
Telefilm Canada, 123
Telephone Book (Ronell), 10, 190, 191–92
television, 22, 97, 100, 115, 123
Why Things Bite Back, 21
Terminator (films), 6, 105, 125, 185
Theory of Adaptation, A (Hutcheon), 41–44
Thornburg, David: Edutrends, 22
Tie-Dyed Cave (art installation), 97
Times of the Technoculture (Robins and Webster), 13–14, 199
Tipping Point, The (film), 186
Titanic, The (film), 185
Transcendence (film), 125
Transforming Technology (Feenberg), 13
Turing, Alan, 105
Ultimatum (Rohmer), 178–79
Understanding Media (McLuhan), 90–91, 95, 97, 123, 177, 191
United States, 27, 28–32, 50, 56, 71, 88, 97, 190
universities, 15
USCO. See Company of Us, The
vampire: counterpart to Frankenstein’s monster, 48–49, 100
in literature and other media, 50, 57, 90, 149–50, 153, 179
Vampyre, The (Polidori), 76
Van Helsing (film), 49
“Veldt, The” (song), 168–69
Verne, Jules, 129
Videodrome (film), 9, 17, 22, 111, 112–15, 116–17, 124, 136
adaptation of Frankenstein, 103, 107–9, 120–23
influence on other cultural forms, 128, 154, 172
video games. See gaming
Virilio, Paul, 63
Virtual Light (Gibson), 126, 127
virtual reality, 113, 115, 123, 128, 130
Walking Dead, The (film), 50
Walt Disney Company, 167–68
War and Peace in the Global Village (McLuhan), 94
Wargames (film), 105
Watson, Wilfred: From Cliché to Archetype, 95
Watts, Peter, 149–50, 197: βehemoth, 148
Echopraxia, 148
Starfish, 148
Weber, Samuel, 12
Webster, Frank, 24: Times of the Technoculture, 13–14, 199
Weiner, Norbert, 63
Wells, H. G., 129
Westworld (film), 124
Whale, James, 6: Frankenstein, 49, 53, 136
What Technology Wants (Kelly), 14
White Zombie (band), 53
Why Things Bite Back (Tenner), 21
“Wild and Crazy” (song), 51
Williams, Mary Lou, 51
Autonomous Technology, 10, 21, 190
“Witch Doktor” (song), 52, 168
Wolf, Gary, 130
Womack, Jack, 129
Wood, Chris, 29
World War II, 86
World Wide Web, 43, 110, 128, 129–31
Year of the Flood, The (Atwood), 142–43, 146–47
Yeats, W. B., 92
Yippies, 98
Young, Nora, 199–200
“You’re Going Insane” (song), 128
Zimmerman, Joel. See Deadmau5
zombies, in film, literature, and music, 50, 51, 53, 57, 149–50, 152, 153
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