Cronenberg's Videodrome and the postmodern condition In past years, when an artist or a philosopher criticized the reality of the world, it was always assumed that there was a reality to criticize. However, postmodernity has presented those people with a new, terrifying challenge: a world that has been literally overwhelmed by technology to the point that the important questions of human existence no longer consist of finding answers to questions like “Why were we born to suffer?” and die?" but simply trying to distinguish between the real and the unreal, which for postmodern man is not an esoteric philosophical speculation, but a daily practical question. The postmodern trajectory is one that leaves human beings struggling not to maintain political supremacy or to break the chains of injustice, but simply to maintain their identity as real beings in the face of the blurring of the boundaries between man and mechanics, between humanity and machines, brought about by technology, reality and image struggle seems to be a losing battle for humanity, as every day inventions that should have brought us pleasure and increased our free time, instead dehumanize us by taking a piece of our individuality for themselves with each passing moment. Postmodern social theorist Jean Baudrillard posits that today's world is an endless “virtual apocalypse” of reality yielding to the hyperreal – reality defined not as what it, in fact, is. but rather that which can be simulated, reproduced or photocopied. Desperate times call for desperate measures, and never has this been more true than in the postmodern world, where the only viable strategy left is to take the weapons of technology and turn them to our advantage, in a last-ditch effort to preserve our humanity. somehow finding meaning in the hallucinatory, cybernetic, hyperreal spectacle that is the postmodern condition. Of all the possible means to gain the insight into our nature and the nature of the world necessary to survive technology's siege of reality, few media are as powerful as cinema (after all, cinema provides a remarkably accessible and intense vehicle of ideas ), and few filmmakers are as adept at analyzing the concept of postmodernity as Canadian author David Cronenberg. In an age where every passing moment constitutes a further blurring of the boundary between reality and image, this prophetic director clarifies, cuts and captures the very essence of postmodernity, through masterfully crafted cinematic pieces that bring technology, obsession and carnality together and pit them against each other in the horrific battlefield of the mind, each fighting for control of the human psyche.