The following episodes detail Lain’s mysterious involvement in the Wired, the presence of supposed deities, and the people who structure their lives around interactions in the Wired (e.g., hackers, ravers, gamers, shady businessmen). The eeriness is validated when all of the students in Lain’s class are emailed by a student who committed suicide the week prior, beckoning them to come to the Wired.
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The eerie opening shots that introduce us to Lain, her family, her classmates and her surroundings (e.g., power lines) already give off the vibe that something’s not quite right.
#Serial experiments lain opening instrumental serial#
Serial Experiments Lain is an anime about a young girl named Lain who is searching to find her place in the Wired (the series’ equivalent to the internet/Matrix). Genres: Science-Fiction, Cyberpunk, Conspiracy, Psychological Thriller, Psychedelic, Drama After all, as Foucault recognized, the Panopticon effect is not simply reducible to Bentham’s architectural plans but is, more importantly, an abstract machine of surveillance and normalization with the potential for innumerable concrete applications.Dive with me into one of the most abstract, confusing, yet impressionable animes ever made: Serial Experiments Lain (sometimes shortened in America to Lain). Although I agree with Deleuze’s diagnosis, I would qualify his conclusions by adding that panoptic technology has not disappeared so much as it has been adapted to new contexts. At the risk of oversimplification, such post-isms frequently serve as pronouncements of death: the death of essentializing foundational concepts such as Subject, Man, Nation, and Meaning.ĭeleuze argues in “Postscript on Control Societies” that we are moving away from disciplinary societies, which organize sites of confinement (prisons, hospitals, schools, factories, families, etc.) toward control societies with new forms of domination (involving incessant monitoring via electronic tagging and user profiling), as well as new forms of resistance (such as computer piracy and viruses). In the absence of a prefix with greater purchase, some scholars have even resorted to repeating the “post” prefix to the point of utter vacuity, such as in the designation “post-poststructuralist.” Such examples notwithstanding, it would be shortsighted to assume that the “post” prefix is utterly meaningless.
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In addition to the spate of studies dealing with postmodernist, poststructuralist, postcolonialist, and postnational approaches to culture, one is not hard-pressed to find numerous examples of post-Marxist, posthegemonic, postfeminist, and postracial readings of cultural texts.
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First and foremost, it should be apparent that the discourse of posthumanism is neither homogeneous nor unified, but rather an arena of contesting perspectives grappling with both “humanism” and its “post.” Concerning the meaning of the “post” prefix, it is no exaggeration to say that over the last thirty years, cultural critics have been obsessed with post-isms. During the course of this study, numerous insights have been gleaned about the status and limits of posthumanism in the context of Japanese visual culture.