Mapping Capitalism Justin Pickard

A critical analysis of Southland Tales (2007) in terms of its

cognitive mapping of contemporary capitalist society.

Following the unexpected success of Richard Kelly's cult début, Donnie Darko (2001), critics had

sophomore effort Southland Tales (2007) tipped to sink without trace. Ostensibly a dystopian satire of the

US military-industrial complex, in which 'someone in the ensemble (...) has to save the world from the

apocalypse'1, stunt casting and a genre-defying blurb had the commentators rattled. So it was to Kelly's

surprise that an early cut was accepted to the 2006 Cannes Film Festival. Here, the hastily-completed film

garnered reactions that – 'except for a few staunch defenders — ranged from negative to vicious' 2. In the

wake of Cannes, Universal Pictures sold the distribution rights to Sony, who funded a substantial re-edit.

Kelly took the opportunity to consolidate the narrative: expanding the use of digital effects, and cutting its

length by twenty minutes. The Southland released by Sony was tighter, but still bafflingly inaccessible.

The critics remained unconvinced, and, after a limited release, the film sank back into obscurity.

And yet. In among the tide of critical, often angry reviews, there were hints of something more

interesting than a simple failure. A flavour of this can be seen in this passage, from Morris' review for The

Boston Globe:

'Even if the world Kelly concocted always seems screamingly incoherent, you have to hand it
to him. He's made a movie of our messy times that's too ambitious to settle for merely
capturing the mess. It actually is the mess.' 3

However counter-intuitive, this is a view repeated elsewhere. Conceding that the film fails as a cinematic

narrative, Morris is one of many who suggest that to judge Southland as a traditional cinematic object would

be missing the point. Couched in irony and otherwise highly critical, Crocker's review for Time Out London

1 Angela Doland, 2006, ''Southland' Imagines L.A. Apocalypse', Associated Press, 21/05/2006,
<http://www.washingtonpost.com/wp-dyn/content/article/2006/05/21/AR2006052100728.html> [accessed
16/04/2010]
2 Dennis Lim, 2007, 'Booed at Cannes, but Now the Real Test,' The New York Times, 28/09/2007,
<http://www.nytimes.com/2007/10/28/movies/28lim.html> [accessed 16/04/2010]
3 Wesley Morris, 2007, 'Out on the edge, scavenging among 'Southland Tales,' The Boston Globe, 16/11/2007,
<http://www.boston.com/movies/display?display=movie&id=10750> [accessed 16/04/2010]

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Mapping Capitalism Justin Pickard

agrees: by the final credits, suggests Crocker, 'this truly ambitious, truly flawed film finally disappears into

the 'time-space rift' (or whatever) to achieve some sort of cosmic transcendence.' 4

Curiously, the reasons that Southland failed as cinema a may be the same reasons it succeeds as a

form of 'cognitive mapping.' This is a film which allows us to apprehend what Jameson describes as 'the

incommensurability between an individual witness (…) and the collective' 5; with a partial and incomplete

expression of 'the absent, unrepresentable totality'6. Here, there are three broad factors which have allowed

Southland to approach Jameson's speculative aesthetic: the film is grounded in the logic(s) of hypermediacy;

its aesthetic is that of the supplement; and it uses branding and the tropes of conspiracy theory to construct

an affective map of contemporary capitalism. With these three logics emphasised at the expense of

traditional narrative, we have a media artefact within which, to quote O'Hehir:

'the plot, characters and actors are just the architectural framework over which Kelly has
spray-painted an impressionistic tapestry depicting post-9/11 America as it might have been,
or might yet become, or might really be if we could only see it clearly.' 7

Whatever the weaknesses of Southland in the eyes of a film-literate audience, there is much to suggest

that it provides a muffled answer to Jameson's rallying cry - enacting a partial, flawed 'cognitive mapping'

of Bush-era South California, and – by extension – contemporary capitalism.

1. Hypermediacy

The opening sequence of Southland foregrounds its status as vernacular media. The setting is

Abilene, Texas, where two boys are videoing themselves in a mirror. Their camcorder is outdated, with a

date stamp encoding a sense of time and mediation into the footage. It is July 4th, 2005. Independence

Day. American flags, buffet food, a plastic figurine of Uncle Sam. A flash of light through window blinds.

4 Jonathan Crocker, 2007, 'Southland Tales (2006)', Time Out London, Issue 1946, 07/12/2007,
<http://www.timeout.com/film/reviews/83350/southland-tales.html> [accessed 16/04/2010]
5 Frederic Jameson, 1992, The Geopolitical Aesthetic: Cinema and Space in the World System (Bloomington, IN:
Indiana University Press), p. 10.
6 Ibid.
7 Andrew O'Hehir, 2007, 'Beyond the Multiplex', Salon.com, 15/11/2007,
<http://www.salon.com/entertainment/movies/review/btm/2007/11/15/southland/> [accessed 16/04/2010]

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Mapping Capitalism Justin Pickard

As the dust clears, the image resolves into a mushroom cloud – hanging over the horizon. Beginning with

a counterfactual event positioned as such that it can only be grasped in relation to 9/11, the film place us

in a difficult cognitive position. The nuclear attack is clearly important, but not part of our history.

Through estrangement, the viewer grasps that this is not a representation of our world, but possesses

insufficient data to grasp how it maps to the world of their embodied experience?

The answer comes in Kelly's use of digital effects. Once unsettled, 'we are barraged with graphics

and voice-over in a desperate attempt to get us up to speed.'8 A satellite image of Abeline pulls back to a

wider view of the United States, leaving the explosion behind. “In the aftermath of the nuclear attacks on

Texas, America found itself on the brink of anarchy.” A window opens, re-framing the aerial view as

backdrop to a digital interface. Branded the 'Doomsday Scenario Interface' (Illustration 1), its windows

rapidly multiply, inundating the screen with a flow overlapping photos, film clips, maps, charts, drawings,

and headlines. For Bolter and Grusin, these 'multiple representations inside the windows create a

heterogeneous space, as they compete for the viewer's attention.'9 This is the logic of hypermediacy – a

'style of visual representation whose goal is to remind the viewer of the medium.' 10

Illustration 1. 'Doomsday Scenario Interface,' Southland Tales (2007)

8 Andrew O'Hehir, 2007.

9 Jay David Bolter and Richard Grusin, 2000, Remediation (London: The MIT Press), p. 32
10 Ibid. p. 272.

3
Mapping Capitalism Justin Pickard

In two minutes, the interface guides the audience through three years of alternate history, from the twin

nuclear attacks in Texas to the start of Kelly's actual narrative. From the information provided in this

sequence, Shaviro offers a summary of the Southland universe – distilling specific facts and details from a

torrent of hypermediacy:

The ‘war on terror’ has blossomed into a full-fledged World War III. (...) The draft has been
reinstated; martial law has been declared in some areas. Throughout the United States,
police surveillance is ubiquitous, and there is no interstate travel without a visa. All Internet
communication is monitored by a government spy facility called US-IDent. The police are
authorised to shoot on sight anyone suspected of terrorism. (...) International oil supplies
have been cut off, and the sinister Treer corporation holds a monopoly on America’s
alternative energy resources. The only opposition to this state of affairs comes from a
comically inept, confused and internally fragmented ‘neo-Marxist’ underground.' 11

Thus, the 'Doomsday Scenario Interface' provides a way for the viewing audience to quickly familiarise

themselves with the universe of Southland Tales. As a bounded and literal manifestation of cognitive

mapping, the hypermediatic visuals negotiates Jameson's original dilemma; cutting from the wide-angle

abstractions of the totality to the 'sealed subjective worlds' of Kelly's characters, passing – initially, at least –

as 'ships in the night, a centrifugal movement of lines and planes that can never intersect.' 12

While the narration of Pilot Abeline (Justin Timberlake) supplements the interface in a way which

meshes comfortably by the world-historical infodump, with the abrupt shift in scale that accompanies the

introduction of Boxer Santeros (Dwayne “The Rock” Johnson), amnesiac actor and son-in-law of the

Republican vice-presidential candidate, the final section of voice-over settles strangely. “The government

knew [Santeros] had crossed the border into California, but the circumstances of his return to the

Southland remained a mystery.” As narrator, to what extent is Abeline a directorial mouthpiece? The

dialogue implies a cognitive map incorporating knowledge held by the film's panoptic government. Certainly,

Kelly's is a setting in which Mason's suggestion, that 'a “cyborg's cognitive mapping” (…) may be the only

form (…) available in a multinational global society pervaded by technologies and simulacra' 13 rings true. The

11 Stephen Shaviro, 2010, 'Post-Cinematic Affect: On Grace Jones, Boarding Gate and Southland Tales,' Film
Philosophy, Vol. 14 (1), pp. 65-66.
12 Frederic Jameson, 1988, 'Cognitive Mapping,' in Nelson, Carey and Lawrence Grossberg, Marxism and the
Interpretation of Culture (London: MacMillan), p. 350.
13 Fran Mason, 2002, 'A Poor Person's Cognitive Mapping', in Knight, Peter (ed.), Conspiracy Nation: The Politics of

4
Mapping Capitalism Justin Pickard

individual subject may be unable to account for the limitations of their map, but technology offers a solution.

With contemporary capitalist society so dependent on digital media, such technologies are – to quote

Jameson - potentially 'the representational solution as well as the representational problem of this world

system's cognitive mapping'14; the cybernetic logic of the interface compensating for the cognitive constraints

of the embodied, affective subject.

Within Southland's exaggerated military-industrial complex, this manifests as a panoptic

technophilia. Embracing the promise of hypermediacy, both organisations and individuals are seen

'multiplying mediation (…) to create a feeling of fullness, a satiety of experience, which can be taken as

reality.'15 Take Homeland Security controller, Nana Mae Frost (Miranda Richardson); at various points in the

narrative, we see Frost 'sitting in her command chair at US-IDent headquarters, monitoring the video feeds

on multiple screens that cover a large curving wall in front of her.' 16 (Illustration 2)

Illustration 2. 'Nana Mae Frost at US-IDent Headquarters,' Southland Tales (2007)

A potent and complex image, evoking of a host of other films and images. Shaviro is quick to compare

Richardson's performance with that of Angela Lansbury in The Manchurian Candidate (1962), but – in

terms of cognitive mapping – more useful parallels can be found in the technological imagery of The Matrix:

Paranoia in Postwar America (New York, NY: New York University Press), p. 53.
14 Frederic Jameson, 1992, p. 10.
15 Jay David Bolter and Richard Grusin, 2000, p. 53.
16 Stephen Shaviro, 2010, p. 66.

5
Mapping Capitalism Justin Pickard

Revolutions (2003) and the graphic novel adaptation, Watchmen (2009).

From The Matrix: Revolutions, we can take the figure of the Architect; an avatar of the computer

programme which created and monitors the Matrix. He appears as a stern, bearded man in a white room,

against a wall-sized bank of television monitors (Illustration 3). Initially, these screens replicate the

confrontation between Neo and the Architect, as might CCTV, but there is a certain point beyond which they

diverge, showing other iterations of the same conflict in cyclical time.

Illustration 3. 'The Architect,' The Matrix: Reloaded (2003)

Illustration 4. 'Adrian Veidt's Antarctic Base,' Watchmen (2009)

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Mapping Capitalism Justin Pickard

In comparison, the example from Watchmen is comparatively prosaic – with millionaire genius turned

costumed vigilante Andrian Veidt (Matthew Goode) using his image and reputation as the heroic

Ozymandias to bankroll a global commercial conglomerate. In a scene toward the end, we see Veidt in his

Antarctic headquarters, watching a wall of television screens (Illustration 4). With each screen displaying

different footage, this stands as evidence of his capacity for hyperattention and, by extension, the threat

posed by his superhuman intelligence.

In each of these three examples, the screen or interface reinforces a desire for knowledge, and –

through knowledge – control. In this, only Nana Mae Frost's US-IDent can be said to manifest a truly

hypermediatic aesthetic; enacting 'the ultimate goal of cartography as described by Lewis Carroll, Borges and

others: developing a constantly updated map at a 1:1 scale.'17 In both remaining examples, a single, self-

contained image fails to encompass the absent totality, but this is less a result of their (limited) deployment

of hypermediacy than the supplemental logic they share with Kelly's depiction of US-IDent.

2. The Supplement

Characterising the film as a product of Kelly's desire 'to synthesize every strain of media and culture

(porn, politics, the Internet, the music video) into a single furious object' 18, Morris' review offers the

departure point for a halting delineation of hypermediacy from the supplement. US-IDent is hypermediatic,

governed by its users' insistence that 'the experience of the medium is itself an experience of the real.' 19 As a

media artefact, Southland Tales is supplemental. Kelly forges links, but there are no real, functioning

hierarchies; with 'images and sounds (…) linked together in manner of bricks or building blocks (…) the

connection among shots, or among elements within a shot, are only allusive and indirect.' 20 US-IDent is an

example of hypermedia, and hypermediacy is a specific instance of a broader, supplemental logic. As Shaviro

comments, Southland's visuals are 'paratactic and additive (…) filled with inserts; it overlays, juxtaposes and
17 Sébastian Caquard, 2009, 'Foreshadowing Contemporary Digital Cartography: A Historical Review of Cinematic
Maps in Films,' The Cartographic Journal, Vol. 46 (1), p. 54.
18 Wesley Morris, 2007, 'Out on the edge, scavenging among 'Southland Tales,' The Boston Globe, 16/11/2007,
<http://www.boston.com/movies/display?display=movie&id=10750> [accessed 16/04/2010]
19 Jay David Bolter and Richard Grusin, 2000, p. 70-71.
20 Stephen Shaviro, 2010, p. 72.

7
Mapping Capitalism Justin Pickard

restlessly moves between multiple images and sound sources.'21

Here, the obvious cinematic touchstone is the work of Soviet film director Sergei Eisenstein, but

Shaviro lends little credence to this comparison. Eisenstein made notes for a film adaptation of Marx's

Capital, but struggled with Jameson's dilemma – 'the growing contradiction between (…) a

phenomenological description of the life of an individual and a more properly structural model of the

conditions of existence of that experience.'22 But while Kelly and Eistenstein share the same problematic,

Shaviro warns against drawing too many parallels. Within Southland, the 'correspondences and connections

form something like an affective constellation (…) they are too dispersed, and too indefinite and arbitrary, to

work in the focused and organised way that Eisensteinian montage theory demands.' 23 Where Eistenstein's

images clash with one another, causing a 'break in the perception of something outside the logic of the

ordinary [through which] a restructuring of ordinary perception takes place' 24, Kelly rejects the dialectics of

the composite for an affective network of 'weak ties, such as we are accustomed to find on the Internet.'25

Within the film, these 'weak ties' are most visible in the links established outside the various

interfaces - particularly in Kelly's deployment of tropes, as part of a process Sterling haltingly dubs 'riffing':

'the academic version of the traditionally dominant form of Southern Californian cultural
expression (…) in which stable, time-tested elements of classic schtick are assembled, then
deftly combined and twisted so as to capture the latest version of the cultural-imaginary.
‘He’s the Pope.’ ‘And she’s a chimp!’ ‘And they’re both cops!’ ‘And this time – it’s personal!’' 26

Here, it is interesting to point to a concrete manifestation of the supplement within the film's universe,

through Boxer Santeros' dubious screenplay, 'The Power' (Illustration 5). An 'epic Los Angeles crime saga' 27

set in the near future, the script casts Boxer as Jericho Cane: a paranoid LAPD cop with supernatural powers,

21 Ibid, p. 71.
22 Frederic Jameson, 1988, p. 349.
23 Stephen Shaviro, 2010, p. 73.
24 Sergei Eisenstein, 1976, 'Notes for a Film of Capital,' trans. Sliwowski, Maciej, Jay Leyda and Annette Michelson,
October, Vol. 2, p. 6.
25 Stephen Shaviro, 2010, p. 73.
26 Bruce Sterling, 2009, 'SoCal DigiCult,' Convergence, Vol. 15 (1), p. 9.
27 Southland Tales, 2007. Film. Directed by Richard Kelly. US: Samuel Goldwyn Films.

8
Mapping Capitalism Justin Pickard

tasked with saving the world. In its first appearance, it provides a source of humour, but as Southland

'zigzags towards catastrophe'28, parallels between Boxer's screenplay and the filmic world become

increasingly apparen as 'chains of cause and affect both multiply and break down entirely, in defiance of

traditional narrative logic.'29

Illustration 5. 'The Power,' Southland Tales (2007)

However ridiculous, 'The Power' is thus best read as a synecdoche of Southland Tales; supplementing the

interface and experiential realities of Kelly's characters with a warped reflection of their universe – similar to

the way Southland reflects and comments on our own.

3. Capitalism and Affect

In addition to its aesthetic and structural logics, Kelly's map of contemporary capitalist society

also relies on the playful, often grotesque, use of brands and branding. In the 'Doomsday Scenario

Interface' (Illustration 1), graphics share space with logos for Panasonic and Bud Light, and – shortly after

– we see a 'military vehicle (…) emblazoned with an ad for Hustler magazine'30 (Illustration 6).

28 Stephen Shaviro, 2010, p. 75.

29 Stephen Shaviro, 2010, p. 75.
30 Carina Chocano, 2007, 'Movie Review: Southland Tales,' Los Angeles Times, 14/11/2007,
<http://www.calendarlive.com/movies/cl-et-southland14nov14,0,970418.story?coll=cl-movies-top-right> [accessed
21/04/2010]

9
Mapping Capitalism Justin Pickard

Illustration 6. 'Hustler Tank,' Southland Tales (2007)

The film also includes examples of the celebrity-as-brand, with Santeros' rescuer – the self-titled Krysta

Now (Sarah Michelle Gellar) – looking 'to leverage her semi-celebrity as a porn starlet not only by

recording songs and making a music video, but also by starring in her own talk-show-cum-reality-

television series, and by selling her own energy drink'31 (Illustration 6). Here, the superposition of Gellar's

known role as a TV actress with that of her character has a strange effect, allowing her to stand as a

'semaphore for American trash culture while simultaneously exploding [her] celebrity personae.' 32

Illustration 7. 'The Krysta Now Energy Drink,' Southland Tales (2007)

31 Stephen Shaviro, 2010, p. 70.

32 Melissa Anderson, 2007, 'Southland Tales,' Time Out New York, Issue 633, 14/11/2007,
<http://www.timeout.com/film/newyork/reviews/83350/southland-tales.html> [accessed 21/04/2010]

10
Mapping Capitalism Justin Pickard

In each of these examples, a supplemental logic provides an aesthetic not just of hypermediacy, but of

contemporary network capitalism. Konstantinou explains how 'Google and Starbucks (…) do not stand in

for or refer to the world system or consumerism (…) but rather are its real products, pieces of intellectual

property, reproducing themselves again in textual form'33. Like the music video or summer blockbuster,

branding is a machine 'for generating affect (…); at the heart of social production, circulation and

distribution (…) play[ing] a crucial role in the valorization of capital.' 34 This then, is branding as a political

economy of affect, ably demonstrating how the invisible totality of the market is not a conventional object,

but the product of social cosmology, inextricably linked to notions of affect, desire and subjectivity.

The transformation of subjectivity under 'late' capitalism is the foundation of Jameson's original

dilemma. With the individual unable to conceptualise the vast totality of the capitalist world-system –

necessarily remote to their own experiential reality – culture and society must strive against a 'paralysis of

the collective or social imaginary'35. In this context, suggests Jameson, it is not unexpected to witness a

resurgence of the conspiratorial narrative, as a discursive 'structure capable of reuniting the minimal basic

components: a potentially infinite network, along with a plausible explanation of its invisibility.' 36 Taken

alongside the dispersal and fragmentation of subjectivity, for which amnesiac movie star Santeros stands

as emblem, paranoia provides a useful – if fundamentally flawed – 'centering device for subjectivity by

allowing all the world's random events to be explained in terms of the paranoid's version of conspiracy.' 37

So when US-IDent employee Starla von Luft (Michele Durrett) meets Boxer Santeros on the

beach, she is clearly delusional. Her obsession with Santeros has caused her to assume the role of Dr.

Muriel Fox, a character from his screenplay, with the implied recentering of her subjectivity enabling her

to assert a sense of importance and purpose as part of a larger, conspiratorial narrative. However, within

Kelly's world, when she warns Santeros: 'They're listening; they're watching,' she is almost immediately

proved correct, as the screen shifts to the weapon sight of a distant observer (Illustration 9).

33 Lee Konstantinou, 2009, 'The Brand as Cognitive Map in William Gibson’s Pattern Recognition,' boundary 2, Vol. 36
(2), p. 87.
34 Stephen Shaviro, 2010, p. 3.
35 Frederic Jameson, 1992, p. 9.
36 Ibid.
37 Fran Mason, 2002, p. 47.

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Mapping Capitalism Justin Pickard

Illustration 9. 'They're listening; they're watching,' Southland Tales (2007)

While exploring the possibilities of an aesthetic of the absent totality, Jameson characterised the

paranoiac logic as a 'poor person's cognitive mapping'38. Mason critiqued this claim, arguing that Jameson

presupposed the possibility of an effective 'rich person's' cognitive mapping, accessible to the subject

'placed within the morass of postmodern information systems and simulations in which signals suffer

interference and thus intercut and merge'39. For her, conspiracy theory 'generates a map of the world that

is actually a map of a different world entirely, a parallel or imaginary world of misrecognized social

systems and power structures.'40 I would argue that Southland Tales is an example of such a parallel

world, with the timeline arranged such that there 'is no way back to suburban normalcy.' 41 In Kelly's

world, Boxer Santeros may be a paranoid schizophrenic and Starla von Luft may be delusional at best, but

– as it turns out – that does not mean they are necessarily wrong.

Using the relationship of the Trier Corporation and the Elliot-Frost presidential ticket to cast

aspersions on the crony relationship between business and government under the Bush administration

(Illustration 10), Kelly's film is critical of contemporary capitalist society.

38 Frederic Jameson, 1988, p. 356.

39 Fran Mason, 2002, p. 47.
40 Ibid, p. 40.
41 Stephen Shaviro, 2010, p. 64.

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Mapping Capitalism Justin Pickard

Illustration 10. 'Bush Hails Alternative Synergy,' Southland Tales (2007)

In his analysis of Gibson's Pattern Recognition (2003), Konstantinou argues that that novel's real impact

is in 'the specific real-world resonances of his brand-laden vocabulary and the strangely alienating

feedback effects that comes with reading a novelization of one's present' 42. For me, the same applies to

Southland Tales. By rendering the 'extreme contemporary' as an aesthetic style, both Kelly and Gibson

have invited their audience to 'cultivate a particular ethos relative to their present moment.' 43

Illustration 11. 'Southland Tales,' Southland Tales (2007)

42 Lee Konstantinou, 2009, p. 90.

43 Ibid. p. 95.

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Mapping Capitalism Justin Pickard

As Chocano recognises in her review for the Los Angeles Times, Southland Tales is an 'angry (…) yawp at

the state of the world, (…) cloak[ing] its outrage in nihilistic irony and layers and layers of allusion.' 44 With

the title logo (Illustration 11) borrowed from a map of the 2004 U.S. Presidential Election, warped so as to

better equate area and population, it is obvious that this is a political film. Indeed, its cognitive mapping

of contemporary capitalism often functions less as epistemological process than critical commentary. As

an aesthetic project, cognitive mapping may have been originally intended as an attempt to grapple with

the incommensurability of the collective and individual experience, but as Shaviro argues of maps,

Southland Tales 'does not just replicate the shape of a territory; [but] rather, it actively inflects and works

over that territory.'45

44 Carina Chocano, 2007, 'Movie Review: Southland Tales,' Los Angeles Times, 14/11/2007,
<http://www.calendarlive.com/movies/cl-et-southland14nov14,0,970418.story?coll=cl-movies-top-right> [accessed
21/04/2010]
45 Stephen Shaviro, 2010, p. 64.

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Mapping Capitalism Justin Pickard

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<http://www.timeout.com/film/newyork/reviews/83350/southland-tales.html> [accessed
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Bolter, Jay David, and Richard Grusin, 2000, Remediation (London: The MIT Press)

Caquard, Sébastian, 2009, 'Foreshadowing Contemporary Digital Cartography: A Historical Review of

Cinematic Maps in Films,' The Cartographic Journal, Vol. 46 (1), pp. 46-55.

Chocano, Carina, 2007, 'Movie Review: Southland Tales,' Los Angeles Times, 14/11/2007,
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[accessed 16/04/2010]

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<http://www.salon.com/entertainment/movies/review/btm/2007/11/15/southland/> [accessed
16/04/2010]

Gibson, William, 2003. Pattern Recognition (London: Penguin Books Ltd.)

Jameson, Frederic, 1988, 'Cognitive Mapping,' in Nelson, Carey and Lawrence Grossberg, Marxism and the
Interpretation of Culture (London: MacMillan), pp. 347-360.

Jameson, Frederic, 1992, The Geopolitical Aesthetic: Cinema and Space in the World System (Bloomington,
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Konstantinou, Lee, 2009, 'The Brand as Cognitive Map in William Gibson’s Pattern Recognition,' boundary
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Lim, Dennis, 2007, 'Booed at Cannes, but Now the Real Test,' The New York Times, 28/09/2007,

15
Mapping Capitalism Justin Pickard

<http://www.nytimes.com/2007/10/28/movies/28lim.html> [accessed 16/04/2010]

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Philosophy, Vol. 14 (1), pp. 1-102.

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The Matrix: Reloaded, 2003. Film. Directed by Larry and Andy Wachowski. US: Warner Bros.

Watchmen, 2009. Film. Directed by Zack Snyder. US: Warner Bros.

16