Specters of Mob in David Cronenberg’s Eastern Promises

This article situates David Cronenberg’s film Eastern Promises in the context of post-Cold-War European narratives. It argues that the secret dealings of the Russian mob in London are presented in the film as the uncanny and spectral return of forms of government and business that run counter to the...

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Bibliographic Details
Published inHumanities (Basel) Vol. 10; no. 4; p. 116
Main Author Bayer, Gerd
Format Journal Article
LanguageEnglish
Published Basel MDPI AG 01.12.2021
Subjects
Aesthetics
Cronenberg
Cronenberg, David
David
Derrida
Derrida, Jacques
Eastern Promises
Film noir
Globalization
Jacques
Morality
Mortensen, Viggo
Motion picture criticism
Motion picture directors & producers
Motion pictures
Narratives
Organized crime
spectrality
Technology
Trauma
Violence
Watts, Naomi
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Summary:This article situates David Cronenberg’s film Eastern Promises in the context of post-Cold-War European narratives. It argues that the secret dealings of the Russian mob in London are presented in the film as the uncanny and spectral return of forms of government and business that run counter to the rationale conventionally associated with democratic capitalism and at the same time reveal much about its inherent logic. Cronenberg’s film connects private traumata with the violent reality of globalization, staging one as the ghostly realization of the other.
ISSN:2076-0787
2076-0787
DOI:10.3390/h10040116