306 <strong>The</strong> experience <strong>of</strong> space and timeization <strong>of</strong> politics. Indeed, there are abundant signs that localism andnationalism have become stronger precisely because <strong>of</strong> the quest forthe security that place always <strong>of</strong>fers in the midst <strong>of</strong> all the shiftingthat flexible accumulation implies. <strong>The</strong> resurgence <strong>of</strong> geopolitics and<strong>of</strong> faith in charismatic politics (Thatcher's Falklands War, Reagan'sinvasion <strong>of</strong> Grenada) fits only too well with a world that is increasinglynourished intellectually and politically by a vast flux <strong>of</strong>ephemeral images.Time-space compression always exacts its toll on our capacity tograpple with the realities unfolding around us. Under stress, forexample, it becomes harder and harder to react accurately to events.<strong>The</strong> erroneous identification <strong>of</strong> an Iranian airbus, ascending withinan established commercial flight corridor, with a fighter-bomberdescending towards a targeted US warship - an incident that resultedin many civilian deaths - is typical <strong>of</strong> the way that reality getscreated rather than interpreted under conditions <strong>of</strong> stress and timespacecompression. <strong>The</strong> parallel with Kern's account <strong>of</strong> the outbreak<strong>of</strong> World War I (cited above, p. 278) is instructive. If 'seasonednegotiators cracked under the pressure <strong>of</strong> tense confrontations andsleepless nights, agonizing over the probable disastrous consequences<strong>of</strong> their snap judgements and hasty actions,' then how much moredifficult must decision-making now be? <strong>The</strong> difference this time isthat there is not even time to agonize. And the problems are notconfined to the realms <strong>of</strong> political and military decision-making, forthe world's financial markets are on the boil in ways that make asnap judgement here, an unconsidered word there, and a gut reactionsomewhere else the slip that can unravel the whole skein <strong>of</strong> fictitiouscapital formation and <strong>of</strong> interdependency.<strong>The</strong> conditions <strong>of</strong> postmodern time-space compression exaggeratein many respects the dilemmas that have from time to time besetcapitalist procedures <strong>of</strong> modernization in the past (1848 and thephase just before the First World War spring particularly to mind).While the economic, cultural, and political responses may not beexactly new, the range <strong>of</strong> those reponses differs in certain importantrespects from those which have occurred before. <strong>The</strong> intensity <strong>of</strong>time-space compression in Western capitalism since the 1960s,with all <strong>of</strong> its congruent features <strong>of</strong> excessive ephemerality andfragmentation in the political and private as well as in the socialrealm, does seem to indicate an experiential context that makes thecondition <strong>of</strong> postmodernity somewhat special. But by putting thiscondition into its historical context, as part <strong>of</strong> a history <strong>of</strong> successivewaves <strong>of</strong> time - space compression generated out <strong>of</strong> the pressures <strong>of</strong>capital accumulation with its perpetual search to annihilate space<strong>The</strong> postmodern condition 307through time and reduce turnover time, we can at least pull thecondition <strong>of</strong> postmodernity into the range <strong>of</strong> a condition accessibleto historical materialist analysis and interpretation. How to interpretand react to it will be taken up in Part IV.
18Time and space In the postmodernCInemaPost modern cultural artefacts are, by virtue <strong>of</strong> the eclecticism <strong>of</strong>ther concetion .and the anarchy <strong>of</strong> their subject matter, immenselyvaned. I thmk It useful, however, to illustrate how the themes <strong>of</strong>time-spac compression that have been elaborated on here get representedm postmodern works. For this purpose I choose to lookat .the cinema, in part because this is an art form which (togetherwIth photography) arose in the context <strong>of</strong> the first great burst <strong>of</strong>cultural modernism, but also because, <strong>of</strong> all the art forms, it hasperhaps th mst .robust .capacity to handle intertwining themes <strong>of</strong>sp:e and time m mstructIve ways. <strong>The</strong> serial use <strong>of</strong> images, and theabIlIty to cut back and .forth across space and time, free it from many<strong>of</strong> the normal constramts, even though it is, in the final analysis, aspectacle projected within an enclosed space on a depthless screen.<strong>The</strong> two films I shall consider are Blade Runner and Himmel iiberBerlin (alled Wings <strong>of</strong> Desire in English). Ridley Scott's BladeRunner IS a popular science fiction movie, considered an excellentexample <strong>of</strong> its genre by many, and a film that still circulates in thelate-night cinemas <strong>of</strong> large metropolitan areas. It is a piece <strong>of</strong> pop artthat neverthles explores important themes. I am particularly indebtedto Gmhano Bruno's perceptive analysis <strong>of</strong> its postmodernaesthetics. Wim Wenders's Wings <strong>of</strong> Desire, on the other hand, is apice <strong>of</strong> 'highbrow' cinema, very favourably received by the critics (a'bittersweet masterpiece' one critic wrote), but hard to grasp at firstviewing. It is the kind <strong>of</strong> film that has to be worked at to beunderstood and appreciated. However, it explores similar themes tothose .set out .in Blade unner, though from a rather different perspectIVeand n .a very dIfferent style. Both films exemplify many <strong>of</strong>the caractenstIcs <strong>of</strong> postmodernism, and in addition pay particularattentIon to the conceptualization and meanings <strong>of</strong> time and space.<strong>The</strong> story <strong>of</strong> Blade Runner concerns a small group <strong>of</strong> geneticallyTime and space in the postmodern cinema 309produced human beings, called 'replicants,' who return to face theirmakers. <strong>The</strong> film is set in Los Angeles in the year 2019 and hingesaround the search <strong>of</strong> the 'blade runner' Deckard to uncover thepresence ?f the replcants and to eliminate or 'retire' them (as thefilm has It) as a senous danger to the social order. <strong>The</strong> replicantshae been ceated or the specific purpose <strong>of</strong> working on highlyskilled tasks m particularly difficult environments at the frontiers <strong>of</strong>space exploration. <strong>The</strong>y ae ndowed with strengths, intelligence,and powes that are at the lImIt <strong>of</strong>, or even beyond that <strong>of</strong>, ordinaryhuma? bemgs. <strong>The</strong>y are also endowed with feelings; only in thisway, It seems, can they adapt to the difficulty <strong>of</strong> their tasks in such away as to make judgements consistent with human requirements.However, fearing that they might at some point pose a threat to theestablished order, their makers have given them a life-span <strong>of</strong> onlyfour y ars: If hey escape ontrol dring these four years they haveto b: retired. But to retire them IS both dangerous and difficultprecIsely because <strong>of</strong> their superior endowments.<strong>The</strong> replicants are, it should be noted, not mere imitations buttotally authentic reproductions, indistinguishable in almost all respectsfrom human beings. <strong>The</strong>y are simulacra rather than robots.Tey have been designed as the ultimate form <strong>of</strong> short-term, highlyskIlled and flexible labour power (a perfect example <strong>of</strong> a workerend?wed with all ?f the qualities necessary to adapt to conditions <strong>of</strong>flexIble accumulatIOn). But like all workers faced with the threat <strong>of</strong> ashort .en d workin .g life, the replicants do not take kindly to theresnctIons o theIr four-year life-span. <strong>The</strong>ir purpose in returning totheIr makers IS to try to find ways to prolong their life, by infiltratingto the heart <strong>of</strong> the productive apparatus that made them, and therepersuading or .forci?g their makers to re-programme their geneticmake-up. <strong>The</strong>Ir .desIgner, Tyrell (head <strong>of</strong> a vast corporate empire <strong>of</strong>tht name), pomts out to Roy, the leader <strong>of</strong> the replicants, whoultimately penetrates into his inner sanctum, that the replicants havemore han adequate rcompense for the brevity <strong>of</strong> their life-span -they lIve, after all, WIth the most incredible intensity. 'Revel in it,'says Tyr:ll, 'a flae .that burs twice as intensely lives half as long.'<strong>The</strong> replIcants eXIst, m short, III that schizophrenic rush <strong>of</strong> time thatJameson, p:leuze and Guattari, and others see as so central to postmdrnhvmg . .<strong>The</strong> also move across a breadth <strong>of</strong> space with aflUIdity that gms them an immense fund <strong>of</strong> experience. <strong>The</strong>ir personamatches m many respects the time and space <strong>of</strong> instantaneousglobal communications.In revolt againt their cond .itions <strong>of</strong> 'slave labour' (as Roy, theleader <strong>of</strong> the replIcants, calls It) and seeking to prolong their life-