By: Joshua Glenn

A scene from THE BIG SLEEP (1946)

By: Joshua Glenn

A scene from REPO MAN (1984)

By: Joshua Glenn

Freelancers aren’t free from discipline, surveillance, and control.

By: Joshua Glenn

Like Eros, Stallone is armed with a bow and torch — and he doesn’t allow mortals to look at him.

By: Joshua Glenn

Is Sherlock a semionaut, or just a brilliant bigot?

By: Joshua Glenn

Chevron’s “I Will” campaign owes a debt to Foucault and Kafka.

By: Joshua Glenn

A scene from HAROLD AND MAUDE (1971)

By: Joshua Glenn

Pity the poor semio­naut, who “reads” the world phen­omeno­logically.

By: Joshua Glenn

A scene from MR. SMITH GOES TO WASHINGTON (1939)

By: Joshua Glenn

Do despots’ statues command us to topple them?

By: Joshua Glenn

A scene from BREAKING AWAY (1979)

By: Joshua Glenn

A scene from ERASERHEAD (1976)

By: Joshua Glenn

He wants to be your dog.

By: Joshua Glenn

A scene from IT HAPPENED ONE NIGHT (1934).

By: Joshua Glenn

A scene from CADDYSHACK (1980).