In this paper I peruse a specific cinematic example of an uncertain-image, i.e.that of the film Creative Control (Dickinson 2016). My interest in this film lies not,or at least not per se, or not solely, in its representationalism, but rather in itscapturing of various kinds of uncertainty, to which I will here attend bysituating the film against the backdrop of three different, yet interrelated,problematics related to the ubiquitous presence of digital imagingtechnologies: i.e., first, the concerns over digital or immaterial labour and theloss of eros; second, the use of contemporary cinematics (and thesuperimposition effect in particular) to address these and other issues relatedto living in ‘information-intensive mixed-reality environments;’ and third, thefilm’s own suggestive counter-image, which is that of the characters’ partlydefection, and, arguably, that of the image’s own withdrawal from the world.
