From the politicized depression-era dramas of the 1930s to the nuanced voyeurism of films noir in the 1940s and 1950s, the history of American cinema is built upon a foundation of overt and covert ways of seeing, as the silver screen often served as a looking glass for reflecting and defining sociocultural anxieties. Following in a long tradition of Hitchcockian ruminations on the dangers of observation, both Brian De Palma’s Reagan-era meta-thriller Blow Out and Kathryn Bigelow’s Y2K science-fiction satire Strange Days cut to the core of late-twentieth-century anxieties of political conspiracy and digital paranoia through their critical visualizations of memory invasion.



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