Abstract
ABSTRACTWhen applied to Nimrod Antal's 2003 film Kontroll, David Harvey's theory in The Condition of Postmodernity of time—space compression illustrates the impact of the subway as a symbol of both the urban centre and the fractured and spliced condition of capitalist societies. Antal's Hungarian and American experiences influence his choices as a film-maker in conveying themes of power over the powerless. The questions surrounding the main character reveal a critique of modern society and the capitalist world. Who is pushing people from the subway platforms? It is my contention that this question raised throughout Antal's film illustrates the push that people feel under the strain of capitalism and modern society.
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