||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 its
capturing of various kinds of uncertainty, to which I will here attend by
situating the film against the backdrop of three different, yet interrelated,
problematics related to the ubiquitous presence of digital imaging
technologies: i.e., first, the concerns over digital or immaterial labour and the
loss of eros; second, the use of contemporary cinematics (and the
superimposition effect in particular) to address these and other issues related
to living in ‘information-intensive mixed-reality environments;’ and third, the
film’s own suggestive counter-image, which is that of the characters’ partly
defection, and, arguably, that of the image’s own withdrawal from the world.