Abstract

Developments in visual effects technology have diversified the selection of strategies by which filmmakers can create character “doubles.” This article compares modernist and postmodernist cinema through an approach to the human subject and doubling as represented by image technology. In particular, it investigates the examples of Ingmar Bergman’s Persona (1966) and Darren Aronofsky’s Black Swan (2010), two films in which doubling functions similarly in the narrative.