Fredric Jameson's The Geopolitical Aesthetic: Cinema and Space in the World System

While the anxieties about privacy seem to have diminished, in a situation in which its tendential erosion or even abolition has come to stand for nothing less than the end of civil society itself.

It is as though we were training ourselves, in advance, for the stereotypical dystopian rigors of overpopulation in a world in which no one has a room of her own anymore, or secrets that anybody else cares about in the first place.

But the variable that gears the rest, as always, is the more fundamental transition from the private to the corporate, the latter unmasking the former and thereby problematizing the very judicial system on which it is itself constructed.

How there could be private things, let alone privacy, in a situation in which almost everything around us is functionally inserted into larger institutional schemes and frameworks of all kinds, which nonetheless belong to somebody – this is now the nagging question that haunts the camera dollying around our various life-worlds, looking for a lost object the memory of which it cannot quite retain.