1) "There was sopme bodily essence that constantly asserted and reasserted itself, even in spite of imprinting and global wipes,"
2) "We saw precisely how disposable bodies were." (233)
Shuster states, interestingly,
Dollhouse found itself in the strange predicament . . . of decrying the objectification of women while lavishly promoting itself by means of Eliza Dushku's scantily clad body. (235)I always found this interesting, but more so in the context of third-wave feminism.
So, Shuster argues that aporia exist at both the level of the narrative and at the institutional/organizational level of the television show on FOX.
The citing of Adorno is interesting. I applaud this but I wonder: Dollhouse depicts a fictional genocide (though horrific) but Adorno is referring to an actual genocide (see pg. 237).
I would simplify this article into the following statement: Dollhouse juxtaposes many elements which result in the construction of an atmosphere (or space) of ambivalence.
Further thoughts on this interesting article?