It signals, though, the increasing insertion of cinema within a broader cultural and
technological public sphere that is growing increasingly powerful via the expansion of the World Wide Web and its derivative species (blackberries, cell phones etc.).
That the issue at stake is a spiritual one is evident in the religious imagery that pervades Callahan's account of
technological medicine: that the war on death is a search for «immortality»; that the dying patient might be «saved»; that medicine is seen as «omnipotent, holding life and death wholly in its hands»; that a lobbyist equates heart attacks, cancer, and strokes with sin (interesting rhetoric in the
public sphere, but I'll save that discussion for another day).