Cooper, an engineer at Motorola, took out a bulky object that measured 23cm tall and weighed a little more than a bag of sugar. From Sixth Avenue in Manhattan, he
When the first commercial mobile phones arrived in 1983, only the mega-rich could afford them. In movies, the newfangled toy became associated with greed. In 1987 Michael Douglas spoke into one—a Motorola Dyna”, their first appearance on screen . “Money never sleeps,” the profligate financier lectures into the phone, as he strolls down a beach at sunrise. In “American Psycho” , another film set in the Eighties, the cell phone is a permanent fixture for Patrick Bateman , a murderous yuppie .
At the turn of the century, phone companies pumped out increasingly dinky models. Ben Stiller lampoons this trend in “Zoolander” : playing a dopey supermodel, he deploys a flip-phone the size of his thumb. reinvigorated the phone’s role in scary films; the killer builds mobiles into the traps he sets for victims. Elsewhere, screenwriters amplified anxieties about the technology’s nefarious effects. In “Phone” , a Korean horror, a mobile number is cursed; in “Cell” , an adaptation of’s novel, a mysterious signal broadcast over the cellular network causes people to become violent murderers.
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