Is the Thing’s threat in the novella and Carpenter’s film strictly a Heideggerian issue? Did either of these works have time for Heidegger? Is the Heideggerian pressure I am applying to the Things a spurious issue? Or does this issue of Thingness beg to be addressed given the coincidence of the publication of the Heidegger essay and the appearance of the first film? Perhaps I am a critical Thing Thingifying The Thing films? And how exactly does the Heidegger Thing work in the films? Are the men threatened by the Thing’s Heideggerian capabilities? Beyond the pedestrian feeling of “being scared” (this goes for the audience as well), are they suffering from the imminent loss of their Being?

¶ 11:25 AM