Images are neither the bearers of ideology, nor the representations of the real, but what Baudrillard calls “the hyperreal”: the television image, the advertisement, the pop song become more “real” than “reality”, their sensuous imperative is so strong that they are our experience, they are our pleasure. Denying the narrative domain of these objects dislocates them from the ideological one as well. The pleasure here is not in resisting ideology, nor in challenging it with a “better” one, but in evading it, in liberating oneself from it.