Shifts in narrative viewpoint or authorial perspective bring about the birth of a new kind of textuality. These new texts (i.e. hypertexts, intertexts) are infinitely flexible and manipulative while shattering readers’ habitual understanding and experiencing. Hypertext system allows the reader to break off the authority of what appears to be the main text into intertextual pathways, to the extent that the main text is forgotten or is only one more text in this intertextual chain. Benefitting from Cultural Studies and Postmodernism, this article utilizes the new media. Medium like film and video create the main form of access to local, national and especially the global events that are the fundamental part of World Wide Web. Intertextuality and Postmodernism are traced in the film A Scanner Darkly (Dir. Linklater, 2006; adaptation of Philip K. Dick\\\\\\\'s novel, 1977); and in a video clip—Points of Authority (2002)—with the song of Linkin Park music band at the background. Points of Authority is a four-minute video overshadowed by the impression of dystopian science fictions. This text gains significance when it finds intertextual links to other texts like Matrix, Minority Reports (other adaptations of Dick), Star War and a series of other science fictions. They are the integral part of the multifaceted reading experience which tries to reconcile reader with the complexity of intertext to blur the binary notion of beginning and ending in any text. That’s how Points of Authority and A Scanner Darkly reflect the fluidity and infinite self-referential nature of World Wide Web creating flexible identity--sometimes driven to identity crisis and pomophobia-- rather than a utopian dialogic world of free access to information. Optimistically, such a dialogic utopia seems to shape a new Tarzanism in the realm of national cultural products side by side of MacDonaldazing global cultural products.

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