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Ghosting Images: Haunted by and Haunting Filmic Images

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Ghosting Images: Haunted by and Haunting Filmic Images Georgia State University ScholarWorks @ Georgia State University Film, Media & Theatre Dissertations School of Film, Media & Theatre 8-11-2020 Ghosting Images: Haunted by and Haunting Filmic Images Charles Fox [email protected] Follow this and additional works at: https://scholarworks.gsu.edu/fmt_dissertations Recommended Citation Fox, Charles, "Ghosting Images: Haunted by and Haunting Filmic Images." Dissertation, Georgia State University, 2020. https://scholarworks.gsu.edu/fmt_dissertations/12 This Dissertation is brought to you for free and open access by the School of Film, Media & Theatre at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Film, Media & Theatre Dissertations by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. GHOSTING IMAGES: HAUNTED BY AND HAUNTING FILMIC IMAGES by CHARLES WINFRED FOX II Under the Direction of Greg Smith, PhD ABSTRACT Ghosting Images: Haunted by and Haunting Filmic Images Watching a film can be a haunting experience. Sometimes a filmic image may stay with us long after our viewing experience, inhabiting our body, so to speak, like the ghost of a person we once knew, or a place we once visited, or an event or traumatic memory. There may be ghost images from films we saw long ago that occasionally still haunt us; or at other times, we may feel like we are ghosts haunting the world on screen, moving through the filmic world like an unseen witness. By using the metaphor of ghosts when we talk about films, we can better articulate our experiences with characters we can’t forget, our feelings of occupying space in an imagined world, and our emotional responses to witnessed events. In this dissertation, I intend to answer two questions: How do we make ghosts of the images on film? and How might we become ghosts to the images on film? For both questions, I employ the conceptual metaphor of ghosting images1 as the process made possible by our experience viewing a film. I will apply ghosting images to four filmic-image types: characters, events, space, and trauma. As active participants in a world separated from us by space, for example, it is the illusionary effects of movement through filmic space enabled by a director’s camera though which we can enter (at least partially) into the filmic world. Moreover, I propose ghosting images as the ways to describe metaphorically why some characters and events are memorable, why we may seem to occupy filmic space, or why our witness of traumatic images can provoke such powerful affects. Ghosting images is how we are haunted by filmic images, and how our presence/non-presence within a film is inherently haunting. Although the vagueness of ghosting images is potentially overwhelming, I do believe it is a productive way for remembering what an image may mean and an effective way to describe something very particular though unnamable. Ultimately, my hope may rest in the vagueness of ghosts. 1 Alternately, image ghosting. INDEX WORDS: Hauntology, Ghosts, Ghosting images, Character subjectivity, Event- images, Spatial-images, Trauma-images GHOSTING IMAGES: HAUNTED BY AND HAUNTING FILMIC IMAGES by CHARLES WINFRED FOX II A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy in the College of the Arts Georgia State University 2020 Copyright by Charles Winfred Fox II 2020 GHOSTING IMAGES: HAUNTED BY AND HAUNTING FILMIC IMAGES by CHARLES WINFRED FOX II Committee Chair: Gregory M. Smith Committee: Jennifer M. Barker Jay Rajiva Jack Boozer Electronic Version Approved: Office of Academic Assistance College of the Arts Georgia State University August 2020 iv DEDICATION For my wife, my children, and my parents. v ACKNOWLEDGEMENTS I am grateful for all who have supported this effort, including, but limited to, my colleagues and friends, whose discussions and comments on earlier drafts have shaped my understanding of images and forced me to articulate my ideas in ways that those- others-than-myself could understand. This imagined group of readers is the audience to whom I am hoping this dissertation speaks. I want to thank my colleagues from Perimeter College, especially those from my department, starting with Chairs Laura Edmunds and Ken Johnson. These are the two to whom I have turned most often for counsel and advice, and my gratitude for their support is immense. Also, from the start, I relied heavily on the guidance and mentorship of my former supervisors—Ted Wadley, who provided multiple opportunities to develop professionally, and Stuart Noel, for his sympathetic ear and his empathetic heart. Likewise, for the incredibly supportive senior administration team, specifically Peter Lyons and Brad Tucker. And a special thank you to Nancy Kropf, Dean of Perimeter College, for providing the encouragement and support necessary for me to finish. This dissertation is the culmination of several papers, written for doctoral courses at Georgia State University. Although I could probably pinpoint the origin of most ideas and concepts within the dissertation to a specific course, I would instead just express my thanks to all the graduate faculty whose courses I enjoyed: Ted Freidman, vi Christopher Kocela, Alessandra Raengo, Angelo Restivo, and Calvin Thomas. In addition to these professors, my thinking and research interests have been guided by committee members Jack Boozer and Jennifer Barker. I owe Jack a debt of gratitude for introducing me to screenwriting and for directing my interests with adaptations. To Jennifer, thank you for several excellent courses, for your thoughtful and honest analysis of my work along the way, and for helping me find my inner phenomenologist. Also, I want thank Jay Rajiva for his willingness to work with me. He, too, helped more than he knows, pointing me to readings which both challenged and more firmly supported some of the claims I made about the trauma-image. Greg Smith deserves a paragraph on his own. His “Style and Narrative” course was the first doctoral-level film course I took, and, honestly, I felt out my element for several reasons (age, educational background, professional obligations). I only adjusted to the new demands to which I had submitted myself because Greg’s course gave me the tools I needed at the times when I needed them. Fortunately for me, he is patient, because ten years later he’s still here—handing me a hammer when I mistakenly pick up a screwdriver. Greg has shaped my writing, and thereby my thinking, in ways I never imagined. Not only has he spent hours reading and commenting on my work, but he has also been gracious, precise, and creative in his guidance for the last several years. Dr. Smith, I appreciate everything you have done. vii Last, I thank my family. Everything I have written and all that I have accomplished begins, ends, and begins again with Laura. She has been my first reader for three decades, and without her love and support, I can’t imagine this work would have ever been done. Thanks to my parents, Charles and Pat, who always encouraged my curiosity and creativity. For my tenth birthday, they bought me a snare drum; now I can see how this gift was emblematic of their unconditional support of even my noisiest attempts. Thank you for encouraging me to “hit ‘em loud.” To my brother and his family, James, Sretna, and Daria, for giving me space in your home at the right time to finish the last chapter. Thanks to my sister Patty and my brother-in-law Barry, my nephew Micah and his family, and my niece Rachel and hers. For the last two years, my belief in ghosts has been re-affirmed daily by the living memories of my sister’s life. I also thank my children, Jake and Katie, for listening to my wildest theories, for watching films while I talk through them, and for their constant love. Finally, again, to Laura Crawley—my first reader always. viii TABLE OF CONTENTS ACKNOWLEDGEMENTS ........................................................................................... V LIST OF FIGURES ....................................................................................................... XII LIST OF ABBREVIATIONS .................................................................................... XIII 1 INTRODUCTION: GHOSTING IMAGES ......................................................... 1 1.1 Images, ghosts, and mediation........................................................................ 5 1.2 The Ghost of Deleuze ..................................................................................... 16 1.3 Part I: Ghosts from History............................................................................ 20 1.3.1 Chapter One: Ghosting Characters: Mediation in The Assassination of Jesse James by the Coward Robert Ford ..................................................................... 22 1.3.2 Chapter Two: Angels of the Event: Palimpsests of Grief and Desire.. 26 1.4 Part II: Ghosts in the Afterlife ...................................................................... 30 1.4.1 Chapter Three: Ghosting Spatial-Images: Entering the Filmic Space of The Wall ........................................................................................................................ 31 1.4.2 Chapter Four: Witness to trauma, we are ghosts in Children of Men 35 1.5 ‘Haunted by’ and ‘Haunting’ ........................................................................ 40 2 CHAPTER ONE: GHOSTING CHARACTERS: THE ASSASSINATION OF JESSE JAMES BY THE
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