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L'a-Réalité Virtuelle / Existenz De David Cronenberg
Document généré le 26 sept. 2021 04:42 24 images L’a-réalité virtuelle eXistenZ de David Cronenberg Marcel Jean Stanley Kubrick Numéro 97, été 1999 URI : https://id.erudit.org/iderudit/24985ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Jean, M. (1999). Compte rendu de [L’a-réalité virtuelle / eXistenZ de David Cronenberg]. 24 images, (97), 50–51. Tous droits réservés © 24 images, 1999 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ e_X_lSten_^__ de David Cronenberg L'A-RÉALITÉ VIRTUELLE PAR MARCEL JEAN n ne s'étonnera guère de constater O que les personnages d'eXistenZ ont, dans le bas du dos, une sorte de prise élec trique (un «bioport») qui leur permet de se brancher directement aux jeux de réalité virtuelle qu'ils utilisent. En effet, les habitués de l'œuvre de Cronenberg savent que chez lui, tout passe par le corps. Il n'y a pas, chez l'auteut de Scanners, de sépararion entre le corps et l'esprit, de sorte qu'un jeu est néces sairement quelque chose de physique. -
The Good, the Bad, and the Other the Representation of Pregnancy
The Good, The Bad, and The Other The Representation of Pregnancy and Childbirth in American Horror Film from 1968 to 1979 Saoirse Carey Submitted to the Department of Design and Visual Arts in candidacy for the Bachelor of Arts (Hons) Design for Stage and Screen Character Makeup Design Faculty of Film Art and Creative Technologies 2021 1 This dissertation is submitted by the undersigned to the Institute of Art Design and Technology, Dun Laoghaire in partial fulfilment for the BA (Hons) in Design for Stage and Screen. It is entirely the author’s own work, except where noted, and has not been submitted for an award from this or any other educational institution. Signed: Saoirse Carey 2 Acknowledgements I would first like to thank my supervisors, Alice Rekab and Elaine Sisson, for the endless support, guidance and feedback. I would also like to thank Caitlin O’Donnell and Saoirse Whelan for always being there and providing insight, critic and support in every project I do. Finally, I would like to thank my girlfriend, Robyn, for watching all of these films with me, and taking time to read over my work and give feedback. 3 Abstract: This study concerns itself with the representation of mothers, pregnancy and childbirth in American horror film from 1968 to 1979. I explored three of these films; Roman Polanski’s Rosemary’s Baby (1968), David Cronenberg’s The Brood (1979) and Ridley Scott’s Alien (1979). The study queries the sudden increase in horror films which explore ideas of pregnancy and birth from this time. This study also sets out to evaluate the representations of the mother figures in these films to investigate the intent of these films. -
D2492609215cd311123628ab69
Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
A Dangerous Method
A David Cronenberg Film A DANGEROUS METHOD Starring Keira Knightley Viggo Mortensen Michael Fassbender Sarah Gadon and Vincent Cassel Directed by David Cronenberg Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Official Selection 2011 Venice Film Festival 2011 Toronto International Film Festival, Gala Presentation 2011 New York Film Festival, Gala Presentation www.adangerousmethodfilm.com 99min | Rated R | Release Date (NY & LA): 11/23/11 East Coast Publicity West Coast Publicity Distributor Donna Daniels PR Block Korenbrot Sony Pictures Classics Donna Daniels Ziggy Kozlowski Carmelo Pirrone 77 Park Ave, #12A Jennifer Malone Lindsay Macik New York, NY 10016 Rebecca Fisher 550 Madison Ave 347-254-7054, ext 101 110 S. Fairfax Ave, #310 New York, NY 10022 Los Angeles, CA 90036 212-833-8833 tel 323-634-7001 tel 212-833-8844 fax 323-634-7030 fax A DANGEROUS METHOD Directed by David Cronenberg Produced by Jeremy Thomas Co-Produced by Marco Mehlitz Martin Katz Screenplay by Christopher Hampton Based on the stage play “The Talking Cure” by Christopher Hampton Based on the book “A Most Dangerous Method” by John Kerr Executive Producers Thomas Sterchi Matthias Zimmermann Karl Spoerri Stephan Mallmann Peter Watson Associate Producer Richard Mansell Tiana Alexandra-Silliphant Director of Photography Peter Suschitzky, ASC Edited by Ronald Sanders, CCE, ACE Production Designer James McAteer Costume Designer Denise Cronenberg Music Composed and Adapted by Howard Shore Supervising Sound Editors Wayne Griffin Michael O’Farrell Casting by Deirdre Bowen 2 CAST Sabina Spielrein Keira Knightley Sigmund Freud Viggo Mortensen Carl Jung Michael Fassbender Otto Gross Vincent Cassel Emma Jung Sarah Gadon Professor Eugen Bleuler André M. -
Význam Zobrazování Násilí Ve Filmech Davida Cronenberga
Význam zobrazování násilí ve filmech Davida Cronenberga František Vaculík Bakalářská práce 2017 ABSTRAKT Ačkoliv je zobrazování násilí v médiích velmi populární, přetrvává názorový konflikt o škodlivosti a samoúčelnosti násilného obsahu v audiovizuálním médiu. Pro podporu me- diálního násilí lze zmínit skutečnost, že v mnoha případech se s násilným obsahem pracuje inteligentně a esteticky. To dokazuje současný filmový režisér kanadského původu, David Cronenberg. Má práce má na příkladu tohoto tvůrce analyzovat násilí v médiích z hlediska psychologického estetického a myšlenkového. Pro tuto analýzu jsem použil, jeden z jeho nejvýraznějších filmů Videodrome, ve kterém je mé téma velmi názorně obsaženo. Klíčová slova: David Cronenberg, násilí, psychologie, horor, sci-fi, Videodrome ABSTRACT Although the depiction of violence in the media is very popular, there is still an ideological conflict about the harmfulness and nonsensicality of violence content in audiovisual media. For the support of concept of medial violence is possible to say, that in many cases is worked with violence very intelligently and esthetically. The evidence of this fact is the film director David Cronenberg. My work should on his example analyze violence in the media from the esthetical and intellectual point of view. I used his most expressive movie Videodrome for this analysis. David Cronenberg, violence, psychology, horror, sci-fi, Videodrome Prohlašuji, že odevzdaná verze bakalářské/diplomové práce a verze elektronická nahraná do IS/STAG jsou totožné. Ve Zlíně, -
David Cronenberg: Transformaciones Orgánicas Y Psicológicas
David Cronenberg: Transformaciones orgánicas y psicológicas Presentación Este curso está pensado para explorar las obras principales en la filmografía del director canadiense, estudiando su evolución y su consistencia temática a lo largo de toda su carrera vista en orden cronológico. Se discutirán temas como: • La efectividad del cine de género como alegoría y crítica social • El movimiento artístico de la Nueva Carne • El transhumanismo y sus implicaciones filosóficas • Los elementos recurrentes en el cine de Cronenberg • La transición de una etapa “orgánica” a otra más psicológica • La teoría del autor Objetivo: David Cronenberg, nacido en Canadá en 1943, ha sido llamado el “Rey del horror venéreo” y el “Barón de la sangre”. Pero más allá de estas etiquetas llamativas y sensacionalistas, se trata de un director de cine que ha desarrollado una carrera casi siempre desde los géneros marginados del horror y la ciencia ficción, incorporando tanto guiones propios como adaptaciones de literatura y comics, demostrando que es posible tener un acercamiento autoral a dichas vertientes de la ficción. Con temas y elementos recurrentes, su cine ha ido evolucionando al mismo tiempo que retiene sus preocupaciones y su visión del mundo, dando consistencia a una obra a lo largo de cuatro décadas. Este curso pretende explorar su filmografía y, de algún modo, reivindicar el potencial de los mal llamados subgéneros para comunicar temas relevantes. Imparte: Adrián “Pok” Manero Adrián "Pok" Manero (Ciudad de México, 1982). Escritor autodidacta, ha tomado talleres con Alberto Chimal, Eduardo Antonio Parra y Eric Uribares. Ganador del segundo concurso de cuento Caligrama, en cuya antología aparece su primer texto publicado. -
The Influence of Technology on Human Body and Mind in David Cronenberg’S Films
Akademia Techniczno-Humanistyczna w Bielsku-Białej Wydział Humanistyczno-Społeczny Kierunek studiów: filologia Specjalność: filologia angielska Mateusz Kuboszek The Influence of Technology on Human Body and Mind in David Cronenberg’s Films Nr albumu studenta: 24263 Praca licencjacka napisana pod kierunkiem dra Tomasza Sikory Podpis promotora Bielsko-Biała 2007 TABLE OF CONTENTS: INTRODUCTION…………………….………………………....……..…. 3 Technology Is Us…………………………………………………………..…. 4 1. CANADIAN DISCOURSE ON TECHNOLOGY…………….……. 7 George Grant and the “darkness of technical age”……………..…...………... 8 Marshall McLuhan’s “cosmic man”…………………………….………...… 11 The Canadianness of David Cronenberg……………...………..........……… 14 2. THE BODY, MIND, AND TECHNOLOGY IN EXISTENZ AND CRASH……………………………………………………………………...17 New Flesh Still eXistS……………………………………………..……...... 19 Metal Crashes with Flesh…………………………………………………… 27 CONCLUSION……………………………...……...……....…..………... 32 STRESZCZENIE..……………………………………..……...…………. 34 WORKS CITED………….………………………………..…...……...… 35 2 Introduction Technology does not belong endemically to the sphere of science any longer. It has diffused into a variety of other discourses including cultural, gender, political studies as well as the art, painting and cinematography. Technology has become the subject matter of academy scholars, philosophers, and thinkers. It is the source of inspiration for writers, painters, and film makers. At first sight technology is associated with its practical usage; after all, people of all developed countries make use of the fruits -
Master in Advanced English Studies: Languages and Cultures in Contact
MASTER IN ADVANCED ENGLISH STUDIES: LANGUAGES AND CULTURES IN CONTACT Departamento de Filología Inglesa 2015-2016 Final Master Thesis And the Virus Spread: Infection as a Bond Between William Burroughs’s and David Cronenberg’s Dystopian Works Pedro Alberto Martinez Martínez VALLADOLID 2016 The work presented in this MA thesis is, to the best of my knowledge and belief, original and my own work, except as acknowledged in the text. The work in this thesis has not been submitted, either in whole or in part, for a degree at this or any other university. This thesis is submitted in partial fulfillment of the requirements for the degree of Master in Advanced English Studies: Languages and Cultures in Contact to Universidad de Valladolid by Pedro Alberto Martínez Martínez July 2016 Student’s signature__________________________________________ Approved Dr. Santiago Rodríguez Guerrero-Stracham Supervisor’s signature______________________________________ ABSTRACT This dissertation deals with infection in the American Beat Generation author William S. Burroughsand the Canadian film-maker David Cronenberg. I have chosen Burroughs’s Cut- Up trilogy (formed by The Soft Machine, The Ticket That Exploded and Nova Express) and Cronenberg’s Crimes of the Future, Shivers and Rabid as my main frames of reference to carry out this study. The main purpose of this comparative analysis (which is not exempt of similarities and differences in the way these two authors tackle the same subject matter) is to explore a research gap in order to shed some light to the means by which the two authors perceive infection and parasitism as ever-present elements in theirworks that provides them with philosophical ideas that go well beyond the genres which they seem to be ascribed to on the surface. -
Letterhead Press Releases
September 5, 2013 .NEWS RELEASE. LONG LIVE THE NEW FLESH: THE CRONENBERG PROJECT Additional details announced for The Cronenberg Project, including major exhibition David Cronenberg: Evolution, art exhibition, two film programmes, special guests, eBook, digital extension and virtual museum Toronto – Piers Handling, CEO and Director, TIFF and Noah Cowan, Artistic Director, TIFF Bell Lightbox along with David Cronenberg came together this morning at a press conference held at TIFF Bell Lightbox to unveil exciting new details of The Cronenberg Project. Included in the announcements were the full film retrospective and sidebar film programme, eBook and a selection of special guests and events. The Cronenberg Project, TIFF’s multi-platform celebration of Cronenberg’s work, will have its world premiere at TIFF Bell Lightbox from November 1, 2013 to January 19, 2014. Additional details for the original film exhibition David Cronenberg: Evolution, digital-experience extension Body/Mind/Change, visual art exhibition David Cronenberg: Transformation, the David Cronenberg: Virtual Exhibition and original publications that comprise The Cronenberg Project were also announced. TIFF’s first original major touring exhibition—and the core component of The Cronenberg Project—David Cronenberg: Evolution parallels David Cronenberg’s evolution as a filmmaker with his ongoing examination of human evolution. The exhibition will be divided into three major sections that, through props, costumes, audio-visual elements and behind-the-scenes footage, trace thematic developments across Cronenberg’s cinema while exploring sub-themes of sexual control, personal identity and Cronenberg’s relationship to science and science fiction. The first section, titled Who Is My Creator?, comprises Cronenberg’s earliest works, from Stereo (1969) to his breakthrough film Videodrome (1983), and examines his protagonists’ search for father figures within the worlds of science and technology. -
OF the POSTHUMAN SUBJECT, ABJECTION, and the BREACH in MIND/BODY DUALISM John Perham John Perham, [email protected]
View metadata, citation and similar papers at core.ac.uk brought to you by CORE provided by CSUSB ScholarWorks California State University, San Bernardino CSUSB ScholarWorks Electronic Theses, Projects, and Dissertations Office of Graduate Studies 3-2016 SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM John Perham John Perham, [email protected] Follow this and additional works at: http://scholarworks.lib.csusb.edu/etd Part of the Other English Language and Literature Commons Recommended Citation Perham, John, "SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM" (2016). Electronic Theses, Projects, and Dissertations. Paper 268. This Thesis is brought to you for free and open access by the Office of Graduate Studies at CSUSB ScholarWorks. It has been accepted for inclusion in Electronic Theses, Projects, and Dissertations by an authorized administrator of CSUSB ScholarWorks. For more information, please contact [email protected]. SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM A Thesis Presented to the Faculty of California State University, San Bernardino In Partial Fulfillment of the Requirements for the Degree Master of Arts in English Composition: English Composition and English Literature by John Perham March 2016 SCIENCEFRICTION: OF THE POSTHUMAN SUBJECT, ABJECTION, AND THE BREACH IN MIND/BODY DUALISM A Thesis Presented to the Faculty of California State University, San Bernardino by John Perham March 2016 Approved by: Dr. Jacqueline Rhodes, Committee Chair, English Dr. Caroline Vickers, Committee Member Sunny Hyon, Department Chair © 2016 John Perham ABSTRACT This thesis investigates the multiple readings that arise when the division between the biological and technological is interrupted--here abjection is key because the binary between abjection and gadgetry gives multiple meanings to other binaries, including male/female. -
Filmic Bodies As Terministic (Silver) Screens: Embodied Social Anxieties in Videodrome
FILMIC BODIES AS TERMINISTIC (SILVER) SCREENS: EMBODIED SOCIAL ANXIETIES IN VIDEODROME BY DANIEL STEVEN BAGWELL A Thesis Submitted to the Graduate Faculty of WAKE FOREST UNIVERSITY GRADUATE SCHOOL OF ARTS AND SCIENCES in Partial Fulfillment of the Requirements for the Degree of MASTER OF ARTS Communication May 2014 Winston-Salem, North Carolina Approved By: Ron Von Burg, Ph.D., Advisor Mary Dalton, Ph.D., Chair R. Jarrod Atchison, Ph.D. ACKNOWLEDGMENTS A number of people have contributed to my incredible time at Wake Forest, which I wouldn’t trade for the world. My non-Deac family and friends are too numerous to mention, but nonetheless have my love and thanks for their consistent support. I send a hearty shout-out, appreciative snap, and Roll Tide to every member of the Wake Debate team; working and laughing with you all has been the most fun of my academic career, and I’m a better person for it. My GTA cohort has been a blast to work with and made every class entertaining. I wouldn’t be at Wake without Dr. Louden, for which I’m eternally grateful. No student could survive without Patty and Kimberly, both of whom I suspect might have superpowers. I couldn’t have picked a better committee. RonVon has been an incredibly helpful and patient advisor, whose copious notes were more than welcome (and necessary); Mary Dalton has endured a fair share of my film rants and is the most fun professor that I’ve had the pleasure of knowing; Jarrod is brilliant and is one of the only people with a knowledge of super-violent films that rivals my own. -
Eastern Promises and the Continuing Decline of David Cronenberg
World Socialist Web Site wsws.org Eastern Promises and the continuing decline of David Cronenberg By Hiram Lee 16 October 2007 Eastern Promises, directed by David Cronenberg, diary and has uncovered some disturbing entries. screenplay by Steven Knight Semyon and his family, it turns out, are part of the Eastern Promises is the follow-up to veteran Russian mafia and the young girl—a teenager—who Canadian director David Cronenberg’s A History Of wrote the diary was held prisoner by them, exploited Violence. Both are films working in and around the and raped. gangster movie genre, unusual for a director best As the film progresses, a struggle between the mafia known for his horror and science fiction films, and both and Anna for possession of the diary will escalate, have made Cronenberg into something of a critical putting Anna and her own family in great danger. She darling. And, in some ways, it’s not hard to see why. will, however, find an unlikely ally in the mafia’s Cronenberg is, at least superficially, better than a great chauffeur and “undertaker,” Nikolai (Viggo many mainstream filmmakers in terms of his technique, Mortensen). his unpredictability and his ability to draw rich Apart from a few eccentric moments,Eastern performances from his actors. This speaks not only to Promises is a more or less conventional gangster his talents—and he is talented—but also to the prevailing movie. It has all the clichés one has come to expect of artistic weakness in Hollywood and so-called the genre. There is the reckless mobster who murders a “independent” cinema.