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Refocus the Films of Paul Schrader The Films of Paul Schrader ReFocus: The American Directors Series Series Editors: Gary D. Rhodes, Robert Singer and Frances Smith This series produces new critical volumes from an interdisciplinary perspective, bringing influential, yet neglected, American directors to the attention of a new audience of scholars and students in both Film Studies and American Studies. ReFocus ReFocus: The Films of Paul Schrader The Films of Clueless and Fast Times at Ridgemont High are affectionately regarded as key Paul Schrader foundations of the modern Hollywood teen movie. However, the director and screenwriter for these films, Amy Heckerling, is far from a household name, despite the major influence she has had on contemporary US cinema. The first book-length study of her films, ReFocus: The Films of Amy Heckerling brings EDITED BY together a collection of original essays from a wide range of critical perspectives, MICHELLE E. MOORE AND BRIAN BREMS aiming to recuperate Heckerling’s place as a distinctive female voice in the contemporary Hollywood landscape. Divided into four sections, each examining an aspect of Heckerling’s work, the volume draws on research from applied linguistics and audience studies, as well as from gender and film studies. Questions of gender, genre and identity, as well as the role of women in Hollywood and the implications of Heckerling’s recent turn to television, are all considered in a volume that aims to refocus on the films and influence of this unique American director. Frances Smith is a Teaching Fellow at University College London. MICHELLE E. MOORE Timothy Shary is the author of Teen Movies: American Youth on Screen (2005) AND and Generation Multiplex: The Image of Youth in American Cinema since 1980 (2014). He is currently an Adjunct Instructor at Southern New Hampshire University’s College of BRIAN BREMS EDITED BY Online and Continuing Education. Cover image: Clueless, 1995, dir. Amy Heckerling © Warner Bros/The Kobal Collection Cover design: Stuart Dalziel 2394 eup Moore and Brems_PPC.indd 1 19/02/2020 06:43 ReFocus: The Films of Paul Schrader 66321_Moore321_Moore & BBrems.inddrems.indd i 115/05/205/05/20 44:46:46 PPMM ReFocus: the American Directors Series Series Editors: Robert Singer, Frances Smith, and Gary D. Rhodes Editorial Board: Kelly Basilio, Donna Campbell, Claire Perkins, Christopher Sharrett, and Yannis Tzioumakis ReFocus is a series of contemporary methodological and theoretical approaches to the interdisciplinary analyses and interpretations of neglected American directors, from the once-famous to the ignored, in direct relationship to American culture—its myths, values, and historical precepts. The series ignores no director who created a historical space—either in or out of the studio system—beginning from the origins of American cinema and up to the present. These directors produced film titles that appear in university film history and genre courses across international boundaries, and their work is often seen on television or available to download or purchase, but each suffers from a form of “canon envy”; directors such as these, among other important figures in the general history of American cinema, are underrepresented in the critical dialogue, yet each has created American narratives, works of film art, that warrant attention. ReFocus brings these American film directors to a new audience of scholars and general readers of both American and Film Studies. Titles in the series include: ReFocus: The Films of Preston Sturges Edited by Jeff Jaeckle and Sarah Kozloff ReFocus: The Films of Delmer Daves Edited by Matthew Carter and Andrew Nelson ReFocus: The Films of Amy Heckerling Edited by Frances Smith and Timothy Shary ReFocus: The Films of Budd Boetticher Edited by Gary D. Rhodes and Robert Singer ReFocus: The Films of Kelly Reichardt E. Dawn Hall ReFocus: The Films of William Castle Edited by Murray Leeder ReFocus: The Films of Barbara Kopple Edited by Jeff Jaeckle and Susan Ryan ReFocus: The Films of Elaine May Edited by Alexandra Heller-Nicholas and Dean Brandum ReFocus: The Films of Spike Jonze Edited by Kim Wilkins and Wyatt Moss-Wellington ReFocus: The Films of Paul Schrader Edited by Michelle E. Moore and Brian Brems edinburghuniversitypress.com/series/refoc 66321_Moore321_Moore & BBrems.inddrems.indd iiii 115/05/205/05/20 44:46:46 PPMM ReFocus: The Films of Paul Schrader Edited by Michelle E. Moore and Brian Brems 66321_Moore321_Moore & BBrems.inddrems.indd iiiiii 115/05/205/05/20 44:46:46 PPMM Edinburgh University Press is one of the leading university presses in the UK. We publish academic books and journals in our selected subject areas across the humanities and social sciences, combining cutting-edge scholarship with high editorial and production values to produce academic works of lasting importance. For more information visit our website: edinburghuniversitypress.com © editorial matter and organization Michelle E. Moore and Brian Brems, 2020 © the chapters their several authors, 2020 Edinburgh University Press Ltd The Tun—Holyrood Road 12 (2f) Jackson’s Entry Edinburgh EH8 8PJ Typeset in 11/13 Ehrhardt MT by IDSUK (DataConnection) Ltd, and printed and bound in Great Britain A CIP record for this book is available from the British Library ISBN 978 1 4744 6203 7 (hardback) ISBN 978 1 4744 6205 1 (webready PDF) ISBN 978 1 4744 6206 8 (epub) The right of the contributors to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988 and the Copyright and Related Rights Regulations 2003 (SI No. 2498). 66321_Moore321_Moore & BBrems.inddrems.indd iivv 115/05/205/05/20 44:46:46 PPMM Contents List of Figures vii Acknowledgments ix Notes on Contributors x Introduction: Taxi Driver Forward 1 Brian Brems and Michelle E. Moore Part I: Ideas, Infl uences, and Intellect 1 Schrader and Style 17 Erik M. Bachman 2 Movement and Meaning: The “Unmotivated” Camera in Four Films by Paul Schrader 33 Deborah Allison 3 Late Schrader: From the Canon to the Canyons 51 Billy Stevenson Part II: Instincts, Investigation, and Innovation 4 “Thinking White”: Performing Racial Tension in Blue Collar 71 Scott Balcerzak 5 Prophets and Zealots: Paul Schrader’s Adaptations of The Mosquito Coast and The Last Temptation of Christ 87 Erica Moulton 6 “So I Found Another Form of Expression”: Art and Life/Art in Life in Paul Schrader’s Mishima: A Life in Four Chapters 105 Thomas Prasch 7 Schrader’s Women: Cat People and Patty Hearst 122 Brian Brems 66321_Moore321_Moore & BBrems.inddrems.indd v 115/05/205/05/20 44:46:46 PPMM vi CONTENTS 8 Paul Schrader’s Experiment in Italian Neo-decadence: The Comfort of Strangers and the Sadean System 139 Robert Dassanowsky 9 “Just Being Transparent Baby”: Surveillance Culture, Digitization, and Self-regulation in Paul Schrader’s The Canyons 155 James Slaymaker 10 “Every Act of Preservation is an Act of Creation”: Paul Schrader’s Eco-theology in First Reformed 171 Tatiana Prorokova 11 Leaning on the Everlasting Arms: Love and Silence in First Reformed 189 Robert Ribera Part III: Interview 12 Interview with Paul Schrader conducted by Michelle E. Moore and Brian Brems on 9/27/2018 at the Rail Line Diner, NYC 209 Filmography 231 Criticism and Selected Interviews 233 Bibliography 236 Index 248 66321_Moore321_Moore & BBrems.inddrems.indd vvii 115/05/205/05/20 44:46:46 PPMM Figures 1.1 Final shot of Light Sleeper 29 1.2 Final shot of First Reformed 30 2.1 American Gigolo: in the record store 37 2.2 The Comfort of Strangers: in Robert’s bar 41 3.1 The decline and desuetude of cinematic infrastructure 57 3.2 The post-cinematic space of Westfield Century City 59 4.1 Richard Pryor and Harvey Keitel in Blue Collar 71 4.2 Harvey Keitel and Richard Pryor in Blue Collar 84 5.1 Jesus shows his bloody heart in The Last Temptation of Christ 94 5.2 Allie Fox holds out a bloody finger to his son in The Mosquito Coast 97 6.1 Scene from the Kyoko’s House segment 112 6.2 Mishima’s seppuku (ritual suicide) 115 7.1 At the conclusion of Cat People, Schrader restages the end of Bresson’s Pickpocket 133 7.2 Schrader’s Patty Hearst also ends with a gloss on Pickpocket 136 8.1 The Comfort of Strangers: Robert entertains a lost Colin and Mary at his bar 142 8.2 The Comfort of Strangers: Colin and Mary enter Caroline’s timeless world 148 9.1 The Canyons: Christian is obscured behind a pane of glass in his Malibu mansion 160 9.2 The Canyons: Christian and Tara enclosed in their prison-like living space 164 10.1 First Reformed: at Michael’s funeral, the viewer is forced to face the death of the environment 177 66321_Moore321_Moore & BBrems.inddrems.indd vviiii 115/05/205/05/20 44:46:46 PPMM viii FIGURES 10.2 First Reformed: the mass grave: Michael’s ashes are scattered over nature’s grave 178 11.1 First Reformed: Reverend Toller’s bedside reading: the mystical theologians as well as Schrader’s own childhood bible 194 11.2 First Reformed: “this journal is a form of speaking . .” 195 12.1 Interview with Paul Schrader 210 12.2 Interview with Paul Schrader 213 66321_Moore321_Moore & BBrems.inddrems.indd vviiiiii 115/05/205/05/20 44:46:46 PPMM Acknowledgments We would first like to thank the series editors, Gary D. Rhodes, Robert Singer, and Frances Smith, for their unflagging enthusiasm for this book and “all things Schrader.” Their comments, editing, and advice provided insights that made this book much stronger. We would also like to thank Gillian Leslie at Edinburgh University Press for her support with this proj- ect, as well as our Dean, Sandra Martins, who approved financial support at a pivotal moment.
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