DOCSLIB.ORG

(Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
(Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age The (Literary) Special Effect: (Inter)Mediality in the Contemporary US-American Novel and the Digital Age Dissertation zur Erlangung des philosophischen Doktorgrades an der Philosophischen Fakultät der Georg-August-Universität Göttingen vorgelegt von Bogna Kazur aus Lodz, Polen Göttingen 2018 Contents 1 Introduction ......................................................................................................................... 3 2 The Question of Medium Specificity in the Digital Age .................................................. 29 3 House of Leaves (2000) and the Uncanny Dawn of the Digital........................................ 39 3.1 Digital Paranoia: Arriving on Ash Tree Lane ........................................................... 39 3.2 Writing about House of Leaves ................................................................................. 43 3.3 Intermedial Overabundance: Taming House of Leaves ............................................. 49 3.4 An “Explicit” Approach to the Digital Age ............................................................... 54 3.5 What Kind of Movie is THE NAVIDSON RECORD? ..................................................... 68 4 In the Midst of the Post-Cinematic Age: Marisha Pessl’s Night Film (2013) .................. 88 4.1 Meant for Adaptation: Night Film and the Fallacy of First Impressions ................... 88 4.2 The Post-Cinematic Reception of Film ..................................................................... 96 4.3 The Last Enigma: Cordova’s Underworld ............................................................... 111 4.4 The Digital Disillusion: Cordova’s Transmedial World ......................................... 122 4.5 Reading Marisha Pessl’s Night Film: A Reconsideration of the Intermedial Gap .. 132 4.6 (Post-)Photography in Night Film ........................................................................... 145 5 “The world’s going virtual anyway”: Verbalizing Post-Photography in Siri Hustvedt’s The Sorrows of an American (2008) ............................................................................... 153 5.1 Siri Hustvedt’s Intermediality ................................................................................. 153 5.2 Two Worlds Collide: Writers Looking at Pictures .................................................. 158 5.3 Jeff Lane’s Post-Photography .................................................................................. 165 5.4 Erik’s Verbal “Counter-Exhibition” ........................................................................ 177 6 Conclusion ...................................................................................................................... 186 7 Works Cited .................................................................................................................... 204 2 1 Introduction In his 2009 article “Digital Doctoring: Can We Trust Photography?,” Hany Farid describes how the advent of computer software has facilitated deception and made it more commonplace. As a digital forensics expert and professor in computer science, Farid introduces “some recent innovations for detecting digital tampering that have the potential to return some trust to photographs” (98). He has developed computer programs that automatically expose inconsistencies in lighting conditions typically occurring in composites of several photographs. Further, the verifying algorithm serves to reveal cases of re-touching and image cloning, which may occur both in tabloid magazines and in less expected contexts, such as the stem cell research “documentation.” 1 Most interestingly, however, Farid has also developed a program that enables him to differentiate between photographic and computer-generated images (CGI). Hence, he does not only recognize the necessity of detecting traces of digital forgery; Farid also calls for reliable strategies to distinguish between images that haven been taken by actual cameras and those that were completely fabricated inside a computer. To illustrate why such a distinction is necessary in the first place, Farid draws on examples that imply the life realities of alleged victims and perpetrators: The talk is of such notorious court cases in which video evidence of child pornography or police violence was questioned on the basis of the blurred lines between virtual, manipulated, and indexical images. An image can be said to have an indexical relation to the so-called pro-filmic event when it rests on a physical and causal connection to what has occurred in front of the camera, a connection that is traditionally triggered by a photochemical process. In contemporary cinema, this indistinguishability of non-/indexicality is brought about by the increasing occurrence of invisible special effects – digitally fabricated details, which are as realistic and “trivial” as actual recordings. What scholar Lev Manovich terms “elastic reality” and novelist Mark Z. Danielewski describes as a climate of ontological uncertainty can be considered to play a crucial role in the contemporary production and reception of film.2 One may in fact question the necessity of detecting CGI in cinematic fiction given that the latter 1 By “image cloning,” Farid means the practice of duplicating details of the respective image and arranging them in a way that exaggerates their size, volume, or scope. Adnan Hajj, a freelance photographer based in the Middle East, and his photographs of an Israeli bombing serve Farid as an example here: “In order to create more smoke in his photograph, Hajj cloned (duplicated) parts of the existing smoke using a standard tool in Photoshop, a popular photo-editing software. In this case the duplication was fairly obvious because of the nearly identical repeating patterns in the smoke. When care is taken, however, it can be very difficult to visually detect this type of duplication” (Farid 5). 2 See Manovich, „What Is Digital Cinema?“ 8, and Danielewski, House of Leaves. 3 remains fictional regardless of technological details or production circumstances. And yet, specific styles and genres attempt to shatter precisely this kind of certainty. The analog/digital shift has propelled the pseudo-documentary style and even a deliberately misleading mixing of genres and aesthetics. I will further elaborate on this development with respect to the found footage horror genre, which figures prominently in one of my case studies, Danielewski’s “filmic” novel House of Leaves. Concerned with the increasing confusion between recorded and computer-generated images, the novel entertains (future) scenarios that stress the necessity of detecting CGI in what looks like amateur recordings and, even more importantly, of detecting indexicality in what looks like digital synthesis. Hany Farid has discussed technological ways to detect cases of digital manipulation. In this study, I will discuss creative and intermedial ways to raise awareness of the increasingly elastic reality and ontological uncertainty stimulated by film and photography in the digital age. For this purpose, I will look at the films and photographs entertained, referenced, narrated, and partly depicted by contemporary US-American literature. I will thus look at cases in which “the literary medium becomes the background which reflects and exposes the altermedial system and its rules on account of the medial difference” (Rajewsky, Intermedialität 146).3 Literary references to film “raise awareness of the rules of the filmic system, be they conventional and thus valid or invalid, necessary or absurd, and most interestingly, different from or analogous to the literary system” (146).4 Intermedial literature, in other words, exposes developments of the digital age that might go unnoticed for the average viewer. In the realm of this exposure, it produces what I shall refer to as “literary special effects:” filmic evocations that break the rules of linear narrativity and other literary conventions, using the potential of the text in a rather unconventional and striking way. In the wake of developing taxonomies for “intermedial references,” Irina Rajewsky has already described some of these deviations. From her examples, which derive primarily from Italian literature, we learn that some novels act “as if” they were films by verbal evocations of dissolves (98) or simulations of hard cuts introduced by onomatopoetic accentuations such as “jag”5 (94-95). When literary special effects are to lend visibility even to these most ordinary and general aspects of filmmaking, then they become particularly intriguing with regard to the perfected invisibility of certain digital effects and 3 (“das literarische Medium wird [jedoch nach wie vor] zur Folie, die das fremdmediale System bzw. dessen Regeln reflektiert und ausstellt und aus der Mediendifferenz heraus offenlegt”) 4 (“die Regeln des filmischen Systems in ihrer Konventionalität - und damit in ihrer Gültigkeit oder Ungültigkeit, Notwendigkeit oder Absurdität und insbesondere in ihrer Differenz bzw. Analogie zum literarischen System - bewußt gemacht werden”) 5 (“zack”) 4 mechanisms. At the same time, this sort of intermedial tension puts emphasis on the mediality of the novel and its continuing printed manifestation in the digital age. The research focus of my study is thus twofold: First, I will draw on a literary perspective to shed light on photography and film in the digital age. By providing an intermedial reading of three novels – Mark Z. Danielewski’s House of Leaves (2000), Marisha Pessl’s
Load more

Recommended publications
  • Note to Users
    NOTE TO USERS Page(s) not included in the original manuscript are unavailable from the author or university. The manuscript was microfilmed as received 88-91 This reproduction is the best copy available. UMI INFORMATION TO USERS The most advanced technology has been used to photo­ graph and reproduce this manuscript from the microfilm master. UMI films the original text directly from the copy submitted. Thus, some dissertation copies are in typewriter face, while others may be from a computer printer. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyrighted material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are re­ produced by sectioning the original, beginning at the upper left-hand comer and continuing from left to right in equal sections with small overlaps. Each oversize page is available as one exposure on a standard 35 mm slide or as a 17" x 23" black and white photographic print for an additional charge. Photographs included in the original manuscript have been reproduced xerographically in this copy. 35 mm slides or 6" X 9" black and white photographic prints are available for any photographs or illustrations appearing in this copy for an additional charge. Contact UMI directly to order. AccessinglUMI the World’s Information since 1938 300 North Zeeb Road, Ann Arbor, Mi 48106-1346 USA Order Number 8820263 Leigh Brackett: American science fiction writer—her life and work Carr, John Leonard, Ph.D.
    [Show full text]
  • Cinephilia Or the Uses of Disenchantment 2005
    Repositorium für die Medienwissenschaft Thomas Elsaesser Cinephilia or the Uses of Disenchantment 2005 https://doi.org/10.25969/mediarep/11988 Veröffentlichungsversion / published version Sammelbandbeitrag / collection article Empfohlene Zitierung / Suggested Citation: Elsaesser, Thomas: Cinephilia or the Uses of Disenchantment. In: Marijke de Valck, Malte Hagener (Hg.): Cinephilia. Movies, Love and Memory. Amsterdam: Amsterdam University Press 2005, S. 27– 43. DOI: https://doi.org/10.25969/mediarep/11988. Nutzungsbedingungen: Terms of use: Dieser Text wird unter einer Creative Commons - This document is made available under a creative commons - Namensnennung - Nicht kommerziell 3.0 Lizenz zur Verfügung Attribution - Non Commercial 3.0 License. For more information gestellt. Nähere Auskünfte zu dieser Lizenz finden Sie hier: see: https://creativecommons.org/licenses/by-nc/3.0 https://creativecommons.org/licenses/by-nc/3.0 Cinephilia or the Uses of Disenchantment Thomas Elsaesser The Meaning and Memory of a Word It is hard to ignore that the word “cinephile” is a French coinage. Used as a noun in English, it designates someone who as easily emanates cachet as pre- tension, of the sort often associated with style items or fashion habits imported from France. As an adjective, however, “cinéphile” describes a state of mind and an emotion that, one the whole, has been seductive to a happy few while proving beneficial to film culture in general. The term “cinephilia,” finally, re- verberates with nostalgia and dedication, with longings and discrimination, and it evokes, at least to my generation, more than a passion for going to the movies, and only a little less than an entire attitude toward life.
    [Show full text]
  • Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum
    Goodbye Cinema, Hello Cinephilia Other Books by Jonathan Rosenbaum Rivette: Texts and Interviews (editor, 1977) Orson Welles: A Critical View, by André Bazin (editor and translator, 1978) Moving Places: A Life in the Movies (1980) Film: The Front Line 1983 (1983) Midnight Movies (with J. Hoberman, 1983) Greed (1991) This Is Orson Welles, by Orson Welles and Peter Bogdanovich (editor, 1992) Placing Movies: The Practice of Film Criticism (1995) Movies as Politics (1997) Another Kind of Independence: Joe Dante and the Roger Corman Class of 1970 (coedited with Bill Krohn, 1999) Dead Man (2000) Movie Wars: How Hollywood and the Media Limit What Films We Can See (2000) Abbas Kiarostami (with Mehrmax Saeed-Vafa, 2003) Movie Mutations: The Changing Face of World Cinephilia (coedited with Adrian Martin, 2003) Essential Cinema: On the Necessity of Film Canons (2004) Discovering Orson Welles (2007) The Unquiet American: Trangressive Comedies from the U.S. (2009) Goodbye Cinema, Hello Cinephilia Film Culture in Transition Jonathan Rosenbaum the university of chicago press | chicago and london Jonathan Rosenbaum wrote for many periodicals (including the Village Voice, Sight and Sound, Film Quarterly, and Film Comment) before becoming principal fi lm critic for the Chicago Reader in 1987. Since his retirement from that position in March 2008, he has maintained his own Web site and continued to write for both print and online publications. His many books include four major collections of essays: Placing Movies (California 1995), Movies as Politics (California 1997), Movie Wars (a cappella 2000), and Essential Cinema (Johns Hopkins 2004). The University of Chicago Press, Chicago 60637 The University of Chicago Press, Ltd., London © 2010 by The University of Chicago All rights reserved.
    [Show full text]
  • The Labyrinth As an Anti-Home in Mark Z. Danielewski's House Of
    Pobrane z czasopisma New Horizons in English Studies http://newhorizons.umcs.pl Data: 28/09/2021 19:43:16 New Horizons in English Studies 2/2017 LITERATURE • Magdalena Solarz Maria Curie-SkłodowSka univerSity (uMCS) in LubLin [email protected] The Labyrinth as an Anti-Home in Mark Z. Danielewski’s House of Leaves Abstract: This paper examines the spatial model of a house as a labyrinth in Mark Z. Danielewski’s experimental novel House of Leaves in relation to Yuri M. Lotman’s concept of an anti-home. The aim of the paper is to analyze the spatial organization of the house presented in the novel and its influence on the characters. It also examines the connection between the mental state of the inhab- itants and the changing nature of the labyrinth by demonstrating how the subversive spatiotemporal organization of domestic space accounts for the transformation of the novel’s protagonists. Keywords: Mark Z. Danielewski,UMCS House of Leaves, home, anti-home, labyrinth Introduction House of Leaves, the first novel by Mark Z. Danielewski, is an unconventional work of fiction that, just like the house presented in it, “resists interpretation” (Danielewski 2000, 356). The novel is cross-referenced with an album Haunted by Danielewski’s sister, Poe, and followed by an epistolary novella The Whalestoe Letters, which con- sists of letters that Pelafina H. Lièvre writes to her son, Johnny Truant. Because of its ambiguity, it is difficult to categorize House of Leaves as any specific genre. To make matters even more complicated, the novel has an unusual layout due to the author’s experiments with typography, such as colored fonts, crossed out fragments of text, blank pages, graphics, or footnotes within footnotes.
    [Show full text]
  • University Microfilms International 300 N
    INFORMATION TO USERS This was produced from a copy of a document sent to us for microfilming. While the most advanced technological means to photograph and reproduce this document have been used, the quality is heavily dependent upon the quality of the mateiial submitted. The following explanation of techniques is provided to help you understand markings or notations which may appear on this reproduction. 1. The sign or “target” for pages apparently lacking from the document photographed is “Missing Page(s)”. If it was possible to obtain the missing page(s) or section, they are spliced into the film along with adjacent pages. This may have necessitated cutting through an image and duplicating adjacent pages to assure you of complete continuity. 2. When an image on the film is obliterated with a round black mark it is an indication that the film inspector noticed either blurred copy because of movement during exposure, or duplicate copy. Unless we meant to delete copyrighted materials that should not have been filmed, you will find a good image of the page in the adjacent frame. 3. When a map, drawing or chart, etc., is part of the material being photo­ graphed the photographer has followed a definite method in “sectioning” the material. It is customary to begin filming at the upper left hand corner of a large sheet and to continue from left to right in equal sections with small overlaps. If necessary, sectioning is continued again—beginning below the first row and continuing on until complete. 4. For any illustrations that cannot be reproduced satisfactorily by xerography, photographic prints can be purchased at additional cost and tipped into your xerographic copy.
    [Show full text]
  • Hany Farid [email protected]
    Hany Farid [email protected] APPOINTMENTS University of California, Berkeley 2019 – Professor, Electrical Engineering and Computer Sciences (50%) Professor, School of Information (50%) Member, Berkeley Artificial Intelligence Lab Member, Center for Innovation in Vision and Optics Member, Vision Science Program Dartmouth College, Department of Computer Science 1999 – 2019 Albert Bradley 1915 Third Century Professor 2016 – 2019 Professor 2011 – 2016 William H. Neukom 1964 Distinguished Professor of Computational Science 2008 – 2011 David T. McLaughlin Distinguished Professor of Computer Science 2007 – 2008 Professor 2006 – 2007 Associate Professor 2004 – 2006 Assistant Professor 1999 – 2004 Dartmouth College, Tuck School of Business 2016 – 2019 Adjunct Professor of Business Administration Dartmouth College, Neukom Institute for Computational Science 2008 – 2011 Director PROFESSIONAL AI Foundation 2019 – present Board of Directors & Global AI Council Center for Investigative Reporting 2020 – present Advisory Committee Counter Extremism Project 2016 – present Senior Advisor Cyber Civil Rights Initiative 2019 – present Advisory Committee Fourandsix Technologies, Inc. 2011 – 2018 Chief Technology Officer & Co-founder Human Rights Center, University of California, Berkeley, School of Law 2019 – present Advisory Board Office of the Prosecutor, International Criminal Court 2018 – present Technology Advisory Board TikTok 2020 – present Content Advisory Council Truepic, Inc. 2018 – present Senior Advisor & Board of Advisors EDUCATION Massachusetts Institute of Technology 1997 – 1999 Postdoctoral Fellow, Brain and Cognitive Sciences (advisor: Ted Adelson) University of Pennsylvania 1993 – 1997 Ph.D., Computer Science (advisor: Eero Simoncelli) State University of New York at Albany 1990 – 1992 M.S., Computer Science University of Rochester 1984 – 1988 B.S., Computer Science with Applied Mathematics AWARDS National Academy of Inventors (NAI), Fellow, 2016 John Simon Guggenheim Fellowship, 2006 Alfred P.
    [Show full text]
  • The University of Chicago Looking at Cartoons
    THE UNIVERSITY OF CHICAGO LOOKING AT CARTOONS: THE ART, LABOR, AND TECHNOLOGY OF AMERICAN CEL ANIMATION A DISSERTATION SUBMITTED TO THE FACULTY OF THE DIVISION OF THE HUMANITIES IN CANDIDACY FOR THE DEGREE OF DOCTOR OF PHILOSOPHY DEPARTMENT OF CINEMA AND MEDIA STUDIES BY HANNAH MAITLAND FRANK CHICAGO, ILLINOIS AUGUST 2016 FOR MY FAMILY IN MEMORY OF MY FATHER Apparently he had examined them patiently picture by picture and imagined that they would be screened in the same way, failing at that time to grasp the principle of the cinematograph. —Flann O’Brien CONTENTS LIST OF FIGURES...............................................................................................................................v ABSTRACT.......................................................................................................................................vii ACKNOWLEDGMENTS....................................................................................................................viii INTRODUCTION LOOKING AT LABOR......................................................................................1 CHAPTER 1 ANIMATION AND MONTAGE; or, Photographic Records of Documents...................................................22 CHAPTER 2 A VIEW OF THE WORLD Toward a Photographic Theory of Cel Animation ...................................72 CHAPTER 3 PARS PRO TOTO Character Animation and the Work of the Anonymous Artist................121 CHAPTER 4 THE MULTIPLICATION OF TRACES Xerographic Reproduction and One Hundred and One Dalmatians.......174
    [Show full text]
  • 13Th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture
    13th Valley John M. Del Vecchio Fiction 25.00 ABC of Architecture James F. O’Gorman Non-fiction 38.65 ACROSS THE SEA OF GREGORY BENFORD SF 9.95 SUNS Affluent Society John Kenneth Galbraith 13.99 African Exodus: The Origins Christopher Stringer and Non-fiction 6.49 of Modern Humanity Robin McKie AGAINST INFINITY GREGORY BENFORD SF 25.00 Age of Anxiety: A Baroque W. H. Auden Eclogue Alabanza: New and Selected Martin Espada Poetry 24.95 Poems, 1982-2002 Alexandria Quartet Lawrence Durell ALIEN LIGHT NANCY KRESS SF Alva & Irva: The Twins Who Edward Carey Fiction Saved a City And Quiet Flows the Don Mikhail Sholokhov Fiction AND ETERNITY PIERS ANTHONY SF ANDROMEDA STRAIN MICHAEL CRICHTON SF Annotated Mona Lisa: A Carol Strickland and Non-fiction Crash Course in Art History John Boswell From Prehistoric to Post- Modern ANTHONOLOGY PIERS ANTHONY SF Appointment in Samarra John O’Hara ARSLAN M. J. ENGH SF Art of Living: The Classic Epictetus and Sharon Lebell Non-fiction Manual on Virtue, Happiness, and Effectiveness Art Attack: A Short Cultural Marc Aronson Non-fiction History of the Avant-Garde AT WINTER’S END ROBERT SILVERBERG SF Austerlitz W.G. Sebald Auto biography of Miss Jane Ernest Gaines Fiction Pittman Backlash: The Undeclared Susan Faludi Non-fiction War Against American Women Bad Publicity Jeffrey Frank Bad Land Jonathan Raban Badenheim 1939 Aharon Appelfeld Fiction Ball Four: My Life and Hard Jim Bouton Time Throwing the Knuckleball in the Big Leagues Barefoot to Balanchine: How Mary Kerner Non-fiction to Watch Dance Battle with the Slum Jacob Riis Bear William Faulkner Fiction Beauty Robin McKinley Fiction BEGGARS IN SPAIN NANCY KRESS SF BEHOLD THE MAN MICHAEL MOORCOCK SF Being Dead Jim Crace Bend in the River V.
    [Show full text]
  • Pi-Vi Intro Etc
    Introduction Who else writes like …? seeks to help anyone who enjoys reading fiction to expand the number of writers that they read. It is designed to address the dilemma one faces when, having exhausted the output from a particular author, one ponders – “What shall I read next?” The book lists over 1,800 authors, and with each name suggests others who write in a similar way. The number of alternative authors listed for each entry is between three and twelve. Alternative ways of finding suitable reading are through the index of genres, or the list of prize winners at the back of the book. There is also an index to characters in fiction as well as a list of further reading, which includes some useful websites and other fiction guides. The entry for each author offers copious detail to help make a choice. The basis for the initial selection of authors continues to be the most popular according to the Public Lending Right lists, with additions suggested by a number of professional librarians from England, Scotland and Wales. In the main, authors are only included when they have three books to their name and when their novels are easily obtainable from bookshops and libraries. Inclusion is therefore determined by a mixture of objective and subjective criteria. Inevitably some cherished favourites may be omitted as a result, and for this we are sorry. This is the fourth edition of what has now become an established tool for readers and those advising readers in their quest to derive the utmost pleasure from fiction.
    [Show full text]
  • New Warner March Releases- the Lego Movie 2 3DBD
    The Fastest Growing DVD, CD and Blu-ray Retail Catalog The future delivered now. Allied Vaughn. Powering today's leading entertainment supply chain. Volume 9 Issue 4 Congratulations go out to National Geographic and their Best Documentary win for "Free Solo" at the Oscars. We're proud to be distributing the title to our AV Retailers and Wholesalers, it's shaping up to be a major success for retailers. We're also proud of the significant growth in our documentaries and Independent film selections which underscores the advantages of a MOD release, always in stock, speed to market and broadest physical media choice for consumers. Check out all our new releases below and also the new March releases from Warner Archive, something there for every collector! Ask us how we can take your titles to market and grow your catalog sales. Richard Skillman Vice President Allied Vaughn Entertainment [email protected] Allied Vaughn Entertainment Main Page Allied Vaughn Entertainment Studio Catalog Allied Vaughn Entertainment Archives National Geographic's FREE SOLO Wins Best Documentary Congratulations National Geographic on its Academy Award winning documentary! 3/5/2019 024543470229 Free Solo (fka Solo) 2019 The stunning, intimate and unflinching Academy Award Winning portrait of free solo climber Alex Honnold as he prepares to achieve his lifelong dream: scaling the face of the world's most famous rock "the 3,200-foot El Capitan in Yosemite National Park" without a rope. Renowned filmmakers Elizabeth Chai Vasarhelyi and Jimmy Chin capture the death-defying climb with exquisite artistry and masterful, vertigo- inducing camerawork. Warner March Releases Announces along with "The Lego Movie 2: The Second Part" on 3D Blu- ray Warner delivers again with a full slate of New Hit 3D Blu-ray Major Features and remastered Hollywood classics.
    [Show full text]
  • A Book Lover's Journey: Literary Archaeology and Bibliophilia in Tim
    Verbeia Número 1 ISSN 2444-1333 Leonor María Martínez Serrano A Book Lover’s Journey: Literary Archaeology and Bibliophilia in Tim Bowling’s In the Suicide’s Library Leonor María Martínez Serrano Universidad de Córdoba [email protected] Resumen Nativo de la costa occidental de Canadá, Tim Bowling es uno de los autores canadienses más aclamados. Su obra In the Suicide’s Library. A Book Lover’s Journey (2010) explora cómo un solo objeto —un ejemplar gastado ya por el tiempo de Ideas of Order de Wallace Stevens que se encuentra en una biblioteca universitaria— es capaz de hacer el pasado visible y tangible en su pura materialidad. En la solapa delantera del libro de Stevens, Bowling descubre la elegante firma de su anterior dueño, Weldon Kees, un oscuro poeta norteamericano que puso fin a su vida saltando al vacío desde el Golden Gate Bridge. El hallazgo de este ejemplar autografiado de la obra maestra de Stevens marca el comienzo de una meditación lírica por parte de Bowling sobre los libros como objetos de arte, sobre el suicidio, la relación entre padres e hijas, la historia de la imprenta y la bibliofilia, a la par que lleva a cabo una suerte de arqueología del pasado literario de los Estados Unidos con una gran pericia literaria y poética vehemencia. Palabras clave: Tim Bowling, bibliofilia, narrativa, arqueología del saber, vestigio. Abstract A native of the Canadian West Coast, Tim Bowling is widely acclaimed as one of the best living Canadian authors. His creative work entitled In the Suicide’s Library. A Book Lover’s Journey (2010) explores how a single object —a tattered copy of Wallace Stevens’s Ideas of Order that he finds in a university library— can render the past visible and tangible in its pure materiality.
    [Show full text]
  • Harry Gregson-Williams
    HARRY GREGSON-WILLIAMS AWARDS / NOMINATIONS IVOR NOVELLO AWARD NOMINATION (2011) UNSTOPPABLE Best Original Film Score ANNIE AWARD NOMINATION (2010) SHREK FOREVER AFTER Music in a Feature Production ACADEMY OF INTERACTIVE ARTS & METAL GEAR SOLID 4 SCIENCES AWARD (2009) Outstanding Achievement in Original Music INTERNATIONAL FILM MUSIC CRITICS CALL OF DUTY 4: MODERN WARFARE ASSOCIATION NOMINATION (2007) Original Score for a Video Game or Interactive Media* WORLD SOUNDTRACK AWA RD SHREK THE THIRD NOMINATION Best Original Score of the Year (2007) WORLD SOUNDTRACK AWA RD DÉJÀ VU, SHREK THE THIRD, THE NUMBER 23, NOMINATION FLUSHED AWAY Film Composer of the Year (2007) GRAMMY AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Score Soundtrack Album (2006) THE LION, THE WITCH AND THE WARDROBE GOLDEN GLOBE AWARD NOMINATION THE CHRONICLES OF NARNIA: Best Original Score (2005) THE LION, THE WITCH AND THE WARDROBE BAFTA AWARD NOMINATION* Anthony Asquith Award for Achievement in Film SHREK Music (2002) ANNIE AWARD* SHREK Outstanding Achievement for Music Score in an Animated Feature (2001) * shared nomination The Gorfaine/Schwartz Agency (818) 260-8500 1 HARRY GREGSON-WILLIAMS MOTION PICTURES EXODUS: GODS AND KINGS Peter Chernin / Mark Huffam / Michael Schaefer, prods. 20 th Century Fox Ridley Scott, dir. BLACKHAT Jon Jashni / Michael Mann / Thomas Tull, prods. Universal Pictures Michael Mann, dir. THE EQUALIZER Todd Black / Jason Blumenthal / Tony Eldridge / Sony Pictures Mace Neufeld / Alex Siskin / Michael Sloan / Steve Tisch / Denzel Washington / Richard Wenk, prods. Antoine Fuqua, dir. THE EAST Ben Howe / Brit Marling / Jocelyn Hayes-Simpson / Fox Michael Costigan, prods. *theme Zal Matmanglij, dir. TOTAL RECALL Toby Jaffe / Neal H.
    [Show full text]