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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. -
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. -
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. -
Mutating Masculinity: Re-Visions of Gender and Violence in the Cinema of David Cronenberg
Zurich Open Repository and Archive University of Zurich Main Library Strickhofstrasse 39 CH-8057 Zurich www.zora.uzh.ch Year: 2011 Mutating masculinity: re-visions of gender and violence in the cinema of David Cronenberg. Loren, Scott Abstract: Though the films of David Cronenberg might not always be concerned with gender froma social constructivist or performative perspective, I think one readily agrees with Linda Ruth Williams’ claim that “for Cronenberg, anatomy is anything but destiny”3. For decades, his characteristic mutations of gendered bodies have repeatedly accompanied the destabilization of fixed notions about gender. It seems that the most fixed notion of gender to be found in his work is that gender is mutable. Likethe physical boarders to bodies in his films, gender is repeatedly undone, constantly shifting, threatening to become something else. For Cronenberg, a perpetual undoing and rearticulation of gender raises the question of when a man becomes a man in a rather unconventional manner. His films initially encourage us to ask other questions, like: “When does a man become a walking, speaking anus?” (Naked Lunch); “when does a man become an insect?” (The Fly); “when does a man become a machine?” (Videodrome, The Fly, Crash, eXistenZ). Of course one would also have to ask: “When does a man become a woman?” (Crimes of the Future, M. Butterfly) “When is a man completely unable to enter manhood?” (Spider) “When is a man a monster?” and “Is a man ever ‘simply’ a man?” (most of his films). It seems that with the release of each new film, one must rearticulate inquiries into the staging of gender in Cronenberg’s work, which is precisely what I wish to do here. -
Queer Texts, Bad Habits, and the Issue of a Future Teresa De Lauretis
Queer Texts, Bad Habits, and the Issue of a Future Teresa de Lauretis GLQ: A Journal of Lesbian and Gay Studies, Volume 17, Numbers 2-3, 2011, pp. 243-263 (Article) Published by Duke University Press For additional information about this article https://muse.jhu.edu/article/437427 Access provided by University of Arkansas @ Fayetteville (29 Dec 2016 08:37 GMT) QUEER TEXTS, BAD HABITS, AND THE ISSUE OF A FUTURE Teresa de Lauretis Heterotopias are disturbing, probably because they secretly under- mine language, because they make it impossible to name this and that, because they shatter or tangle common names, because they destroy “syntax” in advance, and not only the syntax with which we construct sentences but also that less apparent syntax which causes words and things (next to and also opposite one another) to “hold together.” — Michel Foucault, The Order of Things My reflections on some themes of this special issue on queer bonds, sexuality and sociability, negativity and futurity, are indebted to the research and thinking involved in my recent book about the figuration of sexuality as drive in Freud and in literary and film texts.1 One of those texts, Djuna Barnes’s Nightwood (1936), has received much attention in feminist criticism and in the history of literary modernism but has been strangely disregarded in queer studies. My own psycho- analytic-literary reading of the novel did not specifically address its place in a possible archive of queer literary writing, a project that also exceeds the scope of this essay.2 Were I to undertake -
20110322 Zonconsolidatedma
TABLE OF CONTENTS ZON IN NUMBERS Business Indicators ............................................................................................................................ 4 Financial Indicators ............................................................................................................................ 6 1 – LIGHT 1.1 Joint message from the Chairman of the Board and the CEO .................................................... 7 1.2 ZON Group .................................................................................................................................. 9 1.2.1 ZON Group companies’ description ............................................................................ 9 1.2.2 Organigram ................................................................................................................. 10 1.2.3 ZON Group Vision, Mission and Values ..................................................................... 10 2 – SPEED 2.1 Main events in 2010 ..................................................................................................................... 12 2.2 Businesses ................................................................................................................................... 13 2.2.1 Pay TV ........................................................................................................................ 13 2.2.2 Broadband ................................................................................................................... 16 2.2.3 Fixed Voice