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The Elegies of Wim Wenders, Laurie Anderson and Alexander Sokurov

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The Elegies of Wim Wenders, Laurie Anderson and Alexander Sokurov “In Works of Hands or of the Wits of Men”: The Elegies of Wim Wenders, Laurie Anderson and Alexander Sokurov by Morteza Dehghani A thesis presented to the University of Waterloo in fulfillment of the thesis requirement for the degree of Doctor of Philosophy in English Waterloo, Ontario, Canada, 2019 ©Morteza Dehghani 2019 Examining Committee Membership The following served on the Examining Committee for this thesis. The decision of the Examining Committee is by majority vote. External Examiner Angelica Fenner Associate Professor Supervisors Alice Kuzniar Professor Kevin McGuirk Associate Professor Internal Members David-Antoine Williams Associate Professor Ken Hirschkop Associate Professor Internal-external Member Élise Lepage Associate Professor ii Author’s Declaration I hereby declare that I am the sole author of this thesis. This is a true copy of the thesis, including any required final revisions, as accepted by my examiners. I understand that my thesis may be made electronically available to the public. iii Abstract This dissertation explores the concept of loss and the possibility of consolation in Wim Wenders’s The Salt of the Earth, Laurie Anderson’s Heart of a Dog and Alexander Sokurov’s Oriental Elegy through a method that inter-reads the films with poetic elegies. Schiller’s classic German elegy “Der Spaziergang” (“The Walk”) and Rainer Maria Rilke’s Duino Elegies have been used in examining The Salt of the Earth and a late Hölderlin poem “In lieblicher Bläue” (“In Lovely Blue”) is utilised in perusing Oriental Elegy. In Heart of a Dog, Rilke’s “Schwarze Katze” (“Black Cat”) and Derek Walcott’s “Oddjob, a Bull Terrier,” among others, shed light on the working of the elegiac. I have put these films in a conversation with poems to investigate how a filmic elegy can be informed by poetic elegies and how the two arts operate similarly while they are governed by varied sets of rules. While most studies on loss are informed by psychoanalytical theories, I have focused on the formal ways in which these films portray loss and consolation, using one art, poetry, as a guiding framework to illuminate the other art, film. I propose that in The Salt of the Earth, the movement of the elegiac benefits from Deleuzian montage as the film strides towards solace manifested in resuscitation of Amazonian forests and the art of photography. The technical montage and the thematic elegiac converge. Heart of a Dog, however, bases such a motion of elegy on the Buddhist concept of Bardo, where the narrator “decreates” and then re-creates her self through the remedy of love. Finally, Oriental Elegy operates within an apophatic discourse, proposing metaphor and poetic thinking as potential yet transitory sources of consolation. While these films grieve different object of loss, ranging from humans, animals, lands, and even abstract, philosophical concepts such as the meaning of life and happiness, iv and whereas they introduce various remedies such as art, love, and metaphor, they function similarly formalistically. Taking its cue from Diana Fuss who revisits Freudian melancholia and benefitting from the idea that correlates loss and creativity or “figuration” as observed in Julia Kristeva and Peter Sacks, this dissertation shows how the grieving subjects are positioned in an in-between status which allows them to move forward in the face of loss. This in-betweenness, I have proposed, is manifested in an elliptical structure in the films. In their passage from sorrow, the bemoaning subjects resort to small sources of solace, loci amoeni, signified by different formal and technical elements in the films. Once analysed cinematically and placed in a dialogue with poetic elegies, the Epilogue brings all the films in one place, examining them in relation to Robert Hass’s poem “Meditation at Lagunitas.” Inter-reading the films with this poetic elegy reveals that the musing speaker in the poem and the narrators in the films face loss similarly. What defines loss is the distance between the subjects and their loved lost ones or things, a lacuna that cannot be filled and, hence, the bewailing subjects resort to a kataphatic expression, to naming, which is repetitive, open- ended, and elliptical. v Acknowledgements I’m thankful to everyone who has supported me over the course of my PhD studies and during the writing of this dissertation. I would especially like to thank my supervisors Dr. Kevin McGuirk and Prof. Alice Kuzniar for their mentorship, guidance and support, for reading each chapter and giving me ample constructive feedback, and for helping me become a better writer along the way. It would have been impossible for me to overcome the challenges of this project without untiring help from them. Thank you, Alice, for the great opportunity of TAship in “Global Cinema,” thanks for introducing German Romanticism, which started with an RAship from you, and for Heart of a Dog that I happily ended up working on in this study. Kevin, thanks for guiding me to Robert Hass. It was a pleasant surprise to see myself working on him in this project. And a further thank you for all the conversation about literature and arts and life, Kevin and Alice. I’m very grateful to Dr. Angelica Fenner of the University of Toronto German Studies Department and Cinema Studies Institute who kindly agreed to be on my committee as the external examiner, for her generous comments on this dissertation and for all her suggestions. I should also like to extend a sincere thanks to Dr. Élise Lepage of the French Studies Department who joined my committee as the internal/external member. I would also like to thank the members of my committee Dr. David-Antoine Williams and Dr. Ken Hirschkop for reading the dissertation and giving me feedback. Additional thanks go to Dr. Williams for supervising me in a directed reading course -- a wonderful experience -- and to Dr. Hirschkop who, along with Dr. Williams, supported my application to the PhD program during his term as Graduate Chair. vi Special thanks also go the English Department, which offered me generous funding, a wonderful experience of teaching, an environment for intellectual growth and for encouraging my creative work right from the beginning. Chairs of English Department, Profs. Fraser Easton, Kate Lawson and Shelley Hulan have been especially instrumental and I thank them warmly. I’m also grateful to Graduate Chairs of English, Profs Randy Harris, and Marcel O’Gorman and Dr. Amie Morrison who helped us throughout this journey step by step. In addition, I should like to thank English Department’s Drs. Frankie Condon and Heather Smyth for their support in the course of my studies. I’m indebted to my previous committee, Drs. David-Antoine Williams, Tristanne Connolly and Sarah Tolmie who advised me during the process of proposal-writing and I thank them sincerely here. Dr. Connolly, I learned a lot from you and appreciate your conversation about poetry. In addition to the Department of English, University of Waterloo Department of Drama and Speech Communication has been generously offering me one teaching position per year in the last three years, making it possible for me to register as a full-time student. I would like to thank Drs. Shannon Hartling, Tim Paci and Vershawn Young and Speech Communication program administrator Sylvia Hannigan. My thanks also go to University of Waterloo Department of Fine Arts and particularly to Prof. Joan Coutu for the great opportunity of assistantship in her Art History course and to Jean Stevenson for purchasing the films that I needed for this project. A thank you is also due to the Centre for Teaching Excellence for their efforts to help me become a vii better teacher, and in particular to Dr. Stephanie White whose words of wisdom helped me focus better on the writing process at emotionally hard times. In addition, I’d like to extend a warm thank you to the English Department administrative staff Fiona McAllister, Margaret Ulbrick, and Maha Eid and special thanks to our graduate coordinator Tina Davidson for all her instructions during the days leading up to the defence. I made many friends during these years at the University of Waterloo. I take this opportunity to remember and thank them for their friendship: Jessica Van de Kemp, Scott Giannakopoulos, Omid Ardakanian, Abbas Mehrabian, Marzieh Riahi, Keivan Bakhoda, Ebrahim Moradi, Milad Soroush and many others. Thank you Milad, for all the poems we read, and for sometimes-heated discussions, sometimes-light conversations about philosophy, film and life; thanks for being a true friend at challenging times, and for encouraging me during writing; I’m grateful to you for all your help. And what can I say but words of love to my family who have unconditionally supported me at different stages of my life and studies, at home and away from it. As I’m writing these lines, a stream of memories is flooding in, of the times when, forced from home by war, my sister, Niloofar, taught me the first lessons in English through stories, my elder sister, Nahid, gave me further motivation and encouragement, and my eldest brother, Habib, made my entire education possible when mom was an amazing, self-sacrificing, angelic, only parent. viii Dedication To my family With love ix Table of Contents Examining Committee Membership ....................................................................................................... ii Author’s Declaration ............................................................................................................................
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