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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. -
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. -
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 -
Scanners and the Dead Dead Ringers, Naked Lunch and M
David Cronenb VIDEODROME Director and writer. Crimes of the Future, Cronenberg plunged deep into bloody Born: Toronto, 1943. If biological Babylon in a series of 1970s horror films. Fusing David Cronenberg did the genre's ample and flexible narrative conventions with not exist, would we his own ideas about desire and repression, the body and invent him? Could we technology, Cronenberg developed a reputation, with invent him? Perhaps Shivers, Rabid, and The Brood, as perhaps the most original, no Canadian film- unflinching, no-holds-barred practitioner of the modern maker has had such a horror film. Along with confounding "tasteful" critical singular career path, opinion in Canada, he also found himself to be a bankable navigating his way genre auteur who could muster impressive budgets and still from the independent maintain a degree of artistic control. university filmmaking From 1980 on- scene in the 1960s, to wards, Cronen- critically reviled com- berg's distinctive mercial excrescences of and influential the "tax shelter" era, vision (can we to, more recently, the imagine Atom well-heeled approval of international art house and festival Egoyan without circuits. Lauded as a late 20th century taboo-bashing genius David Cronen- by some, and loathed as a puritanical body-fearing berg?) has ex- reactionary by others, Cronenberg's emergence is without plored, with in- parallel in this country. Moreover, his decidedly creasing pre- idiosyncratic oeuvre also represents a challenge to the very cision and res- critical paradigms and terms used -
Diplomarbeit
DIPLOMARBEIT Titel der Diplomarbeit „The Otherness of Canadian Cinema: the Surreal in Guy Maddin’s My Winnipeg“ Verfasser Klaus Tscherner angestrebter akademischer Grad Magister der Philosophie (Mag.phil.) Wien, 2011 Studienkennzahl lt. Studienblatt: A 190 344 445 Studienrichtung lt. Studienblatt: UF Englisch UF Biologie und Umweltkunde Betreuer: Univ.-Prof. Dr. Waldemar Zacharasiewicz Table of Contents Hypothesis............................................................................................................................................ 3 1. Introduction: what is Canadian film?............................................................................................... 4 2. Canadian cinema as a cinema of otherness...................................................................................... 9 2.1 Atom Egoyan and David Cronenberg .................................................................................... 11 2.2 Canadian Film and its ambiguous relationship to Genre film and Hollywood............................18 2.3 Canadian Film Policies .......................................................................................................... 28 2.3.1 Documentary: the National Film Board of Canada ................................................... .....28 2.3.2 Feature Film.....................................................................................................................33 2.4 The effects of Canadian film policies.................................................................................... -
32 • Iissuessue 16 Afipreview
AMERICAN FILM INSTITUTE GUIDE Januaryuary 10–March 9, 2006 TO THEATRE AND MEMBER EVENTS VOLUMEVOLUME 32 • ISSUEISSUE 61 AFIPREVIEW PLUS: KING KONG: The Original! Fellini & Masina, Masterful Couple Martin Luther King: A Filmed Record Otto Preminger Centennial Norman Jewison LIVE! IN THE HEAT OF THE NIGHT FREE FILMS! The National Law Enforcement Museum at AFI Silver And More! David CronenbergTHE COMPLETE RETROSPECTIVE NOW PLAYING AWARD NIGHTS AT AFI 2 Oscar® and Grammy® Night Galas! 3 David Cronenberg: The Visceral BACK BY POPULAR DEMAND! and the Cerebral ® 6 A True Hollywood Auteur: Otto Preminger Oscar Night 2006! 9 Norman Jewison Presents Sunday, March 5 IN THE HEAT OF THE NIGHT AFI Silver is proud to host the only Academy®- 9 Martin Luther King Honored sanctioned Oscar Night® party in the Washington area, 9 SILVERDOCS: Save the Date! presented by First Star. On Sunday, March 5, at 6:30 10 About AFI p.m., AFI Silver will be abuzz with red carpet arrivals, 11 Calendar specialty cocktails, a silent auction and a celebrity- 12 Federico Fellini and Giulietta Masina, moderated showing of the Oscar® Awards broadcast— Masterful Pair presented on-screen in high definition! 12 ANA Y LOS OTROS, Presented by Cinema Tropical All proceeds 13 THE FRENCH CONNECTION, SE7EN, and DRAGNET! from this National Law Enforcement Museum’s exclusive event Inaugural Film Festival benefit First 13 Washington, DC, Premiere of Star, a national Terrence Malick’s THE NEW WORLD non-profit 14 One Week Only! CLASSE TOUS RISQUES public charity and SPIRIT OF THE BEEHIVE dedicated to 14 Exclusive Washington Engagement! SYMBIOPSYCHOTAXIPLASM improving life 15 Montgomery College Film Series for child victims 15 Membership News: It Pays to of abuse and Be an AFI Member! neglect. -
David Cronenberg and Collaborators: Selected Filmography
David Cronenberg and Collaborators: Selected Filmography The Higher Learning staff curate digital resource packages to complement and offer further context to the topics and themes discussed during the various Higher Learning events held at TIFF Bell Lightbox. These filmographies, bibliographies, and additional resources include works directly related to guest speakers’ work and careers, and provide additional inspirations and topics to consider; these materials are meant to serve as a jumping-off point for further research. Please refer to the event video to see how all topics and themes relate to the Higher Learning event. Films mentioned or discussed during the event eXistenZ. Dir. David Cronenberg, 1999, Canada and U.K. 97 mins. Production Co.: Alliance Atlantis Communications / Canadian Television Fund / The Harold Greenberg Fund / The Movie Network / Natural Nylon Entertainment / Serendipity Point Films / Téléfilm Canada / Union Générale Cinématograpique. The Fly. Dir. David Cronenberg, 1986, U.S.A., U.K., and Canada. 96 mins. Production Co.: Brooksfilms. 300. Dir. Zack Snyder, 2006, U.S.A. 117 mins. Production Co.: Warner Bros. / Legendary Pictures / Virtual Studios / Hollywood Gang Productions / Atmosphere Entertainment MM. Maps to the Stars. Dir. David Cronenberg, 2014, Canada and U.S.A. Production Co.: Integral Film / Prospero Pictures / Revival 629 / SBS Productions / Sentinent Entertainment. Dead Ringers. Dir. David Cronenberg, 1988, Canada and U.S.A. 116 mins. Production Co.: Morgan Creek Productions / Téléfilm Canada / Mantle Clinic II. Basic Instinct II. Dir. Michael Caton-Jones, 2006, Germany, U.K., U.S.A., and Spain. 114 mins. Production Co.: Metro-Goldwyn-Mayer / C-2 Pictures / Intermedia Films / IMF Internationale Medien und Film GmbH & Co. -
David Cronenberg
David Cronenberg 8/March 1981 Brilliantly Bizarre by John G. Harkness There is more to Cronenberg's films than the blood 'n' gore that turns the stomach He exploits the implications of modem scientific society to give man a taste of his own worst medicine. David Cronenberg is a raritx) in the English-Canadian cinema- a writer/ 1 think Fm coming closer to developing director whose works are informed by a strikingl]^personal vision. Despite the things that obsess me in more naturalistic impression created by his films, he is not a bioodthirstx; ghoul, but rather an terms. 1 suppose it may be strange to think intense/y articulate artist with a precise sense of what his work is about It is of Scanners as naturalistic, but you can the thematic content of his films that so upsets the critics; for he is not a see how it is in certain ways more so than Shivers, or certainly Rabid. Why 1 should filmmaker in love with technique, creating excercises in camera movement be doing this 1 don't know. that hinge upon the revelation of a convenient ps[,/chopath. Rather, he There are a lot of people who believe in meditates upon death, disease and mortaliti/, telling Frankenstein stories, ESP and psychic phenomena, and 1 find where the created monster is a form of cancer eating awa},! at our that some people take Scanners as not comfortable, cultural worship of physical beauty and intellectual adoles being science fiction. They seem to feel cence. that they are personally on the verge of Scanners, his latest film, is also his most technically assured (and it should being Scanners; and coming out of the be remembered that in the following interview, when he speaks of a "larger theatre they definitely can scan, if only for a couple of hours.