IN FOCUS: David Bowie On-Screen
IN FOCUS: David Bowie On-Screen David Bowie On-Screen by TOIJA CINQUE, ANGELA NDALIANIS, and SEAN REDMOND, editors ot Here. David Bowie has always been a signifi cant fi gure of the screen. Through appearing in experimental music videos, tense television interviews, controversial live Nperformances, biographical documentaries, and auteur and genre fi lms, he was a seminal, shimmering part of screen culture for more than forty years. His fi rst television appearance was on the BBC’s Tonight program, in 1964, where he was interviewed about his newly founded Society for the Prevention of Cruelty to Long-Haired Men. At this stage, when he was still called David Jones, we are introduced to not only his hunger for publicity but also his closeness to diff erence, of not quite fi tting in. David Bowie is, of course, not a single or singular star image: he has appeared as David Bowie and in and through various high-voltage, liminal, gender-bending personae, including Aladdin Sane (1971); he has appeared in self-refl exive cameo roles in such fi lms as Zoolander (Ben Stiller, 2001); and he has taken on various serious acting roles, including the outcast poet-musician Baal in Baal (Alan Clarke, BBC, 1982), the vampire John Blaylock in The Hunger (Tony Scott, 1983), the murderous Pontius Pilate in The Last Temptation of Christ (Martin Scorsese, 1988), and the enigmatic inventor Nikola Tesla in The Prestige (Christopher Nolan, 2006). Across the body of David Bowie’s screen work, one fi nds a great diversity in the type of roles he has taken on and the performances he has given, even if they are, nonetheless, all loosely bound by a profound alterity—a signifi cation of diff erence.
[Show full text]