DOCSLIB.ORG

Potential Cinema: Closet Film in Twentieth-Century Fiction

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Potential Cinema: Closet Film in Twentieth-Century Fiction POTENTIAL CINEMA: CLOSET FILM IN TWENTIETH-CENTURY FICTION A Dissertation Presented to the Faculty of the Graduate School of Cornell University In Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Nicholas Tobin Roth January 2014 © 2014 Nicholas Tobin Roth POTENTIAL CINEMA: CLOSET FILM IN TWENTIETH-CENTURY FICTION Nicholas Tobin Roth, Ph. D. Cornell University 2014 ABSTRACT: This dissertation lays the initial groundwork for theorizing closet film as a literary genre. Though closet drama––poetry written in playscript form––has received attention from a wide variety of critics in literary, performance and cultural studies, no such body of work exists for thinking about closet film––fiction written in the form of the screenplay. Aside from the self-published work of independent scholar Quimby Melton––with whom I have collaborated on his ongoing project to form an online bibliography of what he terms the closet screenplay–– there exists quite literally no field of study, nor any initial attempt to theorize the limits and potentialities of the genre. This project offers a theorization of closet film informed by the philosophy of Giorgio Agamben, especially his focus on potentiality, which I argue helps describe closet film’s tenuous stance toward production––closet film is a genre organized around the potential-not-to produce. Studying closet film also helps us rewrite the boundaries of what is considered possible in terms of literary and visual realism, and the “closet” itself constitutes an excellent new paradigm for understanding the space between film and the novel, opening up discussions of texts that have been largely overlooked or marginalized and enabling us to encounter old ones afresh. This project thus completely revamps our understanding of the novel and its relation to cinema, realism, ontology, and aesthetics. BIOGRAPHICAL SKETCH Nick Roth was born and raised in Los Angeles. He graduated highest honors and Phi Beta Kappa from the University of California Berkeley in 2007 with a B.A. in English. In 2011, he received his M.A. from Cornell in English, and his Ph.D. in 2014. Nick has taught freshmen writing seminars on film, the year 1985, and Stanley Kubrick. He received the Martin Sampson Teaching Award in March 2013. He has published short articles on Vladimir Nabokov’s Pale Fire and on film adaptations of A Midsummer Night’s Dream. A longer article on Thomas Pynchon’s Mason & Dixon is currently under review. He is more recently the author of a number of screenplays, including a co-authored Chinese feature film, Chui Deng Legend, the experimental documentary Eva and Liza, and the queer sci-fi short film Nanoblood. He is also working on a novel entitled The Extraordinary Chicken and is looking for a job writing for television if you know anyone who is looking. iii ACKNOWLEDGMENTS There are innumerable people who have helped either directly with this project or by supporting me while I worked on it. Here are those whom I would like to express my gratitude to in particular. Foremost, this dissertation would certainly not exist at all if not for three key people. The first is Quimby Melton, whose work laid the foundation for the present study, but also whose advice and friendship throughout the project have been invaluable. The second is Adam Cohen, in whose name I checked out more books from the UCLA Library than I care to mention, and who has done more proofreading for me, on this project and others, than any mortal ever should. And finally, Matt Bucemi, whom I owe one half of every academic thought I’ve had in the last five years. I also wish to express my deep gratitude to my committee, all of whom have had a hand in guiding this project to its present state and helping immensely throughout the process. Amy Villarejo guided my thinking about historicism and genre, and tipped me off to several of the texts I analyzed. Nick Salvato inspired the initial idea for the project itself and offered advice on this project and others that shaped my thinking greatly. Kevin Attell has guided the direction of this project since its inception and supported it throughout. He is also entirely responsible for what grasp I have of Giorgio Agamben. And Jeremy Braddock offered much good criticism, called me on a lot of my bullshit, and kept me thinking about materialism. There are also a number of people who helped in more individual and specific capacities. Jacob Seldes brought Mark Leyner’s Tetherballs of Bougainville to my attention. Darius James (whose Negrophobia is the focus of Chapter Three) entertained a lot of my nonsense and grounded the project in reality by spending a whole afternoon showing me around New Haven. Harry Shaw gave me extremely helpful feedback on the section of the project that now forms the conclusion. All of my peers at Cornell, as well my dear friend Jackson Malle, proved deeply needed resources in the fields of professional advice, specific intellectual questions, and emotional support. Toby Bryan helped me conceive of dunamism as an art movement. My parents encouraged and supported me throughout. Without the time and energy and money and guilt they exerted on me I definitely would never have been able to accomplish this. And finally, I wish to thank the one person who kept me sane throughout, and without whose love I don’t know what I’d have done, and who despite (reasonably) having little interest in the subject matter, put up with me working on this for years, the love of my life, Lindsey Haun. iv TABLE OF CONTENTS Introduction: What Closet Film Is 1 Chapter One: The Japanese Closet Film from Akutagawa to Murakami 61 Chapter Two: The Impotentiality of Surrealist Cinema 114 Chapter Three: The Queer Black Closet Film 158 Chapter Four: Badass Literature & The Golden Age of Closet Film? 200 Conclusion: Realism as Potential Cinema 227 Bibliography 240 v INTRODUCTION WHAT CLOSET FILM IS It is a weird and wonderful feeling to write a booklet about something that does not in fact exist. –Eisenstein Closet film is a literary genre defined in part by an absence: the films themselves do not exist. Instead, what we have a is a unique kind of literary text: one rendered in screenplay format, but for which actual film production is neither intended nor, in some cases, even possible. This absence is in some ways even more stark than closet film’s antecedent genre, closet drama, literary (often poetic) works rendered in playscript format. Whereas closet dramas have historically most often simply been read and occasionally performed in private and coterie settings, closet film, for various reasons discussed below, is perhaps even more literary in the sense that closet film production has been and probably will continue to be even less likely than closet drama performance. For example, Percy Bysshe Shelley’s 1819 closet drama, The Cenci, A Tragedy, in Five Acts, a paradigmatic closet drama, was conceived of as unstageable for decades––until it received its first public performances in the late nineteenth century (Catherine Burroughs 217), and later a notable attempt by Antonin Artaud in 1935 (see below). No such record of attempted film production accompanies closet film (yet). In fact, closet film, as a genre, though absolutely parallel to closet drama in several intuitively obvious ways, is itself radically absent in a way closet drama most certainly isn’t. Closet drama bears a long history of scholarly study, and continues to this day to engender a strong critical interest. But no such record exists with closet film, a literary genre which remains almost wholly undiscovered. Not only is the present study the first booklength examination of closet film, but the existing field is constituted solely by a few essays by independent scholar 1 Quimby Melton, whose ongoing online bibliography of closet film constitutes the sole attempt at understanding closet film as such in the English language. But even Melton’s interest in closet film is merely a subset of his more general interest in screenplays and script culture itself, and to that end Melton focuses on what he has termed the “closet screenplay” (more on this terminology below). What seems most striking is not simply that so few critics in film and literature have studied closet film, but that so few have even asked the question in the very first place. Given the history and sustained interest in poetry written as if it were a play, should not there be a corresponding genre of fiction written as if it were a screenplay? Since the screenplay at the formal level constitutes in a direct lineage the cultural offspring of the playscript, is it not the case that we might presume the existence of closet film? Is it not the case that we should expect to be surprised if closet film did not exist? And yet attention to the question of whether there even is a genre of closet film has itself remained marginal. A rare example comes from Nick Salvato’s excellent book on closet drama, Uncloseting Drama: American Modernism and Queer Performance (2010), which ends with a brief discussion of William Burroughs’s The Last Words of Dutch Schultz (1970) as a kind of modern closet film. The novel is a fever dream based on the historical last words of the dying gangster Dutch Schultz, rendered in a vague kind of screenplay formatting, though pastiched throughout with photographs and drawings of film negatives. It turns out that Burroughs’s formal experiment is not a totally singular one. There are, as one might expect, other closet films. But while critics have certainly noted the formal idiosyncrasies of several of the works discussed below, to date Melton’s is the sole attempt to group together the entire body of such texts under the rubric that they are screenplays not intended to be filmed, or are otherwise unfilmable.
Load more

Recommended publications
  • Poetry-Film & the Film Poem
    Poetry-Film & The Film Poem: Some Clarifications Ever since experimental filmmakers and critics starting theorising the concepts behind avant-garde visual explorations, the idea of poetry was seen as a fruitful model for the creative process of the more lyrical side of experimental film practices. The working mode of the narrative-liberated filmmaker seemed somehow analogous to this of the modernist poet. In some cases (like this of Stan Brakhage) even the very lifestyle of the filmmaker resembled that of the romantic poet, as did the modes of production in creating and distributing the work. This appears as somewhat of a contradiction when we read some of the statements / manifestos of film artists, within which they often stress the importance of film as an independent art, suggesting that film could only be a respectable art form if it struggles to work within the specificities of its own language. [The notion of medium-specificity is a commonplace for modernism]. In the opening sequence of ‘The Man With The Movie Camera’, Dziga Vertov writes his manifesto: “The film presents an experiment in the cinematic communication of visible events without the aid of intertitles (a film without intertitles), without the aid of a scenario (a film without a scenario), without the aid of theatre (a film without actors, without sets etc). This experimental work aims at creating a truly international absolute language of cinema based on its total seperation from the language of theatre and literature”1 In this statement Vertov asks audience and filmmakers alike to see filmmaking as an independent art form with its own language, a language that does not need to borrow from other arts to be meaningful.
    [Show full text]
  • Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs
    Extreme Art Film: Text, Paratext and DVD Culture Simon Hobbs The thesis is submitted in partial fulfilment of the requirements for the award of the degree of Doctor of Philosophy of the University of Portsmouth. September 2014 Declaration Whilst registered as a candidate for the above degree, I have not been registered for any other research award. The results and conclusions embodied in this thesis are the work of the named candidate and have not been submitted for any other academic award. Word count: 85,810 Abstract Extreme art cinema, has, in recent film scholarship, become an important area of study. Many of the existing practices are motivated by a Franco-centric lens, which ultimately defines transgressive art cinema as a new phenomenon. The thesis argues that a study of extreme art cinema needs to consider filmic production both within and beyond France. It also argues that it requires an historical analysis, and I contest the notion that extreme art cinema is a recent mode of Film production. The study considers extreme art cinema as inhabiting a space between ‘high’ and ‘low’ art forms, noting the slippage between the two often polarised industries. The study has a focus on the paratext, with an analysis of DVD extras including ‘making ofs’ and documentary featurettes, interviews with directors, and cover sleeves. This will be used to examine audience engagement with the artefacts, and the films’ position within the film market. Through a detailed assessment of the visual symbols used throughout the films’ narrative images, the thesis observes the manner in which they engage with the taste structures and pictorial templates of art and exploitation cinema.
    [Show full text]
  • AESTHETIC PERSPECTIVE in POETRY FILM: a STUDY of CHARLES BUKOWSKI’S “BLUEBIRD” POEM and ITS VISUAL FORM ADAPTATION by MICHAT STENZEL Abeer M
    Global Journal of Arts, Humanities and Social Sciences Vol.6, No.9, pp.54-70, September 2018 ___Published by European Centre for Research Training and Development UK (www.eajournals.org) AESTHETIC PERSPECTIVE IN POETRY FILM: A STUDY OF CHARLES BUKOWSKI’S “BLUEBIRD” POEM AND ITS VISUAL FORM ADAPTATION BY MICHAT STENZEL Abeer M. Refky M. Seddeek1, Amira Ehsan (PhD)2 1Associate Professor, Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt 2College of Language and Communication (CLC), Arab Academy for Science, Technology and Maritime Transport (AASTMT), P.O. Box: 1029, Gamal Abdel Nasser Avenue, Miami, Alexandria, Egypt ABSTRACT: This paper is divided into two parts; the first aims at investigating how poetry film fuses spoken word poetry with visual images and sound to create meanings, connotations and associations stronger than those produced by each genre on its own. The paper studies the stream of consciousness flow of images and nonlinear narrative style as the main features of that genre in addition to the editing/montage aesthetics and the spatio-temporal continuity. It also highlights William Wees’ notion that in the cinema the union of words and images strengthens the film’s ties to realism and sheds light on the Russian film-director Andrei Tarkovsky who developed the filming strategy poetic logic and made poetry assert the potential of the cinematic image as a form of artistic expression. In the second part the paper explores Charles Bukowski’s poem “Bluebird” (1992) and Michat Stenzel’s short film “Bluebird” (2017) by analyzing the verbal and visual forms to prove whether the filmmaker has succeeded in transferring the poet’s message and feelings or not through various tools and techniques.
    [Show full text]
  • The Technological Imaginary of Imperial Japan, 1931-1945
    THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 A Dissertation Presented to the Faculty of the Graduate School of Cornell University in Partial Fulfillment of the Requirements for the Degree of Doctor of Philosophy by Aaron Stephen Moore August 2006 © 2006 Aaron Stephen Moore THE TECHNOLOGICAL IMAGINARY OF IMPERIAL JAPAN, 1931-1945 Aaron Stephen Moore, Ph.D. Cornell University 2006 “Technology” has often served as a signifier of development, progress, and innovation in the narrative of Japan’s transformation into an economic superpower. Few histories, however, treat technology as a system of power and mobilization. This dissertation examines an important shift in the discourse of technology in wartime Japan (1931-1945), a period usually viewed as anti-modern and anachronistic. I analyze how technology meant more than advanced machinery and infrastructure but included a subjective, ethical, and visionary element as well. For many elites, technology embodied certain ways of creative thinking, acting or being, as well as values of rationality, cooperation, and efficiency or visions of a society without ethnic or class conflict. By examining the thought and activities of the bureaucrat, Môri Hideoto, and the critic, Aikawa Haruki, I demonstrate that technology signified a wider system of social, cultural, and political mechanisms that incorporated the practical-political energies of the people for the construction of a “New Order in East Asia.” Therefore, my dissertation is more broadly about how power operated ideologically under Japanese fascism in ways other than outright violence and repression that resonate with post-war “democratic” Japan and many modern capitalist societies as well. This more subjective, immaterial sense of technology revealed a fundamental ambiguity at the heart of technology.
    [Show full text]
  • Files/2014 Women and the Big Picture Report.Pdf>, Accessed 6 September 2018
    The neuroscientific uncanny: a filmic investigation of twenty-first century hauntology GENT, Susannah <http://orcid.org/0000-0003-0091-2555> Available from the Sheffield Hallam University Research Archive (SHURA) at: http://shura.shu.ac.uk/26099/ A Sheffield Hallam University thesis This thesis is protected by copyright which belongs to the author. The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Please visit http://shura.shu.ac.uk/26099/ and http://shura.shu.ac.uk/information.html for further details about copyright and re-use permissions. THE NEUROSCIENTIFIC UNCANNY: A FILMIC INVESTIGATION OF TWENTY-FIRST CENTURY HAUNTOLOGY Susannah Gent A thesis submitted in partial fulfilment of the requirements of Sheffield Hallam University for the degree of Doctor of Philosophy October 2019 Candidate Declaration I hereby declare that: 1. I have not been enrolled for another award of the University, or other academic or professional organisation, whilst undertaking my research degree. 2. None of the material contained in the thesis has been used in any other submission for an academic award. 3. I am aware of and understand the University’s policy on plagiarism and certify that this thesis is my own work. The use of all published or other sources of material consulted have been properly and fully acknowledged. 4. The work undertaken towards the thesis has been conducted in accordance with the SHU Principles of Integrity in Research and the SHU Research Ethics Policy.
    [Show full text]
  • Guy Debord and the Situationist International: Texts and Documents, Edited by Tom Mcdonough G D   S I
    G D S I OCTOBER BOOKS Rosalind E. Krauss, Annette Michelson, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Mignon Nixon, editors Broodthaers, edited by Benjamin H. D. Buchloh AIDS: Cultural Analysis/Cultural Activism, edited by Douglas Crimp Aberrations, by Jurgis Baltrusˇaitis Against Architecture: The Writings of Georges Bataille, by Denis Hollier Painting as Model, by Yve-Alain Bois The Destruction of Tilted Arc: Documents, edited by Clara Weyergraf-Serra and Martha Buskirk The Woman in Question, edited by Parveen Adams and Elizabeth Cowie Techniques of the Observer: On Vision and Modernity in the Nineteenth Century, by Jonathan Crary The Subjectivity Effect in Western Literary Tradition: Essays toward the Release of Shakespeare’s Will, by Joel Fineman Looking Awry: An Introduction to Jacques Lacan through Popular Culture, by Slavoj Zˇizˇek Cinema, Censorship, and the State: The Writings of Nagisa Oshima, by Nagisa Oshima The Optical Unconscious, by Rosalind E. Krauss Gesture and Speech, by André Leroi-Gourhan Compulsive Beauty, by Hal Foster Continuous Project Altered Daily: The Writings of Robert Morris, by Robert Morris Read My Desire: Lacan against the Historicists, by Joan Copjec Fast Cars, Clean Bodies: Decolonization and the Reordering of French Culture, by Kristin Ross Kant after Duchamp, by Thierry de Duve The Duchamp Effect, edited by Martha Buskirk and Mignon Nixon The Return of the Real: The Avant-Garde at the End of the Century, by Hal Foster October: The Second Decade, 1986–1996, edited by Rosalind Krauss, Yve-Alain Bois, Benjamin H. D. Buchloh, Hal Foster, Denis Hollier, and Silvia Kolbowski Infinite Regress: Marcel Duchamp 1910–1941, by David Joselit Caravaggio’s Secrets, by Leo Bersani and Ulysse Dutoit Scenes in a Library: Reading the Photograph in the Book, 1843–1875, by Carol Armstrong Neo-Avantgarde and Culture Industry: Essays on European and American Art from 1955 to 1975, by Benjamin H.
    [Show full text]
  • Audiovisual Translation: a Multimodal Corpus-Based Analy- Sis.” Perspectives: Studies in Translatology, 21:4
    Ayşe Şirin Okyayuz, Bilkent University Power, society and AVT in Turkey: an overview Abstract: The article relates the findings of an ongoing research project that encompasses several decades of AVT in Turkey. Drawing a matrix of relations and interactions between types of AVT (i.e. subtitling, dubbing, remakes, adaptations) and practices (i.e. censoring, choice of AV products) and the political as well as social realities and aspirations of certain periods, the aim is to provide a historical trajectory of AVT to exemplify the specific use of certain types of AVT in line with societal and political aspirations and developments. Lim- ited by the length of an article and the inability to provide AV material in printed format, the article provides an overview of the major eras of AVT and the political and societal shifts that necessitated or brought about changes to the AVT scene in the decades studied. 1. Introduction The discussion of issues such as the use of different types of AVT for specific purposes (i.e. localized adaptations of foreign AV products for building a national identity, dubbing with the standard dialect to support language standardization and learning, providing information flow and familiarity with foreign cultures through subtitling), social and political policies that influence AVT (i.e. tax re- ductions in films imports, foreign/domestic productions, audience viewing rates, censorship organs), power play (i.e. state led AV sector, elitist, ideological, and populist AV productions and translations), actors (i.e. governments, foreign firms and agreements) and technologies (i.e. dubbing, subtitling) are all of interest to the AVT researcher.
    [Show full text]
  • Kipling, Masculinity and Empire
    Kunapipi Volume 18 Issue 1 Article 10 1996 America's Raj: Kipling, Masculinity and Empire Nicholas J. Cull Follow this and additional works at: https://ro.uow.edu.au/kunapipi Part of the Arts and Humanities Commons Recommended Citation Cull, Nicholas J., America's Raj: Kipling, Masculinity and Empire, Kunapipi, 18(1), 1996. Available at:https://ro.uow.edu.au/kunapipi/vol18/iss1/10 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] America's Raj: Kipling, Masculinity and Empire Abstract The posters for Gunga Din promised much: 'Thrills for a thousand movies, plundered for one mighty show'. That show was a valentine to the British Raj, in which three sergeants (engagingly played by Cary Grant, Victor McLaglen, and Douglas Fairbanks, Jr.) defeat marauding hoards of 'natives' with the aid of their 'Uncle Tom' water bearer, Gunga Din (Sam Jaffe)[Plate VII]. Audiences loved it. Its racism notwithstanding, even an astute viewer like Bertolt Brecht confessed: 'My heart was touched ... f felt like applauding and laughed in all the right places'. 1 Outwardly the film had little ot do with the United States. Most of the cast were British-born and its screenplay claimed to be 'from the poem by Rudyard Kipling' .2 Yet the film was neither British or faithful ot Kipling, but solidly American: directed by George Stevens for RKO, with a screenplay by Oxford-educated Joel Sayre and Stevens's regular collaborator Fred Guiol.3 This journal article is available in Kunapipi: https://ro.uow.edu.au/kunapipi/vol18/iss1/10 America's Raj: Kipling, Masculinity, and Empire 85 NICHOLAS J.
    [Show full text]
  • Hollywood Theology: the Commodification of Religion in Twentieth-Century Films Author(S): Jeffery A
    Center for the Study of Religion and American Culture Hollywood Theology: The Commodification of Religion in Twentieth-Century Films Author(s): Jeffery A. Smith Reviewed work(s): Source: Religion and American Culture: A Journal of Interpretation, Vol. 11, No. 2 (Summer 2001), pp. 191-231 Published by: University of California Press on behalf of the Center for the Study of Religion and American Culture Stable URL: http://www.jstor.org/stable/10.1525/rac.2001.11.2.191 . Accessed: 29/01/2013 11:41 Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at . http://www.jstor.org/page/info/about/policies/terms.jsp . JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. University of California Press and Center for the Study of Religion and American Culture are collaborating with JSTOR to digitize, preserve and extend access to Religion and American Culture: A Journal of Interpretation. http://www.jstor.org This content downloaded on Tue, 29 Jan 2013 11:41:14 AM All use subject to JSTOR Terms and Conditions Hollywood Theology: The Commodication of Religion in Twentieth-Century Films Jeffery A. Smith A motion picture is a product formed by the intricate inter- play of lm industry forces and cultural expectations. Hollywood must attract audiences and audiences crave gratication or, perhaps, edication.
    [Show full text]
  • Exploring L.A.'S Hidden Treasures Discover
    CURRENTS Off campus: Where three students are making their mark Exploring L.A.’s ahidden look at five treasures secret spots buried in the urban jungle Dine and Loud Clear: one athlete’s determination& to Discover:two restaurants rising in popularity speak for a muted community a letterfrom the editors Today is the day to discover something new. Or perhaps, to rediscover something lost. It’s all too easy to lose our keys or ID card or even what we’re passionate about. Small aspects of our lives and aspirations become buried over the years, hidden underneath the monotony of routine. So, it’s time to grab your shovel and dig. What exactly are we looking for? Well, hidden treasure of course. It’s time to dig under- neath the surface of the urban jungle and treat it for what it truly is: an adventure. We’re surrounded with beautiful gems just out of sight and untold stories just one more layer deep. They’re not easy to uncover, but the adventure is what makes buried treasure so fun to find. The captivating beauty of the bright city lights and miles of sandy shoreline are not all that this city offers. It’s time to diverge from PCH and forge a road not yet traveled. Google maps can’t take you where we’re going — only a hand-crafted treasure map can. Lucky for you, it’s in your hand. And what better guide than Indiana Jones? College is more than four years behind a desk; it’s a journey.
    [Show full text]
  • The Making of the Independent Short Film, Teatriños: Homenaxe Ao Mineral Do Repolo
    The Making of the Independent Short Film, Teatriños: Homenaxe ao mineral do repolo (Little Theatres: Homage to the Mineral of Cabbage.) Stephanie Dudley Sometime in 2007, I decided to make my first short film. I chose the medium of stop motion puppetry for the film, and all sets, puppets, and decorations were created by hand. The film is about cabbage, and is based on Erín Moure’s poem, Homage to the Mineral of Cabbage. The decision to make this film had been about a 10 years development, and this little cabbage film has since created many waves in my life. I went to art school in the mid 1990s. I majored in Drawing and Painting at Ontario College of Art and Design (now OCAD University), and was mostly interested in trying out different media, or using old media in new ways. So while I painted with oils in the traditional way, on canvas and panels, I also painted with oils on plasticky architectural vellum; or on substrate-less acrylic layers, created by hand, so that the final painting looked like it was painted on a delicate, translucent skin. I took photography classes where I experimented either in the darkroom, or with polaroids and photocopiers, altering images in a way that would make them part painting, part sculpture, part photograph. Without ever using a computer, I thought of myself as a multimedia artist. I did not know how to use Photoshop or any other graphics program. I just wasn’t that interested. Stephanie Dudley Early on in my last year of college, I was involved in an art show, with several of my paintings and mixed-media photography on display in the school’s atrium.
    [Show full text]
  • Bibliography
    Bibliography Abe Kōbō. 2003. The Face of Another. Trans. E. Dale Saunders. New York: Vintage. Abel, Richard. 1984. French Cinema: The First Wave, 1915–1929. Princeton: Princeton University Press. Adamowicz, Elza. 1998. Surrealist Collage in Text and Image: Dissecting the Exquisite Corpse. Cambridge/New York: Cambridge University Press. Ades, Dawn. 1982. Dalí. London: Thames and Hudson. Adorno, Theodor. 2009. In Search of Wagner. Trans. Rodney Livingstone. London: Verso. Adorno, Theodor, and Hanns Eisler. 2010. Composing for the Films. New York: Continuum. Altman, Rick, ed. 1992. Sound Theory/Sound Practice. New York: Routledge. Antonioni, Michelangelo. 1964. Il deserto rosso (Red Desert). Rome: Film Duemila. Anzieu, Didier. 1976. “L’enveloppe sonore du Soi.” Nouvelle Revue de Psychanalyse 13: 161–179. Artaud, Antonin. 1958. The Theater and Its Double. Trans. Mary Caroline Richards. New York: Grove Press. ———. 1970. Œuvres complètes. Paris: Gallimard. Aspley, Keith. 2010. Historical Dictionary of Surrealism. Lanham: Scarecrow Press. © The Author(s) 2018 297 S. T. Brown, Japanese Horror and the Transnational Cinema of Sensations, East Asian Popular Culture, https://doi.org/10.1007/978-3-319-70629-0 298 Bibliography Augoyard, Jean-François, and Henry Torgue. 2005. Sonic Experience: A Guide to Everyday Sounds. Trans. Andra McCartney and David Paquette. Montreal: McGill-Queen’s University Press. Bachnik, Jane M. 1998. “Time, Space and Person in Japanese Relationships.” In Interpreting Japanese Society: Anthropological Approaches, ed. Joy Hendry, 91–116. London/New York: Routledge. Baird, Robert. 2000. “The Startle Effect: Implications for Spectator Cognition and Media Theory.” Film Quarterly 53 (3): 12–24. Balmain, Colette. 2008. Introduction to Japanese Horror Film.
    [Show full text]