Master in Advanced English Studies: Languages and Cultures in Contact
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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. -
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. -
Listening As Agon in the Society of Control You Can Find out More About the Nervous 1
But why return to Nietzsche for an analysis Listening as Agon in of listening-especially listening today in the age of big data and surveillance capitalism? the Society of Control I do so for two reasons: first, to remind us that our current situation is not as novel as we sometimes take it to be; and, second, to make a broader point about what listening is and what a politics of listening might be. Let me take up the second of these points. Nietzsche's polemically broad conception of Christoph Cox interpretation contests the special status of human beings and of human interpretation, Before we move too quickly to discuss asserting that all entities (human, animal, "the politics of listening", I would like to vegetable, mineral, mechanical, etc) are offer some philosophical caveats aimed at engaged in this battle of interpretations. reconfiguring the ontological field in which This is relevant to our consideration of both we understand "listening" and "the political". listening and politics. In the announcement The question of listening seems to me to be for this symposium, the organisers quote fundamentally a question of interpretation, a passage by sound artist Lawrence Abu in the expanded sense in which Nietzsche Hamdan, who writes: "Listening is not a uses the term. For Nietzsche, "to interpret" natural process inherent to our perception is to be confronted with a flow (of words, of the world but rather [is] constructed by sounds, images, information, whatever) and the conditions of the spaces and times to filter it in some way according to some set that engulf us."3 Now, I am very fond of Abu of interests or constraints. -
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 -
William S. Burroughs Reading Wilhelm Reich
humanities Article Genius and Genitality: William S. Burroughs Reading Wilhelm Reich Thomas Antonic Department of German Studies (Institut für Germanistik), University of Vienna, A1010 Vienna, Austria; [email protected] Received: 15 January 2019; Accepted: 16 May 2019; Published: 21 May 2019 Abstract: This article explores the impact of Wilhelm Reich’s theories and writings on the works and thinking of William S. Burroughs. Reich’s significance for Burroughs’ fiction is beyond doubt, as the appearance of Reich’s discoveries and inventions, such as orgones and orgone accumulators, in Burroughs’ major works demonstrates. Yet to date, no attempt has been made in academia to make all those references to Reich in Burroughs’ complete œuvre visible. In order to make the thinking of the Austrian-American psychoanalyst and scientist comprehensible for readers not familiar with Reich, the first section will provide a brief biographical outline. In the subsequent sections, the article will describe how Burroughs and other Beat writers discovered Reich, how and to what extent Burroughs incorporated Reich in his texts throughout his career and what opinions Burroughs expressed about Reich in interviews and letters. For the first time, with a summary as undertaken in this article and by documenting most of the references to Reich in Burroughs’ work, the importance of the former to the latter is revealed in a compact form. Keywords: William S. Burroughs; Wilhelm Reich; beat generation; orgone 1. Introduction At some point, readers familiar with Beat literature have certainly come across the name of Wilhelm Reich or references to one of his discoveries and inventions in books by or about the Beat Generation. -
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.................................................................................... -
Cronenberg V2
!1 BENÉMERITA UNIVERSIDAD AUTONOMA DE PUEBLA FACULTAD DE FILOSOFÍA Y LETRAS DAVID CRONENBERG: CUERPO Y TECNOLOGÍA EN SUS PRIMERAS PELÍCULAS TESIS PRESENTADA PARA OBTENER EL TITULO DE MAESTRÍA EN ESTÉTICA Y ARTE PRESENTADA POR HERBERT JULIÁN PERDOMO RUBIO ASESOR: DR. ALBERTO CARRILLO CANÁN PUEBLA, PUEBLA, MX JUNIO DE 2015 !2 A la memoria de Gianna !3 “ A veces ni siquiera quiero ver sus películas cuando se estrenan, pero al final voy, y para mi son una experiencia catártica… Cronenberg es algo sobre lo que lamentablemente no ejercemos control alguno, en la medida en que no tenemos control sobre nuestra propia destrucción” MARTIN SCORSESE !4 CONTENIDO Pág. INTRODUCCIÓN 6 1. CRONENBERG: CINE DE INSPIRACIÓN CIENTISTA 9 1.1 ¿ QUIÈN ES DAVID CRONENBERG? 9 1.2 ZEITGEST 14 1.3 BODY OF WORK 15 2. DOS PELÍCULAS EXPERIMENTALES 60 2.1 STEREO 61 2.2 CRIMES OF THE FUTURE 98 3. BODY AND TECH ON EARLY FILMS 108 CONCLUSIONES 139 DISCUSIÓN Y PUENTE 141 REFERENCIAS 143 LISTA DE FIGURAS 145 INTRODUCCIÓN !5 El Canadiense David Cronenberg es uno de los artistas más aclamados, innovadores y originales de las últimas tres décadas, su nombre cada día adquiere mayor relevancia en las investigaciones sobre cine, estética e historia del arte contemporáneo. De forma permanente, editoriales, portales web y publicaciones universitarias y de divulgación científica, presentan todo tipo de estudios críticos y análisis sobre el director; prove- nientes de ramas tan diversas como la literatura, los estudios culturales, los estudios de género, el psicoanálisis, el marxismo, el análisis cinematográfico, el post-estructuralis- mo, la filosofía y la lingüística. -
“I Was in a Position to Dismantle It”: Industrial Music
“I WAS IN A POSITION TO DISMANTLE IT”: INDUSTRIAL MUSIC APPROPRIATIONS OF WILLIAM S. BURROUGHS by Joseph Vecchio, A.A., B.A. A thesis submitted to the Graduate Council of Texas State University in partial fulfillment of the requirements for the degree of Master of Music with a major in Music May 2014 Committee Members: Kevin Mooney, Chair Ludim Pedroza Charles Ditto COPYRIGHT by Joseph Vecchio 2014 FAIR USE AND AUTHOR’S PERMISSION STATEMENT Fair Use This work is protected by the Copyright Laws of the United States (Public Law 94-553, section 107). Consistent with fair use as defined in the Copyright Laws, brief quotations from this material are allowed with proper acknowledgment. Use of this material for financial gain without the author’s express written permission is not allowed. Duplication Permission As the copyright holder of this work I, Joseph Vecchio, authorize duplication of this work, in whole or in part, for educational or scholarly purposes only. DEDICATION To Ruth, with all of my love. ACKNOWLEDGEMENTS I would like to thank Dr. Kevin Mooney for his unwavering support for this project, enthusiasm about the material, and wonderful editorial remarks. Thank you to Dr. Ludim Pedroza for being a true inspiration for a multidisciplinary approach to musicology. Thank you to Dr. Charles Ditto for his membership on my committee and eagerness to see this project carried to fruition. Ruth Vecchio, your knowledge of industrial music is encyclopedic and has been an extremely valuable tool in aiding the completion of this project, and your help with editing has been invaluable.