Toxic Masculinity Represented by Patrick Bateman in Mary Harron's
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I1465 I SHOT ANDY WARHOL (USA, 1996) (Other Titles: Ho Sparato a Andy Warhol)
I1465 I SHOT ANDY WARHOL (USA, 1996) (Other titles: Ho sparato a Andy Warhol) Credits: director, Mary Harron ; writers, Mary Harron, Daniel Minahan. Cast: Lili taylor, Jared Harris, Stephen Dorff, Martha Plimpton. Summary: Biographical melodrama set in 1960s New York City. A journey into the cultural whirlwind of events surrounding Valerie Solanas’ shooting of pop-art superstar Andy Warhol. Solanis (Taylor) arrived in mid-‘60s New York City with a single-minded mission: to spread the word on female superiority. While feverishly putting her radical ideas down on paper, she becomes a fringe member of the psychedelic entourage surrounding Andy Warhol (Harris). But when her feminist zeal grows too bizarre and violent, even for this avant-garde circle, the consequences are explosive. Includes passing references to the anti-Vietnam War movement. Adams, Thelma. [I shot Andy Warhol] New York post (May 1, 1996), p. 39. [Reprinted in Film review annual 1997] Alexander, Al. “‘Warhol’ a fascinating look at a tragedy” Patriot ledger [Quincy, MA] (May 18, 1996), p. 36. Alleva, Richard. “Insane times: ‘Warhol’ & ‘Anne Frank’” Commonweal 123 (Jul 12, 1996), p. 21-2. Andersen, Soren. “Review: Fact-based ‘I shot Andy Warhol,’ is fascinating film” News tribune [Tacoma, WA] (Jun 14, 1996), SoundLife, p. SL6. Ansen, David. “When the fun ended” Newsweek 127/19 (May 6, 1996), p. 78. [Reprinted in Film review annual 1997] Artner, Alan G. “Andy Warhol: His 15 minutes never ended” Chicago tribune (May 19, 1996), Arts & entertainment, p. 1. B., L. “I shot Andy Warhol” Art in America 84 (Sep 1996), p. 40-41. -
Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers
Reading the Body in Bret Easton Ellis’s American Psycho (1991) David Roche To cite this version: David Roche. Reading the Body in Bret Easton Ellis’s American Psycho (1991): Confusing Signs and Signifiers. Groupe de Recherches Anglo-Américaines de Tours, Groupe de recherches anglo-américaines de Tours, Université de Tours, 1984-2008, 2009, 5 (1), pp.124-38. halshs-00451731 HAL Id: halshs-00451731 https://halshs.archives-ouvertes.fr/halshs-00451731 Submitted on 6 Sep 2010 HAL is a multi-disciplinary open access L’archive ouverte pluridisciplinaire HAL, est archive for the deposit and dissemination of sci- destinée au dépôt et à la diffusion de documents entific research documents, whether they are pub- scientifiques de niveau recherche, publiés ou non, lished or not. The documents may come from émanant des établissements d’enseignement et de teaching and research institutions in France or recherche français ou étrangers, des laboratoires abroad, or from public or private research centers. publics ou privés. 124 GRAAT On-Line issue #5.1 October 2009 Reading the Body in Bret Easton Ellis's American Psycho (1991): Confusing Signs and Signifiers David Roche Université de Bourgogne In Ellis’s scandalous end-of-the-eighties novel American Psycho , the tale of Patrick Bateman—a Wall Street yuppie who claims to be a part-time psychopath— the body is first conceived of as a visible surface which must conform to the norms of the yuppies’ etiquette. I use the word “etiquette,” which Patrick uses (231) and which I oppose to the word “ethics” which suggests moral depth, to stretch how superficial the yuppie’s concerns are and to underline, notably, that the yuppie’s sense of self is limited to his social self, his public appearance, his self-image, which I relate to D. -
Unreliable Narration in Bret Easton Ellis╎ American Psycho
Current Narratives Volume 1 Issue 1 Narrative Inquiry: Breathing Life into Article 6 Talk, Text and the Visual January 2009 Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Jennifer Phillips University of Wollongong, [email protected] Follow this and additional works at: https://ro.uow.edu.au/currentnarratives Recommended Citation Phillips, Jennifer, Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content, Current Narratives, 1, 2009, 60-68. Available at:https://ro.uow.edu.au/currentnarratives/vol1/iss1/6 Research Online is the open access institutional repository for the University of Wollongong. For further information contact the UOW Library: [email protected] Unreliable narration in Bret Easton Ellis’ American Psycho: Interaction between narrative form and thematic content Abstract In this paper I analyse the narrative technique of unreliable narration in Bret Easton Ellis’ American Psycho (1991). Critics have been split about the reliability of Patrick Bateman, the novel’s gruesome narrator- protagonist. Using a new model for the detection of unreliable narration, I show that textual signs indicate that Patrick Bateman can be interpreted as an unreliable narrator. This paper reconciles two critical debates: (1) the aforementioned debate surrounding American Psycho, and (2) the debate surrounding the concept of unreliable narration itself. I show that my new model provides a solution to the weaknesses which have been identified in the rhetorical and cognitive models previously used to detect unreliable narration. Specifically, this new model reconciles the problematic reliance on the implied author in the rhetorical model, and the inconsistency of textual signs which is a weakness of the cognitive approach. -
There Is an Idea of a Patrick Bateman, Some Kind of Abstraction, but There
1 “…there is an idea of a Patrick Bateman, some kind of abstraction, but there is no real me, only an entity, something illusory, and though I can hide my cold gaze and you can shake my hand and feel flesh gripping yours and maybe you can even sense our lifestyles are probably comparable: I simply am not there.” Bret Easton Ellis, author of the controversial book American Psycho (1991) puts forward the thought that mind and body are distinct. The quote I shall be discussing is one of the protagonists’ (Patrick Bateman’s) key self-analysis, in which he believes that even though he physically exists, he is nothing more than an illusion and an abstraction. Bateman’s feelings of absence are reinforced by his numerous internal monologues, this quote being one of them. I will use Rene Descartes’ meditations along with the concept of the self in order to differentiate between mind and body, and to conclude whether Bateman is really not there. Firstly I will look at the concept of the self. Self-analysis is the first step to understand who you are, and self-conceptualization is a cognitive component of oneself. Once one is fully aware of oneself, that person then has a concept of himself/herself. This concept is usually broken down into two parts: The Existential Self and The Categorical Self. The existential self is the sense we get of being different from those around us, and the realization of the constancy of the self. The categorical self is when one realizes that he or she is distinct as well as an object in this world, thus having properties that may be experienced, just like any other object. -
Wonder Waif Meets Super Neuter
Wonder Waif Meets Super Neuter CATHERINE LORD “As far as I’m concerned, the guy was a fucking saint.”1 The fucking saint is Michel Foucault. The guy who wrote the sentence is David Halperin, whose Saint Foucault: Toward a Gay Hagiography is one of the most battered books in my library. I scribble and underline not because I revere Michel Foucault, or David, although I do, in different ways, but because I cannot resist a good polemic: Oscar Wilde’s De Profundis, for example, Malcolm X on white devils, and Yvonne Rainer’s No to everything she could think of in 1965. To write a polemic is a for- mal challenge. It is to connect the most miniscule of details with the widest of panoramas, to walk a tightrope between rage and reason, to insist that ideas are nothing but lived emotion, and vice versa. To write a polemic is to try to dig oneself out of the grave that is the margin, that already shrill, already colored, already feminized, already queered location in which words, any words, any com- bination of words are either symptoms of madness or proof incontrovertible of guilt by association. Halperin’s beatification of Foucault is a disciplined absur- dity, at once an evisceration of homophobia and an aria to the fashioning of a queer self. You don’t get to be a saint without pulling off a miracle or two. Foucault’s History of Sexuality was, says Halperin, the “single most important source of political 1. David M. Halperin, Saint Foucault: Towards a Gay Hagiography (New York: Oxford University Press, 1995), p. -
Works Cited – Films
Works cited – films Ali (Michael Mann, 2001) All the President’s Men (Alan J Pakula, 1976) American Beauty (Sam Mendes, 1998) American History X (Tony Kaye, 1998) American Psycho (Mary Harron, 2000) American Splendor (Shari Springer Berman and Robert Pulcini, 2003) Arlington Road (Mark Pellington, 1999) Being There (Hal Ashby, 1980) Billy Elliott (Stephen Daldry, 2000) Black Christmas (Bob Clark, 1975) Blow Out (Brian De Palma, 1981) Bob Roberts (Tim Robbins, 1992) Bowling for Columbine (Michael Moore, 2002) Brassed Off (Mark Herman, 1996) The Brood (David Cronenberg, 1979) Bulworth (Warren Beatty, 1998) Capturing the Friedmans (Andrew Jarecki, 2003) Control Room (Jehane Noujaim, 2004) The China Syndrome (James Bridges, 1979) Chinatown (Roman Polanski, 1974) Clerks (Kevin Smith, 1994) Conspiracy Theory (Richard Donner, 1997) The Conversation (Francis Ford Coppola, 1974) The Corporation (Jennifer Abbott and Mark Achbar, 2004) Crumb (Terry Zwigoff, 1994) Dave (Ivan Reitman, 1993) The Defector (Raoul Lévy, 1965) La Dolce Vita (Federico Fellini, 1960) Dr Strangelove, or: How I Learned to Stop Worrying and Love the Bomb (Stanley Kubrick, 1964) Evil Dead II (Sam Raimi, 1987) 201 Executive Action (David Miller, 1973) eXistenZ (David Cronenberg, 1999) The Exorcist (William Friedkin, 1973) Fahrenheit 9/11 (Michael Moore, 2004) Falling Down (Joel Schumacher, 1993) Far From Heaven (Todd Haynes, 2002) Fight Club (David Fincher, 1999) The Firm (Sydney Pollack, 1993) The Fly (David Cronenberg, 1986) The Forgotten (Joseph Ruben, 2004) Friday the 13th -
A Retrospective Reading of Glamorama's (1998) Reception1
Re1•ista de Estudios Norteamerica11os. 11. º JO (2004), pp. 47 - 56 WHEN CONTEXT HIDES CONTENT: A RETROSPECTIVE READING OF GLAMORAMA'S (1998) RECEPTION1 SONIA B AELO ALLUÉ Universidad de Zaragoza This essay aims at studying the reception of Glamorama (1998), the Iatest novel to date of Bret Easton Ellis, one of the most controversial contemporary US authors. The analysis of this reception and its conclusions goes well beyond the specific case of a single author and constitutes, rather, a reflection of a cultural trend that usually takes place in the reception of literary works. This study delves into a series of questions: do contemporary authors' public personae play an important role in the way their works are interpreted? Is there an obsession with considering a literary work in relation to previous works of the same author? Do reviews of literary works deal with literary merit/demerit at ali? These are questions that pop up as we analyze the type of immediate reviews that the publication of Glamorama brought forth in the media, especially newspapers and magazines. The study of this reception will be used as basis to answer these introductory questions and to examine the role that context plays in the reception of literary works. The fact that these questions arise may support the belief that literary texts cannot be studied on their own anymore. As Tony Bennett claims, when analyzing a literary work one has to take into account «that everything which has been written about it, everything which has been collected on it, becomes attached to it - like shells on a rock by the seashore forming a whole incrustation» (1982: 3) (Klinger 107). -
Which Way Is the Front Line from Here? the Life and Time of Tim Hetherington
Mongrel Media Presents WHICH WAY IS THE FRONT LINE FROM HERE? THE LIFE AND TIME OF TIM HETHERINGTON A film by Sebastian Junger (79 min., USA, 2013) Language: English Distribution Publicity Bonne Smith Star PR 1028 Queen Street West Tel: 416-488-4436 Toronto, Ontario, Canada, M6J 1H6 Fax: 416-488-8438 Tel: 416-516-9775 Fax: 416-516-0651 E-mail: [email protected] E-mail: [email protected] www.mongrelmedia.com High res stills may be downloaded from http://www.mongrelmedia.com/press.html For Immediate Release WHICH WAY IS THE FRONT LINE FROM HERE? THE LIFE AND TIME OF TIM HETHERINGTON A MOVING PORTRAIT OF THE ACCLAIMED WAR PHOTOGRAPHER AND FILMMAKER BY JOURNALIST SEBASTIAN JUNGER HIS “RESTREPO” CO-DIRECTOR On April 20, 2011, shortly after the release of his documentary “Restrepo” — and only six weeks after attending the Oscar® ceremony as a nominee — photographer and filmmaker Tim Hetherington was killed by mortar fire in the city of Misrata, Libya, where he’d been covering the civil war. He bled out in the back of a pick-up truck while being raced to the hospital, comforted by a Spanish photojournalist who was holding his hand and trying to keep him awake. Those moments ended a brilliant ten-year career in which Hetherington not only covered such dramatic frontline stories as Liberia and Afghanistan, but also transcended the conventional boundaries of image-making to become one of the most important journalists of his generation. In the powerful new feature-length HBO documentary WHICH WAY IS THE FRONT LINE FROM HERE? THE LIFE AND TIME OF TIM HETHERINGTON, bestselling author Sebastian Junger (“The Perfect Storm,” “War”), Hetherington’s “Restrepo” co-director, traces his close friend’s work across the world's battlefields to reveal what made him such a singular talent — and remarkable human being. -
AMERICAN PSYCHO by Mary Harron and Guinevere Turner
AMERICAN PSYCHO by Mary Harron and Guinevere Turner Based on the novel by Bret Easton Ellis Fourth Draft November 1998 INT. PASTELS RESTAURANT- NIGHT An insanely expensive restaurant on the Upper East Side. The decor is a mixture of chi-chi and rustic, with swagged silk curtains, handwritten menus and pale pink tablecloths decorated with arrangements of moss, twigs and hideous exotic flowers. The clientele is young, wealthy and confident, dressed in the height of late-eighties style: pouffy Lacroix dresses, slinky Alaïa, Armani power suits. CLOSE-UP on a WAITER reading out the specials. WAITER With goat cheese profiteroles and I also have an arugula Caesar salad. For entrées tonight I have a swordfish meatloaf with onion marmalade, a rare-roasted partridge breast in raspberry coulis with a sorrel timbale... Huge white porcelain plates descend on very pale pink linen table cloths. Each of the entrees is a rectangle about four inches square and look exactly alike. CLOSE-UP on various diners as we hear fragments of conversation. "Is that Charlie Sheen over there?" "Excuse me? I ordered cactus pear sorbet." WAITER And grilled free-range rabbit with herbed French fries. Our pasta tonight is a squid ravioli in a lemon grass broth... CLOSE-UP on porcelain plates containing elaborate perpendicular desserts descending on another table. PATRICK BATEMAN, TIMOTHY PRICE, CRAIG MCDERMOTT and DAVID VAN PATTEN are at a table set for four. They are all wearing expensively cut suits and suspenders and have slicked-back Script provided for educational purposes. More scripts can be found here: http://www.sellingyourscreenplay.com/library hair. -
Christian Bale Biography - Life, Family, Children, Parents, Name, Story, History, Wife, Mother, Young
3/5/2020 Christian Bale Biography - life, family, children, parents, name, story, history, wife, mother, young World Biography (../in… / A-Ca (index.html) / Christian Bale Bio… Christian Bale Biography Christian Bale © Axel/Zuma/Corbis. January 30, 1974 • Pembrokeshire, Wales Actor Christian Bale has performed a feat that is astonishing for most Hollywood actors. Although he became a professional performer at age ten and a star at age thirteen when he played the lead in Steven Spielberg's World War II epic Empire of the Sun, Bale did not follow the usual path of the child actor. Many fall prey to the temptations of early fame and quite a few struggle to make the transition to adult movie roles—not the Welsh-born Bale, who shunned the limelight and instead focused on building an impressive body of work. Acting steadily since the late 1980s, Bale has appeared in over twenty-five films, most notably American Psycho (2000), and the critically acclaimed independent film, The Machinist (2004). Even as an adult, the modest actor steers clear of the spotlight; but considering he donned a flowing black cape to appear in Batman Begins (2005), he may not be able to maintain his usual low profile. After all, everyone wants to know the man behind the mask. Born into show biz Christian Charles Philip Bale was born on January 30, 1974, in Pembrokeshire, Wales, into a family with a long history in entertainment. His grandfather was a stand-up comic and children's entertainer; his great-uncle, Rex, was an actor; and his mother, Jenny, was a former circus performer. -
Dga Independent Filmmakers
Ti West directing In a Valley of Violence INDEPENDENTDGA FILMMAKERS Nicole Holofcener directing Enough Said Dee Rees directing Mudbound It’s YOUR film. The Directors Guild of America is a powerful force that can help you realize your Rodrigo Garcia directing Last Days in the Desert vision regardless of budget. Find out what the DGA is all about. Ryan Coogler directing Creed GREETINGS FROM DGA PRESIDENT THOMAS SCHLAMME Dear Filmmaker: What is independent filmmaking today? Traditionally, independent We support our members working in independent film by films are those that are produced outside of the studio system. More protecting their rights, as well as providing them with the realistically, in the current landscape, with streaming services, day and flexibility to do projects they are passionate about. The Guild’s date releases and ever-changing distribution models, independent has Independent Directors Committees are a concrete embodiment taken on a feeling of otherness – something not mainstream. of this commitment. These Committees – one based in New York and the other based in Los Angeles – host regular gatherings for And here you are. You’ve made a movie that caught attention and it’s independent and low-budget directors. The Committees have playing at a festival or maybe you’ve been lucky enough to secure a also established the very successful Director’s Finder Screening distribution deal. As a director, you may think your responsibilities end Series, which regularly showcases unreleased independent films once the film is completed. Ideally, you’ve handled every creative choice directed by DGA members for an audience of independent during pre-production, through production and into post. -
Consumerism's Serial Annihilation of Women and the Self in American Psycho
Fast Capitalism ISSN 1930-014X Volume 13 • Issue 1 • 2016 doi:10.32855/fcapital.201601.008 “Inside Doesn’t Matter”: Consumerism’s Serial Annihilation of Women and the Self in American Psycho Reagan Ross That…consumption is no longer restricted to the necessities but, on the contrary, mainly concentrates on the superfluities of life…harbors the grave danger that eventually no object of the world will be safe from consumption and annihilation through consumption. — (Arendt, 1958: 133) Perhaps no film more radically reveals the “serial killer” (cannibalistic) nature of consumerism than American Psycho (2000, Mary Harron). The implications of this disturbing “reality” are cataclysmically far reaching: The end of the world may not come from some tangible material catastrophe (at least insofar as it isn’t a corollary of this dehumanization process); rather, more insidiously, it may come via a psychological de-humanization process whereby we literally lose our humanity from the inside out. To understand this development, the film didactically reveals an all- consuming consumption fixation that begins with a food fetish but then is extended to the consumption of women in particular, Others in general, and, most disturbingly – and informing the first two – the “self.” The Political Didactic Before I discuss this film, I want to defend the importance of the popular political film (and I would strongly argue that American Psycho is one of the most radical political films ever to come out of Hollywood as I will show in this paper). Indeed, I would argue that the progressive (and subversive) potential of popular cinema in general is substantial.