David Cronenberg
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L'a-Réalité Virtuelle / Existenz De David Cronenberg
Document généré le 26 sept. 2021 04:42 24 images L’a-réalité virtuelle eXistenZ de David Cronenberg Marcel Jean Stanley Kubrick Numéro 97, été 1999 URI : https://id.erudit.org/iderudit/24985ac Aller au sommaire du numéro Éditeur(s) 24/30 I/S ISSN 0707-9389 (imprimé) 1923-5097 (numérique) Découvrir la revue Citer ce compte rendu Jean, M. (1999). Compte rendu de [L’a-réalité virtuelle / eXistenZ de David Cronenberg]. 24 images, (97), 50–51. Tous droits réservés © 24 images, 1999 Ce document est protégé par la loi sur le droit d’auteur. L’utilisation des services d’Érudit (y compris la reproduction) est assujettie à sa politique d’utilisation que vous pouvez consulter en ligne. https://apropos.erudit.org/fr/usagers/politique-dutilisation/ Cet article est diffusé et préservé par Érudit. Érudit est un consortium interuniversitaire sans but lucratif composé de l’Université de Montréal, l’Université Laval et l’Université du Québec à Montréal. Il a pour mission la promotion et la valorisation de la recherche. https://www.erudit.org/fr/ e_X_lSten_^__ de David Cronenberg L'A-RÉALITÉ VIRTUELLE PAR MARCEL JEAN n ne s'étonnera guère de constater O que les personnages d'eXistenZ ont, dans le bas du dos, une sorte de prise élec trique (un «bioport») qui leur permet de se brancher directement aux jeux de réalité virtuelle qu'ils utilisent. En effet, les habitués de l'œuvre de Cronenberg savent que chez lui, tout passe par le corps. Il n'y a pas, chez l'auteut de Scanners, de sépararion entre le corps et l'esprit, de sorte qu'un jeu est néces sairement quelque chose de physique. -
Self-Negating Images: Towards An-Iconology †
Proceedings Self-Negating Images: Towards An-Iconology † Andrea Pinotti Department of Philosophy “Piero Martinetti”, Università Statale di Milano, 20122 Milano, Italy; [email protected] † Presented at the International and Interdisciplinary Conference IMMAGINI? Image and Imagination between Representation, Communication, Education and Psychology, Brixen, Italy, 27–28 November 2017. Published: 13 December 2017 Abstract: Recent developments in image-making techniques have resulted in a drastic blurring of the threshold between the world of the image and the real world. Immersive and interactive virtual environments have enabled the production of pictures that elicit in the perceiver a strong feeling of being incorporated in a new and autonomous world. In doing so, they negate themselves as “images-of-something”, as icons: they are veritable “an-icons”. This kind of picture undermines the mainstream representationalist paradigm of Western image theories: “presentification” rather than representation is at stake here. My paper will address this challenging iconoscape, arguing for the necessity of a specific methodological approach—namely, an-iconology. Keywords: an-iconology; image theory; media archaeology; presence; representation; immersivity; interactivity; avatar; embodiment; immediacy 1. Introduction The contemporary scenario of image production and consumption is characterized by an ever- increasing blurring of the distinction between image and reality. Immersivity and interactivity in virtual environments are able to elicit -
Sight & Sound Films of 2007
Sight & Sound Films of 2007 Each year we ask a selection of our contributors - reviewers and critics from around the world - for their five films of the year. It's a very loosely policed subjective selection, based on films the writer has seen and enjoyed that year, and we don't deny them the choice of films that haven't yet reached the UK. And we don't give them much time to ponder, either - just about a week. So below you'll find the familiar and the obscure, the new and the old. From this we put together the top ten you see here. What distinguishes this particular list is that it's been drawn up from one of the best years for all-round quality I can remember. 2007 has seen some extraordinary films. So all of the films in the ten are must-sees and so are many more. Enjoy. - Nick James, Editor. 1 4 Months, 3 Weeks and 2 Days (Cristian Mungiu) 2 Inland Empire (David Lynch) 3 Zodiac (David Fincher) = 4 I’m Not There (Todd Haynes) The Lives of Others (Florian Henckel von Donnersmarck) 6 Silent Light (Carlos Reygadas) = 7 The Assassination of Jesse James by the Coward Robert Ford (Andrew Dominik) Syndromes and a Century (Apichatpong Weerasethakul) No Country for Old Men (Ethan and Joel Coen) Eastern Promises (David Cronenberg) 1 Table of Contents – alphabetical by critic Gilbert Adair (Critic and author, UK)............................................................................................4 Kaleem Aftab (Critic, The Independent, UK)...............................................................................4 Geoff Andrew (Critic -
HL8028 Monsters in Literature
HL 8028: “Monsters in Literature and Film” “He who fights with monsters should look to it that he himself does not become a monster. And when you gaze long into an abyss the abyss also gazes into you.” —Friedrich Nietzsche, Beyond Good and Evil Instructor: Joshua Lam, PhD Email: [email protected] Meeting Time: Wednesdays, 3:30-6:30PM Meeting Place: LT29 (Lecture Theater 29), Block SS2 SS2-B1-16 Course Description This course will introduce you to the literary and cultural study of “monsters” in the modern era, from nineteenth-century gothic literature, through modernism, to the postmodern and contemporary period. The course will introduce you to basic practices of interpretation and analysis, as well as fundamental elements of popular genres in film and literature, including horror, science fiction, and fantasy. Using close reading of literary and visual narratives, our study of these texts will include attention to their historical and cultural backgrounds; to issues of race, gender, sexuality, and disability; and to technology and definitions of the human. The course will include fiction and film, as well as supplementary poetry, music, and visual art. Core Texts to Purchase (2): 1. Octavia Butler, Fledgling. Grand Central, 2007. ISBN: 0446696161 2. Franz Kafka, The Metamorphosis, trans. Susan Bernofsky. Norton, 2014. ISBN: 0393347095 *Note: There are many English translations of The Metamorphosis, but I’d prefer you use the version listed here. It’s much easier to read and funnier than the others. Core Texts to Read: All other required texts will be made available online (NTU Learn). Additional supplementary material (not subject to examination) may be shown or distributed in class. -
The Good, the Bad, and the Other the Representation of Pregnancy
The Good, The Bad, and The Other The Representation of Pregnancy and Childbirth in American Horror Film from 1968 to 1979 Saoirse Carey Submitted to the Department of Design and Visual Arts in candidacy for the Bachelor of Arts (Hons) Design for Stage and Screen Character Makeup Design Faculty of Film Art and Creative Technologies 2021 1 This dissertation is submitted by the undersigned to the Institute of Art Design and Technology, Dun Laoghaire in partial fulfilment for the BA (Hons) in Design for Stage and Screen. It is entirely the author’s own work, except where noted, and has not been submitted for an award from this or any other educational institution. Signed: Saoirse Carey 2 Acknowledgements I would first like to thank my supervisors, Alice Rekab and Elaine Sisson, for the endless support, guidance and feedback. I would also like to thank Caitlin O’Donnell and Saoirse Whelan for always being there and providing insight, critic and support in every project I do. Finally, I would like to thank my girlfriend, Robyn, for watching all of these films with me, and taking time to read over my work and give feedback. 3 Abstract: This study concerns itself with the representation of mothers, pregnancy and childbirth in American horror film from 1968 to 1979. I explored three of these films; Roman Polanski’s Rosemary’s Baby (1968), David Cronenberg’s The Brood (1979) and Ridley Scott’s Alien (1979). The study queries the sudden increase in horror films which explore ideas of pregnancy and birth from this time. This study also sets out to evaluate the representations of the mother figures in these films to investigate the intent of these films. -
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Acknowledgements Publisher AN Cheongsook, Chairperson of KOFIC 206-46, Cheongnyangni-dong, Dongdaemun-gu. Seoul, Korea (130-010) Editor in Chief Daniel D. H. PARK, Director of International Promotion Department Editors KIM YeonSoo, Hyun-chang JUNG English Translators KIM YeonSoo, Darcy PAQUET Collaborators HUH Kyoung, KANG Byeong-woon, Darcy PAQUET Contributing Writer MOON Seok Cover and Book Design Design KongKam Film image and still photographs are provided by directors, producers, production & sales companies, JIFF (Jeonju International Film Festival), GIFF (Gwangju International Film Festival) and KIFV (The Association of Korean Independent Film & Video). Korean Film Council (KOFIC), December 2005 Korean Cinema 2005 Contents Foreword 04 A Review of Korean Cinema in 2005 06 Korean Film Council 12 Feature Films 20 Fiction 22 Animation 218 Documentary 224 Feature / Middle Length 226 Short 248 Short Films 258 Fiction 260 Animation 320 Films in Production 356 Appendix 386 Statistics 388 Index of 2005 Films 402 Addresses 412 Foreword The year 2005 saw the continued solid and sound prosperity of Korean films, both in terms of the domestic and international arenas, as well as industrial and artistic aspects. As of November, the market share for Korean films in the domestic market stood at 55 percent, which indicates that the yearly market share of Korean films will be over 50 percent for the third year in a row. In the international arena as well, Korean films were invited to major international film festivals including Cannes, Berlin, Venice, Locarno, and San Sebastian and received a warm reception from critics and audiences. It is often said that the current prosperity of Korean cinema is due to the strong commitment and policies introduced by the KIM Dae-joong government in 1999 to promote Korean films. -
“No Reason to Be Seen”: Cinema, Exploitation, and the Political
“No Reason to Be Seen”: Cinema, Exploitation, and the Political by Gordon Sullivan B.A., University of Central Florida, 2004 M.A., North Carolina State University, 2007 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2017 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Gordon Sullivan It was defended on October 20, 2017 and approved by Marcia Landy, Distinguished Professor, Department of English Jennifer Waldron, Associate Professor, Department of English Daniel Morgan, Associate Professor, Department of Cinema and Media Studies, University of Chicago Dissertation Advisor: Adam Lowenstein, Professor, Department of English ii Copyright © by Gordon Sullivan 2017 iii “NO REASON TO BE SEEN”: CINEMA, EXPLOITATION, AND THE POLITICAL Gordon Sullivan, PhD University of Pittsburgh, 2017 This dissertation argues that we can best understand exploitation films as a mode of political cinema. Following the work of Peter Brooks on melodrama, the exploitation film is a mode concerned with spectacular violence and its relationship to the political, as defined by French philosopher Jacques Rancière. For Rancière, the political is an “intervention into the visible and sayable,” where members of a community who are otherwise uncounted come to be seen as part of the community through a “redistribution of the sensible.” This aesthetic rupture allows the demands of the formerly-invisible to be seen and considered. We can see this operation at work in the exploitation film, and by investigating a series of exploitation auteurs, we can augment our understanding of what Rancière means by the political. -
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. -
The Influence of Technology on Human Body and Mind in David Cronenberg’S Films
Akademia Techniczno-Humanistyczna w Bielsku-Białej Wydział Humanistyczno-Społeczny Kierunek studiów: filologia Specjalność: filologia angielska Mateusz Kuboszek The Influence of Technology on Human Body and Mind in David Cronenberg’s Films Nr albumu studenta: 24263 Praca licencjacka napisana pod kierunkiem dra Tomasza Sikory Podpis promotora Bielsko-Biała 2007 TABLE OF CONTENTS: INTRODUCTION…………………….………………………....……..…. 3 Technology Is Us…………………………………………………………..…. 4 1. CANADIAN DISCOURSE ON TECHNOLOGY…………….……. 7 George Grant and the “darkness of technical age”……………..…...………... 8 Marshall McLuhan’s “cosmic man”…………………………….………...… 11 The Canadianness of David Cronenberg……………...………..........……… 14 2. THE BODY, MIND, AND TECHNOLOGY IN EXISTENZ AND CRASH……………………………………………………………………...17 New Flesh Still eXistS……………………………………………..……...... 19 Metal Crashes with Flesh…………………………………………………… 27 CONCLUSION……………………………...……...……....…..………... 32 STRESZCZENIE..……………………………………..……...…………. 34 WORKS CITED………….………………………………..…...……...… 35 2 Introduction Technology does not belong endemically to the sphere of science any longer. It has diffused into a variety of other discourses including cultural, gender, political studies as well as the art, painting and cinematography. Technology has become the subject matter of academy scholars, philosophers, and thinkers. It is the source of inspiration for writers, painters, and film makers. At first sight technology is associated with its practical usage; after all, people of all developed countries make use of the fruits -
1,000 Films to See Before You Die Published in the Guardian, June 2007
1,000 Films to See Before You Die Published in The Guardian, June 2007 http://film.guardian.co.uk/1000films/0,,2108487,00.html Ace in the Hole (Billy Wilder, 1951) Prescient satire on news manipulation, with Kirk Douglas as a washed-up hack making the most of a story that falls into his lap. One of Wilder's nastiest, most cynical efforts, who can say he wasn't actually soft-pedalling? He certainly thought it was the best film he'd ever made. Ace Ventura: Pet Detective (Tom Shadyac, 1994) A goofy detective turns town upside-down in search of a missing dolphin - any old plot would have done for oven-ready megastar Jim Carrey. A ski-jump hairdo, a zillion impersonations, making his bum "talk" - Ace Ventura showcases Jim Carrey's near-rapturous gifts for physical comedy long before he became encumbered by notions of serious acting. An Actor's Revenge (Kon Ichikawa, 1963) Prolific Japanese director Ichikawa scored a bulls-eye with this beautifully stylized potboiler that took its cues from traditional Kabuki theatre. It's all ballasted by a terrific double performance from Kazuo Hasegawa both as the female-impersonator who has sworn vengeance for the death of his parents, and the raucous thief who helps him. The Addiction (Abel Ferrara, 1995) Ferrara's comic-horror vision of modern urban vampires is an underrated masterpiece, full- throatedly bizarre and offensive. The vampire takes blood from the innocent mortal and creates another vampire, condemned to an eternity of addiction and despair. Ferrara's mob movie The Funeral, released at the same time, had a similar vision of violence and humiliation.