DOCSLIB.ORG

Sara Orning Dissertation REVISED

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Sara Orning Dissertation REVISED UC Santa Cruz UC Santa Cruz Electronic Theses and Dissertations Title Fleshly Embodiments: Early Modern Monsters, Victorian Freaks, and Twentieth-Century Affective Spectatorship Permalink https://escholarship.org/uc/item/3j4922ft Author Orning, Sara Elisabeth Sellevold Publication Date 2012 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California UNIVERSITY OF CALIFORNIA SANTA CRUZ FLESHLY EMBODIMENTS: EARLY MODERN MONSTERS, VICTORIAN FREAKS, AND TWENTIETH-CENTURY AFFECTIVE SPECTATORSHIP A dissertation submitted in partial satisfaction of the requirements for the degree of DOCTOR OF PHILOSOPHY in LITERATURE by Sara E. S. Orning June 2012 The Dissertation of Sara E. S. Orning is approved: _______________________________ Professor Carla Freccero, Chair _______________________________ Professor Wlad Godzich ______________________________ Professor Peter Limbrick _____________________________ Tyrus Miller Vice Provost and Dean of Graduate Studies Copyright © by Sara E. S. Orning 2012 Table of Contents List of Illustrations iv Abstract v Acknowledgments vii Introduction: Humanity, Monstrosity, and Embodying non-Cartesian Flesh 2 PART I: GENEALOGIES OF THE HUMAN Chapter 1: Humonstrous History: How the Monster Gave Us the Human 17 Chapter 2: Female Freaks: Embodiment, Dissection, and Challenging the "Man" in "Human" 85 PART II: FILMIC FLESH and PERMEABLE BOUNDARIES Chapter 3: The Embodied Spectator and the Uncomfortable Experience of Watching Romance and The Piano Teacher 161 Chapter 4: Merging With Flesh 211 Coda: Remains 263 Bibliography 266 Filmography 282 iii List of Illustrations 1.1. Conjoined twins from Jean Riolan's De monstro nato (1605) 65 1.2. "Muscle Man" from Vesalius's De Humanis Fabrica (1543) 75 2.1. Francisco Goya's The Sleep of Reason Produces Monsters (1797) 85 2.2. Anatomical drawing from Maclise's Surgical Anatomy (1859) 107 2.3. Dissection scene (c.1891) 109 2.4. Galerie de paléontologie et d’anatomie comparée, Paris 124 All images are used according to the "fair use" clause in current copyright legislation. iv ABSTRACT Sara E. S. Orning Fleshly Embodiments: Early Modern Monsters, Victorian Freaks, and Twentieth-Century Affective Spectatorship The primary theoretical concern in this dissertation is to put the embodied, non-Cartesian subject at the center of the emergence of the normative human body and the experience of affective spectatorship. My investigation is set against the backdrop of the ontological privileging of the human in Western culture since the Renaissance, and an aim of my analysis is to provide an account of how the human came to occupy this position. I draw in particular on Michel Foucault's genealogical method, which focuses on the emergence of phenomena instead of searching for their origins, and Maurice Merleau-Ponty's phenomenology to make a claim about the sustained effect of Descartes's cogito on how we conceive of our humanness and embodiment. In the first part of the dissertation, I examine the development of humanness by looking at its relationship with monstrosity in popular and scientific literature from the mid-1500s to the late-1800s, especially Ambroise Paré's On Monsters and Marvels (1543) and nineteenth-century medical literature. From existing on a continuum with a range of other agents – animals, gods, monsters, nature – in early v modern Europe, the human gradually became the advantaged being towards the end of the seventeenth century and other agents ceased to matter in any meaningful way. This shift occurs around the same time as the emergence of a systematic anatomical knowledge of the so-called normal and abnormal human body, based on dissection. I argue that the normative body is challenged and deconstructed by the lived experience of the female, literary freaks in Katherine Dunn's Geek Love (1983) and Angela Carter's Nights at the Circus (1984). They refuse the Cartesian split that enables the designation of normal or abnormal in the first place. In the second part of the dissertation, I draw on phenomenological approaches to film, especially Vivian Sobchack's Carnal Knowledge (2004), and my own experiences as a spectator to formulate a theory of spectatorship built on embodied knowledge. In my examination of recent uncomfortable French films, such as Romance (1999), The Piano Teacher (2001), and In My Skin (2001), I argue that the affective, affected subject is key to theorizing cinema because it opens up for considering the lived body as a site for generating and interpreting knowledge. In conclusion, this study offers a corporeal history of the emergence of humanness, focusing especially on the trajectory of the mind/body split and ending with a call to revise our Cartesian vocabulary. vi ACKNOWLEDGEMENTS I am grateful to my dissertation committee – Carla Freccero, Wlad Godzich, and Peter Limbrick – for reading my work so diligently and providing such thorough feedback. Special thanks goes to my chair, Carla Freccero, for challenging me to dig deeper, think clearer, and read more carefully. I thank Wlad Godzich for his ability to always know what is missing, for providing the big picture, and for innumerable delightful conversations. I am indebted to Peter Limbrick for graciously agreeing to come aboard this project at a crucial time, and for giving me his thoughtful comments. I also thank Amelie Hastie for productive discussions in the early phase of this project. I could not have completed this dissertation without the generous support of the Fulbright Foundation. I received additional financial support from the Norway- America Association, the UCSC Literature Department, the UC Institute for Humanities Research, and the University of California, all for which I am thankful. My interest in early modern monsters and monstrous bodies was awakened in Margaret Healy's course "The Renaissance Body" at the University of Sussex in 2005. This interest became part of my dissertation after taking Carla Freccero's class "Humanism in the Making: Animals before/after Descartes" at UCSC in 2007. The dynamic, interdisciplinary research environment at UCSC, especially as represented by the Center for Cultural Studies with its weekly colloquium, various research clusters, and reading groups, further inspired and nurtured my research. vii My gratitude goes to Allison Athens and Logan Walker, who, as my writing group, provided a weekly space for constructive feedback and overall support. They have seen this project through from brainstorming points to finished text. Nicky Falkof and Liz Sage have, as always, provided unfailing sustenance, both personal and academic. I am especially grateful to Erica Smeltzer for being a great friend and reading my work, and to Rakia Faber, Matthew Suazo, Martha Kenney, and Aliyah Khan for making my time in Santa Cruz so enjoyable. A heartfelt thanks goes to Lisa Lind, Erlend Blakstad Haffner, Martin Skar, and Ingunn Eriksen for never ceasing to urge me to come home. I thank Johanne Wernø for friendship and timely advice. Bonnie Rhee Andryeyev deserves a special debt of gratitude for her eternal optimism (she would call it realism), her faith in me, and academic and personal support. I thank my parents, Sissel Sellevold and Otto M Orning, who, even after years of not being quite sure how to describe my field of study to their friends, never stopped believing in me and unconditionally supporting me. A big thanks also goes to my siblings – Hans Jacob, Tanja, and Julie – and niece and nephews for always loving me and making me look forward to every trip home. Finally, I am deeply indebted to Espen, whose regular commute across the Atlantic ensured that we spent time together during these past five years. He gave innumerable pep talks and provided balance, calm, and humor in a sometimes arduous process. I thank him for being such a wonderful companion. viii As for what motivated me, it is quite simple; I would hope that in the eyes of some people it might be sufficient in itself. It was curiosity – the only kind of curiosity, in any case, that is worth acting upon with a degree of obstinacy: not the curiosity that seeks to assimilate what it is proper for one to know, but that which enables one to get free of oneself. After all, what would be the value of the passion for knowledge if it resulted only in a certain amount of knowledgeableness and not, in one way or another and to the extent possible, in the knower's straying afield of himself? – Michel Foucault, History of Sexuality, Volume II 1 INTRODUCTION: Humanity, Monstrosity, and Embodying non-Cartesian Flesh Bodies have all the explanatory power of minds – Elizabeth Grosz, Volatile Bodies In this dissertation I formulate a genealogy of the constitution and experience of the subject that works against the binary structure of the Cartesian mind/body split. I do this by focusing on embodiment as a parallel domain to "the body" as inscribed, represented object. Embodiment can be understood as "neither a biological nor a sociological category but rather as a point of overlapping between the physical, the symbolic, and the sociological" (Rosi Braidotti 25). It is the condition of the lived body, which is experienced and made intelligible through its internal psychical life, embodied, knowledge, discursive formations, and social categories and imperatives. In order to be able to examine embodiment in its culturally interpretable instantiations, I focus on it as the domain through which we may ask questions about what underlies the symbolic and culturally interpretable body. This implies shifting the focus from how we interpret the body to how we live and experience the body.1 Despite Foucault's masterful contributions, to historicize the body as an object does not help us heal the Cartesian split. One of the quiet, unspoken assumptions in 1 My work is particularly indebted to the considerable work undertaken over the past three decades on the body and embodiment in cultural studies, sociology, and feminism. 2 the work on the body is that there is always an extra dimension to it that is not addressed through examination of signification practices only.
Load more

Recommended publications
  • Before the Forties
    Before The Forties director title genre year major cast USA Browning, Tod Freaks HORROR 1932 Wallace Ford Capra, Frank Lady for a day DRAMA 1933 May Robson, Warren William Capra, Frank Mr. Smith Goes to Washington DRAMA 1939 James Stewart Chaplin, Charlie Modern Times (the tramp) COMEDY 1936 Charlie Chaplin Chaplin, Charlie City Lights (the tramp) DRAMA 1931 Charlie Chaplin Chaplin, Charlie Gold Rush( the tramp ) COMEDY 1925 Charlie Chaplin Dwann, Alan Heidi FAMILY 1937 Shirley Temple Fleming, Victor The Wizard of Oz MUSICAL 1939 Judy Garland Fleming, Victor Gone With the Wind EPIC 1939 Clark Gable, Vivien Leigh Ford, John Stagecoach WESTERN 1939 John Wayne Griffith, D.W. Intolerance DRAMA 1916 Mae Marsh Griffith, D.W. Birth of a Nation DRAMA 1915 Lillian Gish Hathaway, Henry Peter Ibbetson DRAMA 1935 Gary Cooper Hawks, Howard Bringing Up Baby COMEDY 1938 Katharine Hepburn, Cary Grant Lloyd, Frank Mutiny on the Bounty ADVENTURE 1935 Charles Laughton, Clark Gable Lubitsch, Ernst Ninotchka COMEDY 1935 Greta Garbo, Melvin Douglas Mamoulian, Rouben Queen Christina HISTORICAL DRAMA 1933 Greta Garbo, John Gilbert McCarey, Leo Duck Soup COMEDY 1939 Marx Brothers Newmeyer, Fred Safety Last COMEDY 1923 Buster Keaton Shoedsack, Ernest The Most Dangerous Game ADVENTURE 1933 Leslie Banks, Fay Wray Shoedsack, Ernest King Kong ADVENTURE 1933 Fay Wray Stahl, John M. Imitation of Life DRAMA 1933 Claudette Colbert, Warren Williams Van Dyke, W.S. Tarzan, the Ape Man ADVENTURE 1923 Johnny Weissmuller, Maureen O'Sullivan Wood, Sam A Night at the Opera COMEDY
    [Show full text]
  • Octobre / Říjen 2010 41
    s e octobre / říjen 2010 41 l l e v u o N Journal de l'Alliance française de Brno Noviny Francouzské Aliance v Brně Edito Chers membres et amis franco- Milí členové a přátelé fran- philes, couzské kultury, Et voilà, c'est la rentrée ; dés le a je to znovu tady, semestr 4 octobre les salles et couloirs začíná; počínaje 4. říjnem se de l'Alliance française de Brno učebny a chodby Francouzské vont se remplir d'étudiants de aliance znovu naplní studenty tous les âges, avides de všech věkových kategorií connaissance et de pratique de dychtícími po znalostech a la belle langue de Molière. zdokonalování se v krásném Molièrově jazyce. Les professeurs sont prêts et en pleine forme après des va- Učitelé jsou po zaslouženém cances bien méritées, et toute prázdninovém odpočinku při- l'équipe de l'Alliance vous pré- praveni a v plné formě a celý pare moult évènements franco- kolektiv Aliance pro vás chystá phones. spoustu frankofonních událostí. Au programme de ce mois V říjnovém programu figurují d'octobre, des films, des filmy, přednášky nebo knihy. conférences ou des livres. Svou činnost v říjnu na Alianci Le Ciné-café rouvre ses portes obnoví cyklem tří filmů Luca à l'Alliance avec la diffusion de Bessona také projekce Ciné-ca- trois films de Luc Besson en fé. Na listopad pak slibují re- octobre, suivie le mois suivant trospektivu věnovanou dílu d'une rétrospective en hom- slavného francouzského režisé- mage à Claude Chabrol, réali- ra tzv. nové vlny Clauda Cha- sateur emblématique de la brola, který opustil nejen « nouvelle vague » française, filmový svět 12.
    [Show full text]
  • 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.
    [Show full text]
  • A Film by Catherine BREILLAT Jean-François Lepetit Présents
    a film by Catherine BREILLAT Jean-François Lepetit présents WORLD SALES: PYRAMIDE INTERNATIONAL FOR FLASH FILMS Asia Argento IN PARIS: PRESSE: AS COMMUNICATION 5, rue du Chevalier de Saint George Alexandra Schamis, Sandra Cornevaux 75008 Paris France www.pyramidefilms.com/pyramideinternational/ IN PARIS: Phone: +33 1 42 96 02 20 11 bis rue Magellan 75008 Paris Fax: +33 1 40 20 05 51 Phone: +33 (1) 47 23 00 02 [email protected] Fax: +33 (1) 47 23 00 01 a film by Catherine BREILLAT IN CANNES: IN CANNES: with Cannes Market Riviera - Booth : N10 Alexandra Schamis: +33 (0)6 07 37 10 30 Fu’ad Aït Aattou Phone: 04.92.99.33.25 Sandra Cornevaux: +33 (0)6 20 41 49 55 Roxane Mesquida Contacts : Valentina Merli - Yoann Ubermulhin [email protected] Claude Sarraute Yolande Moreau Michael Lonsdale 114 minutes French release date: 30th May 2007 Screenplay: Catherine Breillat Adapted from the eponymous novel by Jules Barbey d’Aurevilly Download photos & press kit on www.studiocanal-distribution.com Produced by Jean-François Lepetit The storyline This future wedding is on everyone’s lips. The young and dissolute Ryno de Marigny is betrothed to marry Hermangarde, an extremely virtuous gem of the French aristocracy. But some, who wish to prevent the union, despite the young couples’ mutual love, whisper that the young man will never break off his passionate love affair with Vellini, which has been going on for years. In a whirlpool of confidences, betrayals and secrets, facing conventions and destiny, feelings will prove their strength is invincible... Interview with Catherine Breillat Film Director Photo: Guillaume LAVIT d’HAUTEFORT © Flach Film d’HAUTEFORT Guillaume LAVIT Photo: The idea “When I first met producer Jean-François Lepetit, the idea the Marquise de Flers, I am absolutely “18th century”.
    [Show full text]
  • The Phenomenological Aesthetics of the French Action Film
    Les Sensations fortes: The phenomenological aesthetics of the French action film DISSERTATION Presented in Partial Fulfillment of the Requirements for the Degree Doctor of Philosophy in the Graduate School of The Ohio State University By Matthew Alexander Roesch Graduate Program in French and Italian The Ohio State University 2017 Dissertation Committee: Margaret Flinn, Advisor Patrick Bray Dana Renga Copyrighted by Matthew Alexander Roesch 2017 Abstract This dissertation treats les sensations fortes, or “thrills”, that can be accessed through the experience of viewing a French action film. Throughout the last few decades, French cinema has produced an increasing number of “genre” films, a trend that is remarked by the appearance of more generic variety and the increased labeling of these films – as generic variety – in France. Regardless of the critical or even public support for these projects, these films engage in a spectatorial experience that is unique to the action genre. But how do these films accomplish their experiential phenomenology? Starting with the appearance of Luc Besson in the 1980s, and following with the increased hybrid mixing of the genre with other popular genres, as well as the recurrence of sequels in the 2000s and 2010s, action films portray a growing emphasis on the importance of the film experience and its relation to everyday life. Rather than being direct copies of Hollywood or Hong Kong action cinema, French films are uniquely sensational based on their spectacular visuals, their narrative tendencies, and their presentation of the corporeal form. Relying on a phenomenological examination of the action film filtered through the philosophical texts of Maurice Merleau-Ponty, Paul Ricoeur, Mikel Dufrenne, and Jean- Luc Marion, in this dissertation I show that French action cinema is pre-eminently concerned with the thrill that comes from the experience, and less concerned with a ii political or ideological commentary on the state of French culture or cinema.
    [Show full text]
  • GAUMONT PRESENTS: a CENTURY of FRENCH CINEMA, on View Through April 14, Includes Fifty Programs of Films Made from 1900 to the Present
    The Museum of Modern Art For Immediate Release January 1994 GAUNONT PRESENTS: A CENTURY OF FRENCH CINEMA January 28 - April 14, 1994 A retrospective tracing the history of French cinema through films produced by Gaumont, the world's oldest movie studio, opens at The Museum of Modern Art on January 28, 1994. GAUMONT PRESENTS: A CENTURY OF FRENCH CINEMA, on view through April 14, includes fifty programs of films made from 1900 to the present. All of the films are recently restored, and new 35mm prints were struck especially for the exhibition. Virtually all of the sound films feature new English subtitles as well. A selection of Gaumont newsreels [actualites) accompany the films made prior to 1942. The exhibition opens with the American premiere of Bertrand Blier's Un deux trois soleil (1993), starring Marcello Mastroianni and Anouk Grinberg, on Friday, January 28, at 7:30 p.m. A major discovery of the series is the work of Alice Guy-Blache, the film industry's first woman producer and director. She began making films as early as 1896, and in 1906 experimented with sound, using popular singers of the day. Her film Sur la Barricade (1906), about the Paris Commune, is featured in the series. Other important directors whose works are included in the exhibition are among Gaumont's earliest filmmakers: the pioneer animator and master of trick photography Emile Cohl; the surreal comic director Jean Durand; the inventive Louis Feuillade, who went on to make such classic serials as Les Vampires (1915) and Judex (1917), both of which are shown in their entirety; and Leonce Perret, an outstanding early realistic narrative filmmaker.
    [Show full text]
  • Last Tango in Paris (1972) Dramas Bernardo Bertolucci
    S.No. Film Name Genre Director 1 Last Tango in Paris (1972) Dramas Bernardo Bertolucci . 2 The Dreamers (2003) Bernardo Bertolucci . 3 Stealing Beauty (1996) H1.M Bernardo Bertolucci . 4 The Sheltering Sky (1990) I1.M Bernardo Bertolucci . 5 Nine 1/2 Weeks (1986) Adrian Lyne . 6 Lolita (1997) Stanley Kubrick . 7 Eyes Wide Shut – 1999 H1.M Stanley Kubrick . 8 A Clockwork Orange [1971] Stanley Kubrick . 9 Poison Ivy (1992) Katt Shea Ruben, Andy Ruben . 1 Irréversible (2002) Gaspar Noe 0 . 1 Emmanuelle (1974) Just Jaeckin 1 . 1 Latitude Zero (2000) Toni Venturi 2 . 1 Killing Me Softly (2002) Chen Kaige 3 . 1 The Hurt Locker (2008) Kathryn Bigelow 4 . 1 Double Jeopardy (1999) H1.M Bruce Beresford 5 . 1 Blame It on Rio (1984) H1.M Stanley Donen 6 . 1 It's Complicated (2009) Nancy Meyers 7 . 1 Anna Karenina (1997) Bernard Rose Page 1 of 303 1 Fanny Hill: Memoirs of a Woman of Pleasure (1964) Russ Meyer 9 . 2 Vixen! By Russ Meyer (1975) By Russ Meyer 0 . 2 Deep Throat (1972) Fenton Bailey, Randy Barbato 1 . 2 A STREETCAR NAMED DESIRE (1951) Elia Kazan 2 . 2 Pandora Peaks (2001) Russ Meyer 3 . 2 The Lover (L'amant) 1992 Jean-Jacques Annaud 4 . 2 Damage (1992) Louis Malle 5 . 2 Close My Eyes (1991) Stephen Poliakoff 6 . 2 Casablanca 1942 H1.M Michael Curtiz 7 . 2 Duel in the Sun (film) (1946) I1.M King Vidor 8 . 2 The Bridge on the River Kwai (1957) H1.M David Lean 9 . 3 Caligula (1979) Tinto Brass 0 .
    [Show full text]
  • Human' Jaspects of Aaonsí F*Oshv ÍK\ Tke Pilrns Ana /Movéis ÍK\ É^ of the 1980S and 1990S
    DOCTORAL Sara MarHn .Alegre -Human than "Human' jAspects of AAonsí F*osHv ÍK\ tke Pilrns ana /Movéis ÍK\ é^ of the 1980s and 1990s Dirigida per: Dr. Departement de Pilologia jA^glesa i de oermanisfica/ T-acwIfat de Uetres/ AUTÓNOMA D^ BARCELONA/ Bellaterra, 1990. - Aldiss, Brian. BilBon Year Spree. London: Corgi, 1973. - Aldridge, Alexandra. 77» Scientific World View in Dystopia. Ann Arbor, Michigan: UMI Research Press, 1978 (1984). - Alexander, Garth. "Hollywood Dream Turns to Nightmare for Sony", in 77» Sunday Times, 20 November 1994, section 2 Business: 7. - Amis, Martin. 77» Moronic Inferno (1986). HarmorKlsworth: Penguin, 1987. - Andrews, Nigel. "Nightmares and Nasties" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney: Ruto Press, 1984:39 - 47. - Ashley, Bob. 77» Study of Popidar Fiction: A Source Book. London: Pinter Publishers, 1989. - Attebery, Brian. Strategies of Fantasy. Bloomington and Indianapolis: Indiana University Press, 1992. - Bahar, Saba. "Monstrosity, Historicity and Frankenstein" in 77» European English Messenger, vol. IV, no. 2, Autumn 1995:12 -15. - Baldick, Chris. In Frankenstein's Shadow: Myth, Monstrosity, and Nineteenth-Century Writing. Oxford: Oxford Clarendon Press, 1987. - Baring, Anne and Cashford, Jutes. 77» Myth of the Goddess: Evolution of an Image (1991). Harmondsworth: Penguin - Arkana, 1993. - Barker, Martin. 'Introduction" to Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Media. London and Sydney: Ruto Press, 1984(a): 1-6. "Nasties': Problems of Identification" in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the MecBa. London and Sydney. Ruto Press, 1984(b): 104 - 118. »Nasty Politics or Video Nasties?' in Martin Barker (ed.), 77» Video Nasties: Freedom and Censorship in the Medß.
    [Show full text]
  • AFI PREVIEW Is Published by the Age 46
    ISSUE 72 AFI SILVER THEATRE AND CULTURAL CENTER AFI.com/Silver JULY 2–SEPTEMBER 16, 2015 ‘90s Cinema Now Best of the ‘80s Ingrid Bergman Centennial Tell It Like It Is: Black Independents in New York Tell It Like It Is: Contents Black Independents in New York, 1968–1986 Tell It Like It Is: Black Independents in New York, 1968–1986 ........................2 July 4–September 5 Keepin’ It Real: ‘90s Cinema Now ............4 In early 1968, William Greaves began shooting in Central Park, and the resulting film, SYMBIOPSYCHOTAXIPLASM: TAKE ONE, came to be considered one of the major works of American independent cinema. Later that year, following Ingrid Bergman Centennial .......................9 a staff strike, WNET’s newly created program BLACK JOURNAL (with Greaves as executive producer) was established “under black editorial control,” becoming the first nationally syndicated newsmagazine of its kind, and home base for a Best of Totally Awesome: new generation of filmmakers redefining documentary. 1968 also marked the production of the first Hollywood studio film Great Films of the 1980s .....................13 directed by an African American, Gordon Park’s THE LEARNING TREE. Shortly thereafter, actor/playwright/screenwriter/ novelist Bill Gunn directed the studio-backed STOP, which remains unreleased by Warner Bros. to this day. Gunn, rejected Bugs Bunny 75th Anniversary ...............14 by the industry that had courted him, then directed the independent classic GANJA AND HESS, ushering in a new type of horror film — which Ishmael Reed called “what might be the country’s most intellectual and sophisticated horror films.” Calendar ............................................15 This survey is comprised of key films produced between 1968 and 1986, when Spike Lee’s first feature, the independently Special Engagements ............12-14, 16 produced SHE’S GOTTA HAVE IT, was released theatrically — and followed by a new era of studio filmmaking by black directors.
    [Show full text]
  • Strong Women
    Strong Women 16 + GUIDE This and other bfi National Library 16 + Guides are available from http://www.bfi.org.uk/16+ Strong Women CONTENTS IMPORTANT NOTE..............................................................................................................................1 INTRODUCTION: Accessing Research Materials..............................................................................2 APPROACHES TO RESEARCH, by Samantha Bakhurst ..................................................................4 STRONG WOMEN Introduction............................................................................................................................................6 GENERAL REFERENCES Books.....................................................................................................................................................8 Journal and Press Articles....................................................................................................................9 BIBLIOGRAPHIES • Fantasy/Sci-Fi..................................................................................................................................11 • Horror...............................................................................................................................................13 • Adaptations/Costume Dramas........................................................................................................15 • Contemporary Black/Asian Cinema................................................................................................17
    [Show full text]
  • EXE Sex Isé/DP-5Int.Qxd
    Jean-François Lepetit présente Anne Parillaud Grégoire Colin REC le nouveau film de Catherine Breillat avec Roxane Mesquida Ashley Wanninger Ouverture Quinzaine des Réalisateurs Cannes 2002 Jean-François Lepetit présente L es rapports d'une réalisatrice, Anne Parillaud, qui dirige deux comédiens dont elle a décidé d'obtenir le maximum pour Un film de Catherine Breillat une scène très difficile, une scène intime. Avec Anne Parillaud - Grégoire Colin Roxane Mesquida - Ashley Wanninger SORTIE FRANCE LE 5 JUIN 2002 Durée : 1 h 32 / Format : 1.85 / Son : Dolby SR / Visa : 103.693 www.sexiscomedy.com DISTRIBUTION FRANCE RELATIONS PRESSE FRANCE PRESSE INTERNATIONALE REZO FILMS A.S. COMMUNICATION ALIBI COMMUNICATIONS Paris : 29, rue du Faubourg Poissonnière Alexandra SCHAMIS et Blanche Aurore DUAULT Brigitta PORTIER 75009 Paris Paris : 11 bis, rue Magellan – 75008 Paris Village des rencontres du 7e art Tél. : 01 42 46 96 10 Tél. : 01 47 23 00 02 / Fax : 01 47 23 00 01 GRAND HÔTEL Fax : 01 42 46 96 11 e-mail : [email protected] Tél. : 04 93 99 80 68 e-mail : [email protected] Cannes : HÔTEL MARTINEZ Fax : 04 93 99 80 69 Cannes : 13, avenue Notre Dame des Pins Tél. direct : 04 97 97 76 59 / Fax direct : 04 93 94 94 39 Portable francais : 06 12 48 29 37 06400 Cannes Portable Alexandra SCHAMIS : 06 17 62 14 41 Portable int. : 0032 477 98 25 84 Tél. / Fax : 04 93 43 32 43 Portable Blanche Aurore DUAULT : 06 60 16 89 23 e-mail : [email protected] 2 Note d’intention « J'ai tout d'abord eu envie de faire UN FILM SUR LE CINÉMA, SUR Ce qu'il y a, c'est que le fond de lâcheté, ça les quitte pas, alors quand tu te mets à CE PROCESSUS MYSTÉRIEUX ET CE QU'ON APPELLE (À TORT) être dure avec eux, alors que t'as aucun moyen de pression et qu'en fait, c'est eux qui DIRIGER UN FILM OU DES ACTEURS.
    [Show full text]
  • UC Berkeley Electronic Theses and Dissertations
    UC Berkeley UC Berkeley Electronic Theses and Dissertations Title Colette, Leduc, Despentes: The Ordinary, the Failed, and the Abject Permalink https://escholarship.org/uc/item/91f4z9m1 Author Phillips, Marion Publication Date 2019 Peer reviewed|Thesis/dissertation eScholarship.org Powered by the California Digital Library University of California Colette, Leduc, Despentes: The Ordinary, the Failed, and the Abject by Marion Elizabeth Phillips A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in French and the Designated Emphasis in Women, Gender and Sexuality in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Michael Lucey, Chair Professor Debarati Sanyal Professor Dora Zhang Summer 2019 Abstract Colette, Leduc, Despentes: The Ordinary, the Failed, and the Abject by Marion Elizabeth Phillips Doctor of Philosophy in French Designated Emphasis in Women, Gender and Sexuality University of California, Berkeley Professor Michael Lucey, Chair This dissertation explores how the concepts of the ordinary, of failure, and of abjection shape the works of three French women writers across the twentieth century and into the twenty-first. I engage with theories of the quotidian, queer and affect theory, feminist literary criticism and work on life-writing, and sexuality studies. Each of the writers under investigation here demands a reorientation to their texts from readers, as styles and subject matter shift to challenge patriarchal discourse. I focus on the last two original works of Colette (1873-1954), which experiment with her short forms and observational style. I connect her insistence on material objects to the everyday existence and corporeal realities of an aging writer.
    [Show full text]