Image and territory essays on atom egoyan
Finding libraries that hold this item This is an impressively thoughtful assemblage of texts Tschofen and Burwell also deserve credit for relying almost exclusively on Canadian critics for input Image and Territory is both useful and impressive, and belongs on the shelf of any cinephile interested in the work of the king of Armenian Canadian directors. I would highly recommend the book to anyone interested in Egoyan's films and in the many contradictions and paradoxes of postmodern life that he evokes. You may have already requested this item.
Issue 13 — February 2009
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New Releases. Image and Territory : Essays on Atom Egoyan.
Description In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like The Adjuster , Calendar , Exotica , and The Sweet Hereafter have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan's forays into installation art and opera have provided evidence of his versatility and confirmed his talents.
Image and Territory: Essays on Atom Egoyan is both scholarly and accessible. Indispensable for the scholar, student, and fan, this collection of new essays and interviews from leading film and media scholars unpacks the central arguments, tensions, and paradoxes of his work and traces their evolution.
It also locates his work within larger intellectual and artistic currents in order to consider how he takes up and answers critical debates in politics, philosophy, and aesthetics. Most importantly, it addresses how his work is both intellectually engaging and emotionally moving. Other books in this series. Reverse Shots Wendy Gay Pearson. Add to basket. Two Bicycles Jerry White. Feeling Canadian Marusya Bociurkiw.
Harmony and Dissent R. Cubism and Futurism R. Making Feminist Media Elizabeth Groeneveld.
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Image and Territory Monique Tschofen. The Radio Eye Jerry White. Beyond Bylines Barbara M. Detecting Canada Jeannette Sloniowski. Dziga Vertov John MacKay. Music in Range Brian Fauteux. This is reminiscent of the point made by Christian Metz in Le Signifiant imaginaire : censorship is the site where passage is both prevented and allowed.
However, while the head censor to whom she is eventually denounced assumes that she smuggles the material home for her private forbidden enjoyment, the truth of the matter is that she shows it to her sister Seta, who can then approve her decisions.https://teofimacnabu.tk
Image and territory: essays on Atom Egoyan - Jennifer Burwell, Monique Tschofen - Google книги
In other films, such as Speaking Parts or Family Viewing , the practice of home movies and the use of a VCR also serve to signify the emergence of repressed or erased representations associated with unacknowledged urges. In the audio commentary to Family Viewing , Egoyan describes the character of the young man as a zombie who becomes active, and acknowledges interpretations of the film the handling of the tapes both in terms of the unconscious and in terms of the uncovering of the buried memory of his ancestry.
Yet voices can easily cross the boundary of the frame and one of those voices, that of the photographer, can even be used to exert even more control over the image — at least, superficially and, as it turns out, deceptively. Again, one founding trope, already used in his early film Family Viewing , offers an instance of the use of the literal device of remote control in a way that connects it with censorship and reflexivity.
She sits beside him on the couch and after some preliminary small talk, they are about to kiss when the image freezes and the whole scene rewinds. But the voice of the disc-jockey Eric in Exotica is arguably one of the most powerful instances of control at a distance in any Egoyan film, and it is supported by the very framing of the shot showing the circulation of his voice towards the characters he manipulates, such as Francis, who has found refuge in a toilet cubicle, or by the parallelism between Eric and the head censor Bert in The Adjuster.
The structural device of the two-way mirror, which suggests that the position of the customs officers in the opening scene of Exotica is identical to that of the disc-jockey in the same film, in turn implies a powerful connection between the asymmetrical gaze of a law-enforcing figure and the self-fashioning of two characters Thomas, Francis who may well stand for versions of the diasporic subject.
Derrida comments that the structure of the visor allows for a desynchronisation of the gaze as the subject feels he is being watched by an absent Other who stands for the law and who has come from the past. This is precisely what makes them so interesting in terms of diaspora cinema.