Image and Territory

Essays on Atom Egoyan
Herausgeber: Tschofen, Monique; Burwell, Jennifer

• Broschiertes Buch

Produktbeschreibung

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.

---

Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.

Produktdetails

• Verlag: Wilfrid Laurier University Press
• Seitenzahl: 426
• Erscheinungstermin: 1. Oktober 2006
• Englisch
• Abmessung: 226mm x 152mm x 25mm
• Gewicht: 635g
• ISBN-13: 9780889204874
• ISBN-10: 088920487X
• Artikelnr.: 26256055

Inhaltsangabe

Table of Contents for Image and Territory: Essays on Atom Egoyan, edited by
Monique Tschofen and Jennifer Burwell
Acknowledgments
Introduction: In Media Res: Atom Egoyan's Utopian Praxis Monique Tschofen
and Jennifer Burwell
Section 1: Technology, Aura, and Redemption
Artifice and Artifact: Technology and the Performance of Identity
Jennifer Burwell and Monique Tschofen
Fetish and Aura: Modes of Technological Engagement in Family Viewing
Elena del Río
The Adjuster: Playing House William Beard
The Thirteenth Church: Musical Structures in Atom Egoyan's Calendar
Katrin Kegel
The Passing of Celluloid, the Endurance of the Image: Egoyan, Steenbeckett,
and Krapp's Last Tape David L. Pike
Section 2: Diasporic Histories and the Exile of Meaning
Mobile Subjectivity and Micro-territories: Placing the Diaspora Jennifer
Burwell and Monique Tschofen
Telling a Horror Story, Conscientiously: Representing the Armenian Genocide
from Open House to Ararat Lisa Siraganian
History and Memory, Repetition and Epistolarity Marie-Aude Baronian
The Double's Choice: The Immigrant Experience in Atom Egoyan's Next of Kin
Batia Boe Stolar
Atom Egoyan's Post-exilic Imaginary: Representing Homeland, Imagining
Family Nellie Hogikyan
Section 3: Pathologies/Ontologies of the Visual
Culpability, Innocence, Visual and Narrative Mastery Jennifer Burwell and
Monique Tschofen
Speaking Parts: The Geometry of Desire William Beard
Look but Don't Touch: Visual and Tactile Desire in Exotica, The Sweet
Hereafter, and Felicia's Journey Patricia Gruben
To Blame Her Sadness: Representing Incest in Atom Egoyan's The Sweet
Hereafter Melanie Boyd
Close: Voyeurism and the Idea of the Baroque William F. Van Wert
Seeing and Hearing Atom Egoyan's Salome Kay Armatage and Caryl Clark
Section 4: Conversations
An Imaginary Armenian Canadian Homeland: Gariné Torossian's Dialogue with
Egoyan Adam Gilders and Hrag Vartanian
Ripple Effects: Atom Egoyan Speaks with Monique Tschofen
Bibliography: Comprehensive Bibliography on Atom Egoyan Angela Joosse
Notes on Contributors
Index of Names
Subject Index
Contributors' Bios
Kay Armatage is an associate professor at the University of Toronto,
crossappointed to Cinema Studies, Innis College, and the Institute of
Women's Studies. She is also a member of the Graduate Centre for the Study
of Drama. She is author of The Girl from God's Country: Nell Shipman and
the Silent Cinema (University of Toronto Press, 2003), co-editor of
Gendering the Nation: Canadian Women's Cinema (University of Toronto Press,
1999), editor of Equity and How to Get It (Toronto: Inanna Press, 1999),
and author of articles on women filmmakers, feminist theory, and Canadian
cinema in books, film magazines, and refereed journals.
Marie-Aude Baronian is an assistant professor in the Department of
Philosophy and Media Studies of the University of Amsterdam and a member of
the Amsterdam School for Cultural Analysis (ASCA). She has written and
lectured extensively on Atom Egoyan's cinema and on issues of
representation, testimony, and memory, and is co-editor (together with
Stephan Besser and Yolande Jansen) of the volume Diaspora and Memory:
Figures of Displacement in Contemporary Literature, Arts and Politics
(Rodopi, 2005). She has completed an interdisciplinary dissertation
entitled Image et témoignage: vers un esthétique de la catastrophe.
William Beard is a professor of film/media studies at the University of
Alberta, where he was for many years coordinator of the Film/Media Studies
program. He is the author of Persistence of Double Vision: Essays on Clint
Eastwood (University of Alberta Press, 2000) and The Artist as Monster: The
Cinema of David Cronenberg (University of Toronto Press, 2001), and
co-editor of North of Everything: English-Canadian Cinema since 1980
(University of Alberta Press, 2002). He is currently working on a book
about Guy Maddin.
Melanie Boyd received her PhD in English and Women's Studies from the
University of Michigan and is now a postdoctoral fellow at Lawrence
University, where she is affiliated with the Gender Studies Program. Her
research focuses on contemporary U.S. and Canadian narratives of sexual
violence, looking particularly at the rhetorics of innocence, damage, and
healing that operate within these political texts; she is especially
interested in their construction of narrative authority. Her current book
project, Refiguring Incest: Feminism, Narrative, and the Abandonment of
Innocence, looks at three decades of feminist accounts of paternal incest
to highlight their shifting formulations of victimhood and to trace the
implications of those shifts for feminist theorizations of subjectivity,
agency, and violence.
Jennifer Burwell is an associate professor in the English Department at
Ryerson University. She teaches media studies to Radio Television Arts
students at Ryerson and to graduate students in the York/Ryerson Joint
Graduate Programme in Communication and Cultural Studies. Her book, Notes
on Nowhere: Feminism, Utopian Logic, and Social Transformation (University
of Minnesota Press, 1997) examines utopian thought in relation to
contemporary postmodern, critical Marxist, and feminist theory. Her current
interests include the political economy of communications technology and
the relationship between surveillance society and the public sphere.
Caryl Clark teaches musicology in the Faculty of Music, University of
Toronto and in the Department of Visual and Performing Arts at UTSC
(University of Toronto Scarborough Campus). Her publications reflect
interests in the socio-cultural contexts of music-making, gender issues,
performance studies, and the politics of musical reception. She is
co-editor of two special interdisciplinary opera issues of the University
of Toronto Quarterly"Voices of Opera" (1998) and "Interdisciplinary Studies
of Opera" (2003), and is co-chair of the Humanities Initiative at the Munk
Centre for International Studies. She is currently editing the Cambridge
Companion to Haydn.
Elena del Río is an assistant professor of Film Studies at the University
of Alberta. Her essays on the intersections of cinema and technology and of
cinema and performance have appeared in Camera Obscura, Discourse, the
Quarterly Review of Film and Video, Science Fiction Studies, and Studies in
French Cinema.
Adam Gilders is a Toronto writer and academic. His fiction and articles
have appeared in the Paris Review, The Walrus, and J&L Illustrated. He is
the author, with photographer Jason Fulford, of Sunbird.
Patricia Gruben is an associate professor of Film and director of the
Praxis Centre for Screenwriters at Simon Fraser University in Vancouver.
She is also a filmmaker who has written and directed two dramatic features
(Low Visibility and Deep Sleep), a feature-length documentary (Ley Lines)
and several experimental narrative shorts including Sifted Evidence and
Before It Blows. Recent publications include analyses of narrative
structure in The Sweet Hereafter (Creative Screenwriting, March 2001) and
Renny Bartlett's Eisenstein (ScreenTalk, January 2002).
Nellie Hogikyan is a sessional lecturer in Comparative Literature and
psycholinguistics at l'Université de Montréal. She is in charge of the
Postcolonial Studies Reading Group, which she co-founded in 2000 in the
department of Comparative Literature at l'Université de Montréal, where she
works on questions of subalternity in the context of Lebanese-Palestinian
terrorism. She has published fiction and non-fiction in local newspapers
and magazines. Her academic essays include "Silence et résistance: le
langage du subalterne. Le cas des réfugié-e-s palestinien-ne-s au Liban"
(in Approches de l'outre-langue, ed. Alexis Nouss, Presses Universitaires
de Strasbourg, 2005), "De la mythation à la mutation: structures ouvertes
de l'identité" (in Poésie, terre d'exil; Alexis Nouss Trait d'union, 2003),
and "The Crisis in Reason: Feminism, Simone de Beauvoir and the Marquis de
Sade" (Revue de l'Institut Simone de Beauvoir Institute Review 18/19,
2000).
Angela Joosse is a PhD candidate in the Joint Graduate Programme in
Communication and Culture of Ryerson and York universities. She is the
author of, "Dziga Vertov and Steve Mann: The Embodiment of the Master
Metaphor of Vision," (Intersections Conference Journal, 2005). She is also
a Toronto-based filmmaker. Her most recent films are Shapes Eat Shapes
(2006), City Window (2005), Ear after Ear (2005), and Avra, which screened
at the 2004 Montreal Festival des Films du Monde.
Katrin Kegel graduated from the University of Music and Performing Arts
Mozarteum, Salzburg. After several years of theatre work, she took up
studies of media communication and film at the University of Arts in Berlin
and at Johann Wolfgang Goethe University in Frankfurt. She was as a staff
member with the international film festivals of Toronto and Berlin and
involved in a broad range of film-production work, with a special interest
on international co-productions. She completed her masters in Film Studies
with a thesis on ethnicity in the early films of Atom Egoyan (2002).
David L. Pike is an associate professor of literature at American
University. He is author of Passage through Hell: Modernist Descents,
Medieval Underworlds (1997), which won the Gustave O. Arlt Award and was a
Choice Academic Book of the Year, and Subterranean Cities: Subways,
Cemeteries, Sewers, and the Culture of Paris and London (2005). He is
co-editor of the Longman Anthology of World Literature (2004) and has
published widely on nineteenth- and twentieth-century urban literature,
culture, and film. He is currently working on a history of Canadian cinema
since 1980, to be published by Wallflower Press.
Lisa Siraganian is an assistant professor of English at Southern Methodist
University in Dallas, Texas. She is currently working on a book about
theories of the art object in twentieth-century American literature. She
has previous published articles in Diaspora and Modernism/Modernity.
Batia Boe Stolar is an assistant professor in English at Lakehead
University. She has recent or forthcoming publications in the Canadian
Journal of Film Studies, Studies in Canadian Literature, and Downtown
Canada. She is currently completing a manuscript on cultural constructions
of the immigrant in Canadian and American literature and film, and
researching visual representations of the immigrant in Canadian and
American documentaries, photography, and film.
Gariné Torossian is a self-taught filmmaker and photographer. Mining a rich
palette of colours and textures, superimpositions and dissolves, mixing
formats of Super 8, 35mm, and video, Torossian creates films that bridge
the gaps between visual, sound art, cinema, and music video. Sixteen of her
films have shown internationally at festivals and universities.
Retrospectives of her work have been held at New York's Museum of Modern
Art, Stan Brakhage's First Person Cinema, Yerevan's Cinematheque, the
Berlin Arsenal, and the Telluride Festival. She has been awarded prizes and
mentions at the Berlin, Melbourne, and Houston film festivals.
Monique Tschofen is an associate professor in the Department of English at
Ryerson University and a member of the Joint Graduate Programme in
Communications and Culture of Ryerson and York universities. She is the
editor of Kristjana Gunnars: Essays on Her Work (Guernica 2004) and has
published articles on Canadian film, literature, and painting,
intermediality and visuality, and violence in representation. She is
currently working on a monograph on new-world torture narratives.
William Van Wert was the Laura Carnell Professor of English at Temple
University, where he taught film and creative writing and was serving as
the director of undergraduate English studies at the time of his death. He
was the author of fifteen books, among them novels (What's It All About,
Stool Wives, Don Quixote), short story collections (Tales for Expectant
Fathers, Missing in Action, The Advancement of Ignorance), poetry
collections (The Invention of Ice Skating, Proper Myth, Vital Signs), and
one book of essays (Memory Links), as well as extensive work in the area of
film studies. His death is a profound loss to all who worked with him and
read his work.
Hrag Vartanian is an Armenian Canadian writer and critic living in
Brooklyn, New York. He is a staff writer for AGBU News Magazine, the
Brooklyn Rail newspaper, and Boldtype, an online review journal. He also
serves on the editorial board of the quarterly Ararat. His writing explores
diversity and identity in a global context.