LOGIN TO YOUR ACCOUNT

Username
Password
Remember Me
Or use your Academic/Social account:

CREATE AN ACCOUNT

Or use your Academic/Social account:

Congratulations!

You have just completed your registration at OpenAire.

Before you can login to the site, you will need to activate your account. An e-mail will be sent to you with the proper instructions.

Important!

Please note that this site is currently undergoing Beta testing.
Any new content you create is not guaranteed to be present to the final version of the site upon release.

Thank you for your patience,
OpenAire Dev Team.

Close This Message

CREATE AN ACCOUNT

Name:
Username:
Password:
Verify Password:
E-mail:
Verify E-mail:
*All Fields Are Required.
Please Verify You Are Human:
fbtwitterlinkedinvimeoflicker grey 14rssslideshare1
Lawrence, Michael
Languages: English
Types: Doctoral thesis
Subjects:
This thesis considers the work of Atom Egoyan in order to address the relationship between film form and philosophical critique. I look at two of Egoyan's films which appropriate narrative and thematic conventions associated with the mainstream thriller. I argue that in these films Egoyan mobilizes these conventions only to suspend them, specifically through the narrative privileging of ambiguous \ud experiences of mournful and traumatic responsibility. I read these films as strategically failing genre. My analysis of Egoyan's thrillers is informed by Derrida's critique of Freud's theory of the work of mourning, and Levinas's accounts of the ethics of responsibility. While Egoyan's cinema repeatedly examines the experience \ud of mourning and the difficulty of responsibility, I argue that his experiments with mainstream genres in these two films can be understood in relation to ideas of fidelity and failure that feature in the thought of both Derrida and Levinas. The first two chapters introduce the theoretical contexts for the analyses of Egoyan's films that \ud follow. Chapter One, 'The Work of Mourning and the Trauma of Responsibility,' addresses the theories of mourning and responsibility which inform my reading of Egoyan's cinema. This chapter seeks to emphasize analogies between Derrida's \ud discussions of a mourning that paradoxically succeeds by failing and Levinas' s description of a responsibility that can never be fulfilled, that inevitably fails. Mourning and responsibility, in these accounts, cannot be understood in relation to conventional notions of success or resolution. In Chapter Two, 'Suspense Thrillers, \ud Generic Identity and Strategic Infidelity,' I look at debates concerning genre and auteur cinema and theories of the suspense thriller in order to provide a context for Egoyan's experimental approach to the genre. Chapter Three looks at Felicia's Journey (1999), and Chapter Four looks at Where the Truth Lies (2005). These chapters examine the relationship between the films' strategic failing of generic conventions and their narrative privileging of traumatic mourning and responsibility.
  • The results below are discovered through our pilot algorithms. Let us know how we are doing!

    • Foster, Hal. 'Obscene, Abject, Traumatic,' October, 78, (Autumn 1996), pp. 106-24.
    • _ . 'Conversation with Atom Egoyan,' Post-Script, Vol. 15, No.1, (Fall 1995), pp. 68-74.
    • _ . 'Faces Changing Colour Changing Canon: Shifting cultural foci within Contemporary Canadian Cinema,' CineAction, 45, (1998), pp. 2-9..
    • Harvey, David. The Condition ofPostmodernity: An Enquiry into the Origins ofCultural Change, (Oxford: Basil Blackwell, 1989).
    • Harvey, Sylvia. 'What is Cinema? The Sensuous, the Abstract and the Political,' Cinema: The Beginnings and the Future: Essays Marking the Centenary ofthe First Film Show Projected to a Paying Audience in Britain, Ed. Christopher Williams (London: University of Westminster Press, 1996), pp. 228-52.
    • Hayward, Susan. Cinema Studies: The Key Concepts, Third Edition, (London and New York: Routledge, 2006).
    • Henderson, Brian. 'Tense, Mood, and Voice in Film (Notes After Genette),' Film Quarterly, Vol. 36, No.4, (Summer 1983), pp. 4-17. Reprinted in Film Quarterly: Forty Years-A Selection, Ed. Brian Henderson and Ann Martin (Berkeley, Los Angeles and London: University of California Press, 1999), pp. 54-75.
    • Herman, Judith Lewis. Trauma and Recovery, (New York: Basic Books, 1992).
    • Hirsch, Foster. The Dark Side ofthe Screen: Film Noir, (New York: Da Capo Press, Inc., 1981).
    • Hitchcock, Alfred. 'Why "Thrillers" Thrive,' Hitchcock on Hitchcock: Selected Writings and Inteviews, Ed. Sidney Gottlieb (London: Faber and Faber, 1995), pp. 109-12. Originally published in Picturegoer (January 1936).
    • Hoberman, J. 'Exotica,' The Magic Hour: Film at Fin de Siecle, (Philadelphia: Temple University Press, 2003), pp. 43-5.
    • Jones, Kent. 'Body and Soul: The Cinema of Atom Egoyan,' Film Comment, Vol. 34, No.1, (January-February 1998), pp. 32-39.
    • Kaplan, E. Ann, ed. Women in Film Noir, (London: BFI, 1998). Neale, Steve. 'Art Cinema as Institution,' Screen, Vol. 22, No.1, (1981), pp. 11-39.
    • _ . Steve. Genre and Hollywood, (London and New York: Routledge, 2000). Romney, Jonathan. 'Exploitations,' Sight and Sound, Vol. 5, No.5, (May 1995), pp. 6-9.
    • _ . 'This Green Unpleasant Land,' Sight and Sound, Vol. 9, No. 10, (October 1999), pp. 34-5.
    • _ . Atom Egoyan, (London: BFI, 2003). Taubin, Amy. 'Killing Men,' Sight and Sound, Vol. 1, No, 1, (May 1991), pp. 14-19.
  • No related research data.
  • Discovered through pilot similarity algorithms. Send us your feedback.

Share - Bookmark

Cite this article