Made available in DSpace on 2016-04-26T18:16:43Z (GMT). No. of bitstreams: 1 Maria das Gracas Teixeira de Araujo Goes.pdf: 604490 bytes, checksum: 94da5ee9691f0f368280cd9c144819d7 (MD5) Previous issue date: 2007-11-19 / The research is devoted to the study of David Cronenberg s films Videodrome and eXistenZ. Both movies belong to the science fiction genre, which, in our times, has gained specific features, representing the present with futuristic connotations, due to the fact of technical innovations being inserted in every sector of society. By portraying the cultural context of their times by means of metaphorical narratives and bizarre and surreal images, the films lead us to an analysis of post-modernism, cyberculture and velocity as a sociohistorical process that is realized without a legitimating discourse. For the same reason, we are also led to reflect on the imaginary context that permeates the technological society, taking as its parameter the myth of the cyborg, arising from the coupling of man and machine, and also the mythical-religious discourse present in the movies s narratives, resulting from the socio-technological process that is always contaminated by the link between religion and science. David Cronenberg s two films reproduce a social configuration in which the transmission of images is processed by means of technologies of the sensory (in the case of Videodrome) and of intelligence (eXistenZ). It therefore became necessary to delve into the media culture, so as to identify the influences exerted by technological communication devices (live or online). In view of the various themes comprised in the study, it was necessary to undertake an extensive bibliographical study, as well as research on the Internet. Baudrillard, Kellner and McLuhan, among others, are authors who have produced important analyses of this culture. Lévy, Johnson and Lemos are some of the researchers who have written about cyberculture, a subject that finds in Rüdger and Trivinho its most organized and consummate critical vision. We have studied post-modernism based on the ideas of Harvey, Jameson and Kumar, among others. Regarding the research on dromocracy, two authors have merited our attention: Virilio, who launched the subject s theoretical basis, and Trivinho, who has built a critical reflexion on the neuralgic and specific points of the logic of velocity in cyberculture. Erick Felinto provided us with subsidies for an analysis of religion in the technological society. Aumont, Brissac, Deluzer, Gomes, Machado, Sodré and Todorov have been of great assistance in our reflection on cinema and science fiction; Haraway led us to a greater understanding of the man/machine coupling, and, finally, Peirce and Santaella were the theoretical foundation for our semiotic analysis / A pesquisa foi consagrada ao estudo às produções cinematográficas Videodrome e eXistenZ de David Cronenberg. Essas películas estão inseridas no gênero ficção científica, que, na contemporaneidade, adquiriu características peculiares ao representar o presente com conotações futurísticos, como conseqüência de a técnica estar inserida em todos os setores societários. Ao retratar o contexto cultural de época, através de narrativas metafóricas e de imagens bizarras e surreais, os filmes demandam uma análise do pósmodernismo, da cibercultura e da velocidade como processo social-histórico, concretizado sem discurso legitimatório. Não por outro motivo, refletimos, também, sobre o imaginário que permeia a sociedade tecnológica, tomando como parâmetro o mito do ciborgue, decorrente do acoplamento homem/máquina, e o discurso mítico-religioso presente nas narrativas dos filmes, resultante do processo sociotecnológico sempre contaminado pela conexão entre religião e ciência. As duas películas de David Cronenberg reproduzem uma configuração social em que a transmissão de mensagens se processa através das tecnologias do sensório (Videodrome) e da inteligência (eXistenZ). Assim, foi imprescindível um aprofundamento sobre a cultura dos media, a fim de se detectar as influências exercidas pelos aparelhos tecnológicos de comunicação (live ou online). Devido aos vários temas abarcados pelo estudo, foi necessária extensa pesquisa bibliográfica e buscas na internet. Baidrillard, Kellner e McLuhan são autores, entre outros, que trazem análises importantes sobre essa cultura. Lévy, Johnson e Lemos são alguns dos pequisadores que tratam da cibercultura, tema que encontra em Rüdger e Trivinho a sua visão crítica mais organizada e acabada. Estudamos o pós-modernismo com base nos postulados de Harvey, Jameson e Kumar, entre outros. Quanto à pesquisa sobre a dromocracia, dois autores merecem a nossa atenção. Virilio, que lançou as respectivas bases teóricas e Trivinho, que constrói uma reflexão crítica sobre os pontos nevrálgicos e específicos da lógica da velocidade na cibercultura. Erick Felinto nos deu subsídios para uma análise sobre a religião na sociedade tecnológica. Aumont, Brissac, Deluzer, Gomes, Machado, Sodré e Todorov auxiliaram, sobremaneira, a reflexão sobre o cinema e a ficção científica; Haraway nos levou a uma compressão maior sobre o acoplamento homem/máquina e, finalmente, Peirce e Santaella foram as bases teóricas para a nossa análise semiótica

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

This dissertation examines the films of David Cronenberg which all conduct a consistently thorough examination of the relationship between the ideologically constituted Cartesian subject and the disciplinary structures that surround, control and limit this subject. Cinema, because of the presence of both film form and narrative content, functions as a double articulation of this disciplinary activity. Each film’s narrative disciplines, on screen, the bodies contained within the plot, even as each film’s form disciplines both the way in which these cinematic bodies are delivered to an audience, and the way the audience’s own viewing practices are controlled and composed. Thus it becomes vital to explore the mechanisms implicated in these processes, and to gain an understanding of how Cronenberg’s cinema works to highlight and critique them. The primary assertion of this thesis is that Cronenberg’s work functions as a particular style of resistance to hegemony that Slavoj Žižek labels‘heresy’. For Žižek,heresy occurs not when one disobeys one’s ideological requirements, but when one over-fulfills them, thereby extending these ideological demands and disciplinary discursive structures out to a site of logical absurdity. In assessing and charting this territory, the thesis is constructed in the following manner. The first chapter,which outlines my methodology, applies itself to a brief examination of Cronenberg’s least discussed commercial feature (Fast Company). Chapter Two is concerned with charting the disciplines applied to the body in Shivers, Rabid and The Fly, while Chapter Three continues a focus on Cronenberg’s movement and play with framing devices as a means of subverting a stable spectatorial position, utilising eXistenZ, Spider and The Dead Zone as examples. Chapter Four explores the manner with which heretical adherence to a single ideological construction pushes the protagonists towards large-scale disciplinary violations, as detailed in Crash, M. Butterfly and Dead Ringers while the fifth chapter examines notions of discipline and recuperation is focused on Naked Lunch, Scanners and The Brood. A final sixth chapter compares Cronenberg’s most recent film, A History of Violence, with Videodrome in order to explore the changing face of his disciplinary ambivalence and its relationship to a broader cinematic industry.

Cette thèse est une étude approfondie du rapport de William S. Burroughs au cinéma. William S. Burroughs, en collaboration avec Antony Balch, a produit entre 1961 et 1972 des courts-métrages expérimentaux aux formes de montage et de figuration radicales. Ces films, largement ignorés, constituent un pan essentiel du cinéma expérimental. Leur étude met en lumière l'évolution d'une pensée politico-esthétique de l'image chez Burroughs, une pensée voisine de celle de Guy Debord et qui influencera celle de Gilles Deleuze .Burroughs a également travaillé en tant qu'acteur : l'analyse de ses apparitions est ici pensée en fonction de leur rapport à l’œuvre écrite de Burroughs et à son versant biographique, l'écrivain déconstruisant les personnages qu'il joue de la même manière qu'il déconstruisait le cinéma. Un ensemble de films, répondant plus ou moins fidèlement à l’appellation d'adaptations, constituent un aspect important de notre corpus. Ces œuvres, qu'elles travaillent les écrits dans un rapport fondé sur la reproduction, le décalage, ou l'éclatement, produisent des formes inédites. Cette étude est complétée par un retour sur l'influence de Burroughs sur trois auteurs majeurs du cinéma nord-américain contemporain, Cronenberg, Van Sant et Lynch. Tous trois réinvestissent l’œuvre et la pensée de Burroughs dans le cadre de leur propre production, que ce retour se concentre sur l'apparition de la voix, le lien entre signature visuelle et présence ou la fragmentation de la narration classique. En mettant en relation expérimentations, présences et contaminations de l'écrivain au cinéma, ce travail vise la réhabilitation de ce versant de l’œuvre de William S. Burroughs. / This work is an exhaustive study of William S. Burroughs' interest in cinema. Burroughs, in collaboration with Antony Balch, produced between 1961 and 1972 a series of experimental short films with radical editing and visual styles. These widely ignored films are an essential part of experimental cinema. Their study highlights the evolution of the author's political and aesthetic vision, close to those of Guy Debord or Gilles Deleuze. Burroughs also worked as an actor. The analysis of his cinematographic apparitions is linked to their relation to Burroughs' written work and its biographical aspects: the writer deconstructs the characters he plays in the same way as he deconstructs the mise-en-scène.A set of films, which can loosely be said to be adaptations, are another important part of the corpus of this study. These works, in a relation to the written word based on reproduction, shift or blow-out, produce original cinematographic images.This study is completed with a flash-forward to Burroughs' influence on three important north-american filmmakers: David Cronenberg, Gus Van Sant and David Lynch. These three authors reinvest Burroughs' work within the framework of their own production, focusing on the apparition of the voice, the link between visual signature and the notion of presence or the shattering of a conventional narrative.Linking experimentations, presences and contaminations of the writer in the cinematographic art, this thesis aims to rehabilitate this part of Burroughs' work.

This thesis investigates cinema’s attempts to engage in a dialogue with the trace of the physical body. My concern is with the on-screen presentation of the body rather than its treatment as a representation of gender, sexuality, race, age, or class. I examine specifically The Elephant Man (Lynch, 1980), Crash (Cronenberg, 1996), Attenberg (Tsangari, 2010), Taxidermia (Pálfi, 2006), and Sokurov’s family trilogy (Mother and Son, 1997; Father and Son, 2003; and Alexandra, 2007). The recurring tropes in these seven films include references to the medical gaze (both objective and objectifying) and haptic visuality which privileges sensual, close engagement with the image of the material object. I consider the medical and the haptic as metaphors for depictions of the body in cinema. To develop my analysis, I draw on the works of Michel Foucault, Laura U. Marks and Vivian Sobchack amongst others. I conclude that the discussed films, preoccupied with images of corporeal forms, criticise cinema’s conventional treatment of the body as simply a vessel for a goal-driven character and portray bodies which appear to consciousness in their own right.

This essay contains a discussion of my influences for making the choreographic work The Horrors of:, which was the practical part of an examination for the degree work of the bachelor’s Programme in Dance Performance at Stockholms Konstnärliga Högskola in the fall of 2022. The horrors of: is an exploration of women in horror and the potentiality of the monstrous feminine. Inspired by Julia Kristeva’s concept of abjection, Barbara Creed’s concept of the monstrous-feminine as well as films in the body horror genre, a search to represent the subjectivity of the women depicted in horror through dance emerged. In the body horror genre, the female characters are neither villains nor heroes, but complex characters who possess the capacity to both do good and destroy.    The text is divided in two parts: The first part dissects how the process was generated from researching the topics of femininity and abjection into a staged choreographic work and the second part contains a collage of poems along with other material collected from the artistic research process.

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"FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" ist der Versuch, eine Geschichte medialer Schmerzlust zu rekonstruieren – in etwa von 1789 bis heute. Neben klassischer SM-Literatur sind es Spielfilme wie VIDEODROME (1983), FALSCHER BEKENNER (2005), THE HURT LOCKER (2008) oder SHORTBUS (2006), in denen modernes Schmerzlust-Empfinden und -Begehren offenbar wird. Die Untersuchung richtet sich dabei auf Konzepte technoimaginärer Wunsch- und Höllenmaschinen, dynamisierte Ich-Apparate, wie sie Donatien-Alphonse-François de Sade, Leopold und Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze und Félix Guattari, David Cronenberg, Michael Haneke, Kathryn Bigelow u.v.a. im Medienumfeld ihrer Zeit individuell erleben und auf ihre je eigene Art – meist sehr fantasiereich – bearbeiten. Der vorliegende Entwurf, medienarchäologische Spurensicherung und gleichsam Test-Spiel, ist vor allem eine Einladung zum Mitmachen: Beim obsessiven Durchschreiten virtueller (Alptraum-)Welten und realer Körper negative und positive Lust zu erfahren, sich neuen Sinnesreizqualitäten zu öffnen, um schließlich Mehr-Lust und -Wissen zu erwerben. Anti-Ödipus als interaktives Video(bei)spiel. Als Analysetools haben sich Erkenntnisse aus der (strukturalen) Psychoanalyse, der (technischen) Medienwissenschaft, (Film-)Philosophie, der Gender-, Gewalt-, Fetisch- und (kulturwissenschaftlichen) Spieltheorie als hilfreich erwiesen, um dem Geheimnis und Rätsel sadomasochistischer Schmerzlust – und ihrer crash-Medien – ein wenig näher zu kommen. / "FUNNY GAMES. Spielräume des Sadomasochismus in Film und Medien" aims to reconstruct a history of pleasure and gratification through pain in the media since the end of the eighteenth century. In addition to classical sado-masochistic literature, the thesis focuses on movies in which modern forms of experiencing and desiring pain such as VIDEODROME (1983), I AM GUILTY (2005), THE HURT LOCKER (2008) and SHORTBUS (2006) manifest themselves. Central to the study are concepts of techno-imaginary wish machines and infernal devices, dynamised ego-apparatuses, that are experienced and expressed through the media of their time by writers, philosophers, psychoanalysts and film directors such as Donatien-Alphonse-François de Sade, Leopold and Wanda von Sacher-Masoch, Ernst Kapp, Sigmund Freud, Daniel Paul Schreber, Jacques Lacan, Gilles Deleuze and Félix Guattari, David Cronenberg, Michael Haneke and Kathryn Bigelow. The present study, an attempt to secure the medial evidence and try it out at the same time, is meant most of all as an invitation to participate: to experience positive desire and lust while obsessively progressing through virtual worlds of dreams and nightmares and the real world of the human body, to open oneself to new experiences in order to gain both new knowledge and new desires. Anti-Oedipus as a textual videogame. The analytical tools employed in this study include findings from (structural) psychoanalysis, media sciences, (movie) philosophy, gender theory, the theory of violence, fetish theory and game theory as applied in cultural studies. They have proven to be very helpful in illuminating at least some aspects of the mystery that is the sado-masochist desire for pain.