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Image and territory : essays on Atom Egoyan

Author: Jennifer Burwell; Monique Tschofen
Publisher: Waterloo, Ont. : Wilfrid Laurier University Press, ©2007.
Edition/Format:   Book : Biography : EnglishView all editions and formats
Database:WorldCat
Summary:
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  Read more...
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Genre/Form: Criticism, interpretation, etc
Additional Physical Format: Online version:
Image and territory.
Waterloo, Ont. : Wilfrid Laurier University Press, c2007
(OCoLC)608314522
Named Person: Atom Egoyan; Atom Egoyan; Atom Egoyan; Atom Egoyan
Material Type: Biography
Document Type: Book
All Authors / Contributors: Jennifer Burwell; Monique Tschofen
ISBN: 9780889204874 088920487X
OCLC Number: 70777867
Description: viii, 417 p. : ill. ; 23 cm.
Contents: In media res : Atom Egoyan's utopian praxis / Monique Tschofen and Jennifer Burwell --
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 --
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 --
Modes of perception : visuality, culpability, and innocence / 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 --
An imaginary Armenian Canadian homeland : Gariné Torossian's dialogue with Egoyan / Adam Gilders and Hrag Vartanian --
Ripple effects : Atom Egoyan speaks with Monique Tschofen --
Atom Egoyan's oeuvre : theatre, film, opera, installation / Monique Tschofen and Angela Joosse --
Comprehensive bibliography on Atom Egoyan / Angela Joosse.
Other Titles: Image + territory
Responsibility: Monique Tschofen and Jennifer Burwell, editors.

Abstract:

A collection of essays and interviews from film and media scholars, unpacking the central arguments, tensions, and paradoxes of Egoyan's work, and tracing their evolution. It locates his work within  Read more...

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schema:description"In media res : Atom Egoyan's utopian praxis / Monique Tschofen and Jennifer Burwell -- 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 -- 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 -- Modes of perception : visuality, culpability, and innocence / 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 -- An imaginary Armenian Canadian homeland : Gariné Torossian's dialogue with Egoyan / Adam Gilders and Hrag Vartanian -- Ripple effects : Atom Egoyan speaks with Monique Tschofen -- Atom Egoyan's oeuvre : theatre, film, opera, installation / Monique Tschofen and Angela Joosse -- Comprehensive bibliography on Atom Egoyan / Angela Joosse."@en
schema: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. Throughout his career, Atom Egoyan has shown himself to possess the rarest kind of singularity. As Jonathan Romney puts it, Egoyanþs 2preoccupations and tropes have been so consistent that he's practically created his own genre3 (1995, 8). Hrag Vartanian adds, 2Egoyanesque has become a word to film aficionados, commonly understood to mean a cinematic moment that examines sexuality, technology and alienation in the modern world3 (2004). For this singularity, Egoyan is widely hailed as a true auteur, ƯƯsomeone carrying on the legacy of the European art-house traditions of Bergman, Godard, and Truffaut. Certainly, his work bears a most recognizable signatureƯƯthere is no confusing an Egoyan work with anyone elseþs. Like his art-house predecessors, Egoyan clearly intends that his work be, as Dudley Andrew puts it, 2read rather than consumed,3 that is, viewed meditatively, reflected upon, and discussed (2000, 24). And indeed, in this world in which filmmaking has become commonplacewhere, as Egoyan has said, 2what used to be a rarified activity is now available to anyone with a digital camera and a computer3 (2001b, 18) he intends through much of his work to recall an earlier image culture in which artists had an ability to produce something that gained its power precisely through its rarity."@en
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