John Tulloch and Belinda Middleweek
- Published in print:
- 2017
- Published Online:
- October 2017
- ISBN:
- 9780190244606
- eISBN:
- 9780190244644
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190244606.003.0012
- Subject:
- Literature, Film, Media, and Cultural Studies, 20th-century and Contemporary Literature
Chapter 10 explores the ways in which intertexuality within and between the stages of writing, directing, and performing the film The Piano Teacher create a multi-authored text. In the absence of an ...
More
Chapter 10 explores the ways in which intertexuality within and between the stages of writing, directing, and performing the film The Piano Teacher create a multi-authored text. In the absence of an ethnography of production impossible for films made in the past, the authors devised a “soft ethnography” approach focused on some key players in this “multiply authored” semiotic model (namely, the prize-winning author, director, and lead actor) to suggest the flow and feedback between these different “signatures” in the text. This soft ethnography is grounded in knowledge of the writer’s discursive history and politics, the director’s television/film sense of liberation via “obscene” cinema, and the actor’s “directing” (via her construction of character) through her performance as a developing part of her star persona. These personal/public negotiations are symptomatic of the reflexive “synthesize and extend” interdisciplinary approach of Real Sex Cinema.Less
Chapter 10 explores the ways in which intertexuality within and between the stages of writing, directing, and performing the film The Piano Teacher create a multi-authored text. In the absence of an ethnography of production impossible for films made in the past, the authors devised a “soft ethnography” approach focused on some key players in this “multiply authored” semiotic model (namely, the prize-winning author, director, and lead actor) to suggest the flow and feedback between these different “signatures” in the text. This soft ethnography is grounded in knowledge of the writer’s discursive history and politics, the director’s television/film sense of liberation via “obscene” cinema, and the actor’s “directing” (via her construction of character) through her performance as a developing part of her star persona. These personal/public negotiations are symptomatic of the reflexive “synthesize and extend” interdisciplinary approach of Real Sex Cinema.
Elsie Walker
- Published in print:
- 2018
- Published Online:
- January 2018
- ISBN:
- 9780190495909
- eISBN:
- 9780190495947
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190495909.003.0006
- Subject:
- Music, Popular, History, Western
This chapter focuses on The Piano Teacher as a complex, intertextual adaptation that draws from numerous sources, both directly and indirectly. The film clearly parallels and amplifies the sonic ...
More
This chapter focuses on The Piano Teacher as a complex, intertextual adaptation that draws from numerous sources, both directly and indirectly. The film clearly parallels and amplifies the sonic descriptions of an original novel by Elfriede Jelineke. We examine how The Piano Teacher also ironically engages with the sonic strategies of Classical Hollywood melodramas and musician-based dramas, and as it recontextualizes revered classical music in relation to the disturbing sadomasochistic desires of its female protagonist, Erika. The songs from Schubert’s Winterreise most closely match Erika’s conception of herself, and we explore how film incorporates them to sonically stress her ultimate aloneness. In addition, we place emphasis on Erika’s silences that leave her disempowered without those cathartic sonic consolations (such as empathetic non-diegetic music) that often provide a fantasy of female transcendence. The film’s feminist emphasis on such silences parallels Jelinek’s text, along with intensifying Haneke’s subversively uncomfortable, intertextually loaded creation.Less
This chapter focuses on The Piano Teacher as a complex, intertextual adaptation that draws from numerous sources, both directly and indirectly. The film clearly parallels and amplifies the sonic descriptions of an original novel by Elfriede Jelineke. We examine how The Piano Teacher also ironically engages with the sonic strategies of Classical Hollywood melodramas and musician-based dramas, and as it recontextualizes revered classical music in relation to the disturbing sadomasochistic desires of its female protagonist, Erika. The songs from Schubert’s Winterreise most closely match Erika’s conception of herself, and we explore how film incorporates them to sonically stress her ultimate aloneness. In addition, we place emphasis on Erika’s silences that leave her disempowered without those cathartic sonic consolations (such as empathetic non-diegetic music) that often provide a fantasy of female transcendence. The film’s feminist emphasis on such silences parallels Jelinek’s text, along with intensifying Haneke’s subversively uncomfortable, intertextually loaded creation.
Charity Scribner
- Published in print:
- 2014
- Published Online:
- November 2015
- ISBN:
- 9780231168649
- eISBN:
- 9780231538299
- Item type:
- book
- Publisher:
- Columbia University Press
- DOI:
- 10.7312/columbia/9780231168649.001.0001
- Subject:
- History, European Modern History
This book uses critical theory to answer key gender-related questions about the Red Army Faction (RAF), a group that was masterminded by women and which terrorized West Germany from the 1970s to the ...
More
This book uses critical theory to answer key gender-related questions about the Red Army Faction (RAF), a group that was masterminded by women and which terrorized West Germany from the 1970s to the 1990s. The questions include: Why were women so prominent in the RAF? And what does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? The book analyzes works by pivotal writers and artists, including Gerhard Richter and Elfriede Jelinek, that point beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. The book maps out a cultural history of militancy and introduces “postmilitancy” as a new critical term. It demonstrates how the most compelling examples of postmilitant culture don't just repudiate militancy but also investigate its horizons of possibility, particularly on the front of sexual politics. The book uses previously untranslated essays by Theodor Adorno and Jürgen Habermas, as well as novels by Friedrich Dürrenmatt and Judith Kuckart, Johann Kresnik's Tanztheaterstück Ulrike Meinhof and the blockbuster exhibition Regarding Terror at the Berlin Kunst-Werke. It also focuses on German cinema and provides interpretations of films by Margarethe von Trotta, Volker Schlöndorff and Fatih Akın. This analysis discloses dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body and the relationship between mass media and the arts.Less
This book uses critical theory to answer key gender-related questions about the Red Army Faction (RAF), a group that was masterminded by women and which terrorized West Germany from the 1970s to the 1990s. The questions include: Why were women so prominent in the RAF? And what does the continuing cultural response to the German armed struggle tell us about the representation of violence, power, and gender today? The book analyzes works by pivotal writers and artists, including Gerhard Richter and Elfriede Jelinek, that point beyond militancy and terrorism. This literature and art discloses the failures of the Far Left and registers the radical potential that RAF women actually forfeited. The book maps out a cultural history of militancy and introduces “postmilitancy” as a new critical term. It demonstrates how the most compelling examples of postmilitant culture don't just repudiate militancy but also investigate its horizons of possibility, particularly on the front of sexual politics. The book uses previously untranslated essays by Theodor Adorno and Jürgen Habermas, as well as novels by Friedrich Dürrenmatt and Judith Kuckart, Johann Kresnik's Tanztheaterstück Ulrike Meinhof and the blockbuster exhibition Regarding Terror at the Berlin Kunst-Werke. It also focuses on German cinema and provides interpretations of films by Margarethe von Trotta, Volker Schlöndorff and Fatih Akın. This analysis discloses dynamic junctures among several fields of inquiry: national and sexual identity, the disciplining of the militant body and the relationship between mass media and the arts.
