Ned Schantz
- Published in print:
- 2008
- Published Online:
- September 2008
- ISBN:
- 9780195335910
- eISBN:
- 9780199868902
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780195335910.003.0008
- Subject:
- Literature, Film, Media, and Cultural Studies, Women's Literature
This chapter identifies the isolating effects of stalkers on female figures, emphasizing the temporal isolation accomplished through the control of storage media such as tape recorders and answering ...
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This chapter identifies the isolating effects of stalkers on female figures, emphasizing the temporal isolation accomplished through the control of storage media such as tape recorders and answering machines that would otherwise connect the heroines to a vital past of female networks. Following the stalker through two pairs of films: The Terminator and Klute, then Blade Runner and Vertigo, it becomes clear that this abuse of the past constitutes criminal necrophilia. This necrophilia will nonetheless be relentlessly projected back onto the heroines, whose female networks will be figured in various ways as morbid simulation. At stake is always the cultural verdict on the modern city, a city seen as fraught with female independence and male shame.Less
This chapter identifies the isolating effects of stalkers on female figures, emphasizing the temporal isolation accomplished through the control of storage media such as tape recorders and answering machines that would otherwise connect the heroines to a vital past of female networks. Following the stalker through two pairs of films: The Terminator and Klute, then Blade Runner and Vertigo, it becomes clear that this abuse of the past constitutes criminal necrophilia. This necrophilia will nonetheless be relentlessly projected back onto the heroines, whose female networks will be figured in various ways as morbid simulation. At stake is always the cultural verdict on the modern city, a city seen as fraught with female independence and male shame.
Alex Ling
- Published in print:
- 2010
- Published Online:
- March 2012
- ISBN:
- 9780748641130
- eISBN:
- 9780748652631
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748641130.001.0001
- Subject:
- Philosophy, General
This book offers an in-depth examination of cinema and its philosophical significance. It employs the philosophy of Alain Badiou to answer the question central to all serious film scholarship – ...
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This book offers an in-depth examination of cinema and its philosophical significance. It employs the philosophy of Alain Badiou to answer the question central to all serious film scholarship – namely, ‘can cinema be thought?’ Treating this question on three levels, the author first asks if we can really think what cinema is, at an ontological level. Second, he investigates whether cinema can actually think for itself; that is, whether or not it is truly ‘artistic’. Finally, the author explores in what ways we can rethink the consequences of the fact that cinema thinks. In answering these questions, he uses well-known films ranging from Hiroshima mon amour to Vertigo to The Matrix to illustrate Badiou's philosophy, as well as to consider the ways in which his work can be extended, critiqued and reframed with respect to the medium of cinema.Less
This book offers an in-depth examination of cinema and its philosophical significance. It employs the philosophy of Alain Badiou to answer the question central to all serious film scholarship – namely, ‘can cinema be thought?’ Treating this question on three levels, the author first asks if we can really think what cinema is, at an ontological level. Second, he investigates whether cinema can actually think for itself; that is, whether or not it is truly ‘artistic’. Finally, the author explores in what ways we can rethink the consequences of the fact that cinema thinks. In answering these questions, he uses well-known films ranging from Hiroshima mon amour to Vertigo to The Matrix to illustrate Badiou's philosophy, as well as to consider the ways in which his work can be extended, critiqued and reframed with respect to the medium of cinema.
Torben Grodal
- Published in print:
- 1999
- Published Online:
- October 2011
- ISBN:
- 9780198159834
- eISBN:
- 9780191673719
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/acprof:oso/9780198159834.003.0012
- Subject:
- Literature, Film, Media, and Cultural Studies
This chapter analyses aspects of the melodrama, emphasizing especially its nature as a conflict between active and passive reactions. It illustrates lyrical and melodramatic patterns in Gone With the ...
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This chapter analyses aspects of the melodrama, emphasizing especially its nature as a conflict between active and passive reactions. It illustrates lyrical and melodramatic patterns in Gone With the Wind and Vertigo, with emphasis on the relations between temporal rearrangements and passive, lyrical, or melodramatic-autonomic mechanism, and on the mechanisms of relabelling arousal.Less
This chapter analyses aspects of the melodrama, emphasizing especially its nature as a conflict between active and passive reactions. It illustrates lyrical and melodramatic patterns in Gone With the Wind and Vertigo, with emphasis on the relations between temporal rearrangements and passive, lyrical, or melodramatic-autonomic mechanism, and on the mechanisms of relabelling arousal.
David Martin-Jones
- Published in print:
- 2006
- Published Online:
- March 2012
- ISBN:
- 9780748622443
- eISBN:
- 9780748651085
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748622443.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter explores how memory functions in the movement- and time-image, first explaining habit and attentive recollection, the two types of memory found in Henri Bergson's Matter and Memory ...
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This chapter explores how memory functions in the movement- and time-image, first explaining habit and attentive recollection, the two types of memory found in Henri Bergson's Matter and Memory (1896). Using Alfred Hitchcock's Vertigo (1958), it shows that these two types of memory characterise memory in the movement-image. The chapter then turns to Gilles Deleuze's work on the three syntheses of time from Difference and Repetition (1968). The first two syntheses draw upon Bergson's two memory types. However, they are ungrounded in a third synthesis, based upon Friedrich Nietzsche's eternal return. This third type characterises memory in the time-image, and is illustrated through an examination of 81?2 (1963). The chapter concludes by relating the construction of character memory in these two films to their respective constructions of national identity.Less
This chapter explores how memory functions in the movement- and time-image, first explaining habit and attentive recollection, the two types of memory found in Henri Bergson's Matter and Memory (1896). Using Alfred Hitchcock's Vertigo (1958), it shows that these two types of memory characterise memory in the movement-image. The chapter then turns to Gilles Deleuze's work on the three syntheses of time from Difference and Repetition (1968). The first two syntheses draw upon Bergson's two memory types. However, they are ungrounded in a third synthesis, based upon Friedrich Nietzsche's eternal return. This third type characterises memory in the time-image, and is illustrated through an examination of 81?2 (1963). The chapter concludes by relating the construction of character memory in these two films to their respective constructions of national identity.
Steven Jacobs
- Published in print:
- 2011
- Published Online:
- September 2012
- ISBN:
- 9780748640171
- eISBN:
- 9780748670901
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640171.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter deals with the museum scenes in Rossellini's Viaggio in Italia and Hitchcock's Vertigo. Both scenes call up associations that museums often evoke in feature films. Famous tourist ...
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This chapter deals with the museum scenes in Rossellini's Viaggio in Italia and Hitchcock's Vertigo. Both scenes call up associations that museums often evoke in feature films. Famous tourist attractions, the Naples Archaeological Museum and the San Francisco Palace of the Legion of Honor become uncanny places of fatal encounters, mystery and introspection. Museums are presented as mausoleums, in which spiritual and atavist powers are confining characters in their memories. Marked by a contemplative rhythm, which matches perfectly the solemn silence of classical museum spaces, both scenes show a remarkably modernist sensibility. The contemplation of artworks and the museum experience enable Rossellini and Hitchcock to investigate the cinematic representation of the act of looking by means of emphatic close-ups of faces, highly unusual juxtapositions of action and reaction shots and bravura camera movements. The appropriate place for the contemplative gaze, the museum becomes a perfect motif of cinematic self-reflection – a theme that also is introduced by the conscientious confrontation between the medium of film and those of painting or sculpture. In so doing, the museum scenes in Viaggio in Italia and Vertigo show striking similarities with new trends that appeared in the art documentaries discussed in the first chapter.Less
This chapter deals with the museum scenes in Rossellini's Viaggio in Italia and Hitchcock's Vertigo. Both scenes call up associations that museums often evoke in feature films. Famous tourist attractions, the Naples Archaeological Museum and the San Francisco Palace of the Legion of Honor become uncanny places of fatal encounters, mystery and introspection. Museums are presented as mausoleums, in which spiritual and atavist powers are confining characters in their memories. Marked by a contemplative rhythm, which matches perfectly the solemn silence of classical museum spaces, both scenes show a remarkably modernist sensibility. The contemplation of artworks and the museum experience enable Rossellini and Hitchcock to investigate the cinematic representation of the act of looking by means of emphatic close-ups of faces, highly unusual juxtapositions of action and reaction shots and bravura camera movements. The appropriate place for the contemplative gaze, the museum becomes a perfect motif of cinematic self-reflection – a theme that also is introduced by the conscientious confrontation between the medium of film and those of painting or sculpture. In so doing, the museum scenes in Viaggio in Italia and Vertigo show striking similarities with new trends that appeared in the art documentaries discussed in the first chapter.
Kevin Clifton
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780719095863
- eISBN:
- 9781526121066
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719095863.003.0004
- Subject:
- Film, Television and Radio, Film
This chapter explores the dramatic employment of music in two classic Hitchcock films, Rope (1948) and Vertigo (1958), both of which effectively sustain suspense throughout the filmic narrative. In ...
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This chapter explores the dramatic employment of music in two classic Hitchcock films, Rope (1948) and Vertigo (1958), both of which effectively sustain suspense throughout the filmic narrative. In Rope, Phillip Morgan, one of the killers, gives an on-screen performance of the first movement of Francis Poulenc's Mouvements Perpétuels (1918) during a macabre dinner party, where one of the guests lies dead in a trunk. The chapter argues that we can hear echoes of Rope’s score, based largely on Francis Poulenc’s Mouvement Perpétuel (1918) in Herrmann’s score for Vertigo. The ‘musical ambivalences’ of both scores provide counterpoints for the two film’s narrative complexities.Less
This chapter explores the dramatic employment of music in two classic Hitchcock films, Rope (1948) and Vertigo (1958), both of which effectively sustain suspense throughout the filmic narrative. In Rope, Phillip Morgan, one of the killers, gives an on-screen performance of the first movement of Francis Poulenc's Mouvements Perpétuels (1918) during a macabre dinner party, where one of the guests lies dead in a trunk. The chapter argues that we can hear echoes of Rope’s score, based largely on Francis Poulenc’s Mouvement Perpétuel (1918) in Herrmann’s score for Vertigo. The ‘musical ambivalences’ of both scores provide counterpoints for the two film’s narrative complexities.
Pasquale Iannone
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780719095863
- eISBN:
- 9781526121066
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719095863.003.0008
- Subject:
- Film, Television and Radio, Film
Of all the Herrmann-Hitchcock collaborations, Vertigo and Psycho remain not only the most famous but also the most aesthetically different. The intensely romantic, full-bodied Wagnerian score of the ...
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Of all the Herrmann-Hitchcock collaborations, Vertigo and Psycho remain not only the most famous but also the most aesthetically different. The intensely romantic, full-bodied Wagnerian score of the first would seem diametrically opposed to the chilling, strings-only score of the second. While Vertigo deals with romantic obsession, the sound of Psycho is one of ‘primordial dread’. What unites the two films, however, is the dominant role played by Herrmann’s music. This chapter will discuss sound, music and the representation of two separate car journeys. Through detailed scene analysis as well as close engagement with the writings of Jack Sullivan, Michel Chion and Elisabeth Weis amongst others, the chapter examines the importance of sound (and Herrmann’s music) in both driving the narrative but also reflecting characters’ unstable subjectivity.Less
Of all the Herrmann-Hitchcock collaborations, Vertigo and Psycho remain not only the most famous but also the most aesthetically different. The intensely romantic, full-bodied Wagnerian score of the first would seem diametrically opposed to the chilling, strings-only score of the second. While Vertigo deals with romantic obsession, the sound of Psycho is one of ‘primordial dread’. What unites the two films, however, is the dominant role played by Herrmann’s music. This chapter will discuss sound, music and the representation of two separate car journeys. Through detailed scene analysis as well as close engagement with the writings of Jack Sullivan, Michel Chion and Elisabeth Weis amongst others, the chapter examines the importance of sound (and Herrmann’s music) in both driving the narrative but also reflecting characters’ unstable subjectivity.
David Cooper
- Published in print:
- 2017
- Published Online:
- May 2017
- ISBN:
- 9780719095863
- eISBN:
- 9781526121066
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719095863.003.0009
- Subject:
- Film, Television and Radio, Film
This chapter argues that Herrmann’s Echoes owes much to Herrmann’s film work, and in particular has resonances with his scores for Vertigo, Psycho and Marnie. Taking a musicological approach to ...
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This chapter argues that Herrmann’s Echoes owes much to Herrmann’s film work, and in particular has resonances with his scores for Vertigo, Psycho and Marnie. Taking a musicological approach to Herrmann’s concert and film score work, it finds in Herrmann’s music a potent ability to subtly support Vertigo’s narrative development and sonically make manifest its underlying psychological thrust without the need to resort to slavish and literal translation and therefore reduplication of the visual into the aural and musical. In addition, it sets Herrmann’s work within the context of Hitchcock’s oeuvre, examining firstly the musical relationship between Herrmann and Lyn Murray, and the stylistic agreement between them: Murray’s score for To Catch a Thief is more heterogeneous than that of his sometime friend, and a significant proportion is diegetic, drawing strongly on jazz and popular music, while at the same time looking to influences such as early Britten and Prokofiev.Less
This chapter argues that Herrmann’s Echoes owes much to Herrmann’s film work, and in particular has resonances with his scores for Vertigo, Psycho and Marnie. Taking a musicological approach to Herrmann’s concert and film score work, it finds in Herrmann’s music a potent ability to subtly support Vertigo’s narrative development and sonically make manifest its underlying psychological thrust without the need to resort to slavish and literal translation and therefore reduplication of the visual into the aural and musical. In addition, it sets Herrmann’s work within the context of Hitchcock’s oeuvre, examining firstly the musical relationship between Herrmann and Lyn Murray, and the stylistic agreement between them: Murray’s score for To Catch a Thief is more heterogeneous than that of his sometime friend, and a significant proportion is diegetic, drawing strongly on jazz and popular music, while at the same time looking to influences such as early Britten and Prokofiev.
Theodora Patrona
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262274
- eISBN:
- 9780823266418
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262274.003.0016
- Subject:
- Literature, Criticism/Theory
Theodora Patrona offers a comparative perspective by juxtaposing Vertigo to Greek American female immigrant novels. In particular, the essay is an examination of Vertigo in conjunction with works by ...
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Theodora Patrona offers a comparative perspective by juxtaposing Vertigo to Greek American female immigrant novels. In particular, the essay is an examination of Vertigo in conjunction with works by Greek American writers Ariadne Thompson and Helen Papanikolas to present a kaleidoscopic view of the female ethnic that underscores the hurdles of first- and second-generation women of white ethnic ancestry in the United States.Less
Theodora Patrona offers a comparative perspective by juxtaposing Vertigo to Greek American female immigrant novels. In particular, the essay is an examination of Vertigo in conjunction with works by Greek American writers Ariadne Thompson and Helen Papanikolas to present a kaleidoscopic view of the female ethnic that underscores the hurdles of first- and second-generation women of white ethnic ancestry in the United States.
Michael Mack
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9781474411363
- eISBN:
- 9781474418577
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474411363.003.0006
- Subject:
- Literature, Criticism/Theory
Chapter discusses how James’s and Hitchcock’s respective questioning of acceleration is pertinent to a better understanding of our contemporary digital culture. This culture places a premium on ...
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Chapter discusses how James’s and Hitchcock’s respective questioning of acceleration is pertinent to a better understanding of our contemporary digital culture. This culture places a premium on actions, on doing. Acceleration has been ever increasing since the industrial revolution. Speed elevated doing: the sheer quantity of actions. James and Hitchcock in different yet related ways show how actions without the perceptive work of understanding can have deleterious consequences. Here perception is no longer removed from the world of action as has traditionally been the case in standard oppositions between the contemplative and the active life of politics. Anticipating the neuroscientific exploration of mirror neurons, the 1908 preface to The Portrait of a Lady makes a strong case for the discovery action within perception. In a similar way, Hitchcock’s films make us see how behind what we take to be innocent dwells a more sinister world which we perceive when the speed of our perception slows down. Hitchcock’s suspense works at an epistemological level. It uncovers knowledge which has been hidden by societal concepts of respectability, order and purity. Isabel Archer holds us in suspense in a similar way: we are aware before she and other characters in the novel are that her quest for freedom will end up entrapping her.Less
Chapter discusses how James’s and Hitchcock’s respective questioning of acceleration is pertinent to a better understanding of our contemporary digital culture. This culture places a premium on actions, on doing. Acceleration has been ever increasing since the industrial revolution. Speed elevated doing: the sheer quantity of actions. James and Hitchcock in different yet related ways show how actions without the perceptive work of understanding can have deleterious consequences. Here perception is no longer removed from the world of action as has traditionally been the case in standard oppositions between the contemplative and the active life of politics. Anticipating the neuroscientific exploration of mirror neurons, the 1908 preface to The Portrait of a Lady makes a strong case for the discovery action within perception. In a similar way, Hitchcock’s films make us see how behind what we take to be innocent dwells a more sinister world which we perceive when the speed of our perception slows down. Hitchcock’s suspense works at an epistemological level. It uncovers knowledge which has been hidden by societal concepts of respectability, order and purity. Isabel Archer holds us in suspense in a similar way: we are aware before she and other characters in the novel are that her quest for freedom will end up entrapping her.
Peter Covino
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262274
- eISBN:
- 9780823266418
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262274.003.0003
- Subject:
- Literature, Criticism/Theory
Peter Covino reads DeSalvo like a poet, distilling the significance of semantic and syntactic choices to identify what he coins as DeSalvo’s “poetic of trauma.” The essay makes use of Julia ...
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Peter Covino reads DeSalvo like a poet, distilling the significance of semantic and syntactic choices to identify what he coins as DeSalvo’s “poetic of trauma.” The essay makes use of Julia Kristeva’s notions of intertextuality and poetic texts to read three chapters of Louise DeSalvo’s Vertigo that center around trauma.Less
Peter Covino reads DeSalvo like a poet, distilling the significance of semantic and syntactic choices to identify what he coins as DeSalvo’s “poetic of trauma.” The essay makes use of Julia Kristeva’s notions of intertextuality and poetic texts to read three chapters of Louise DeSalvo’s Vertigo that center around trauma.
Jeana DelRosso
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262274
- eISBN:
- 9780823266418
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262274.003.0004
- Subject:
- Literature, Criticism/Theory
Jeana DelRosso’s essay addresses the subversion of memory, fact, and history in DeSalvo’s work vis-à-vis the writings of contemporary Catholic women memoirists—exemplified here by Mary McCarthy and ...
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Jeana DelRosso’s essay addresses the subversion of memory, fact, and history in DeSalvo’s work vis-à-vis the writings of contemporary Catholic women memoirists—exemplified here by Mary McCarthy and Martha Manning. This essay argues that memoir, in the hands of a literary practitioner schooled in early and mid-twentieth-century American and British literature and second-wave feminism, becomes a rich and provocative example of literary experimentation that freely interacts with the genres of fiction, especially with regards to the Catholic elements in Vertigo.Less
Jeana DelRosso’s essay addresses the subversion of memory, fact, and history in DeSalvo’s work vis-à-vis the writings of contemporary Catholic women memoirists—exemplified here by Mary McCarthy and Martha Manning. This essay argues that memoir, in the hands of a literary practitioner schooled in early and mid-twentieth-century American and British literature and second-wave feminism, becomes a rich and provocative example of literary experimentation that freely interacts with the genres of fiction, especially with regards to the Catholic elements in Vertigo.
Julija Šukys
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262274
- eISBN:
- 9780823266418
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262274.003.0005
- Subject:
- Literature, Criticism/Theory
Julija Šukys, a writer of Lithuanian origins, dialogues with DeSalvo’s “Portrait of the Puttana as a Middle-Aged Woolf Scholar,” focusing on the struggle to balance research, writing, and ...
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Julija Šukys, a writer of Lithuanian origins, dialogues with DeSalvo’s “Portrait of the Puttana as a Middle-Aged Woolf Scholar,” focusing on the struggle to balance research, writing, and motherhood—and of living and falling in love with feminine literary ghosts (Woolf for DeSalvo and Ona Šimaitė for Šukys). This essay considers DeSalvo’s pedagogy and memoir more broadly and in connection with questions of creativity specifically with regard to bridging the modes of scholarly and creative writing.Less
Julija Šukys, a writer of Lithuanian origins, dialogues with DeSalvo’s “Portrait of the Puttana as a Middle-Aged Woolf Scholar,” focusing on the struggle to balance research, writing, and motherhood—and of living and falling in love with feminine literary ghosts (Woolf for DeSalvo and Ona Šimaitė for Šukys). This essay considers DeSalvo’s pedagogy and memoir more broadly and in connection with questions of creativity specifically with regard to bridging the modes of scholarly and creative writing.
Emily Bernard
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9780823262274
- eISBN:
- 9780823266418
- Item type:
- chapter
- Publisher:
- Fordham University Press
- DOI:
- 10.5422/fordham/9780823262274.003.0008
- Subject:
- Literature, Criticism/Theory
Emily Bernard explores the process of bridging the modes of scholarly and creative writing through a discussion of Adultery, Conceived with Malice, and Vertigo. She views these texts as examples of ...
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Emily Bernard explores the process of bridging the modes of scholarly and creative writing through a discussion of Adultery, Conceived with Malice, and Vertigo. She views these texts as examples of the way DeSalvo both fixes and unfixes: telling the truth, we learn, sometimes happens in the gaps between words, sentences, and paragraphs.Less
Emily Bernard explores the process of bridging the modes of scholarly and creative writing through a discussion of Adultery, Conceived with Malice, and Vertigo. She views these texts as examples of the way DeSalvo both fixes and unfixes: telling the truth, we learn, sometimes happens in the gaps between words, sentences, and paragraphs.
Marc Singer
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031366
- eISBN:
- 9781617031373
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031366.003.0004
- Subject:
- Literature, Comics Studies
This chapter discusses Grant Morrison’s works for Vertigo Comics, a subsidiary group of DC Comics. In 1993, for his first writing project for Vertigo, Morrison wrote Sebastian O, which tells the ...
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This chapter discusses Grant Morrison’s works for Vertigo Comics, a subsidiary group of DC Comics. In 1993, for his first writing project for Vertigo, Morrison wrote Sebastian O, which tells the story of a fugitive in an alternate version of Victorian-era England who uses advanced technology. In 1994, Morrison worked on The Invisibles, a graphic novel series that follows a ragtag group of freedom fighters who battled extradimensional foes who enslaved humanity without their knowledge.Less
This chapter discusses Grant Morrison’s works for Vertigo Comics, a subsidiary group of DC Comics. In 1993, for his first writing project for Vertigo, Morrison wrote Sebastian O, which tells the story of a fugitive in an alternate version of Victorian-era England who uses advanced technology. In 1994, Morrison worked on The Invisibles, a graphic novel series that follows a ragtag group of freedom fighters who battled extradimensional foes who enslaved humanity without their knowledge.
Marc Singer
- Published in print:
- 2011
- Published Online:
- March 2014
- ISBN:
- 9781617031366
- eISBN:
- 9781617031373
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781617031366.003.0006
- Subject:
- Literature, Comics Studies
This chapter examines Grant Morrison’s comic book projects for Vertigo Comics during and after his stint in Marvel Comics. It explains that during his stay in Marvel Comics, his projects for Vertigo ...
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This chapter examines Grant Morrison’s comic book projects for Vertigo Comics during and after his stint in Marvel Comics. It explains that during his stay in Marvel Comics, his projects for Vertigo abandoned the standard formula of superhero comics. It became his channel for expressing his frustration on corporate control and conservative ideology. The chapter adds that Morrison experimented with different approaches to writing a comic book narrative such as in the Justice League of America parody, The Filth. Morrison’s Seaguy parodied the narrative stasis of superhero genres with the episodic plotting that leads the story nowhere.Less
This chapter examines Grant Morrison’s comic book projects for Vertigo Comics during and after his stint in Marvel Comics. It explains that during his stay in Marvel Comics, his projects for Vertigo abandoned the standard formula of superhero comics. It became his channel for expressing his frustration on corporate control and conservative ideology. The chapter adds that Morrison experimented with different approaches to writing a comic book narrative such as in the Justice League of America parody, The Filth. Morrison’s Seaguy parodied the narrative stasis of superhero genres with the episodic plotting that leads the story nowhere.
Julia Round
- Published in print:
- 2010
- Published Online:
- March 2014
- ISBN:
- 9781604737929
- eISBN:
- 9781604737936
- Item type:
- chapter
- Publisher:
- University Press of Mississippi
- DOI:
- 10.14325/mississippi/9781604737929.003.0002
- Subject:
- Literature, Comics Studies
In 1993, DC Comics launched its Vertigo imprint using six popular series from the 1980s as a conscious move away from superheroics. All six series were reworkings of older DC supernatural or horror ...
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In 1993, DC Comics launched its Vertigo imprint using six popular series from the 1980s as a conscious move away from superheroics. All six series were reworkings of older DC supernatural or horror characters: The Sandman, The Saga of the Swamp Thing, Hellblazer, Animal Man, Shade: The Changing Man, and Doom Patrol. This chapter examines the technological changes and marketing innovations that helped redefine comics at the end of the twentieth century, focusing on the role of DC Vertigo and the emergence of graphic novels and trade paperbacks in the 1990s. It looks at how factors such as digital production and computerized printing, distribution via bookshops, expensive and permanent binding, pricing, and franchising have shaped the medium by bringing the graphic novel closer to the aesthetic of the literary text, while maintaining the status quo of the comics market in some respects. Finally, the chapter discusses other aspects that have affected the ways in which comics are created, produced, and received, including the redefinition of the audience and emergent intellectual property and copyright laws.Less
In 1993, DC Comics launched its Vertigo imprint using six popular series from the 1980s as a conscious move away from superheroics. All six series were reworkings of older DC supernatural or horror characters: The Sandman, The Saga of the Swamp Thing, Hellblazer, Animal Man, Shade: The Changing Man, and Doom Patrol. This chapter examines the technological changes and marketing innovations that helped redefine comics at the end of the twentieth century, focusing on the role of DC Vertigo and the emergence of graphic novels and trade paperbacks in the 1990s. It looks at how factors such as digital production and computerized printing, distribution via bookshops, expensive and permanent binding, pricing, and franchising have shaped the medium by bringing the graphic novel closer to the aesthetic of the literary text, while maintaining the status quo of the comics market in some respects. Finally, the chapter discusses other aspects that have affected the ways in which comics are created, produced, and received, including the redefinition of the audience and emergent intellectual property and copyright laws.
- Published in print:
- 2012
- Published Online:
- June 2013
- ISBN:
- 9781846318214
- eISBN:
- 9781846317736
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/UPO9781846317736.004
- Subject:
- Literature, Criticism/Theory
This chapter examines how the travelogues of Daphne Marlatt and W. G. Sebald thematically explore and stylistically convey the liminality and in-betweenness of spectral presences. It focuses on ...
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This chapter examines how the travelogues of Daphne Marlatt and W. G. Sebald thematically explore and stylistically convey the liminality and in-betweenness of spectral presences. It focuses on Marlatt's Ghost Works and Sebald's Vertigo and The Rings of Saturn. It discusses the plot of these works and suggests that innovative travel narratives of Marlatt and Sebald are emblematic of a cultural shift in modes and media of textual production that illustrates the concern to push the boundaries of generic and textual responses to travel.Less
This chapter examines how the travelogues of Daphne Marlatt and W. G. Sebald thematically explore and stylistically convey the liminality and in-betweenness of spectral presences. It focuses on Marlatt's Ghost Works and Sebald's Vertigo and The Rings of Saturn. It discusses the plot of these works and suggests that innovative travel narratives of Marlatt and Sebald are emblematic of a cultural shift in modes and media of textual production that illustrates the concern to push the boundaries of generic and textual responses to travel.
- Published in print:
- 2001
- Published Online:
- June 2013
- ISBN:
- 9780853236870
- eISBN:
- 9781846314469
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853236870.003.0004
- Subject:
- Literature, American, 20th Century Literature
This chapter examines how Paul Auster deals with questions pertaining to history, politics and myth-making. It highlights the connection between the world of fiction and the real world of history and ...
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This chapter examines how Paul Auster deals with questions pertaining to history, politics and myth-making. It highlights the connection between the world of fiction and the real world of history and politics in his ‘Moon Palace’ and ‘Leviathan’, and also, to a lesser degree, in ‘Mr. Vertigo’. The chapter considers Auster's strategies in blurring the line between the extra- and the intra-textual, and in the weaving of plots.Less
This chapter examines how Paul Auster deals with questions pertaining to history, politics and myth-making. It highlights the connection between the world of fiction and the real world of history and politics in his ‘Moon Palace’ and ‘Leviathan’, and also, to a lesser degree, in ‘Mr. Vertigo’. The chapter considers Auster's strategies in blurring the line between the extra- and the intra-textual, and in the weaving of plots.
- Published in print:
- 2001
- Published Online:
- June 2013
- ISBN:
- 9780853236870
- eISBN:
- 9781846314469
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9780853236870.003.0005
- Subject:
- Literature, American, 20th Century Literature
This chapter analyses other works of Paul Auster, including the novels ‘Mr. Vertigo’ and ‘Timbuktu’ and the screenplay ‘Smoke’. It explains that ‘Timbuktu’ is a comic novel with allegorical ...
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This chapter analyses other works of Paul Auster, including the novels ‘Mr. Vertigo’ and ‘Timbuktu’ and the screenplay ‘Smoke’. It explains that ‘Timbuktu’ is a comic novel with allegorical overtones, and highlights the absence of the questions of authorship and authority as well as references to other writers and books in ‘Mr. Vertigo’. The chapter suggests that ‘Mr. Vertigo’ can be interpreted as Auster's attempt to lay the ghosts of his progenitors to rest and move to an entirely different place.Less
This chapter analyses other works of Paul Auster, including the novels ‘Mr. Vertigo’ and ‘Timbuktu’ and the screenplay ‘Smoke’. It explains that ‘Timbuktu’ is a comic novel with allegorical overtones, and highlights the absence of the questions of authorship and authority as well as references to other writers and books in ‘Mr. Vertigo’. The chapter suggests that ‘Mr. Vertigo’ can be interpreted as Auster's attempt to lay the ghosts of his progenitors to rest and move to an entirely different place.
