Table of Contents for
Image and Territory: Essays on Atom Egoyan, edited by Monique Tschofen and Jennifer Burwell
Introduction: In Media Res: Atom Egoyan’s Utopian Praxis |
Section 1: Technology, Aura, and Redemption
Artifice and Artifact: Technology and the Performance of Identity |
Fetish and Aura: Modes of Technological Engagement in Family Viewing |
The Adjuster: Playing House |
The Thirteenth Church: Musical Structures in Atom Egoyan’s Calendar |
The Passing of Celluloid, the Endurance of the Image: Egoyan, Steenbeckett, and Krapp’s Last Tape |
Section 2: Diasporic Histories and the Exile of Meaning
Mobile Subjectivity and Micro-territories: Placing the Diaspora |
Telling a Horror Story, Conscientiously: Representing the Armenian Genocide from Open House to Ararat |
History and Memory, Repetition and Epistolarity |
The Double’s Choice: The Immigrant Experience in Atom Egoyan’s Next of Kin |
Atom Egoyan’s Post-exilic Imaginary: Representing Homeland, Imagining Family |
Section 3: Pathologies/Ontologies of the Visual
Culpability, Innocence, Visual and Narrative Mastery |
Speaking Parts: The Geometry of Desire |
Look but Don’t Touch: Visual and Tactile Desire in Exotica, The Sweet Hereafter, and Felicia’s Journey |
To Blame Her Sadness: Representing Incest in Atom Egoyan’s The Sweet Hereafter |
Close: Voyeurism and the Idea of the Baroque |
Seeing and Hearing Atom Egoyan’s Salome |
Section 4: Conversations
An Imaginary Armenian Canadian Homeland: Gariné Torossian’s Dialogue with Egoyan |
Ripple Effects: Atom Egoyan Speaks with Monique Tschofen
Bibliography: Comprehensive Bibliography on Atom Egoyan |
Notes on Contributors
Index of Names
Kay Armatage is an associate professor at the University of Toronto, crossappointed to Cinema Studies, Innis College, and the Institute of Women’s Studies. She is also a member of the Graduate Centre for the Study of Drama. She is author of The Girl from God’s Country: Nell Shipman and the Silent Cinema (University of Toronto Press, 2003), co-editor of Gendering the Nation: Canadian Women’s Cinema (University of Toronto Press, 1999), editor of Equity and How to Get It (Toronto: Inanna Press, 1999), and author of articles on women filmmakers, feminist theory, and Canadian cinema in books, film magazines, and refereed journals.
Marie-Aude Baronian is an assistant professor in the Department of Philosophy and Media Studies of the University of Amsterdam and a member of the Amsterdam School for Cultural Analysis (ASCA). She has written and lectured extensively on Atom Egoyan’s cinema and on issues of representation, testimony, and memory, and is co-editor (together with Stephan Besser and Yolande Jansen) of the volume Diaspora and Memory: Figures of Displacement in Contemporary Literature, Arts and Politics (Rodopi, 2005). She has completed an interdisciplinary dissertation entitled Image et témoignage: vers un esthétique de la catastrophe.
William Beard is a professor of film/media studies at the University of Alberta, where he was for many years coordinator of the Film/Media Studies program. He is the author of Persistence of Double Vision: Essays on Clint Eastwood (University of Alberta Press, 2000) and The Artist as Monster: The Cinema of David Cronenberg (University of Toronto Press, 2001), and co-editor of North of Everything: English-Canadian Cinema since 1980 (University of Alberta Press, 2002). He is currently working on a book about Guy Maddin.
Melanie Boyd received her PhD in English and Women’s Studies from the University of Michigan and is now a postdoctoral fellow at Lawrence University, where she is affiliated with the Gender Studies Program. Her research focuses on contemporary U.S. and Canadian narratives of sexual violence, looking particularly at the rhetorics of innocence, damage, and healing that operate within these political texts; she is especially interested in their construction of narrative authority. Her current book project, Refiguring Incest: Feminism, Narrative, and the Abandonment of Innocence, looks at three decades of feminist accounts of paternal incest to highlight their shifting formulations of victimhood and to trace the implications of those shifts for feminist theorizations of subjectivity, agency, and violence.
Jennifer Burwell is an associate professor in the English Department at Ryerson University. She teaches media studies to Radio Television Arts students at Ryerson and to graduate students in the York/Ryerson Joint Graduate Programme in Communication and Cultural Studies. Her book, Notes on Nowhere: Feminism, Utopian Logic, and Social Transformation (University of Minnesota Press, 1997) examines utopian thought in relation to contemporary postmodern, critical Marxist, and feminist theory. Her current interests include the political economy of communications technology and the relationship between surveillance society and the public sphere.
Caryl Clark teaches musicology in the Faculty of Music, University of Toronto and in the Department of Visual and Performing Arts at UTSC (University of Toronto Scarborough Campus). Her publications reflect interests in the socio-cultural contexts of music-making, gender issues, performance studies, and the politics of musical reception. She is co-editor of two special interdisciplinary opera issues of the University of Toronto Quarterly“Voices of Opera” (1998) and “Interdisciplinary Studies of Opera” (2003), and is co-chair of the Humanities Initiative at the Munk Centre for International Studies. She is currently editing the Cambridge Companion to Haydn.
Elena del Río is an assistant professor of Film Studies at the University of Alberta. Her essays on the intersections of cinema and technology and of cinema and performance have appeared in Camera Obscura, Discourse, the Quarterly Review of Film and Video, Science Fiction Studies, and Studies in French Cinema.
Adam Gilders is a Toronto writer and academic. His fiction and articles have appeared in the Paris Review, The Walrus, and J&L Illustrated. He is the author, with photographer Jason Fulford, of Sunbird.
Patricia Gruben is an associate professor of Film and director of the Praxis Centre for Screenwriters at Simon Fraser University in Vancouver. She is also a filmmaker who has written and directed two dramatic features (Low Visibility and Deep Sleep), a feature-length documentary (Ley Lines) and several experimental narrative shorts including Sifted Evidence and Before It Blows. Recent publications include analyses of narrative structure in The Sweet Hereafter (Creative Screenwriting, March 2001) and Renny Bartlett’s Eisenstein (ScreenTalk, January 2002).
Nellie Hogikyan is a sessional lecturer in Comparative Literature and psycholinguistics at l’Université de Montréal. She is in charge of the Postcolonial Studies Reading Group, which she co-founded in 2000 in the department of Comparative Literature at l’Université de Montréal, where she works on questions of subalternity in the context of Lebanese-Palestinian terrorism. She has published fiction and non-fiction in local newspapers and magazines. Her academic essays include “Silence et résistance: le langage du subalterne. Le cas des réfugié-e-s palestinien-ne-s au Liban” (in Approches de l’outre-langue, ed. Alexis Nouss, Presses Universitaires de Strasbourg, 2005), “De la mythation à la mutation: structures ouvertes de l’identité” (in Poésie, terre d’exil; Alexis Nouss Trait d’union, 2003), and “The Crisis in Reason: Feminism, Simone de Beauvoir and the Marquis de Sade” (Revue de l’Institut Simone de Beauvoir Institute Review 18/19, 2000).
Angela Joosse is a PhD candidate in the Joint Graduate Programme in Communication and Culture of Ryerson and York universities. She is the author of, “Dziga Vertov and Steve Mann: The Embodiment of the Master Metaphor of Vision,” (Intersections Conference Journal, 2005). She is also a Toronto-based filmmaker. Her most recent films are Shapes Eat Shapes (2006), City Window (2005), Ear after Ear (2005), and Avra, which screened at the 2004 Montreal Festival des Films du Monde.
Katrin Kegel graduated from the University of Music and Performing Arts Mozarteum, Salzburg. After several years of theatre work, she took up studies of media communication and film at the University of Arts in Berlin and at Johann Wolfgang Goethe University in Frankfurt. She was as a staff member with the international film festivals of Toronto and Berlin and involved in a broad range of film-production work, with a special interest on international co-productions. She completed her masters in Film Studies with a thesis on ethnicity in the early films of Atom Egoyan (2002).
David L. Pike is an associate professor of literature at American University. He is author of Passage through Hell: Modernist Descents, Medieval Underworlds (1997), which won the Gustave O. Arlt Award and was a Choice Academic Book of the Year, and Subterranean Cities: Subways, Cemeteries, Sewers, and the Culture of Paris and London (2005). He is co-editor of the Longman Anthology of World Literature (2004) and has published widely on nineteenth- and twentieth-century urban literature, culture, and film. He is currently working on a history of Canadian cinema since 1980, to be published by Wallflower Press.
Lisa Siraganian is an assistant professor of English at Southern Methodist University in Dallas, Texas. She is currently working on a book about theories of the art object in twentieth-century American literature. She has previous published articles in Diaspora and Modernism/Modernity.
Batia Boe Stolar is an assistant professor in English at Lakehead University. She has recent or forthcoming publications in the Canadian Journal of Film Studies, Studies in Canadian Literature, and Downtown Canada. She is currently completing a manuscript on cultural constructions of the immigrant in Canadian and American literature and film, and researching visual representations of the immigrant in Canadian and American documentaries, photography, and film.
Gariné Torossian is a self-taught filmmaker and photographer. Mining a rich palette of colours and textures, superimpositions and dissolves, mixing formats of Super 8, 35mm, and video, Torossian creates films that bridge the gaps between visual, sound art, cinema, and music video. Sixteen of her films have shown internationally at festivals and universities. Retrospectives of her work have been held at New York’s Museum of Modern Art, Stan Brakhage’s First Person Cinema, Yerevan’s Cinematheque, the Berlin Arsenal, and the Telluride Festival. She has been awarded prizes and mentions at the Berlin, Melbourne, and Houston film festivals.
Monique Tschofen is an associate professor in the Department of English at Ryerson University and a member of the Joint Graduate Programme in Communications and Culture of Ryerson and York universities. She is the editor of Kristjana Gunnars: Essays on Her Work (Guernica 2004) and has published articles on Canadian film, literature, and painting, intermediality and visuality, and violence in representation. She is currently working on a monograph on new-world torture narratives.
William Van Wert was the Laura Carnell Professor of English at Temple University, where he taught film and creative writing and was serving as the director of undergraduate English studies at the time of his death. He was the author of fifteen books, among them novels (What’s It All About, Stool Wives, Don Quixote), short story collections (Tales for Expectant Fathers, Missing in Action, The Advancement of Ignorance), poetry collections (The Invention of Ice Skating, Proper Myth, Vital Signs), and one book of essays (Memory Links), as well as extensive work in the area of film studies. His death is a profound loss to all who worked with him and read his work.
Hrag Vartanian is an Armenian Canadian writer and critic living in Brooklyn, New York. He is a staff writer for AGBU News Magazine, the Brooklyn Rail newspaper, and Boldtype, an online review journal. He also serves on the editorial board of the quarterly Ararat. His writing explores diversity and identity in a global context.