Relevant bibliographies by topics / Being John Malkovich

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters

Academic literature on the topic 'Being John Malkovich'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Being John Malkovich"

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Repass, Scott. "Being John Malkovich." Film Quarterly 56, no. 1 (2002): 29–36. http://dx.doi.org/10.1525/fq.2002.56.1.29.

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In Being John Malkovich, Craig Schwartz discovers a portal that allows him to "be" John Malkovich for 15 minutes, thus opening a "metaphysical can of worms." The worms discussed in this articles include identity issues raised by the characters' abilities to change bodies, the film's play on the contrast between person and public persona, and director Spike Jonze's "first person" representation of the experience of entering Malkovich. Jonze and writer Charlie Kaufman also raise questions about the role of gender identity and the differences between humans and animals and animals and puppets.
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Koch, Christof. "Being John Malkovich." Scientific American Mind 22, no. 1 (March 2011): 18–19. http://dx.doi.org/10.1038/scientificamericanmind0311-18.

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Shaw, Daniel. "On Being Philosophical andBeing John Malkovich." Journal of Aesthetics and Art Criticism 64, no. 1 (January 2006): 111–18. http://dx.doi.org/10.1111/j.0021-8529.2006.00233.x.

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Oh, Jung Min. "Projective Identification in Psycho and Being John Malkovich." Cine forum 21 (August 31, 2015): 39. http://dx.doi.org/10.19119/cf.2015.08.21.39.

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Gabbard, Glen O. "Fifteen minutes of fame revisited: Being John Malkovich." International Journal of Psychoanalysis 82, no. 1 (February 2001): 177–79. http://dx.doi.org/10.1516/qar9-6dd0-3589-2vvn.

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Szczypa, Piotr. "Being John Malkovich and the Philosophy of Cyberspace Addiction." Roczniki Humanistyczne 66, no. 11 (2018): 165–80. http://dx.doi.org/10.18290/rh.2018.66.11-10.

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Young, W. "Otherwise than Being John Malkovich: Incarnating the Name of God." Literature and Theology 18, no. 1 (March 1, 2004): 95–108. http://dx.doi.org/10.1093/litthe/18.1.95.

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DasGupta, Sayantani. "Being John Doe Malkovich: Truth, Imagination, and Story in Medicine." Literature and Medicine 25, no. 2 (2006): 439–62. http://dx.doi.org/10.1353/lm.2007.0003.

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Lawtoo, Nidesh. "“This Is No Simulation!”: Hypermimesis from Being John Malkovich to Her." Quarterly Review of Film and Video 37, no. 2 (July 25, 2019): 116–44. http://dx.doi.org/10.1080/10509208.2019.1631692.

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Kulczycka, Dorota. "Jan Paweł II w surrealistycznych odsłonach. Dwa filmy – o teatrach i teatrzykach i nie tylko – „z udziałem” Papieża." Roczniki Humanistyczne 68, no. 1 Zeszyt specjalny (2020): 523–38. http://dx.doi.org/10.18290/rh.2068s-35.

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The subject of this paper are such surrealistic films as Conspirators of Pleasure (Czech: Spiklenci slasti, by Jan Švankmajer, 1996) and Being John Malkovich (by Spike Jonze, 1999), in which John Paul II is featured in the form of a montage, and theatre also plays an important role, as either one of the leading topics or else as an artistic convention. The author questions the sense of these references and what can they possibly communicate. In both of the films analysed, the interpolations of John Paul II usually break out of the normal order of things; they are additions to the represented world, elements of another reality, and thus constitute a perfect component of surrealist art, which aims – among other things – to increase confusion by the intentional incongruity of the elements presented. In these montages, John Paul II becomes an icon of seriousness, gravitas and the most important events in the world, but also a sort of “star,” a celebrity, a media person. The clash between this gravitas and the grotesque world of the movie characters often elicits dissonance and confusion, as both movies are concerned with yielding to various, sometimes completely absurd, passions. In Conspirators of Pleasure this means – above all – erotic and sexual desires; in Being John Malkovich – a desire for success and fame (apart from various configurations of sensual lust). Additionally, there is the clearly emphasised dream of being somebody else, as well as dreams of earthly immortality. John Paul II did not share such dreams, believing that the most important things are conforming to God’s will, one’s self-esteem in the light of the evangelical truth about Transcendence and Christ’s love towards men, and the “return to oneself” – playing one’s own role, not somebody else’s. The Pope exemplified with his own life how to go beyond one’s own habits, how to worship God above everything else, how to respond to other people, defeat egoism and resign from comfort, and how to live a real life in a real space, not an illusory one, unlike the characters in the above-mentioned movies.
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Dissertations / Theses on the topic "Being John Malkovich"

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Côté-Fortin, Israël. "Comment prendre une ville d'assaut, suivi de l'insuffisance subjective : Exercice et impasse du point de vue dans "Yes Sir! madame"-- et "Being John Malkovich." Mémoire, Université de Sherbrooke, 2006. http://savoirs.usherbrooke.ca/handle/11143/2492.

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Ce mémoire en études françaises est avant tout axé sur la création. Il se présente en deux temps avec un scénario de film, d'une part, et une réflexion critique, d'autre part. La première partie du mémoire consiste en un scénario de moyen métrage. L'action s'y déroule comme suit: un groupe de journalistes et d'invités participent à un journal télévisé faisant état d'une occupation armée des rues de Montréal. L'opération visant à préparer les troupes à d'éventuels conflits est traitée de manière conventionnelle, à cela près qu'on accole la mention"spécial" au bulletin de nouvelles. En contrepoint, des réclames publicitaires défilent à l'écran, réclames commentées, voire contestées, par un choeur inspiré des tragédies grecques. La seconde partie, quant à elle, se concentre sur l'étude du plan subjectif en tant que manifestation d'un processus de médiation dans une perspective postmoderne. Sont analysées les questions du point de vue et du plan subjectif dans deux films des années 1990: Yes Sir! madame... de Robert Morin et Being John Malkovich de Spike Jonze. Enfin, un retour sur le travail de création jette un pont entre les deux sections de ce mémoire.
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Books on the topic "Being John Malkovich"

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Jonze, Spike, and Michael Stipe. Being John Malkovich. [New York, N.Y.]: Criterion Collection, 2012.

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Bordwell, David. Film art: An introduction. 3rd ed. New York: McGraw-Hill, 1990.

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Bordwell, David. Film art: An introduction. 2nd ed. New York: Knopf, 1986.

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Bordwell, David. Film art: An introduction. New York: McGraw Hill, 2001.

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Bordwell, David. Film art: An introduction. 2nd ed. New York: McGraw-Hill, 1985.

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Bordwell, David. Film art: An introduction. New York: McGraw-Hill Higher Education, 2009.

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Bordwell, David. Film art: An introduction. 7th ed. New York: McGraw-Hill, 2004.

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1950-, Thompson Kristin, ed. Film art: An introduction/ seventh edition. 7th ed. Boston: McGraw-Hill, 2004.

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1950-, Thompson Kristin, ed. Film art: An introduction. 3rd ed. New York: McGraw-Hill, 1990.

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1950-, Thompson Kristin, ed. Film art: An introduction. New York: McGraw-Hill, 2012.

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Book chapters on the topic "Being John Malkovich"

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Kemelmacher-Shlizerman, Ira, Aditya Sankar, Eli Shechtman, and Steven M. Seitz. "Being John Malkovich." In Computer Vision – ECCV 2010, 341–53. Berlin, Heidelberg: Springer Berlin Heidelberg, 2010. http://dx.doi.org/10.1007/978-3-642-15549-9_25.

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Jonze, Spike. "Being John Malkovich." In 100 American Independent Films, 25–26. London: British Film Institute, 2009. http://dx.doi.org/10.1007/978-1-349-92349-6_6.

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Waltz, Matthias. "Eine Konstante in der Geschichte der Geschlechterdifferenz: Decamerone, Rouge et Noir, Being John Malkovich (2005)." In Identifikation, Begehren, Gewalt, 335–45. Wiesbaden: Springer Fachmedien Wiesbaden, 2020. http://dx.doi.org/10.1007/978-3-658-10414-6_18.

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Jonze, Spike. "Being John Malkovich." In 100 American Independent Films. British Film Institute, 2004. http://dx.doi.org/10.5040/9781838710651.0011.

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"SCREENSHOTS: BEING JOHN MALKOVICH." In Earthly Delights, 51. Princeton University Press, 2021. http://dx.doi.org/10.1515/9780691218847-025.

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Wilkins, Kim. "“You can be John Malkovich”: Celebrity, Absurdity, and Convention in Being John Malkovich." In ReFocus: The Films of Spike Jonze, 67–85. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0005.

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Throughout Being John Malkovich, reflexive narrational strategies, diegetic absurdities, and fantastical plot points seek to disrupt the expectations and viewing practices associated with the conventions of mainstream narrative cinema—yet Jonze and Kaufman’s film does not abandon these conventions. Being John Malkovich (like all of Jonze’s films to date) is not comfortably categorized as “arthouse” or “experimental.” Rather, Jonze’s work employs the conventions of the dominant Hollywood norm in concert with eccentric plot devices and irony at various moments in order to subvert audience expectation, which results in an “offbeat” tone or aesthetic. Wilkins argues that the most absurd, or eccentric, narrative elements of Being John Malkovich—its ironic focus on celebrity and the ludicrous Malkovich portal—are precisely the mechanisms that enable an essentially unresolvable existential conundrum to be shaped into the conventionally linear narrative structure. Yet these utterly bizarre narrative inclusions also function as diversions; they aim to distract from or make humorous the very existential concerns they narrativize.
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Tzioumakis, Yannis. "Converging Indiewood: Spike Jonze, Propaganda Films, and the Emergence of Specialty Film Giant USA Films." In ReFocus: The Films of Spike Jonze, 46–64. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474447621.003.0004.

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This chapter examines the production background of Jonze’s first feature film, Being John Malkovich. Jonze put Being John Malkovich together with the participation of both production companies and music labels (such as Michael Stipe’s Single Cell Pictures), and a new distribution company, USA Films. Although largely unrecognized at the time, USA Films also released Traffic and The Man Who Wasn’t There, before merging with other companies to become Focus Features. As Being John Malkovich went on to become a quintessential ‘indiewood’ film, this chapter examines the film’s role, and indeed the role of Jonze more broadly, in the shift toward the incorporation of global finance and distribution structures within the independent film sector. The chapter posits that Jonze’s diverse media background and ability to traverse entertainment sectors can be seen as a key example of indiewood’s drive to push independent filmmaking into new arenas in the late ‘90s.
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Moine, Raphaëlle. "Being John Malkovich : la star et la marionnette." In La vie filmique des marionnettes, 127–38. Presses universitaires de Paris Nanterre, 2008. http://dx.doi.org/10.4000/books.pupo.814.

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Gabbard, Glen O. "Fifteen Minutes of Fame Revisited: Being John Malkovich." In Psychoanalysis and Film, 229–34. Routledge, 2018. http://dx.doi.org/10.4324/9780429478703-24.

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Ganz, Yvonne Frenzel. "Im Spiegelkabinett - Being John Malkovich, Spike Jonze, USA 1999." In Cinépassion – The Sequel, 95–104. Psychosozial-Verlag, 2016. http://dx.doi.org/10.30820/9783837972009-95.

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