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Journal articles on the topic 'Cronenberg'

Author: Grafiati

Published: 4 June 2021

Last updated: 9 February 2022

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1

Jerić, Ante. "Na rubu igrivosti: egzistencija i transcendencija u filmu eXistenZ." Filozofska istraživanja 40, no. 3 (2020): 439–56. http://dx.doi.org/10.21464/fi40301.

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Filozofija i znanstvena fantastika kao različiti diskursi na različite načine koriste protuintuitivne scenarije. Filozofija nastupa fundacijski u pokušaju utemeljivanja protuintuitivnih scenarija i dokazivanja njihove koherentnosti, dok znanstvena fantastika kao transmedijalni fikcionalni žanr pretpostavlja njihovu koherentnost i nastupa pragmatički prilikom pripovijedanja o tome kako bi to bilo kad bi se oni obistinili. Ovaj rad posvećen je analizi znanstveno-fantastičnog filma Davida Cronenberga eXistenZ (1999). U njemu branim dvije teze. Kritičko-teorijska teza: Cronenberg smatra da život u

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2

Benson-Allott, Caetlin. "The minor Cronenberg." New Review of Film and Television Studies 15, no. 2 (2017): 152–61. http://dx.doi.org/10.1080/17400309.2017.1303231.

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3

Lowenstein, Adam. "The Cronenberg question." New Review of Film and Television Studies 15, no. 2 (2017): 129–30. http://dx.doi.org/10.1080/17400309.2017.1303236.

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4

Mac Adam, Alfred J. "Interview with David Cronenberg." Review: Literature and Arts of the Americas 21, no. 38 (1987): 57–65. http://dx.doi.org/10.1080/08905768708594248.

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5

Lowenstein, Adam. "A Dangerous Method: Sight Unseen." Film Quarterly 65, no. 3 (2012): 24–32. http://dx.doi.org/10.1525/fq.2012.65.3.24.

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In A Dangerous Method, David Cronenberg turns his cinematic method inside out. By shifting his attention to the absence, loss, and emptiness of repression triumphant as intensively as he usually focuses on the shock, horror, and ambivalent ecstasy of repression overturned, Cronenberg sharpens the pain that characterizes his cinematic vision.

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6

Sáez-González, Jesús Miguel. "Promesas del Este (David Cronenberg)." Vivat Academia, no. 90 (November 15, 2007): 45. http://dx.doi.org/10.15178/va.2007.90.45-46.

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7

Sáez-González, Jesús Miguel. "Un método peligroso (David Cronenberg)." Vivat Academia, no. 117 (December 15, 2011): 154. http://dx.doi.org/10.15178/va.2011.117.154-155.

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8

Beard, William. "Cronenberg, Flyness, and the Other-self." Article divers 4, no. 2 (2011): 153–73. http://dx.doi.org/10.7202/1001028ar.

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David Cronenberg's recent work has shown a continuation of the same themes and motifs found in his exploratory and formative works of the 70s and early 80s. The relationship of mind and body, of rationality and flesh, of control and loss of identity, continues to be the dominating dichotomy of his cinematic world. But the relatively simple thematic oppositions of repression and explosion, and their relatively unexamined emotional underpinnings of ironic detachment and regurgitative disgust, of an early film like Shivers (1975) have given way in the 1980s to a much more complex and sensitive ex

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9

Vidal, Enrique. "David Cronenberg: videodrome y la posmodernidad." Ventana Indiscreta, no. 006 (March 6, 2017): 38. http://dx.doi.org/10.26439/vent.indiscreta2011.n006.1090.

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10

Sandonís, África. "Cronenberg: las corrupciones de la carne." Ventana Indiscreta, no. 021 (2019): 54–61. http://dx.doi.org/10.26439/vent.indiscreta2019.n021.4183.

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11

Rodríguez Ahumada, Johanna. "David Cronenberg y el cuerpo abierto." CALLE14: revista de investigación en el campo del arte 9, no. 14 (2014): 106. http://dx.doi.org/10.14483/udistrital.jour.c14.2014.2.a08.

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12

Ratner, Megan. "Dangerous Methodology: Interview with David Cronenberg." Film Quarterly 65, no. 3 (2012): 19–23. http://dx.doi.org/10.1525/fq.2012.65.3.19.

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An interview with David Cronenberg about A Dangerous Method, in which the director discusses his drama about the history of psychoanalysis in terms of period detail, acting, cinematography, history, and the body.

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13

Cardon, Peggy. "La mutation fantasmée : le cas Cronenberg." Critique 709-710, no. 6 (2006): 580. http://dx.doi.org/10.3917/criti.709.0580.

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14

Doherty, Thomas. ": The Fly . David Cronenberg, Stuart Cornfeld." Film Quarterly 40, no. 3 (1987): 38–41. http://dx.doi.org/10.1525/fq.1987.40.3.04a00070.

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15

Míguez Santa Cruz, Antonio. "Alteraciones desde el antimundo. La mosca de George Langelaan y David Cronenberg." Trasvases entre la literatura y el cine, no. 2 (October 14, 2020): 83–94. http://dx.doi.org/10.24310/trasvasestlc.vi2.9090.

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Muchos fans del terror cinematográfico consideran La mosca (1986) como la película más influyente dentro de la filmografía de David Cronenberg. Sin embargo, el guion fue adaptado a partir de un cuento escrito por el periodista George Langelaan en 1957, esencialmente distinto en forma y fondo al relato fílmico. Nuestra intención en este artículo será explicar los porqués de estas alteraciones, sobre todo apoyándonos en la compleja figura del adaptador: David Cronenberg. De este modo iniciaremos un periplo hacia las principales inquietudes artísticas del creador canadiense, para quien el hombre

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16

Khan, Stéphane. "L’image du corps dans l’œuvre de Cronenberg." Ligeia N°61-64, no. 2 (2005): 16. http://dx.doi.org/10.3917/lige.061.0016.

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17

GOMEL, ELANA, and STEPHEN WENINGER. "Cronenberg, Greenaway and the Ideologies of Twinship." Body & Society 9, no. 3 (2003): 19–35. http://dx.doi.org/10.1177/1357034x030093002.

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18

Olivas Arana, Diego. "Parásitos mortales y Rabia: las pandemias sexuales de Cronenberg." Ventana Indiscreta, no. 024 (December 3, 2020): 40–47. http://dx.doi.org/10.26439/vent.indiscreta2020.n024.4998.

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En la primera etapa de su carrera, David Cronenberg creó relatos oscuros y sangrientos sobre virus y epidemias: Parásitos mortales y Rabia. Siempre es fascinante pensar nuestro presente a partir de las primeras películas del director canadiense y su visión del body horror.

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19

Macary-Garipuy, Pascale. "Dingueries de la jouissance : l’œuvre de David Cronenberg." Psychanalyse 44, no. 2 (2019): 5. http://dx.doi.org/10.3917/psy.044.0005.

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20

Drossart, Francis. "A dangerous method,un film de D. Cronenberg." Topique 131, no. 2 (2015): 47. http://dx.doi.org/10.3917/top.131.0047.

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21

Fachel de Medeiros, Rosângela. "O devir-corpo dos personagens de David Cronenberg." Revista FAMECOS 23, no. 2 (2016): 21447. http://dx.doi.org/10.15448/1980-3729.2016.2.21447.

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22

Larroche, C., O. Marty, and S. Zidi. "Un diagnostic digne des films de David Cronenberg…" La Revue de Médecine Interne 24 (June 2003): 220s—221s. http://dx.doi.org/10.1016/s0248-8663(03)80656-2.

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23

Doherty, Thomas. "Review: The Fly by David Cronenberg, Stuart Cornfeld." Film Quarterly 40, no. 3 (1987): 38–41. http://dx.doi.org/10.2307/1212462.

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24

Lowenstein, Adam. "The Jewish Cronenberg: a cinema of therapeutic disintegration." New Review of Film and Television Studies 15, no. 2 (2017): 131–40. http://dx.doi.org/10.1080/17400309.2017.1303235.

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25

Simon, Adam. "The existential deal: An interview with David Cronenberg." Critical Quarterly 43, no. 3 (2001): 34–56. http://dx.doi.org/10.1111/1467-8705.00371.

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26

Furlotti, Nancy. "A Dangerous Method. (2011). Directed by David Cronenberg." Psychological Perspectives 55, no. 2 (2012): 262–63. http://dx.doi.org/10.1080/00332925.2012.677712.

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27

Hill, Brockton D. "A Dangerous Method. (2011). Directed by David Cronenberg." Psychological Perspectives 55, no. 2 (2012): 263–68. http://dx.doi.org/10.1080/00332925.2012.677714.

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28

Lowenstein, A. "Promises of Violence: David Cronenberg on Globalized Geopolitics." boundary 2 36, no. 2 (2009): 199–208. http://dx.doi.org/10.1215/01903659-2009-011.

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29

Crisóstomo, Raquel. "Capítulo 7. Los ecos del caníbal: homenajes estilísticos y pilares cinematográficos de Hannibal." Espejo de Monografías de Comunicación Social, no. 1 (November 19, 2018): 139–55. http://dx.doi.org/10.52495/c7.emcs.1.c37.

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En 2013 Bryan Fuller propuso a la NBC llevar a la pequeña pantalla una nueva adaptación del personaje de Thomas Harris, Hannibal, serie de televisión que recogería un gran éxito de crítica y crearía un fiel fandom. La serie destaca por su composición visual, algo acorde con el interés de Fuller por la estética de la imagen fílmica. En Hannibal se reflejan otras imágenes cinematográficas: el ambiente pesadillesco que habita en el corazón de Hannibal tiene mucho en común con el de la producción de Lynch; el tratamiento del cuerpo está influenciado por la dismorfia corporal característica de Davi

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30

Loredo, José-Carlos, Jorge Castro, Belén Jiménez, and Iván Sánchez. "'Nueva carne' y psicología: el ejemplo cinematográfico de Cronenberg." Estudios de Psicología 26, no. 2 (2005): 271–83. http://dx.doi.org/10.1174/0210939054024911.

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31

Siegler, E. "David Cronenberg: The Secular Auteur as Critic of Religion." Journal of the American Academy of Religion 80, no. 4 (2012): 1098–112. http://dx.doi.org/10.1093/jaarel/lfs060.

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32

McGregor, Gaile. "Grounding the Countertext: David Cronenberg and the Ethnospedficity of Horror." Canadian Journal of Film Studies 2, no. 1 (1992): 43–62. http://dx.doi.org/10.3138/cjfs.2.1.43.

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33

Beard, William. "Peter Morris, Cronenberg: A Delicate Balance. Toronto: ECW Press, 1994." Canadian Journal of Film Studies 4, no. 1 (1995): 81–85. http://dx.doi.org/10.3138/cjfs.4.1.81.

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34

Saraiva, Ana Isabel Rodrigues de Sá. "Da Grécia a Cronenberg ou por que existem as mulheres." Revista Estudos Feministas 19, no. 2 (2011): 329–49. http://dx.doi.org/10.1590/s0104-026x2011000200002.

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Propomos uma leitura do filme de D. Cronenberg Irmãos Inseparáveis (Dead Ringers), à luz de um referencial proveniente do universo simbólico da Grécia Antiga. Embora o filme trate temáticas emblemáticas da tardo-modernidade - identidades estilhaçadas, relações problemáticas do eu com o corpo ou as representações dos géneros cada vez mais marcadas pela ambivalência e conflito - é possível encontrar na produção mítico-poética e na ciência gregas áreas de significado que replicam as mesmas inquietações exploradas no filme. Adicionam-se, ainda, alguns exemplos provenientes das sociedades ágrafas q

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35

Grace, Dominick. "From Videodrome to Virtual Light: David Cronenberg and William Gibson." Extrapolation 44, no. 3 (2003): 344–55. http://dx.doi.org/10.3828/extr.2003.44.3.08.

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36

Jaehne, Karen, and David Cronenberg. "David Cronenberg on William Burroughs: Dead Ringers Do "Naked Lunch"." Film Quarterly 45, no. 3 (1992): 2–6. http://dx.doi.org/10.2307/1213218.

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37

Sterritt, David. "Consumed: A Novel, by David Cronenberg (New York: Scribner, 2014)." Quarterly Review of Film and Video 32, no. 8 (2015): 742–45. http://dx.doi.org/10.1080/10509208.2015.1078593.

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38

Jaehne, Karen, and David Cronenberg. "David Cronenberg on William Burroughs: Dead Ringers Do "Naked Lunch"." Film Quarterly 45, no. 3 (1992): 2–6. http://dx.doi.org/10.1525/fq.1992.45.3.04a00020.

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39

Sullivan, Gordon. "‘Something that’ll break through’: political rupture and novelty in Cronenberg." New Review of Film and Television Studies 15, no. 2 (2017): 172–80. http://dx.doi.org/10.1080/17400309.2017.1303237.

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40

De Medeiros, Rosângela Fachel. "David Cronenberg, autor de Almoço Nu. A tradução intersemiótica como transcriação." Cadernos de Tradução 36, no. 2 (2016): 122. http://dx.doi.org/10.5007/2175-7968.2016v36n2p122.

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http://dx.doi.org/10.5007/2175-7968.2016v36n2p122Esse artigo apresenta e analisa o processo de tradução intersemiótica realizada pelo cineasta David Cronenberg do romance Almoço Nu, de William Burroughs, e as bifurcações intertextuais implicadas nesse processo. Investigando as aproximações e distanciamentos existentes entre os universos criativos dos dois artistas e como eles se ressignificam mutuamente. Para tanto, são utilizados como aporte teóricos a ideia da transcriação, proposta por Haroldo de Campos, e a noção do tradutor enquanto leitor proposta por Jorge Luis Borges.

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41

Olvera Romero, Caleb. "La disolución de la primera persona en el cine. Tres películas." LiminaR Estudios Sociales y Humanísticos 9, no. 1 (2011): 120–31. http://dx.doi.org/10.29043/liminar.v9i1.65.

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En el artículo se trata la relación entre la construcción de la identidad y las estructuras narrativas. Se expone la crítica a esta estructura que han elaborado dos directores de cine contemporáneos, Lynch y Cronenberg, ambos con propuestas visuales que pretenden desestructurar la identidad a través de desestructurar la narración. Resultado de esto son Lost Highway, Mulholland Drive y Spider, tres películas contadas desde sujetos desestructurados y que presentan las alteraciones en la identidad por la pérdida de la narración.

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42

Ferrell, Donald R. "A Dangerous Method, A Film Directed by David Cronenberg: An Extended Review." Journal of Religion and Health 51, no. 3 (2012): 682–700. http://dx.doi.org/10.1007/s10943-012-9628-3.

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43

Andrade Gaytán, Noel J. "David Cronenberg. “La Mosca” o el regreso a lo humano no-humano." Revista de Comunicación de la SEECI, no. 30 (March 15, 2013): 121. http://dx.doi.org/10.15198/seeci.2013.30.121-131.

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44

Davis, Nick. "A history of sexual violence: on rape and assault as Cronenberg tropes." New Review of Film and Television Studies 15, no. 2 (2017): 181–90. http://dx.doi.org/10.1080/17400309.2017.1303232.

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45

Virginás, Andrea. "Television and Video Screens in Filmic Narratives: Medium Specificity, Noise and Frame-Work." Acta Universitatis Sapientiae, Film and Media Studies 17, no. 1 (2019): 81–96. http://dx.doi.org/10.2478/ausfm-2019-0016.

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Abstract The paper discusses pertinent aspects of the screen as a device of framing and re-ordering. Television and video screens introduced in filmic diegesis are attributed three main functions (spatial, temporal, and topical re-ordering) and are related to the relationships Gerard Genette establishes between first-order narrative and metadiegetic levels (1987), as well as to Lars Elleström’s extracommunicational and intracommunicational actual and virtual spheres (2018). The visibility through noise of the televisual and of the video media is theorized based on Sybille Krämer’s media theory

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46

Breder, Debora. "Dead Ringers: uma narrativa contemporânea sobre gemeidade, esterilidade e incesto." Revista Estudos Feministas 23, no. 2 (2015): 389–408. http://dx.doi.org/10.1590/0104-026x2015v23n2p389.

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Inspirado na ideia de textura mítica - trama persistente e flexível, capaz de se entrelaçar a outros fios ou tecidos narrativos -,este artigo propõe uma reflexão sobre o modo pelo qual o ideal de uma perfeita gemeidade, comum à tradição indo-europeia, vem sendo atualizado nas narrativas contemporâneas. Tendo como fio condutor desta reflexão o longa-metragem Gêmeos, mórbida semelhança (Dead Ringers/1989), de David Cronenberg - que apresenta gêmeos ginecologistas como personagens centrais -, analisa-se o discurso simbólico da trama, que entretece gemeidade, esterilidade e incesto. Em última inst

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47

Varo Zafra, Juan. "Pornografía pop: del espacio interior al espacio enmarcado en "Consumidos" de David Cronenberg." Oceánide 14 (February 1, 2021): 58–66. http://dx.doi.org/10.37668/oceanide.v14i.67.

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A partir de una serie de reseñas negativas o reticentes publicadas en prensa, el artículo examina Consumidos, la novela de David Cronenberg, desde los siguientes presupuestos teóricos: los conceptos de pop science y de inner space de James G. Ballard y el de imaginación pornográfica de Susan Sontag. El concepto de pop science propone una nueva idea de la ciencia ficción como un género que evalúa las relaciones contemporáneas con la tecnología y la ciencia desde una mirada prospectiva. La imaginación pornográfica se presenta como forma extrema de conciencia abierta a una realidad más profunda.

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48

Bialeoko-Feterman, Dominique. "A Dangerous Method : controverse de la dernière séance vue par Cronenberg." Les Lettres de la SPF N° 27, no. 1 (2012): 135–37. http://dx.doi.org/10.3917/lspf.027.0135.

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49

Bourdariat, Pierre. "Et maintenant, du cinéma ! Avec Une méthode dangereuse de David Cronenberg." Les Lettres de la SPF N° 27, no. 1 (2012): 143–50. http://dx.doi.org/10.3917/lspf.027.0143.

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50

Reis, Amândio Pereira. "Os Filmes (D)escritos de Ana Teresa Pereira: Nightmare, de Alfred Hitchcock, e The Double, de David Cronenberg." Matlit Revista do Programa de Doutoramento em Materialidades da Literatura 1, no. 2 (2014): 25–38. http://dx.doi.org/10.14195/2182-8830_1-2_2.

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A partir de uma comparação inicial com um texto ecfrástico de Calístrato (séc. III), e apoiando-nos em seguida em vários estudos sobre a écfrase como prática literária, desde a Antiguidade até ao presente, e até à sua aceitação enquanto género literário intermedial, é nosso objetivo refletir sobre dois contos particulares de Ana Teresa Pereira que encenam a apresentação de filmes inexistentes de Hitchcock e Cronenberg. Para tal, passaremos tanto por um leque de problemas associados à descrição ecfrástica – tais como a dialética entre realidade e ficção, verdade e falsidade, e imaginação e leit

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