Dead Queers: One Legacy of the Trope of “Mind Over Matter” in the Films of David Cronenberg

1999 ◽  
Vol 8 (1) ◽  
pp. 45-62
Author(s):  
Christine Ramsay
Keyword(s):  
David Cronenberg

Lacan and the posthuman : prosthetic body in the works of Andy Warhol and David Cronenberg

2011 ◽  
Author(s):  
Svitlana Matviyenko
Keyword(s):  
Andy Warhol ◽  
David Cronenberg

Identity and the seduction of desire : the films of David Cronenberg

2006 ◽  
Author(s):  
Ingrid Fernandez
Keyword(s):  
David Cronenberg

A Dangerous Method, A Film Directed by David Cronenberg: An Extended Review

2012 ◽  
Vol 51 (3) ◽  
pp. 682-700 ◽  
Author(s):  
Donald R. Ferrell
Keyword(s):  
David Cronenberg ◽  
Extended Review

scholarly journals Cosmópolis: la paradoja de Aquiles y la tortuga

2019 ◽  
Author(s):  
Angélica García-Manso ◽  
Francisco Javier Tovar Paz
Keyword(s):  
Don Delillo ◽  
David Cronenberg ◽  
Sobre Todo

Cosmópolis es al mismo tiempo el título de una novela de Don DeLillo y el de un filme de David Cronenberg basado en la primera. A partir del contraste entre ambos, novela y película, se lleva a cabo una lectura desde la perspectiva de la Tradición Clásica; más en concreto, sobre la cronología en la narración y sobre las paradojas temporales presentes de forma más evidente en la adaptación de Cronenberg. De acuerdo con ello, Cronenberg refleja cómo el arte cinematográfico, frente al literario, permite una percepción del viaje a la muerte desde el interior de la imagen. En dicho viaje se cruzan motivos odiseicos y, sobre todo, la clásica paradoja del espacio y el tiempo de Zenón de Elea que conocida por el título de Aquiles y la tortuga. 

From Videodrome to Virtual Light: David Cronenberg and William Gibson

Extrapolation ◽  
2003 ◽  
Vol 44 (3) ◽  
pp. 344-355 ◽  
Author(s):  
Dominick Grace
Keyword(s):  
William Gibson ◽  
David Cronenberg

‘The flesh. It should make the computer, uh, crazy’: Remaking The Fly

The Fly ◽  
2018 ◽  
pp. 59-72
Author(s):  
Emma Westwood
Keyword(s):  
Problem Solving ◽  
Film Production ◽  
Special Effects ◽  
David Cronenberg ◽  
Post Production ◽  
Location Change ◽  
New Millennium

This chapter details the process of remaking The Fly. Strip out all the special effects from The Fly and you've got a singularly focused and somewhat forthright drama, heavily driven by dialogue with just the occasional set and location change. But add in these special effects and the film production becomes a whole different beast — a titanic effort in both problem-solving and firsts in filmmaking or, at the very least, filmmaking tactics very rarely attempted. However, to reduce The Fly to the narrow label of ‘a special effects movie’ could not be more inaccurate. Unlike the ‘special effects movies’ of a new millennium, The Fly relied less on post-production and more on effects produced in-camera and/or on-set, the exception being optical animation. In a case of life imitating art, David Cronenberg fully embraced the symbiotic themes within The Fly film and then extended them into his practical filmmaking approach. He confesses to being the physically fittest he has ever been during The Fly's shoot due to the daily workouts in the filming breaks, mirroring what Jeff Goldblum was doing and completing this fusion-of-sorts with his lead actor.

Body Horror

2019 ◽  
pp. 203-224
Author(s):  
Bryan Turnock
Keyword(s):  
World View ◽  
Horror Film ◽  
Cultural Changes ◽  
Special Effects ◽  
David Cronenberg ◽  
Horror Genre ◽  
High Profile ◽  
Film Maker ◽  
Lasting Influence

This chapter describes Canadian film-maker David Cronenberg as one of the most highly regarded auteurs within the horror genre. During the 1970s and 1980s, from low-budget independents to high-profile studio productions, the viewing of a 'David Cronenberg film' usually promised horror audiences a unique and disturbing experience. Coinciding with advances in make up and special effects, and the rise in popularity of the artists who created them, Cronenberg's films spearheaded one of the most popular sub-genres of the 1980s in the form of 'body horror'. The chapter looks at how and why this sub-genre emerged, a product of technological, commercial, and cultural changes in the industry, and how it relates to the 'transformation' films that had gone previously. It also discusses how such a distinctive director as Cronenberg was able to produce a successful mainstream horror film (The Fly, 1986) while remaining true to his own world view, and the lasting influence of his work on the genre as a whole.

‘Help me be human’: Cronenberg Becomes The Fly

The Fly ◽  
2018 ◽  
pp. 9-24
Author(s):  
Emma Westwood
Keyword(s):  
Molecular Level ◽  
David Cronenberg ◽  
The Mind ◽  
The Relationship

This chapter discusses the relationship between Canadian filmmaker David Cronenberg and his film, The Fly (1986). Even though, as a remake, The Fly had travelled a long way before falling into the creative hands of Cronenberg, it embodies him at an almost molecular level. Just as Frankenstein's Monster bears the name of its creator, and people are often confused between the two, The Fly is chromosomally ‘Cronenbergian’. It is a strident example of Cronenber's signature mode of ‘body horror’ or ‘visceral horror’ and the perfect crescendo to the first act in his filmmaking career, which had reached its natural conclusion at that particular point in time: 1986. The Fly additionally highlights Cronenberg's uncanny ability to create something uniquely personal to his own self — in the vein of an auteur — while borne from the mind of another storyteller with no immediate connection to himself.

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