In this Book

Wilfrid Laurier University Press
summary

In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like The Adjuster, Calendar, Exotica, and The Sweet Hereafter have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan’s forays into installation art and opera have provided evidence of his versatility and confirmed his talents.

Image and Territory: Essays on Atom Egoyan is both scholarly and accessible. Indispensable for the scholar, student, and fan, this collection of new essays and interviews from leading film and media scholars unpacks the central arguments, tensions, and paradoxes of his work and traces their evolution. It also locates his work within larger intellectual and artistic currents in order to consider how he takes up and answers critical debates in politics, philosophy, and aesthetics. Most importantly, it addresses how his work is both intellectually engaging and emotionally moving.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. p. vii
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  1. Introduction: In Media Res: Atom Egoyan's Utopian Praxis
  2. pp. 1-18
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  1. Section 1 Media Technologies, Aura, and Redemption
  1. 1 Artifice and Artifact: Technology and the Performance of Identity
  2. pp. 21-27
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  1. 2 Fetish and Aura: Modes of Technological Engagement in Family Viewing
  2. pp. 29-52
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  1. 3 The Adjuster: Playing House
  2. pp. 53-77
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  1. 4 The Thirteenth Church: Musical Structures in Atom Egoyan's Calendar
  2. pp. 79-100
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  1. 5 The Passing of Celluloid, the Endurance of the Image: Egoyan, Steenbeckett, and Krapp's Last Tape
  2. pp. 101-122
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  1. Section 2 Diasporic Histories and the Exile of Meaning
  1. 6 Mobile Subjectivity and Micro-territories: Placing the Diaspora
  2. pp. 125-131
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  1. 7 Telling a Horror Story, Conscientiously: Representing the Armenian Genocide from Open House to Ararat
  2. pp. 133-156
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  1. 8 History and Memory, Repetition and Epistolarity
  2. pp. 157-176
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  1. 9 The Double's Choice: The Immigrant Experience in Atom Egoyan's Next of Kin
  2. pp. 177-192
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  1. 10 Atom Egoyan's Post-exilic Imaginary: Representing Homeland, Imagining Family
  2. pp. 193-217
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  1. Section 3 Pathologies/Ontologies of the Visual
  1. 11 Modes of Perception: Visuality, Culpability, and Innocence
  2. pp. 221-227
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  1. 12 Speaking Parts: The Geometry of Desire
  2. pp. 229-257
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  1. 13 Look but Don't Touch: Visual and Tactile Desire in Exotica, The Sweet Hereafter, and Felicia's Journey
  2. pp. 249-273
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  1. 14 To Blame Her Sadness: Representing Incest in Atom Egoyan's The Sweet Hereafter
  2. pp. 275-293
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  1. 15 Close: Voyeurism and the Idea of the Baroque
  2. pp. 295-305
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  1. 16 Seeing and Hearing Atom Egoyan's Salome
  2. pp. 307-328
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  1. Section 4 Conversations
  1. 17 An Imaginary Armenian Canadian Homeland: Gariné Torossian's Dialogue with Egoyan
  2. pp. 331-341
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  1. 18 Ripple Effects: Atom Egoyan Speaks with Monique Tschofen
  2. pp. 343-357
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  1. Filmography: Atom Egoyan’s Oeuvre: Theatre, Film, Opera, Installation
  2. pp. 359-375
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  1. Bibliography: Comprehensive Bibliography on Atom Egoyan
  2. pp. 377-401
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  1. Notes on Contributors
  2. pp. 403-407
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  1. Index
  2. pp. 409-417
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