Love, Mortality and the Moving Image

195 Pages·2012·0.739 MB·English

by  Emma Wilson (auth.)

Love, Mortality and the Moving Image
Also by Emma Wilson:
ALAIN RESNAIS
ATOM EGOYAN
CINEMA’S MISSING CHILDREN
FRENCH CINEMA SINCE 1950: PERSONAL HISTORIES
MEMORY AND SURVIVAL: THE FRENCH CINEMA OF KRZYSZTOF
KIESLOWSKI
SEXUALITY AND THE READING ENCOUNTER: IDENTITY AND DESIRE IN
PROUST, DURAS, TOURNIER AND CIXOUS
Love, Mortality and the
Moving Image
Emma Wilson
© Emma Wilson 2012
Softcover reprint of the hardcover 1st edition 2012 978-0-230-30839-8
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Any person who does any unauthorized act in relation to this publication
may be liable to criminal prosecution and civil claims for damages.
The author has asserted her right to be identified as the author of this work
in accordance with the Copyright, Designs and Patents Act 1988.
First published 2012 by
PALGRAVE MACMILLAN
Palgrave Macmillan in the UK is an imprint of Macmillan Publishers Limited,
registered in England, company number 785998, of Houndmills, Basingstoke,
Hampshire RG21 6XS.
Palgrave Macmillan in the US is a division of St Martin’s Press LLC,
175 Fifth Avenue, New York, NY 10010.
Palgrave Macmillan is the global academic imprint of the above companies
and has companies and representatives throughout the world.
Palgrave® and Macmillan® are registered trademarks in the United States,
the United Kingdom, Europe and other countries.
ISBN 978-1-349-33896-2 ISBN 978-0-230-36770-8 (eBook)
DOI 10.1057/9780230367708
This book is printed on paper suitable for recycling and made from fully
managed and sustained forest sources. Logging, pulping and manufacturing
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country of origin.
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A catalog record for this book is available from the Library of Congress.
10 9 8 7 6 5 4 3 2 1
21 20 19 18 17 16 15 14 13 12
For Piotr Cieplak, Sarah Cooper, and Ali Smith
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Contents
Acknowledgements viii
Plates ix
Introduction 1
1 Love 21
2 Mother 41
3 Child 63
4 Coma 79
5 Pietà 102
6 Touch 122
7 Home 142
Conclusion 155
Notes 158
References 173
Moving Image Artworks 180
Index 182
vii
Acknowledgements
I owe so much to so many people in writing this book. At Palgrave
Macmillan I am very grateful to Felicity Plester and Catherine Mitchell
for their advice, encouragement, and unstinting help. I would also like
to thank Nick Brock for his excellent work as copy- editor and Linda
Auld for her work on the book. Chris Townsend’s comments on the
manuscript have made this a better book. I am very indebted to him.
Material from chapter 2 has been published in L’Esprit Créateur (Spring
2011), a special number edited by M arie- Claire Barnet and Shirley
Jordan, and in Display and Disguise, edited by Manon Mathias, Maria
O’Sullivan and Ruth Vorstman (Oxford: Peter Lang, 2011). Material
from chapter 6 has been published in Concentrationary Cinema, edited
by Griselda Pollock and Max Silverman (Oxford: Berghahn, 2011) and in
an earlier from in my article, ‘Material Remains: Night and Fog’, October,
no. 112, pp. 89–110. I am grateful to the editors for p ermission to draw
on this material. I would like to thank Liliana Niespial at EL DESEO,
D.A., S.L.U. for all her help, and Hannah Mowat and Andrea Acle for
their generous assistance with correspondence in Spanish.
For their inspiration and generosity, variously professional and p ersonal,
I would like to thank: Michele Aaron, Richard Armstrong, Hugo Azérad,
Jennifer Barker, Marie- Claire Barnet, Trish Beswick, Nadine Boljkovac, Claire
Boyle, Bill Burgwinkle, Jenny Chamarette, Nicholas Chare, Piotr Cieplak,
Lorna Collins, Sarah Cooper, Martin Crowley, Amaleena Damlé, Colin
Davis, Jean Duffy, Robbie Duschinsky, Atom Egoyan, Anna Elsner,
Georgina Evans, Kim Field, Alison Finch, Maria Flood, Marcy Gerstein,
Wendy Goolcharan, Markos Hadjioannou, Nicholas Hammond, Francesca
Hardy, Ian James, Shirley Jordan, Neil Kenny, Josephine Lloyd, Christian
Lund, Alina Marazzi, Laura Marks, Judith Mayne, Laura McMahon, Isabelle
McNeill, Griselda Pollock, Phil Powrie, Keith Reader, Victoria Richardson,
Mireille Rosello, Helena Sanson, Libby Saxton, Max Silverman, Ali Smith,
Paul Julian Smith, Nicola Stockley, David Trotter, Steven Ungar, Andrew
Webber, Andreea W eisl- Shaw, Dominic Williams, Millar Wilson, and
Jacqueline Wilson.
The author and publishers wish to thank Pedro Almodóvar and
EL DESEO, D.A., S.L.U. for permission to reproduce a still of Leonor
Watling in Talk to Her on the cover of this book.
viii
Plates
1–7 from For One More Hour With You (Alina Marazzi, 2002)
8–14 from History of a Secret (Mariana Otero, 2003)
15–21 from The Beaches of Agnès (Agnès Varda, 2008)
ix