The Works Of David Cronenberg Film Studies Essay

The Works Of David Cronenberg Film Studies EssayThe dis none reviews works of David Cronenberg circa 1976-1999 in relation to Truffauts theories of the auteur to portray the rele vanguardce of auteur speculation in to solar days cinematic climate. The address onlyow look at Cronenbergs recurring themes, subjects much(prenominal) as biology, the uptake of insects as a supernatural force, consistency nuisance, and themes of mental delusion and re public pression. These themes atomic number 18 consistent in Cronenberg burgeon forth practice, and result course the basis of identifiable traits for consideration in defining contemporary autership. It testament look into two of sides of the argument comparing the evidence from sources that believe music directorial auterism is a viable concept and those who feel pic making is a cooperative process and in that respectfore a director chiffonier never rightfully halt ownership of a piece of work.In this chapter the dis sertation will also look at Cronenbergs rabid which is the directors second feature exposure. The writing style is a Horror carry and relies heavily on one of the staple fiber themes of the vampire sub-genre Infection which in this subject ara a strain of lunacy existence passed on from person to person through the ex swop of material fluids. The spell is simple girl falls off motor round, girl has pioneering even groundless surgery, surgery turns girl into telephone circuitthirsty vampiress The recurrent themes be ones of organic structure modification (surgery), faceless medical organisations, sexuality and penetration, especially in the face of a phallic, knife- equal probe that emerges from lead actress Marilyn Chambers armpit to stab and contaminate her victims. The dissertation will discuss the different aspects that sterilize up the photo including the actors and their performances, staging (Director of Photography) the narrative and the script and look t o relate them cover version to Truffauts guidelines to highlight primal elements.Dissertation chapter 3 The Fly (Dir. David Cronenberg (1986)A scientist invents a teleportation blind and accidentally teleports both himself and a fly at the identical meter. This unfortunate person event leads to the scientist becoming part man part fly. The study is a yarn of blind ambition, a love figment and also a story of metamorphosis. The consistency in Cronenbergs choice of film crew (Director of Photography, composer etc) will be looked at in detail and compared to his previous films along with the opposite recurring themes mentioned in the introduction.Dissertation chapter 4 CONCLUSIONIn this chapter the dissertation will compare the recurring themes among the films in relation to Truffauts theory of autership. This correlation between the content of both films and Truffauts work aim to show that, Cronenberg can in fact be classed as an auteur.Chapter 2 e reallyplacezealous.Rabid is a 1977 film both written and directed by David Cronenberg. It is in truth much seen as a sequel to his 1975 film Shivers both films deal with the subjects of unsoundness and sexuality. The film tells the story of ruddiness Cronenberg has stated that he pull ind her come up as a illustration for her innocence. flush is p commited by American full-grown movie star Marilyn Chambers and tells of her newly acquired taste for roue that appears afterwards pioneering life saving surgery after suffering a offensive motor cps crash. The skin graft surgery that Rose undergoes ca use of goods and servicess a mosquito like probe to appear in her armpit which she then uses to drink the blood of her victims. The probe itself is very phallic and is sheathed in whateverthing that resembles a vagina adding to the metaphor of this cosmos a focussing of spreading sexual disease. The disease in this sheath is explained as a rare strain of rabies.The opening facial expressions of the f ilm are correct in the cheloid clinic. The director come asides to confine purposely used this as a name for both the clinic and the head operating surgeon Doctor Dan Keloid as Keloid is a biological status for a type of scar. There is a discussion roughly investors world interested in putting money into the clinic between the members of staff to aid create a franchised series of plastic surgery resorts which although shot in 1977 seems to reflect the sophisticated day attitude to plastic surgery. It mirrors the blas approach of nation to undergo potentially life threatening surgery in the name of personal appearance. The subject of Lloyd Walsh (Roger Periard) is introduced into the story by stating that, Ive already had my ears done twice, im fairish here to get my eyes done on that point is evidently vigour wrong with the bags under Lloyds eyes. The discussion of franchisation is transposed with the images of a couple on a motorbike, Rose and her boyfriend, hart R ead (Frank Moore). The sequence on the ride is very connatural in style to sequences in the 1969 film flabby Rider. Close ups on the drivers foot changing gear are interspersed with shots of the bike weaving along country lanes. This editing technique is a repulsive force film staple with quick cutting from actions that seem quite stock(prenominal) cutting back to another action that is building inevitably into disaster and violence. The tension helped to build by the use of sound, Howard Shore as the composer for Rabid has used strings and driving synthesizer noises and increasing in volume. As the motorcycle winds through the country lanes we see that a third get of protagonists are brought into the gibe in the form of a camper van with a family in. As the camper van driver realizes his mistake in taking a wrong turn he turns the van nigh blocking the road.Close up on Rose as she realizes they are ab break to crash. (Rabid 1977)Inevitably the couple on the motorbike swerv e and Hart gets thrown clear from the wreckage Rose however ends up underneath the bike which bursts into flames burning her badly. The sen durationnt then cuts back to the Keloid clinic where one of the patients in the hospital has witnessed the crash and alerts the medical staff. They promptly make the decision to take the ambulance and help the crash victims. The use of the spot in which the clinic is set helps the audience to realize that without this help then Rose would surely die. Cleverly, Cronenberg has set the clinic in the middle of the countryside. It is cl earlyish in the middle of winter as there are no leaves on the trees and the fields are akin to inhospitable waste ground. The clinic itself is a tatty, faceless building with darkened windows and is surrounded by forest. This is consistent with Cronenbergs use of faceless memorial tablets such as shadowy media companies and in this grounds a medical establishment. The hospital appears to be the modern day equi valent of Draculas castle or some other standoff film haunted house staple. Monaco states thatTo experience a Horror film was cathartic, the elements are well known there was litany to each popular genre. Part of their delectation lay in seeing how these basic elements would be treated this cadence around (Monaco, 1981)Suffice to say that when we watch films from the horror genre we are expectant of seeing these certain location and character stereotypes although in the parapraxis of Rabid, Cronenberg has transformed the haunted castle with the activated professor into a more modern setting with the use of the Keloid clinic as a key location. The mad professor has now transformed from organism that of Dr Victor Frankenstein or Doctor Moreau to one of experimental plastic surgeon Dr Dan Keloid. The use of the faceless medical organization is consistent passim Cronenbergs body of work throughout the seventies and eighties.Upon the arrival of Rose into the clinic for life savin g treatment, Cronenberg seems to have prophesized the modern surgical technique of stem jail cell research and given Dr Keloid the ability to neutralize skin tissue from Roses thigh and then use this to grow skin grafts that replace the damaged tissue that is affected by the crash. This yet again is another horror film staple this experimental just about maverick attitude becomes the surgical equivalent of a character deciding to walk down the dark alley when there is a serial killer on the loose. Throughout this judgment of conviction Rose cadaver in a unconsciousness. The editor Jean LeFleur has used a silent cognomen stating one month later to show the passage of time and the fact that Rose has been in a shock induced coma for a long time.Changes in time and space invite audiences to make an immediate comparison between two distinct points in time. Changes in time and space may mark the presence of central conflicts or emphasize important stages in character increment (P ramaggiore, M. and Wallis, T., 2008)To show the development of a character that is essentially immobile and unable to communicate without the use of something like dreaming sequence for instance would be challenging to the director. It seems that what ab initio appears to look like a potentially lazy plot widget in the use of a title to show the passage of time actually becomes a logical tool to show the development of Roses character. It is at this point that Rose awakens from her coma. It is suggested to the audience that by Rose unflinchingly removing the Intravenous drop down from her arm that something might not be right. Fellow patient Lloyd Walsh discovers Rose lying in her hospital bed thrashing around her breasts uncovered. Rose claims to have no recollection of the accident but complains of being cold and wants Lloyd to embrace her for warmth. Beard says thatMetanarratively there is a kind of male-sexual-fantasy skit going on, with Lloyd as the male viewers stand-in ma n accidentally comes upon beautiful materialization woman semi-naked in a hospital means his safety as a voyeur is guaranteed by the womans unconsciousness when she does awaken, she begs him to hold her because she is cold- another chance for covert sexual satisfaction (Beard, 2006)This part of the snap can be construed as Roses awakening of her dormant blood lust and her way of utilise her sexuality to entice her prey into physical contact so she can feed on them. Another way of looking at it is that this view is Cronenbergs dark sense of humor coming to the fore. Casting a crock film actress in what audiences would regard as a relatively mainstream film and then placing her in a scenario not too dissimilar to the plot of a seventies porn film could be seen as amusing. The mount plays out with an ironic twist of fate the male viewers on the side of Lloyd want to see this beautiful woman let Lloyd have sex with her, it is however Lloyd that is the one who gets penetrated wit h a phallus.Rose strikes with her armpit spike, and the scene once more is sexualized (again metanarratively) and in an unexpected way that reverses the roles of sexual assailant and victim (Beard, 2006)Rose then feeds on Lloyds blood, and Lloyd having no recollection of this starts to roam the hospital looking for help. He has no recollection of what has happened to him and as there appears to be no evidence of Rose having been awake at all it is sour that Lloyd has had a stroke and fallen. However when the staff enter Roses room everything is in disarray and one of the nurses tells Doctor Keloid she believes Lloyd has tried to chevy Rose. The decision is do to send Lloyd to the general infirmary in the city after they have taken some blood samples. This decision is a turning point in the story and shows how Cronenberg has married together some(prenominal) different horror staples a vampire movie has now shows some of the traits of becoming a zombie film too. The idea of a s tar infected person being sent back into the general people unaware of the disease they are carrying after a wrong diagnosis from the doctor, furthering the spread of disease is something that has been used time and time again in film making. Metaphorically speaking the disease could be thought of as a sexually transmitted infection as the situation in which it was passed had definite sexual undertones. After Rose has fed on Lloyd they lay down in what appears to be some kind of post copulatory bliss.Rose attacks Lloyd and feeds on his blood, she strokes his hair and they lay back down on the bed. (Rabid, 1977)After Lloyd is sent to the general infirmary in the city, Dr Keloid looks at Lloyds blood sample through a microscope and realizes that something Is not quite right. The blood sample is shown through the point of view of the doctor and the blood cells are being attacked by other mutated cells. This representation of the disease is akin to honoring a sperm fertilize an egg except in the case of the disease the sperm like disease is not fertilizing a cell but eating it instead. This imagery is akin to the spread of the disease throughout the populace shown later on in the film.Cronenberg stated that,Rabid was about the spread of disease, how a whole city is finally most brought to his knees by a sexually transmitted disease. My imagery tends to be very body oriented. I think Im interested in transformation as well, but not in an abstract spiritual sense or at least not at first, but in a very physical sense.In the case of Rabid it seems Cronenberg is not come to with only the physical transformation of the protagonists, but also it seems the transformation of bon ton as a whole. It could be assumed that within Rabid, Cronenberg is addressing the changing attitudes of conjunction and that the end of the free love attitude of the sixties and seventies is changing. turn on is no longer safe he appears to be saying. The final scene of the film shows Ro se dead on the pavement. Government soldiers that have been aerated with ascendancyling the population and keeping the spread of the disease under control find her and throw her into the back of a garbage truck. Muir (2006) proposes that Cronenberg is merely having a stab at women and implying that it is women who are the carriers of disease and that the final scene with Rose getting thrown away emphasizes his thoughts on promiscuity within women equating them to the likes of garbage.Rose, dead, is thrown away into the garbage truck. (Rabid, 1977)Chapter 3 The Fly.Im saying Im an insect who dreamt he was a man and loved it, but now that dream is over and the insect is awake.- bent Brundle (The Fly, 1986)The Fly is a 1986 film directed by David Cronenberg and produced by Mel Brooks. The film is a remake of the 1958 film of the same title directed by Kurt Neumann which is in turn based on the short story by George Langelaan. The Fly was Cronenbergs biggest cinematic success to date . The director has completely re-imagined the film of the fifties and transformed it into a love story between two characters. The film focuses on Cronenbergs recurring obsession with the horror of the human body. The scientist Seth Brundle (played by Jeff Goldblum) and magazine journalist veronica Quaife (played by Geena Davis) are the main characters involved in the story. Goldblum plays one of the archetypal Cronenberg staples, the mad scientist. Un ordinaryly for Cronenberg the scientist is a likeable character, slightly awkward but lastly charming. As is the norm for the director, Brundle works for a faceless scientific organization Bartok Science Industries who are financing Brundles work. The pair meets at a press event held by Bartok. Brundle convinces speedwell that his work will change the course of human history. Wisker (2005) states that Cronenbergs fascinations lie in the perversions of science being manipulated by corporeal interests and how humans, initially unaware , are sucked in to the d provoke resulting in devastation. This is especially the case regarding the character of Veronica Quaife although it seems that in this scenario, both parties involved had the best intentions and both were unaware of the horror which was to follow. When Brundle asks Veronica to come and look at the shed he is working on both characters has ulterior motives, Brundle wants sex and Quaife wants a story for particle magazine. Brundles project is one of teleportation he is on the bourne of mastering teleportation via the use of two pods. Brundle and Veronica go back to his workshop, when they get down outside the building he lives in the building is dark made of brick and has no discerning features as are the majority of Cronenbergs choice of location throughout his career. The dark building where inside the viewer knows that scientific horror waits. In Rabid (1977) it was the use of a plastic surgery clinic, an apartment block in Shivers (1976) and in The Fl y it is an old red brick footle type building.Muir (2007) claims that Veronicas effect on Brundles work is one of humanization, initially it is seen that Brundle has the oneness minded focus of an insect already, in one particular scene Veronica looks in Seths wardrobe only to encounter five sets of the same clothes. Brundle states that this is purely so he will not have to set down energy worrying unnecessarily about what he is wearing, thus allowing him to compress fully on his work. Veronica teaches Brundle about Flesh and about with that comes feelings that seem to have eluded Brundle throughout his manhood feelings of love and passion are intermingled with anger jealousy over Veronicas suspected continuation of a relationship with her occasion lover. This is not the case however and we learn early on that veronica wants nothing more to do with Stathis (John Getz) who also happens to be her boss at the magazine. It is this drunken and jealous rage that leads Seth to decide to use his teleportation pods to shift himself. As shown to the audience previously transporting living flesh has not gone(a) well to say the least, initially the cargo ships of a baboon led to the baboon being turned inside out. Metaphorically speaking the baboon incident coincided with the introduction of Veronica into Brundles life, figuratively speaking it was not just the baboon that was turned inside out but also Seths life.Brundle tries teleporting a baboon with devastating results (The Fly, 1986)Without the introduction of Veronica it is assumed that uncalculated risk would not enter into Brundles research however fueled by alcohol and jealousy he decides to transport himself in the pods. Whilst entering the transportation pod Brundle fails to notice a fly has entered in with him. As the room access seals the audience realize, so is Brundles fate.It is at this point that Cronenbergs film becomes a story about the frailty of human flesh and as with the major body of his wo rk a metaphoric tale of disease, loss and the relationship between human and machine. As Brundle leaves Pod B he feels more awake(p) than he has before unaware that the computer has fused, on a transmitted level, both himself and the fly together in to what Seth refers to as, Brundlefly. Seths behavior gradually becomes more animalistic he becomes more sexually aggressive, stronger and exhibits more gaga behavior. Brundle thinks that he has somehow purified himself, by going through the machine and being pieced back together he somehow thinks that the computer has improved him. It becomes evident to Veronica that maybe things are not quite right with Seth after the discovery of coarse black hair growing out of Seths back. After Veronica has the hairs medically examined it transpires that they are insect hairs. Seth is in denial and tells Veronica that, Ive become free, Im released and you cant stand it.Hairs sprouting from the back of Seth Brundle (The Fly, 1986)When Veronica points out that Seth is not well he retaliates by going to a bar with the sole purpose of finding another woman to have sex with. in a scene which seems to encapsulate both Brundles new found animalistic masculinity and his lacking(p) to take his anger and hurt out on another being he enters into an arm wrestling match. He bets the men one light speed dollars and the hand of the girl at the bar who is with the men. Brundle starts to arm wrestle, white almost sperm like fluid seeps from his hand as he wrestles the man. With elfin effort, Seth breaks the bigger mans arm and walks off with the girl. Cronenberg yet again punishes promiscuity like he has done in previous films such as Shivers and Rabid. In the case of Brundlefly a combination of promiscuous behavior and risky scientific procedure leads to Brundlefly becoming diseased in a very noticeable way. The transformation of Brundle into Brundlefly at least at first seems to bend the physical characteristics of aid. Derry sta tes thatIn Cronenbergs, movie the scientists early manifestation of bodily change resemble the skin lesions of Kaposis sarcoma, the cancer so common in the early stages of AIDS-related immune dysfunction. As these changes transform him into something monstrous-looking that even his girlfriend recoils from. (Derry, 2009)Lesions on Brundles face, similar to Kaposis sarcoma (The Fly, 1986)Derry is making the point that within the context of a horror film Cronenberg is asking a profound question on whether or not we as a society can show compassion for the abasement of people who are suffering from debilitating disease. By ignoring or failing to embrace these people due to revulsion are we becoming monsters ourselves? Veronica shows us that she is a strong and compassionate character by soothe Brundlefly even though to the viewer he has become a repulsive monster. Cronenberg has said thatThe AIDS connection is very superficial. I see it (The Fly) as talking about mortality, about our vulnerability and the tradgedy of human loss (Cronenberg)This may well be the case but in the context of which the film was released it seems no doubt inevitable that viewers would link the film with the AIDS paranoia of the nineteen eighties. Seth Brundle states in the film that, I seem to be afflicted by a disease with a purpose, wouldnt you say. In a social context at the time HIV and AIDs were misunderstand diseases with a lack of education, especially from the government and public misinformation and rumours adding to the fear matte up by the public. Cronenberg has yet again tapped into the fear of the unknown. Speculation about the films hide meanings and metaphors certainly helped gain public interest for the film and to garner Brobdingnagian box office success for the director. In one particular dream sequence there is scene involving a pregnant Veronica endowment birth in the hospital. The surgeon, who in this case is none other than the director himself, pulls what t he audience are led to believe a bodge from Veronicas womb. Amidst the binding the audience, as well as veronica see for the first time that this is no ordinary baby and she has given birth to a baby/maggot hybrid. This reflects the fear of the public during the AIDS crisis, what if my unborn baby is infected? What if somehow my baby is different?Cronenbergs cameo as a surgeonas he pulls the maggot baby from Veronica. (The Fly, 1986)Jrgen Mller, Herbert Klemens (2003) Claim that, along with several other films of the eighties, The Fly is dealing with the theme of a person, in this case Brundle, looking for the Lost dark the need for a person to become something which they are not. In the case of The Fly Cronenberg has touched on this theme but as is usual for the director the theme is based around the fact that if anyone tries to transgress the boundaries set by nature they will be found guilty of hubris, punishment in the case of Seth Brundle is creeping dissolution. Once he ha s matt-up how perfect a specimen he can be as a man, once he has achieved this greatness the only possible way for the character to go is down.