The Artist as Monster: The Cinema of David Cronenberg

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University of Toronto Press, Jan 1, 2006 - Performing Arts - 568 pages

PAPERBACK INCLUDES TWO NEW CHAPTERS

David Cronenberg is one of the most fascinating filmmakers in the world today. His provocative work has stimulated debate and received major retrospectives in museums, galleries, and cinematheques around the world. William Beard's The Artist as Monster was the first book-length scholarly work in English on Cronenberg's films, analyzing all of his features from Stereo (1969) to Crash (1996). In this paperback edition, Beard includes new chapters on eXistenZ (1999) and Spider (2002).

Through close readings and visual analyses, Beard argues that the structure of Cronenberg's cinema is based on a dichotomy between, on the one hand, order, reason, repression, and control, and on the other, liberation, sexuality, disease, and the disintegration of self and of the boundaries that define society. The instigating figure in the films is a scientist character who, as Cronenberg evolves as a filmmaker, gradually metamorphoses into an artist, with the ground of liberation and catastrophe shifting from experimental subject to the self.

Bringing a wealth of analytical observation and insight into Cronenberg's films, Beard's sweeping, comprehensive work has established the benchmark for the study of one of Canada's best-known filmmakers.

 

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Contents

Stereo 1969
3
Crimes of the Future 1970
15
Shivers 1975
26
Rabid 1976
49
The Brood 1979
71
Scanners 1980
96
Videodrome 1982
121
The Dead Zone 1983
165
Naked Lunch 1991
277
M Butterfly 1993
338
Crash 1996
379
eXistenZ 1999
423
Spider 2002
471
Notes
505
Bibliography
553
Index
563

The Fly 1986
198
Dead Ringers 1988
234

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About the author (2006)

William Beard is a professor and the film/media studies coordinator in the Film and Media Studies Program at the University of Alberta.

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