無投影片標題 - eng.fju.edu.tw

無投影片標題 - eng.fju.edu.tw

City Vision (3-3): 2. Flneurial Look in Patricia Rozemas Ive Heard the Mermaids Singing Outline General Introduction: Toronto New Wave, Patricia Rozema and the Film Ive Heard the Mermaids Singing 1. 2.

3. 4. Female Artists in a City Individual vs. Institution: the Intertextual References Growth of an Artist: Reality vs. Fantasies Pollys vision of Toronto Patricia Rozema: Her visions of a city

Conclusion Ontario/Toronto New Wave Left to Right: David Cronenberg, Don McKellar (writer/actor/director), Patricia Rozema, John Greyson, Ron Mann, Bruce McDonald, Atom Egoyan Ontario/Toronto New Wave From Art-House to popular theatre Young Toronto-based filmmakers starting in 1980s,

Rejected both Hollywood films and their tax-shelter predecessors. urban, intimate, underdog, migrant. Educated and art-fueled. Not political. Not commercial. (Cameron 10) Two major breakthroughs: Mermaid (1987) & Exotica (1994) Patricia Rozema Born to a Dutch immigrant family in a Calvinist town, Sarnia, southern Ontario;

B.A. with double major in philosophy & English literature. Patricia Rozema on the set of Desperanto source (image source) Rozema: Filmography

Grey Gardens (co-writer, 2009); Into the Forest (post-production) Kit Kittredge: An American Girl (2008; Canada/US) Happy Days (2000, adapting Becketts play) Mansfield Park (1999) "Yo-Yo Ma Inspired by Bach" (1997) Bach Cello Suite #6: Six Gestures (1997) When Night Is Falling (1995) Montral vu par... (1991) (segment "Desperanto") White Room (1990)

I've Heard the Mermaids Singing (1987) Prix de la Jeunesse from Cannes + 17 awards Passion: A Letter in 16mm (1985) Artist as a focus (interview) Rozema: Canadian/Feminist/Artist Themes & Styles 1. 2.

Canadian + feminist Issues of institutional control vs. fantasy, lesbian/sexual identity gender inequality vs. sexual pluralism self-reflexiveness Filmic (use of frames, subtitles, cameras); Textual fairy-tale & other intertext; Artistic-- of artists and critics 3.

Flneuse -- Interest in architectures, city scenes and female artists position in a city. Rozema: Ive Heard the Mermaids Singing Polly Vandersma Sheila McCarthy Gabrielle St-Peres Paule Baillargeon Mary Joseph Ann-Marie McDonald Their namessaints or nobodys

2. 3. Canadian + feminist Polly (position in Toronto, identity, gaze, institution) self-reflexiveness Polly talking to us; the use of many intertexts (Bible, fairy tales and poem). Flneuse Pollys photography. Ive Heard the Mermaids Singing: Starting Questions Canadian Artists:

How is Polly characterized? And opposed to Gabrielle? Does she fit into the institution she works for? Does Polly learn and grow in the film? What does she learn and how? What do you think about her fantasies? Are they just a matter of self-indulgence? How about the other two artists, Mary and Gabrielle? What is the story about?

Self-Reflectivity: Why does Polly speak to us? City Vision: What is the role of Toronto in this film? What are the major signs of the city? Ive Heard the Mermaids Singing: Outline Female Artists in a City Individual vs. Social Institution: the

Intertextual References the film as a video confession (of one who is not Prufrock) Growth of an Artist: Reality vs. Fantasies Pollys Vision of Toronto Sections Sections I. Female Artists in the City A. Polly sec 1 (How it started) sec 2: Photo session;

Sec 3 darkroom fantasy; sec 4 Office work Social Position---clumsy and a misfit Organizationally Impaired Typing Lack of social manners: e.g. the Japanese Restaurant; the birthday Party Language:

Doesnt speak French, a sign of elegance G: Acute awareness P: a cute face G: Im dying. birthday G: I dont want to die in my body Then whose body? I. Polly re. Gabrielle 00:13:04 She was like a fairytale. I mean, she went to school all over the world and talked to the kind of people who write books. I mean, she even wrote a book herself once.

And she loved to talk about art things Iike whose work shows talent and whose doesn't, and whose work shows "acute awareness". At first I thought she meant like "a cute face", "a cute awareness". And... whose work came from "half-lives, half-lived. Isn't that great? Oh, I just loved how she talked. I wanted her to teach me everything. Polly: a female artist on the margin of society (2) . . . tiny hovel almost lost in the industrial section of Toronto (before it got groovy)

under the enchanting shadow of a giant Kentucky Fried Chicken barrel with the CN tower in the BG (Rozema) Polly: a female artist on the margin of society (2) a private space with multiple functions; (clip 6; DVD 2 & 3; 0:04)

Open to endless possibilities Restroom (like a womb space) for fantasy, art work I. Female Artists in the City (2): Pollys Sexual and Artist Identities

Identity in formation: sexual Interests Discovering (homo-)sexuality Peeping at the love-making couple Posing in front of the mirrors in public (clips 8, 9; DVD 8) 00: 29 I think I kind of fell in love with the curator. (not to kiss her)

I. Female Artists in the City (2): Pollys Sexual and Artist Identities I know that love is a pretty strong word when you're talking about another woman and she's not your mother, but there you go. I don't think I wanted kissing and all that stuff. I just, I just loved her. Polly: [love her ]Like a mother or a sister? Mary: Like a lover. I. Female Artists in the City: Pollys

Sexual and Artist Identities (2) Artist Identity her personal approach as a photographer Interaction with the photographed objects Curious and affirmative. Generosity as an artist accept the fact that you cant do it. (clip 16; DVD 16)

Polly: Loving and Actually SelfSufficient (more later) I. Female Artists in the City (2): Gabrielle the Curator B. Gabrielle her social position With good social manners and elegant dressing styles; good at talking and art dealings (clip 10; DVD 9 ) elegant and stylish; large ear-rings Big words: oblique pragmatism, whimsical sociological references contextual

destruction internal/external transformation) I. Female Artists in the City (2): Gabrielle the Curator B. Her Artistic Career: Supported by chocolate business Her taste and judgment abstraction; Pollys is trite made flesh for her I. Female Artists in the City (2): Gabrielle the Curator C. Her Aspiration:

Fear of mortality: want universal respect, eternal youth, etc.; Frustration: gets kicked out of an art lesson; to want one thing that she never has: talent or one painting beautiful undeniably, unequivocally, universally. Is she wrong in using Marys painting? In what ways is she wrong in using Marys painting? I. Female Artists in the City (2):

Mary Joseph C. Mary Joseph artistic judgment like it or not like it Another misfit; hidden behind Gabrielle I paint, you talk. Why is her work glowing but without shapes? II. Individual vs. Institution: The Intertextual References A. Mermaid 1. T. S. Eliot, The Love Song of J. Alfred Prufrock a poem about people in the upper class who measure out their life in coffee spoons, and Prufrock who grows old but lacks the

strength to force the moment (of marriage proposal) to its crisis. In the room, the ladies come and go, talking of Michelangelo. Polly about Gabrielle: Talking and laughing and interfacing, like a ping-pong game. "'I have heard the mermaids singing, each to each. I do not think that they will sing to me'" Polly hears the mermaids in one of her fantasies, and later she has Gabrielle and Mary listen to her. Process of growth and self-assertion of a female artist.

II. Mermaids: Individual vs. Institution: the Intertextual References A. Mermaid 1. Artist 2. Fairy tales---In between two worlds 3. Lesbian association II. Mermaids: Individual vs. Institution: the Intertextual References B. The meaning of names plurality vs. institutional limitations

Polly poly Gabrielle arch angel Mary Joseph bisexual Church Gallery representing an art institution C. Theme Song individual spaces Lakme The Flower Duet (lyrics) D. Shooting Style confession and self-creation of an artist outside the institution (gallery, police, society) Film camera & Video Camera (monitor confession) (clip 15; DVD 14, 1:04) communicate with the

artists and with us audience III. Pollys Growth: Reality vs. Fantasies (1) (After getting her job at Church Gallery) A. Flying in the air Climbs and overcomes power structure

Flyingsurpass social constraints (Canadian flag) (DVD 3) IV. Pollys Fantasies (2) (After the discussion of painting) B. Walking on the water (clip 11; DVD 10; 0:35:44) Religious symbol Desire

social manners elegant, big words (relativism is complex politically, aesthetically, religiously and even in terms relationship) her ideas relativism; polymorphous perversity IV. Pollys Fantasies (3, 4) (While choosing the photo work to send to G) C. Tour on the bus (clip 13; DVD

13)meaning? smooth transition from the City to Nature, and back to the city. hears the mermaid. D. Being a conductor of symphony ) (clip 18; DVD 18) meaning? Differences from the other fantasies -- Fantasy merged with reality -- in the church gallery; -- active: conducts the orchestra; Polly in colored image -- success both in conduction and stealing the video camera. Ending

(clip 19) meanings? The photos are miraculously back; artists/ lesbians moving beyond the institutional and social limits; also beyond the limits of the film to a world

not known or gazed at by us. introduction and endingthe whole film is Pollys creation and self-creation. Pollys vision of Toronto (clip 3) Admiration: bottom

up; at the architecture from without (outside the power structure). Imagines having an overview. Pollys vision of Toronto Pollys vision of Toronto (2) 1. 2. individuals;

fragmentary views which are implicitly deconstructive of power. Rozema on the City Brookfield Place (formerly BCE Place) & Royal Bank Plaza Rozema on the City (1): love of architecture and height

Setting Toronto, frequently its architecture and its bird-eye views "I adore height. My father built apartment buildings and I remember sitting at the top, dangling my legs, just loving it. I'm attracted to all forms of danger." Johnson 1995 Johnson, Brian D. Sex and the Sacred Girl: Film Director Patricia Rozema. Maclean's 108 (05-08-1995): 93-96. (* Flight as a major motif in her work.) Rozema on the City (2): its

multiple lives There's a place I've often included in my films merely because of its physical beauty, because it amazes me. It is an architectural moment of grace: the Royal Bank Plaza. A modern cathedral, a marvel of sculpted form. It's windows have been coated with a small amount of gold leaf, it's different from every angle and yet it is unified.(A Place in the Sun )

Rozema on the City (2): its multiple lives As much as I try to give importance to "place" in this article, it is the deeds that make a temple sacred or not. The halls, the streets, the condos and the palaces will always be filled with women, men, and children and their miseries, rebirths, half-dreams and dreams,shared love, wasted love, echoes and footsteps of the dead and half-dead, and sometimes brief, unbearably sweet smiles. It is all our pathetic little attempts at generosity, heroism and holiness that

define us. us In our fictions, as in our lives, it is the concrete steps towards or away from our ideals that say who and what we are. (A Place in the Sun ) Rozemas City Vision: e.g. White Room: image of the city as a commercial system White Room architecture as social institution White Room dangerous for women:

1. 3. 2. 4. Six Gestures:Multiple perspective on Bach

Six Gestures:multiple perspectives of the truck drivers and graffiti Some artists complete an era; some artists begin the next

The six suite was the first work thats ever written for the cello. Ya, but you know theres no record of this cello suites ever having been performed. Six Gestures: Re-Creation of architecture from without Bach in Cthen, serving his patron,

Prince Leopold ( ) Six Gesture: = our little polite and dutiful dances Rozema

V. Conclusion (I): City Vision 1. 2. 3. A city is a space with multiple texts and multiple

possibilities of viewing/writing and being gazed at/written. A flneur--as one wanders leisurely on the street-- can be a shopper or an Internet surfer, and s/he can sleepwalk in a city like dream. But an artist/an intellectual as a flneur organizes and make sense of the fragmentary images s/he gets from walking and looking at a city. The images can be that of multiple desires and lives, or historical layers of a city, V. Conclusion (II): the Film A. Reality V.S. Fantasy (The latter, though imaginary, can help empower the

weak to bring changes to reality.) B. Process of self-assertion (real changes in reality) C. Are the images of the lesbian positive or not? e.g. Gs use of Mary; Pollys peeping desire Next Week What We All Long For chaps 1-8 Reference A Place in the Sun http://www.patriciarozema.com/a_place_in_the_sun.ht

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