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Secondary textualities: Ideology, fo...

Clemence, Jason.

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Secondary textualities: Ideology, form, and performative cinematic authorship.

Record Type:	Electronic resources : Monograph/item
Title/Author:	Secondary textualities: Ideology, form, and performative cinematic authorship./
Author:	Clemence, Jason.
Published:	Ann Arbor : ProQuest Dissertations & Theses, : 2015,
Description:	184 p.
Notes:	Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
Contained By:	Dissertation Abstracts International77-07A(E).
Subject:	Film studies. -
Online resource:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10013467
ISBN:	9781339480138

Secondary textualities: Ideology, form, and performative cinematic authorship.
Clemence, Jason.

Secondary textualities: Ideology, form, and performative cinematic authorship. - Ann Arbor : ProQuest Dissertations & Theses, 2015 - 184 p.

Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.

Thesis (Ph.D.)--Tufts University, 2015.

This dissertation examines a multifaceted cinematic form, the Narrative of Character Authorship. Films in this category allow discursive material objects (or secondary texts) created by characters in the diegesis proper (or primary register) to displace, either periodically or perpetually, the illusion of the film itself as closed-off, omniscient, and complete. In other words, whenever a character creates a visual text that seems to take the place of the actual work, or narrates in such a way that scenes from the film play out subordinated to that narration, we are likely in the realm of this form. The crucial, linking element is that the secondary text must form an actual physical artifact that exists and exerts influence upon the events of the primary.

ISBN: 9781339480138Subjects--Topical Terms:

2122736
Film studies.

Secondary textualities: Ideology, form, and performative cinematic authorship.
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100 1 $a Clemence, Jason. $3 3280139
245 1 0 $a Secondary textualities: Ideology, form, and performative cinematic authorship.
260 1 $a Ann Arbor : $b ProQuest Dissertations & Theses, $c 2015
300 $a 184 p.
500 $a Source: Dissertation Abstracts International, Volume: 77-07(E), Section: A.
500 $a Advisers: Lee C. Edelman; Joseph Litvak.
502 $a Thesis (Ph.D.)--Tufts University, 2015.
520 $a This dissertation examines a multifaceted cinematic form, the Narrative of Character Authorship. Films in this category allow discursive material objects (or secondary texts) created by characters in the diegesis proper (or primary register) to displace, either periodically or perpetually, the illusion of the film itself as closed-off, omniscient, and complete. In other words, whenever a character creates a visual text that seems to take the place of the actual work, or narrates in such a way that scenes from the film play out subordinated to that narration, we are likely in the realm of this form. The crucial, linking element is that the secondary text must form an actual physical artifact that exists and exerts influence upon the events of the primary.
520 $a These films, I argue, produce three distinct effects: They demand a reworking of Laura Mulvey's theory, still central to contemporary film studies, that the looks of the viewer and the camera are disavowed and subordinated to that of represented characters, and since recording apparatuses are omnipresent in these narratives, characters are constantly aware of their potential as performative and textual subjects; they recurrently result in characters who use textualized performance as a means of shaping their ideological identity in relation to the (often hostile) social order; and, most curiously, they tend to omit representation of an audience within their own diegesis, seldom showing their secondary texts actually being viewed, which I read as indicative of the failure of textualized spectacle to adequately subjectivize its creator.
520 $a My first chapter analyzes the distinctions between mere performance and authorship or textualized performance, before analyzing P.T. Anderson's breakthrough work Boogie Nights (1997). My second chapter theorizes cinema's turn from silent to sound film in order to stake a claim for the problematics of voice-over, then applies this argument to Wilder's Double Indemnity (1944), arguing that voice-over allows the noir protagonist to scapegoat and contain the femme fatale. Chapter three engages with films in which the secondary and primary texts are entirely congruent, focusing on the interplay of banality and anxiety in the two most common types of this subgenre: found footage and mockumentary. My final chapter inverts the framework to explore the disorienting, surveillant effects of films in which the protagonists are the recipients of secondary texts, while the authors remain obscured, focusing especially on Michael Haneke's Cache (2005).
520 $a The filmography of this project is intentionally diverse, to the point of appearing nearly arbitrary. The desire to create text, to encapsulate our performative impulses---not for immediate personal gain, but as a means of shaping symbolic identity---appears in various forms in the period epic, film noir, satiric mockumentary, found footage horror flick, and postmodern thriller. It is not a genre unto itself, but a narrative form that can shape any genre.
590 $a School code: 0234.
650 4 $a Film studies. $3 2122736
690 $a 0900
710 2 $a Tufts University. $b English. $3 1022054
773 0 $t Dissertation Abstracts International $g 77-07A(E).
790 $a 0234
791 $a Ph.D.
792 $a 2015
793 $a English
856 4 0 $u http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=10013467