on the level of the resolutely mundane and the functional, and fails to provoke in the storys characters any hint of philosophy, meditation, or profound reflection. Cronenberg's latest movie, 'Crash has managed to become a popular sell to foreign independent film distributors, despite the film's controversial nature. It has American iconic reverberations and we were very conscious of that. The iconic American mythology was very interesting. You need a certain self-awareness to appreciate the threat. He contrasts the conclusions that these films reach after playing out the relationship between humanity and the technology that has produced a virtual world. Butterfly." (movie reviews) Christian Science Monitor v85, n215 (Fri, Oct 1, 1993 12, col 1, 4 col. Minneapolis : University of Minnesota Press, c1993. 26-7 Taubin, Amy "The Wrong body." Sight and Sound. 4 Issue 2, p41, 12p UC users only Brottman, Mikita; Sharrett, Christopher.
A, history of, violence : David, cronenberg s Superb Study Cronenberg, releases (US David, cronenberg - Stiglegger, Marcus Observations on film art : Directors: Cronenberg
82 "David Cronenberg's eXistenZ is a conceptual-horror B movie that keeps moving well. In this film, woman's desires mingle with those of the man/car, but the opposite is not the case; there is no corresponding scene in which man takes the place of woman for another woman. Kermode, Mark "David Cronenberg: interview and filmography." Sight and Sound. The films of David Cronenberg are approached by critics from many angles, each focusing on a different aspect of the director. Compares "The Fly" (1958) with its 1986 remake, showing how the portrayal of central concerns such as gender and science have altered. There wasnt a market-driven imperative to be faithful to the material, and it wasnt the enormous audience that compelled the studio to purchase the book. When I went on my publicity tour for. "The Traffic in Leeches: David Cronenberg's Rabid and the Semiotics of Parasitism." American-Imago 1993 Winter, 50:4, 515-33. In which he states his life-long empathy with the images of Burroughs and defends the writer against frequent charges of misogyny; plus an article on the director's presentation of the leading men in his films.