Page numbers refer to the print edition but are hyperlinked to the appropriate location in the e-book.
f denotes figures
The Absence of Myth: Writings on Surrealism (Bataille), 139–40, 141
“Adaptation, or the Cinema as Digest” (Bazin), 31
affective subjectivity, 14, 15
Against Interpretation (Sontag), 175
agôn (competition), 54, 55
Aidan (character in The Ring), 101
Allan (character in East of Borneo), 156
Andy Warhol/Supernova: Stars, Deaths, and Disasters (exhibition), 75
animals: as central role in Los olvidados, 125–26; learning about posthuman from, 118
ankoku butoh (dance of utter darkness), 98. See also butoh
Ansel, Billy (character in The Sweet Hereafter), 32
Art Gallery of Ontario (Toronto), 75
Art in Cinema (exhibition), 76
Asakawa (character in Ring), 81, 94
associations, 47, 48, 52, 58, 59, 67, 72, 77, 97, 153, 163, 172
atomic bomb/radiation, 86, 88, 94, 100, 101, 102, 104, 110, 111, 115
attachments, to film characters/stars, 61
attractions (of cinema), 57
Banks, Russell, 12, 29, 32, 34, 35, 38, 39, 40, 41
Barr, Alfred H., Jr., 151
Barthes, Roland, 11, 12, 17–20, 21, 22–25, 26, 28, 36, 37, 41, 68, 107
baseball, as example of cultural/economic ties US/Japan, 82
Bataille, Georges, 24, 25, 26–27, 37, 52, 56, 68, 88, 134, 135, 139–42, 144, 146, 148
Battleship Potemkin (film), 24
Bazin, André, 11, 12, 13, 14, 15, 16–17, 18, 19, 20, 21, 22, 23, 24, 28, 31, 41, 112, 113, 114, 115, 126, 134, 135–39, 142, 143, 144
Big Toe, Male Subject, 30 Years Old (photograph by Boiffard), 27f
“The Big Toe” (Bataille), 25, 26
Billy (character in The Sweet Hereafter), 34, 35
Breton, André, 3, 14, 16, 19, 21, 22, 24, 25, 41–42, 53, 59, 63, 106, 112, 113, 115, 139–40, 145, 146, 163, 165–66, 181–82, 185
The Bullfight (La course de taureux) (documentary), 135–36
Buñuel, Luis, 17, 44, 45, 46, 47, 48, 49f, 52, 62–63, 64, 65, 70, 71, 72, 76–77, 84, 97, 98, 115, 116, 119, 125–28, 138, 139, 146, 148, 160, 186, 187, 189
Burnell, Nicole (character in The Sweet Hereafter), 39–40
Burnell, Sam (character in The Sweet Hereafter), 39–40
Cadeau (sculpture by Man Ray), 108
Cahiers du cinéma (journal), 23
cameraless photography, 106
The Charlie Rose Show (TV show), 29
Chinese Restaurant (game in eXistenZ), 61, 62
“Christian the Lion Owners—SHOCKING REAL Story” (YouTube video), 124
cinema: attractions of, 57; Bazin on, 11; as blending past and present, 4; compared to dreams, 4; compared to video games, 46, 71; conjunctures with digital media, 5; conjunctures with surrealism, 5; as digital domain, 185; Galloway’s definition of, 46, 70; as matter of marking time, 184, 185, 186; as realist medium, 2; relations between cinema and gaming, 44, 52; as surrealist medium, 185; surrealist potential of, 145; total cinema, 28, 41; value of according to Breton, 22, 41–42; world cinema, 80
cinematic spectatorship, 28–29, 55, 57, 74, 119, 123, 153, 184, 189, 192n8
cinematic surrealism, 46, 95
Clairvoyance and Thoughtography (Fukurai), 104
collaboration (between filmmaker and spectator), 6, 151, 153, 154, 157, 159, 161–162, 163, 166, 176, 179, 181, 184
collaborative spectatorship: critique of surrealism, 164–68; defined, 9; gift of collaboration, 161–62; Joseph Cornell and Rose Hobart, 150–60; overview, 149–50; Rose Hobart and Mrs. Rock Hudson, 168–82
College of Sociology, 52, 55, 56
Coloriage (exhibition), 85
“Comb Tree Woman” (thoughtograph in The Ring), 108
commodity consumption, 41
competition (agôn), 54, 55
Cornell, Joseph, 149–60, 161, 162, 163, 164, 165, 166, 168, 170, 171, 175, 178, 181
Crittercam (TV series), 132–33
Cronenberg, David, 29, 45, 46, 48, 52, 61, 62, 64, 69, 70, 75, 76, 77
“Cruelty and Love in Los olvidados” (Bazin), 138
cursed videotape (in Ring), 82, 91f, 94, 101, 102, 104, 105, 106, 110, 114, 115
Dalí, Salvador, 44, 47, 48, 52, 58, 59, 76, 97, 98, 150, 151, 160, 168, 181, 186, 187f, 199n19, 201n52
“Data Toward the Irrational Enlargement of a Film: The Shanghai Gesture” (Surrealist Group), 21
The Dead Zone (film), 75, 76
“The Death of the Author” (Barthes), 38
de Chirico, Giorgio, 21, 181
Delicious Fields (Man Ray), 112
digital media, 1–3, 5, 6, 7, 9, 39, 41, 42, 45, 74, 75, 76, 148, 150, 189
digital star tributes, 169
“Director John Frankenheimer Comments on Rock Hudson’s Beauty” (YouTube video), 179
disadvantaged child subgenre, 129
disjunctive globalization, 80
disorient, power to, 42, 145
dominant global media flows, 80
“dream” (embodied) posthuman, 118
dreams, as blending past and present, 4
DreamWorks Pictures, 99, 100
Driscoll, Dolores (character in The Sweet Hereafter), 32, 33, 34f, 35, 39
DVDs: as having potential to change practices of cinematic spectatorship, 28–29; as mutation of reading, 35–42; reorganization of film chronology in, 74; special features on, in general, 75; special features on Seconds DVD, 173, 179; special features on The Ring DVD, 108f; special features on The Sweet Hereafter DVD, 29, 35–36, 38, 39, 40
East of Borneo (film), 149, 150, 152, 153, 154, 155, 156, 157, 158, 162, 164, 178
Egoyan, Atom, 12, 28, 29, 32, 33, 34, 35, 36, 38, 39, 40, 41
Eisenstein, Sergei, 24, 84, 98
Enchanted Wanderer: Excerpt from a Journey Album for Hedy Lamarr (Cornell), 166, 167f, 168
enlarged spectatorship: Barthes, Bataille, and “The Third Meaning,” 23–28; Bazin, Sartre, and photographic surrealism, 12–17; DVD as a “mutation of reading,” 35–42; exploring intermediation, 31–35; overview, 11–12; revising conceptions of, 9; surrealist enlargement, 20–23; in The Sweet Hereafter, 184; The Sweet Hereafter and cinema’s digital afterlife, 28–31; through the lens of Barthes’s Camera Lucida, 17–20
eXistenZ (film), 45, 46, 48, 51f, 52, 59–60, 61, 62, 63f, 64, 65, 68, 69, 71, 74, 75, 76, 77, 184
eXistenZ (game in eXistenZ), 70
explosive surrealism, 88–99
exquisite corpse games, 47, 74
eye: eye/body distinctions, 71; eye slashing (see eye slashing); in Ring as recalling Un chien andalou, 115–16; stories of, 65–71
Fantastic Art, Dada, Surrealism (exhibition), 151
Friday the 13th (film), 205n14
game of image association, 52, 77
game of images, Un chien andalou as, 47, 48, 52
game of medium definition, 52
game play, mimicry as connected to, 54
games of spectatorship, 59
gaming: in digital culture, 45; great game, according to Caillois, 53; human game play, classifications of, 54; narrative as primary, 197–98n2; relations between cinema and gaming, 44, 52; video games (see video games)
Gaming: Essays on Algorithmic Culture (Galloway), 45
Geller, Allegra (character in eXistenZ), 48, 51, 51f, 60, 61, 62, 63f, 68, 69
Ghost Story of Yotsuya (film), 84
globalization, 79, 80, 81, 83, 84, 87, 100, 101, 113, 117. See also disjunctive globalization; mediated globalization
globalized spectatorship: completing The Ring, 113–16; explosive surrealism, 88–99; the Little Boy of history, 85–88; overview, 79–81; The Ring between Japan and America, 99–103; a Ring of mediated globalization, 81–85; The Ring online, 103–105; from thoughtography to rayography, 105–113
Grasnik, Dr. (character in The Ring), 110
great game, according to Caillois, 53
“Greetings, You Are Alive: Tokyo Pop Manifesto” (Murakami), 85
“Hairbrush” (thoughtograph in The Ring), 108
Hamilton, Arthur (character in Seconds), 172, 179
Heavenly Bodies (Dyer), 175
historical consciousness, 184
A History of Violence (film), 75, 76
A History of Surrealism (Nadeau), 163
Hit by a Car (game in eXistenZ), 61
Hobart, Rose, 149, 153, 154, 155, 155f, 158, 159, 161, 164–65, 165f, 169, 170, 171
home delivery formats, 29
Homo Ludens (Huizinga), 55
Honogurai mizu no soko kara (film), 81
Horrors of Malformed Men (film), 207n58
human game play, classifications of, 54
humanist/humanism, 118, 122, 127, 128, 129, 132, 138, 139, 141, 142, 144
humanistic film studies, 4
“I Don’t Want to Miss a Thing” (song), 120
imagination: compared to perception, 13, 14, 15, 19, 23; subjective imagination, 13
imaginative imitation, 54
indexical reproduction, 17
Inteferon’s Viral Vestibule (website), 105–106, 108
interactive spectatorship: mimicry of the body and the author, 59–65; overview, 43–54; Roger Caillois and the lure of mimicry, 52–59; stories of the eye, objects and space, 65–71; time, surrealist interactivity, curatorial cinema, 71–77
interactivity: action-based, 70; in age of new media, 117; blurring of lines between cinematic interactivity and gamic activity, 184; charting relations between old and new media along axis of, 44; in “Christian the Lion,” 124; defined, 43–44; edges of, 64; eXistenZ’s invitation to, 61; fearing failure to accomplish, 63; Galloway as resisting label of to describe video games, 46; pleasures and dangers of, 64; surrealist interactivity, 46, 65, 70, 71, 74, 77; in video games, 70
intermediated encounter, 26, 35, 41
intermediated spectatorship, possibilities for, 12, 32
Internet Movie Database, 1, 115, 170
irrational knowledge, 20, 21, 53
Ivan the Terrible (film), 24
Japanese/American historical associations, 208n60
Japanese Neo Pop art, 92, 93
Japanese popular culture, 85, 86, 87, 92
Japanese Society for History Textbook Reform, 87
Japanese visual culture, 100, 101
join of touch and vision, 132, 133
Julián (character in Los olvidados), 126, 146, 148
Julien Levy Gallery (New York), 150, 165
Kobayashi Yoshinori, 87, 88
Krauss, Rosalind, 16, 107
Kyofu kikei ningen (Horrors of Malformed Men) (film), 207n58
The Lacemaker (painting by Vermeer), 65
L’âge d’or (film), 59, 77, 119, 125, 126, 138, 151, 168, 186–87, 188f, 189, 190
L’amour fou (Breton), 112
language beyond things, 140
The Language of New Media (Manovich), 28
La révolution surréaliste (journal), 62, 63, 112
The Legend of Hell House (film), 205n14
Le notti di Cabiria (film), 17
Les champs magnétiques (Breton and Soupault), 112
Le surréalism au service de la révolution (journal), 21
The Lion at World’s End (documentary), 121, 144
A Lion Called Christian (Bourke and Rendall), 121
Lippit, Akira Mizuta, 100
Little Boy: The Arts of Japan’s Exploding Subculture (exhibition), 85–88, 92
Los olvidados (The Forgotten Ones) (film): bull-child, 128, 129, 130, 148; Buñuel as art cinema director with, 45; as Buñuel’s return to main stage of international cinema, 119; compared to Story of the Eye, 135; conclusion of, 146; description, 125–32; goals of, 138–39; irrational sparks, 211n26; photos from, 128f, 130f, 131f, 147f; posthuman relationality/spectatorship in, 148, 184; a priori unjustified elements, 211n26; quick shots, 211n26
The Lugubrious Game (painting by Dalí), 59
Man, Play and Games (Caillois), 53, 54, 55, 56, 57
Man and the Sacred (Caillois), 55
“Manifesto of Surrealism” (Breton), 14, 59
Marta (character in Los olvidados), 126
Marudu, prince of (character in East of Borneo), 149
Masami (character in Ring), 82
“Me at the Zoo” (YouTube video), 124
mechanical objectivity, 14, 15, 16
Meche (character in Los olvidados), 126, 146, 147
media, as haunted by globalization, 84
mediated unconscious, 80, 84–85, 89, 99, 100, 101, 102, 103, 110, 116, 184
mediation, ring of, 83, 84
“Mimicry and Legendary Psychasthenia” (Caillois), 53, 56, 57
“The Mirror Stage as Formative of the Function of the I as Revealed in Psychoanalytic Experience” (Lacan), 58
Monsieur Phot (Cornell), 151
“Monster Manifesto” (Murakami), 116
Morgan, Anna (character in The Ring), 101, 106, 110
Morgan, Richard (character in The Ring), 101
Mrs. Rock Hudson LOVES Mr. Rock Hudson!!! (Mrs. Rock Hudson) (YouTube channel), 169–81, 184
“The Myth of Total Cinema” (Bazin), 11
Nakata Hideo, 81, 84, 88, 89, 90, 91, 92, 94, 95, 97, 98, 99, 100, 105, 114, 115
National Geographic Channel, 132
National Museum of Modern Art (Tokyo), 93
“nightmare” (disembodied) posthuman, 118
“Notes on ‘Camp’” (Sontag), 175
“Notes on the Making of Un chien andalou” (Buñuel), 76, 77
“The Notion of Expenditure” (Bataille), 56
Nourish, Yevgeny (character in eXistenZ), 63
objectivity: mechanical objectivity, 14, 15, 16; surrealism as conjunction of subjectivity and objectivity, 136, 138
Ojitos (character in Los olvidados), 126
Old Man (character in Seconds), 180
old media (analog media), 1
The 120 Days of Sodom (Sade), 189
One Missed Call (film), 81
“The Ontology of the Photographic Image” (Bazin), 12, 13, 15, 16, 113, 136
“The Otaku Murderer,” 90, 92
perception, compared to imagination, 13, 14, 15, 19, 23
The Persistence of Memory (painting by Dalí), 186, 187f
“The Photographic Message” (Barthes), 18
photographic realism, 14, 17, 18
photography: cameraless photography, 106; digital photography, 115; nature of, 12–20; as social text, 195n25; spirit photography, 114, 115, 206n37; surrealist photography, 14, 107, 113, 114, 115, 136; thought photography, 113
“The Pied Piper of Hamelin” (Browning), 29, 40
play, compared to sacred, 55. See also gaming
PO + KU Surrealism (painting by Murakami), 88
“Posthumanities” (book series), 122
posthuman spectatorship: Bazin, Bataille, and animal spectacle, 135–42; “Christian the Lion,” 119–25; digital and/or surrealist, 132–34; formulating notions of, 184; (im)possibilities of posthuman awakening, 142–48; Los olvidados, 125–32; overview, 117–19
power to disorient, 42, 145
projected thermography, 110
psychoanalytic film theory, 58
quasi-observation, 13, 15
realism: crisis of, 2; photographic realism, 14, 17, 18; pseudorealism, 14–15, 16, 113; true realism, 14, 15, 16, 113
realist medium, cinema’s nature as, 2
reality: concrete reality, 124, 125; exceptional reality, 125; past reality, 18
relationality, 122, 123, 124, 130, 132, 137, 138, 139, 143, 144. See also animal-human relationality; posthuman relationality
Renn, Max (character in Videodrome), 61, 62
Residencia de estudiantes, 76, 125
resistant (oppositional) spectator, 195–96n39
Ring (film), 81–85, 83f, 88, 89, 90, 90f, 91, 91f, 93, 94, 96f, 97, 98, 99, 100, 103, 114, 114f, 184
The Ring (film), 81, 88, 97, 99–116, 102f, 107, 108f, 110, 112, 113–16
The Road to Life (film), 129
Rose Hobart (film), 149–60, 153f, 155f, 156f, 161, 162, 163, 164, 165f, 166, 168, 169, 170, 175, 178, 179, 181, 184
Ryuji (character in Ring), 81, 98
Sadako (character in Ring), 81, 88, 89, 90, 90f, 92, 94, 95, 96f, 97, 98, 99, 102, 106, 116
Sadako (subject in Clairvoyance and Thoughtography), 105
Samara (character in The Ring), 101, 102, 104, 106, 107, 108, 110, 111–12, 113, 116
San Francisco Museum of Art, 76
“Sarrasine” (Balzac), 36, 37
The Satanic Verses (Rushdie), 64
science fiction literature, 118
“Second Manifesto of Surrealism” (Breton), 63
Seconds (film), 172–73, 174, 176, 177, 177f, 178, 179, 180, 180f, 181
Self Portrait (Man Ray), 111
“Sexy Rock Hudson Taking a Shower!!!” (YouTube video), 172
The Shanghai Gesture (film), 21
Shizuko (character in Ring), 94
Shizuko (subject in Clairvoyance and Thoughtography), 105
social-problem fiction film, 129
space: becoming of as act of spectatorship, 70; formulations of, 71; lure of, 54, 68
spectatorship: becoming space as act of, 70; cinematic spectatorship (see cinematic spectatorship); collaborative spectatorship (see collaborative spectatorship); cultural studies spectatorship, 195–96n39; enlarged spectatorship (see enlarged spectatorship); feminine and queer spectatorship, 169; games of, 59; globalized spectatorship (see globalized spectatorship); interactive spectatorship (see interactive spectatorship); intermediated spectatorship, 12, 13; as moving from passivity to activity, 3; multiple cognitive and affective investments of, 57; as point where surrealism and digital media intersect, 3; posthuman spectatorship (see posthuman spectatorship); practices of Breton, 22; as recasting relation to time, 184; resistant (oppositional) spectator, 195–96n39; surrealist spectatorship in today’s cinematic experience, 28; theorizing of as paradoxical and more urgent, 5
stars (actors), fascination with, 168–69
Stephens, Mitchell (character in The Sweet Hereafter), 33, 35, 39
Story of the Eye (Bataille), 68, 135, 139
streaming video, 1, 4, 29
stylistic signatures, 61, 65
subaltern global media flows, 80
subjective imagination, 13
subjectivity, surrealism as conjunction of subjectivity and objectivity, 136, 138
Subtitles: On the Foreignness of Film (Egoyan and Balfour), 41
Suna no onna (Woman in the Dunes) (film), 101
Superflat (exhibition), 85
“Superflat Trilogy” (Murakami), 85, 88
Surrealism and Painting (Breton), 112, 113, 115
“Surrealism as a World of Signs” (Caillois), 53
Surréalisme (exhibition), 150
surrealist enlargement, 20–23, 24, 25, 28, 29, 41, 152, 153, 157, 182, 186, 195n31
surrealist spark, 19, 184
surrealists/surrealism: aesthetic of, 16; animal imagery combined with, 125; Bataille as enemy combatant of, 139; Breton’s definition of, 19; Buñuel on, 199n19; Caillois’s relation to, 52–53; as charting shared histories of World War II, 101; cinema as aspect of, 107; cinema as dream machine, 3; cinema as medium of, 2, 3; cinematic surrealism, 46, 95; commitment to games, 46; as conjuncture of subjectivity and objectivity, 136, 138; conjunctures with cinema, 5; conjunctures with digital media, 5; Cornell as significant innovator of, 151; critique of, 164–68; at crux of confrontation between histories/technologies, past/present, remembering/forgetting, 80; exceptional reality, 125; explosive surrealism, 88–99; first generation, 21; as grasping unique potential of photographic media, 16; homophobic and misogynist impulses of, 178, 181; influence of on Bazin and Barthes, 11; influence of on Ring, 97, 98; influence of on Un chien andalou, 186; intersections between surrealism and World War II, 93; as mapping conjunction of photorealism and enlargement of reality, 28; as marrying pseudorealism to true realism, 15; mediated unconscious’s kinship with, 85; misogyny of, 164; photography as aspect of, 107; potential of, 212n54; recontextualizing as hallmark of, 76; between Ring and The Ring, 100; Sartre’s relationship to, 194n13; second generation, 21; Sontag on, 163; spectatorship as point where surrealism and digital media intersect, 3; Un chien andalou’s debt to, 198n10
Takahashi Hiroshi, 81, 84, 89, 90, 91, 92, 94, 95, 97, 98, 99, 100, 114
The Tarnished Angels (film), 171
technologically delimited platform, 184
temporally delimited experience, 184
temporal markers/pathways/structures, 72, 74
The Texas Chainsaw Massacre (film), 84
That Obscure Object of Desire (film), 45
time: cinema as matter of marking of, 184, 185, 186; cinematic time, 9, 185, 186, 187–88, 189; linear time, 186, 189; ravages of, 188f
The Today Show (TV show), 119
Tokaido Yotsuya kaidan (film), 84
Tomoko (character in Ring), 82, 83, 83f
Toronto International Film Festival, 77
Tower of the Sun (sculpture by Okamoto), 86
transCendenZ (game in eXistenZ), 62, 63
transgender coupling, 166
Tristes tropiques (potential title for Rose Hobart), 163, 175
trompe l’oeil illusionism, 15, 113
Ugetsu monogatari (film), 84
Un chien andalou (film), 44, 45, 46, 47, 49f, 50f, 52, 53, 59, 62, 65, 66, 67, 68, 69, 70, 71, 72, 73f, 74, 76, 77, 97, 98, 115, 116, 119, 125, 135, 138, 139, 141, 142, 151, 160, 168, 184, 186
Verbinski, Gore, 81, 88, 97, 99, 100, 102, 107, 112, 115
“A Very Drunk Rock Hudson” (YouTube video), 172, 173, 174, 179
video games: as cinematic, 59–60; compared to cinema, 71; cutscenes, 52; Galloway’s definition of, 46, 70; interactivity in, 70
viewer subjectivity, 16, 22
Viral Ecstasy (game in eXistenZ), 61
“The Virtues and Limitations of Montage” (Bazin), 137, 138
von Weber, Carl Maria, 168
Walker, Risa (character in The Sweet Hereafter), 33, 35
Walker, Sean (character in The Sweet Hereafter), 33
Walker Art Center (Minneapolis), 75
When a Stranger Calls (film), 84
When Species Meet (Haraway), 122, 132
Where No Vultures Fly (film), 137, 143
Willard (character in Willard), 134
Wilson, Antiochus (“Tony”) (character in Seconds), 172, 177f
Woman in the Dunes (film), 101
Yoichi (character in Ring), 81
YouTube: channels, described, 169–70; “Christian the Lion” (video), 119–25, 142–46, 148, 184; as a medium, 145; Mrs. Rock Hudson LOVES Mr. Rock Hudson!!! (Mrs. Rock Hudson) (channel), 169–81, 184