image is to be used intellectually and will not be
allowed its inherent powers
The power of activation in
subordinated to a condition
seen in Moore's seduction of Julie Andrews
in a living medium.
Derek's image is
of transference as
the movie's ending.
JOHN PIETERS, University of Florida, "The Movie as
Playground: Kubrick's The Shining."
In The Shining, Kubrick has told two concurrent
and interpenetrating stories: the first deals on
the fairytale level with Oedipal conflict between
a father and son, expanding outward to consider
the conflict between the rational and the
imaginative, work and play, the divided self and
the integrated self. The second story is a
meditation on the aesthetics of moviemaking, and
most particularly on the dual nature of the act,
involving as it does a creation of color in
motion which can only come into being through a
long, logistically complex process of rational
ordering. A series of brilliant identifications
between the camera eye and the vague malevolent
force in the movie leads us to the conclusion that
the monster here is the camera, manifested by Jack
Torrance, and that when Danny breaks out of the
frame near the end, he escapes the movie as much
as he escapes his father.
HOWARD D. PEARCE, Florida Atlantic University,
"Shining as Lichtung:
Kubrick's Movie, Heidegger's
Stanley Kubrick's The Shining demonstrates the
problematical relationship between theories of art:
art as pleasurable activity, art as revealing
"truth." Martin Heidegger's theory of truth a
alethia, involving Lichtung ("clearing," and as
Heidegger plays metaphorically, "shining forth"),
suggests a way of approaching the film and the way
its images appear, "shine." The film's manifold
repetitions and mirrorings "let appear" a theme of
reflexivity, the work of art revealing "absent"
structures as do Halloran's and Danny's shinings.
DEATH AND REBIRTH MOTIFS AND FANTASY
CHAIR: Judith Ortiz Cofer, University of Miami.
JULIENNE H. EMPRIC, Eckerd College, "Death Show and
Shakespeare's Comic Fantasy."
The death show is a unique culmination of
plot-making within Shakespeare's plays, whereby
characters are thrust into an intense internal
fantasy designed to reform or transform them, and
give them the experience of posthumous life. This
study examines the structure I have chosen to call
the death show—in general, and in the instance of
Much Ado About Nothing, the first in a series of
comedies and romantic comedies to make use of the
Session VIII, Friday,
11 a. m.-12:30p.m.
Film: A CLOCKWORK ORANGE
11:00 a.m. - 1:20 p.m.
1971, Great Britain (Warner Brothers). Directed by
Stanley Kubrick. With Malcolm McDowell, Patrick
Magee, Adrienne Corri, Aubrey Morris, James
Marcus. Slightly cut R-rated version. "I...think
it spoils a great deal of the pleasure of the film
for anyone who happens to have been unfortunate
enough to have read what the filmmaker 'has in
mind.' As a member of the audience, I
particularly enjoy those subtle discoveries where
I wonder whether the filmmaker himself was even
aware that they were in the film, or whether they
happened by accident." — Stanley Kubrick.
JACQUELINE LICHTENBERG, reading
an excerpt from
Jacqueline Lichtenberg is the author of the
popular Sime/Gen science fiction series , and her
reading is drawn from the most recent volume, the
sixth. She has also collaborated with Jean Lorrah
on two novels, First Channel and Channel's
Destiny. Her latest work, Molt Brother (Playboy
Press) begins a new series based on human/machine
JEAN LORRAH, reading an excerpt from Channel's
Destiny, forthcoming from Doubleday in November.
Jean Lorrah is Professor of English at Murray
State University, associate editor of Pandora, and
the author of The Savage Empire series for Playboy
Books. She is also collaborating with Jacqueline
Lichtenberg on a second series, of which Channel's
Destiny is a part.
P. C. HODGELL, reading "Rattle Together,"
written especially for the conference.
Pat Hodgell is a veteran of the Clarion Science
Fiction Workshop, and sold her first Clarion story
to Harlan Ellison for Last Dangerous Visions. She
has since published in Berkeley Showcase #2 and
novel, God Stalk due out from Atheneum this
she is doing a dissertation on
Sir Walter Scott at the University of Minnesota.
STEVEN C. WALKER, Brigham Young University,
"Resurrectional Narrative in The Lord of the
(No abstract available.)
FANTASY IN THE WORK OF TOM STOPPARD: I
CHAIR: H. D. Pearce, Florida Atlantic University.