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The Artist as Monster By William Beard

The Artist as Monster by William Beard

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The first systematic examination in English of Cronenberg's feature films, from Stereo (1969) to Crash (1996).

The Artist as Monster Summary

The Artist as Monster: The Cinema of David Cronenberg by William Beard

PAPERBACK INCLUDES TWO NEW CHAPTERS David Cronenberg is one of the most fascinating filmmakers in the world today. His provocative work has stimulated debate and received major retrospectives in museums, galleries, and cinematheques around the world. William Beard's The Artist as Monster was the first book-length scholarly work in English on Cronenberg's films, analyzing all of his features from Stereo (1969) to Crash (1996). In this paperback edition, Beard includes new chapters on eXistenZ (1999) and Spider (2002). Through close readings and visual analyses, Beard argues that the structure of Cronenberg's cinema is based on a dichotomy between, on the one hand, order, reason, repression, and control, and on the other, liberation, sexuality, disease, and the disintegration of self and of the boundaries that define society. The instigating figure in the films is a scientist character who, as Cronenberg evolves as a filmmaker, gradually metamorphoses into an artist, with the ground of liberation and catastrophe shifting from experimental subject to the self. Bringing a wealth of analytical observation and insight into Cronenberg's films, Beard's sweeping, comprehensive work has established the benchmark for the study of one of Canada's best-known filmmakers.

The Artist as Monster Reviews

'The Artist as Monster is essential reading in Cronenberg studies.' -- Suzie S.F. Young Science Fiction Studies 'The Artist as Monster offers the most thorough and balanced account of David Cronenberg ever published ... Eminently readable and intellectually (as well as emotionally) engaging.' -- Monique Tschofen Canadian Literature 'A painstaking and meticulous analysis of the films.' -- Marc Horton Edmonton Journal 'Beard is less interested in Cronenberg's authorial sensibility than in D.H. Lawrence's Never trust the artist. Trust the tale. He has a sense of the film itself thinking. This allows him to argue with Cronenberg and, as a critic, to go even farther with the films than Cronenberg, as his own critic, may be willing to do.' -- Greil Marcus Bookforum 'Essential reading for any fan of the filmmaker.' -- Matthew Hays Mirror 'Beard's interpretation of Cronenberg's cinema is original and unique ... A fascinating and rigorous critical examination.' -- Thomas Caldwell Screening the Past 'Timely and insightful ... Highly recommended to anyone interested in the compelling and disturbing work of the minence grise of contemporary English-Canadian art-cinema.' -- Scott McKenzie British Journal of Canadian Studies

About William Beard

William Beard is a professor and film studies program director in the Department of English and Film Studies at the University of Alberta.

Table of Contents

Preface Acknowledgments * Stereo (1969) * Crimes of the Future (1970) * Shivers (1975) * Rabid (1976) * The Brood (1979) * Scanners (1980) * Videodrome (1982) * The Dead Zone (1983) * The Fly (1986) * Dead Ringers (1988) * Naked Lunch (1991) * M. Butterfly (1993) * Crash (1996) * eXistenZ (1999) * Spider (2002) Notes Bibliography Index

Additional information

The Artist as Monster: The Cinema of David Cronenberg by William Beard
Used - Very Good
University of Toronto Press
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Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
This is a used book - there is no escaping the fact it has been read by someone else and it will show signs of wear and previous use. Overall we expect it to be in very good condition, but if you are not entirely satisfied please get in touch with us

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