All That Pastiche Allows by Catherine Grant
"[Pastiche] can, at its best, allow us to feel our connection to the affective frameworks, the structures of feeling, past and present, that we inherit and pass on. That is to say, it can enable us to know ourselves affectively as historical beings."
Richard Dyer, Pastiche (London and New York: Routledge, 2007)
Film Studies For Free today presents a whole host of links to studies of cinematic pastiche. It begins with the above video -- the latest in FSFFs experiments in videographic comparison -- which is designed to afford its viewers a space for real-time co-contemplation of the opening titles sequences of All That Heaven Allows (Douglas Sirk, 1955) and its pastiche Far From Heaven (Todd Haynes, 2002).
- Salomé Aguilera Skvirsky, The Price of Heaven: Remaking Politics in All That Heaven Allows, Ali: Fear Eats the Soul, and Far From Heaven, in The Ethnic Turn: Studies in Political Cinema from Brazil and the United States, 1960-2002, PhD Thesis, University of Pittsburgh, 2009 (scroll to p. 194)
- Deborah Allison, Novelty title sequences and self-reflexivity in classical Hollywood cinema, Screening the Past, 20, 2006
- Lee Barron, Droogs, electro-voodoo and kyborgs: pastiche, postmodernism and Kylie Minogue live, Nebula, 2009
- Tilman Baumgärtel, Imitation, Indigenization, Assimilation? No, Globalization!: The Cinema of Bobby Suarez, Asia Culture Forum, 2006
- Katherine Biber, The Threshold Moment: Masculinity at Home and on the Road in Australian Cinema, Limina, Vol. 7, 2001
- Norman Bryson, Todd Hayness Poison and Queer Cinema, Invisible Culture - An Electronic Journal for Visual Culture Issue 1, Winter 1999
- Cüneyt Çakirlar, Cinephilic Bodies: Todd Hayness Cinema of Queer Pastiche, KÜLT: A Journal of Cultural Studies 1:1, April 2011
- Brigid Cherry, From Cult to Subculture: Reimaginings of Cult Films in Alternative Music Video Scope, 15, 2010
- Simon Chia-rong Wu, Gender Pastiche: Thai Queerness in Beautiful Boxer, Cultural Studies Monthly, 78, 2008
- E. Anna Claydon, British South Asian Cinema and Identity II:When did Mr Collins become the Ugly American? Representing America in the films of Gurinder Chadha, South Asian Cultural Studies, 2009, 2 (2)
- Amelia DeFalco, A Double-Edged Longing: Nostalgia, Melodrama, and Todd Haynes’s Far From Heaven, Iowa Journal of Cultural Studies, No. 5
- Cynthia Duncan, Reading Angeles Mastrettas Arráncame la vida through the Lens of Mexicos Golden Age of Cinema, Rocky Mountain Review, 63.2, 1997
- Richard Dyer, Tales of Plagiarism And Pastiche, Nino Rota: Music, Film and Feeling (London: Palgrave/BFI, 2010) (27 free pages) Book info.
- Darren Elliott, Queering the Cult of Carrie: Appropriations of a Horror Icon in Charles Lums Indelible, Scope, 15, 2010
- Thomas Elsaesser, European Cinema: Face to Face with Hollywood(Amsterdam University Press, 2005)
- Thomas Elsaesser, Fassbinders Germany: History, Identity, Subject (Amsterdam University Press, 1996)
- Laura E. Felschow, Todd Haynes: the Public, the Private, and the Performative, PhD Thesis, University at Buffalo, State University of New York, February 1, 2009
- T Ferrero-Regis, Cinema On Cinema: Self-reflexive Memories in Recent Italian History Films, transformationsjournal.org, Issue 3, 2002
- Lucy Fischer, Modernity and Postmaternity: High Heels and Imitation of Life, in Horton, Andrew Horton (ed.), Play it again, Sam: retakes on remakes. Berkeley: University of California Press, 1998)
- Caryl Flynn,The New German Cinema: Music, History, and the Matter of Style. Berkeley: University of California Press, 2004
- Catherine Grant, In authenticity: Douglas Sirk and the Sirkian Melodrama, Film Studies For Free, September 21, 2010
- Catherine Grant, On Todd Haynes: Happy Independence Day!, Film Studies For Free, July 4, 2010
- Catherine Grant, New Todd Haynes Masterclass, Film Studies For Free, November 27, 2011
- Catherine Grant, Storytelling sans frontières? On Adaptation, Remaking, Intertextuality, and Transmediality, Film Studies For Free, November 21, 2009
- Val Hill, Postmodernism and cinema, in S. Sim (ed.), The Routledge companion to postmodernism (Lndon: Routledge, 2000)
- Dom Holdaway, Da fatti realmente accaduti: Performing History in Contemporary Italian Cinema, New Readings 11 (2011)
- Marlie Centawer Huisman, Representations of Swinging London in 1960s British Cinema: Blowup (1966), Smashing Time (1967) and Performance (1970), MA Thesis, Brock University, St. Catharines, Ontario, May 2011
- Kate Ince, Francois Ozons cinema of desire, in Ince (ed.), Five Directors: Auteurism from Assayas to Ozon (Manchester University Press, 2008)
- Shen Jiang, Nostalgia in Contemporary Chinese Cinema (1993-2008): A Reflection of Chinas Socio-Cultural Postmodernity, PhD Thesis, University of Canterbury, 2010
- Lynne Joyrich, Written on the Screen: Mediation and Immersion in Far from Heaven, originally published in Camera Obscura, 54, Volume 18, Number, 2003
- Jordan Lavender-Smith, Irony Inc.: Parodic-Doc Horror and The Blair Witch Project, Scope, 15, 2010
- James MacDowell, Beneath the Surface of Things: Interpretation and Far From Heaven, Offscreen Journal, Volume 10, Issue 5 (May 31, 2006)
- Norimasa Morita, Avant-garde, Pastiche, and Media Crossing: Films of Terayama Shūji, Waseda Global Forum No. 3, 2006
- Chi Hyun Park, Orientalism in U. S. Cyberpunk Cinema from Blade Runner to The Matrix, PhD Thesis, The University of Texas at Austin, May 2004
- Jack Post, The Ambiguity of Weeping. Baroque and Mannerist Discourses in Haynes’ Far from Heaven and Sirk’s All That Heaven Allows, Image and Narrative, 13.2, 2012
- James Ricci, Attractions and Negotiations of Film Noir in American Cinema and Culture, PhD Thesis, University of South Florida, April, 2008
- Niall Richardson, Poison in the Sirkian System: The Political Agenda of Todd Hayness Far From Heaven, Scope, Issue 6, October 2006
- Timothy Robinson, Cultural Value in Historical Pastiche: Reclaiming the Past as Modern ‘Parody’ and Postmodern ‘Pastiche’ in The Hours and Marie Antoinette, Honors Thesis, The College of William and Mary, 2008
- Richard Rushton, Douglas Sirk’s Theatres of Imitation, Screening the Past, Issue 21, 2007
- Rebecca Scherr, (Not) queering “white vision” in Far from Heaven and Transamerica, Jump Cut, No. 50, spring 2008
- Robert Stam, Hybridity and the Aesthetics of Garbage: the Case of Brazilian Cinema, E.I.A.L. ESTUDIOS INTERDISCIPLINARIOS DE AMERICA LATINA Y EL CARIBE, Vol. 9, No. 1, enero-junio 1998 (Cultura visual en América Latina, Editor invitado: John Mraz)
- Sunny Stalter, Down With Love/Far From Heaven, Scope, May 2004
- Will Straw, Mannerism in Recent Cinema, Cultural Studies, 1987
- Margaret M. Toscano, Homer Meets the Coen Brothers: Memory as Artistic Pastiche in O Brother, Where Art Thou?, Film and History, Volume 39.2, Fall 2009
- Michael Töteberg, Ali: Fear Eats the Soul: All That Fassbinder Allows, The Criterion Collection, June 23, 2003
- Mary Traester, Hysteria and Ruin: Feminine Immobility And the Problem of Representation in Todd Haynes’s Far from Heaven, COLT Symposium, April 15, 2008
- Keith Uhlich, Todd Haynes, Senses of Cinema, July 2002
- Tony Veale, and M. T. Keane (1997). A Computational Treatment of Metaphoric Blends with Special Regard to Cinematic "Borrowing", in the proceedings of Mind II: Computational Models of Creative Cognition, Dublin, Ireland, 1997
- Sharon Willis, Politics of Disappointment: Todd Haynes Rewrites Douglas Sirk, originally published in Camera Obscura, 54, Volume 18, Number, 2003
- Chris Wisniewski, Far from Heaven, Reverse Shot, - Proposition 24: Defining a New Queer Cinema, 2009
- Jonathan Wright, [Review of] Re-remembering History in Contemporary Film: Pam Cook (2005) Screening the Past: Memory and Nostalgia in Cinema, Film-Philosophy, 10.1, 2006
- Neelam Sidhar Wright, Bollywood eclipsed : the postmodern aesthetics, scholarly appeal, and remaking of contemporary popular Indian cinema. PhD thesis, University of Sussex, 2010
- Neelam Sidhar Wright, "Tom Cruise? Tarantino? E.T.? ...Indian!": Innovation through Imitation in the Cross-cultural Bollywood Remake, Scope, 15, 2010
- Rie Yamasaki, The films of Mitani Kōki: Intertextuality and comedy in contemporary Japanese cinema, New Voices, Volume 4, January 2011
