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Calendar
by Atom Egoyan
Provider:
Kate Liu / ¼B¬ö¶²
11/15, '96
What spaces does the film
open? Personal? National?
- The global and the local
- global
- communication
technology: telephone, camcorder, camera, --small prison cells?
--illusion of getting closer, which reinforces our alienation
commodity: calendar--reproducible, marketable, flattened and
dead
- turned local/personal:
speaking to the camera, speaking to the answering machine,
calendar: double plot, re-lived and re-populated
video--fastforward and rewind,
- Tourist and immigrant
- Tourist/director
- Egoyan--
- anally retentive,
controlling,
pictures with no humans on them
not understanding the language or culture
the exotic scenery and languages--beyond his control
adopt a daughter--ask her to learn the language
-- only use money
- immigrant--no "home";
no origin; "Yellow Submarine" diasporic--churches, castles and
fortresses meant to protect, but bound to isolate and hurt
- control and lack of control non-scripted
with a loose plot structure, limited by time and space
- Human communication--
Egoyan's writing
the ending--understanding achieved?
- Metissage of identities?--languages,
2/3 of which non-English
(external)
Literary
Criticism Databank: Postcolonialism
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