Please refer to The Menace of Things: David Cronenberg’s Vibrant Objects found in David Cronenberg: Virtual Exhibition at www.cronenbergmuseum.tiff.net/artefacts-artifacts-eng.html.
Please refer to The Menace of Things: David Cronenberg’s Vibrant Objects found in David Cronenberg: Virtual Exhibition at www.cronenbergmuseum.tiff.net/artefacts-artifacts-eng.html.
The footnotes below are all referenced in the essay The Menace of Things: David Cronenber’s Vibrant Objects, and provide further examination of the ideas raised by its author, Caroline Seck Langill.

Bennett, Jane. Vibrant Matter: The Political Ecology of Things. Durham: Duke
University Press, 2010.

Braidotti, Rosi. Metamorphoses: Toward a Materialist Theory of Becoming. Polity:
Cambridge, 2002.

Dompierre, Louise. Prent/Cronenberg: Crime Against Nature. Toronto: The Power Plant, 1987.

Marks, Laura U. The Skin of the Film. Durham: Duke University Press, 1999.

Pevere, Geoff. “Why cars drive cult movies,” Globe and Mail, April 19, 2013. R2.

Pickering, Andrew. The Mangle of Practice. Chicago: University of Chicago Press, 1995.

Powell, Anna. Deleuze and the Horror Film. Edinburgh: Edinburgh University Press,
2007.

Rodley, Chris, Ed. Cronenberg on Cronenberg. London: Faber and Faber, 1997.

Truffaut, François. Hitchcock. New York: Simon and Schuster, 1984.

Tuer, Dot. Mining the Media Archive: Essays on Art, Technology and Cultural
Resistance.
Toronto: YYZ Books, 2005.

Wilson, Andrew. The Culture of Nature: North American Landscape from Disney to the Exxon Valdez. Toronto: Between the Lines, 1991.

© 2014, Toronto International Film Festival Inc. All Rights Reserved.

Accumicon – Spectacular Optometry International Helmet (prop)

Helmet prop used in Videodrome. See this object in the David Cronenberg: Virtual Exhibition at: www.cronenbergmuseum.tiff.net/artefacts-artifacts-eng.html

Tom Coulter, Assistant Art Director

Plastic, foam, metal
35.6 x 44.4 x 31.8cm
© 2014, Toronto International Film Festival Inc. All Rights Reserved.


The Gristle Gun prop from the film eXistenZ.

Assembled Gristle Gun (prop). See this object in the David Cronenberg: Virtual Exhibition at: www.cronenbergmuseum.tiff.net/collaborateurs_15-collaborators_15-eng.html

Stephan Dupuis, Special Makeup Designer and Creature Designer
John Jackson, Special Effects Technician

Found objects, science hobby kit components, latex
25.4 x 18.5 x 7.3cm
2000-001-01_0131_1_002
© 2014, Toronto International Film Festival Inc. All Rights Reserved.


A mechanized gamepod used as a prop in eXistenZ.

MetaFlesh Game-Pod (prop). See this object in the David Cronenberg: Virtual Exhibition at: www.cronenbergmuseum.tiff.net/collaborateurs_13-collaborators_13-eng.html

Stephan Dupuis, Special Makeup Designer and Creature Designer
Jim Isaac, Visual and Special Effects Supervisor

Composite silicone, mixed media, hidden metal components
20 x 16 x 8cm
2000-001-01.0045
© 2014, Toronto International Film Festival Inc. All Rights Reserved.


Jude Law's bleeding bioport body prosthetic used in eXistenZ.

Bleeding Bioport (prosthetic). See this object in the David Cronenberg: Virtual Exhibition at: www.cronenbergmuseum.tiff.net/collaborateurs_13-collaborators_13-eng.html

Stephan Dupuis, Special Makeup Designer and Creature Designer

Composite silicone, paint, mixed media
3 x 43 x 35cm
2000-001-01.0120
© 2014, Toronto International Film Festival Inc. All Rights Reserved.


Mujahadeen typewriter prop from  Naked Lunch.

Mujahadeen typewriter (prop). See this object in the David Cronenberg: Virtual Exhibition at: www.cronenbergmuseum.tiff.net/artefacts_01-artifacts_01-eng.html

Art Department, Naked Lunch

Typewriter with Arabic characters adhered to keys, paint, metal, rubber, plastic
27 x 42 x 38cm
2000-001-01.0130
© 2014, Toronto International Film Festival Inc. All Rights Reserved.


Learning Objectives

The purpose of this lesson is to encourage students to think critically about the connections between the body, technology, and media.  It ties in with Caroline Seck Langill’s essay, “Cronenbergian Artifacts,” and aims to foster a critical posthumanist perspective on the body and technology.  Students will add to their abilities to engage in critical debate about the impact of technology on conceptions of reality, identity, subjectivity, and selfhood.  As well, students will work towards honing their abilities to think critically and creatively in applying interpretive strategies to the analysis of media, as well as cultural and technological objects.

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