Please refer to The Science of Cronenberg by Noah Cowan, found in David Cronenberg: Virtual Exhibition at
The footnotes below are all referenced in the essay The Science of David Cronenberg, and provide further context for and examination of the ideas raised by its author, Noah Cowan.

Chris Rodley, Cronenberg on Cronenberg (London: Faber and Faber, 1997) 58, 5.
2The best example comes much earlier, in the Faustian, proto–science fiction classic Frankenstein by Mary Shelley. The novel essentially presents an ethical quandary: will the doctor help his repugnant creation live a good life, or will he extinguish it for society’s benefit?
3Interview with Gregory Corso and Allen Ginsberg, Journal for the Protection of All Beings vol. 1 (San Francisco: City Lights Books, 1961) 79–83.
4In a 1962 article entitled “Which Way to Inner Space?” Ballard stated that "science fiction should turn its back on space, on interstellar travel, extraterrestrial life forms [and] galactic wars,” a sentiment fully in line with Cronenberg’s rigorous approach. In his 1974 introduction to Crash, Ballard also tossed off this juicy quote: “Over our lives preside the great twin leitmotifs of the twentieth century—sex and paranoia.” It’s as influential a statement on the world of David Cronenberg as one could imagine.
5And there are others: Wilhelm Reich, Philip K. Dick, Thomas Kuhn, plus a whole host of existentialists.
6Cronenberg relates, “It was about a kind of a dwarf who lives in a cellar. He has a painting and he fantasizes about living in that painting. He would be more than what he was. He finds out later that the painting was painted by a guy just like him, a dwarf who lived in a cellar."
7Rodley, 27.
8Rodley, 41.
9These rules are based on Robin Wood’s contribution to The American Nightmare: Essays on the Horror Film (1979). Wood was a harsh detractor of Cronenberg but several critics, among them the late John Harkness, have since suggested that Wood misread Cronenberg as a horror, rather than a science-fiction, filmmaker.
10And now there is no longer the generic question; these films and their effects are decisively situated in science fiction, not horror.
11With Piers Handling and myself in preparation for the exhibition, “David Cronenberg: Evolution,” at TIFF Bell Lightbox, 2013.
12Erwin Schrödinger, What Is Life?: With Mind and Matter and Autobiographical Sketches (Cambridge: Cambridge University Press, 2012) 69.
With Piers Handling and myself in preparation for the exhibition, “David Cronenberg: Evolution,” at TIFF Bell Lightbox, 2013.
14Rodley, 158.

Noah Cowan

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

Teachers' Centre Home Page | Find Learning Resources & Lesson Plans