Timothy Corrigan
Biographic Data
| ID | 1096536 |
|---|---|
| NAME | Timothy Corrigan |
| GIVEN NAMES | Timothy |
| FAMILY NAME | Corrigan |
| SIGNATURE | CORRIGAN T |
| VERIFIED | No |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 1 |
| AUTHOR COUNT | 14 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 1980 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 1 |
Cinema, Media, and Human Flourishing
A short guide to writing about film
New German Film
The Temporality of Place, Postmodernism, and the Fassbinder Texts
the characters were found less and less in sensory-motor 'motivating' situations, but rather in a state of strolling, of sauntering, or of rambling which defined pure optical and sound situations. The actionimage then tended to shatter, whilst the determinate locations were blurred, letting any-space-whatever rise up where the modem affects of fear, detachment, but also freshness, extreme speed and interminable waiting were developing. Gilles Del…
Aufzeichnungen zum Neuen deutschen Film
The Commerce of Auteurism
Alexander Kluge is a grudging auteur, a reluctant personality who seems to engage any and all historical issues more than the history of himself: since Oberhausen, he has been one of film's most famous international signatures yet has accepted that label only with great hesitation and careful qualification. To locate Kluge within this troubled category of auteur has always required revision, but as Kluge has evolved through the contemporary inter…
The Films of Werner Herzog
Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation. Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wav…
The Films of Werner Herzog
New German Film - The Displaced Image
Cinematic Snuff
At the conclusion of Peter Handke's Short Letter, Long Farewell, the Austrian protagonist/narrator and the woman who had tracked him across the U.S. finally confront each other; the scene shifts to the California home of John Ford. Earlier in the novel, this aging, one-eyed moviemaker and his film Young Mr. Lincoln had already become a crucial, if ironic, image in the narrator's journey across America, as Ford's classically Oedipal film came to r…
On the Object of Figuration
Someday, I would like to start writing a history of the body in Europe since the end of Rome. To be more precise, it would be a history of the representation of the body, of the rules of representation and of the limits of figuration. Of course, such a project cannot be restricted to the domain of art history alone. Mainly because the question of meaning in the figure should, first of all, break away from a mechanistic type of representation, and…
The Figure in the Writing
An apology for Jean-Louis Schefer would have to exploit, much like Schefer's own language, the double sense of the word as both an excuse and a defense. The excuse, on the one hand, is bilingual: American and French readers alike meet in Schefer's prose a linguistic opacity which is rarely approximated by even the denser aestheticians of either country. On the other hand, the excuse is an explanation: Schefer's essays draw on an incredibly large …
Wender's Kings of the Road
Although it is true that, when either my train or the one next to it starts, first one, then the other may appear to be moving, one should note that the illusion is not arbitrary and that I cannot willfully induce it by the completely intellectual choice of a point of reference. If I am playing cards in my compartment, the other train will start moving; if, on the other hand, I am looking for someone in the adjacent train, then mine will begin to…
Biographia Literaria and the Language of Science
When Coleridge began dictating his Biographia Literaria in 1815, he was at the same time becoming actively involved in a medico-philosophical controversy that was then drawing the attention of many medical men and philosophers in England. The fundamental issue behind the quarrel, a materialistic versus a vitalist theory of nature, was one Coleridge had argued in one form or another throughout his career.1 Yet, the challenge of modern science spec…
The Commerce of Auteurism
Alexander Kluge is a grudging auteur, a reluctant personality who seems to engage any and all historical issues more than the history of himself: since Oberhausen, he has been one of film's most famous international signatures yet has accepted that label only with great hesitation and careful qualification. To locate Kluge within this troubled category of auteur has always required revision, but as Kluge has evolved through the contemporary inter…
Biographia Literaria and the Language of Science
When Coleridge began dictating his Biographia Literaria in 1815, he was at the same time becoming actively involved in a medico-philosophical controversy that was then drawing the attention of many medical men and philosophers in England. The fundamental issue behind the quarrel, a materialistic versus a vitalist theory of nature, was one Coleridge had argued in one form or another throughout his career.1 Yet, the challenge of modern science spec…
Wender's Kings of the Road
Although it is true that, when either my train or the one next to it starts, first one, then the other may appear to be moving, one should note that the illusion is not arbitrary and that I cannot willfully induce it by the completely intellectual choice of a point of reference. If I am playing cards in my compartment, the other train will start moving; if, on the other hand, I am looking for someone in the adjacent train, then mine will begin to…
On the Object of Figuration
Someday, I would like to start writing a history of the body in Europe since the end of Rome. To be more precise, it would be a history of the representation of the body, of the rules of representation and of the limits of figuration. Of course, such a project cannot be restricted to the domain of art history alone. Mainly because the question of meaning in the figure should, first of all, break away from a mechanistic type of representation, and…
The Figure in the Writing
An apology for Jean-Louis Schefer would have to exploit, much like Schefer's own language, the double sense of the word as both an excuse and a defense. The excuse, on the one hand, is bilingual: American and French readers alike meet in Schefer's prose a linguistic opacity which is rarely approximated by even the denser aestheticians of either country. On the other hand, the excuse is an explanation: Schefer's essays draw on an incredibly large …
New German Film - The Displaced Image
Cinematic Snuff
At the conclusion of Peter Handke's Short Letter, Long Farewell, the Austrian protagonist/narrator and the woman who had tracked him across the U.S. finally confront each other; the scene shifts to the California home of John Ford. Earlier in the novel, this aging, one-eyed moviemaker and his film Young Mr. Lincoln had already become a crucial, if ironic, image in the narrator's journey across America, as Ford's classically Oedipal film came to r…
The Films of Werner Herzog
Given Herzog’s own pronouncement that ‘film is not the art of scholars, but of illiterates,’ it is not surprising that his work has aroused ambivalent and contradictory responses. Visually and philosophically ambitious and at the same time provocatively eccentric, Herzog’s films have been greeted equally by extreme adulation and extreme condemnation. Even as Herzog’s rebellious images have gained him a reputation as a master of the German New Wav…
The Films of Werner Herzog
The Commerce of Auteurism
Alexander Kluge is a grudging auteur, a reluctant personality who seems to engage any and all historical issues more than the history of himself: since Oberhausen, he has been one of film's most famous international signatures yet has accepted that label only with great hesitation and careful qualification. To locate Kluge within this troubled category of auteur has always required revision, but as Kluge has evolved through the contemporary inter…
Aufzeichnungen zum Neuen deutschen Film
The Temporality of Place, Postmodernism, and the Fassbinder Texts
the characters were found less and less in sensory-motor 'motivating' situations, but rather in a state of strolling, of sauntering, or of rambling which defined pure optical and sound situations. The actionimage then tended to shatter, whilst the determinate locations were blurred, letting any-space-whatever rise up where the modem affects of fear, detachment, but also freshness, extreme speed and interminable waiting were developing. Gilles Del…
New German Film
A short guide to writing about film
Cinema, Media, and Human Flourishing
Art (8 works) · History (7 works) · European history and politics (6 works) · History (4 works) · Literature (4 works) · Archaeology (3 works) · Cinema and Media Studies (3 works) · German (3 works) · German History and Society (3 works) · Italian Fascism and Post-war Society (3 works)