Johan Callens
Biographic Data
| ID | 1710177 |
|---|---|
| NAME | Johan Callens |
| GIVEN NAMES | Johan |
| FAMILY NAME | Callens |
| SIGNATURE | CALLENS J |
| AFFILIATIONS | Vrije Universiteit Brussel |
| ORCID | 0000-0003-1506-5942 |
| VERIFIED | Yes |
| TOTAL WORKS | 6 |
| TOTAL CITATIONS | 2 |
| AUTHOR COUNT | 6 |
| EDITOR COUNT | 0 |
| FIRST PUBLICATION YEAR | 2000 |
| LATEST PUBLICATION YEAR | 2016 |
| H-INDEX | 1 |
An Example of “False Friends”: Literary Genres / Filmic Genres (Intermediality and Remediation in Print and on Screen)
This article deals with the analogies and differences between the notion of genre in literature and the notion of genre in cinema. Despite the apparent similarities between genre concepts in both domains, it appears that the notion of genre has a very different status in literature and in cinema, not only because not all genres are represented in both media, but also because of the fact that the debate on “ genre fiction” versus “ genreless ficti…
Transcendence through evil: Homicide as tragic thriller
Drawing on the David Mamet papers, the present article takes issue with Vincent Canby’s critique of Homicide (Mamet, 1991) and argues that it successfully revalorizes the popular film genre of the thriller by reconceiving it as a tragedy. While the major sources of inspiration are shown to be classical and neo-classical models thematically revolving around the myth of the Minotaur and structurally relying on confessions, parallels with the metaph…
Edward II (review)
Reviewed by: Edward II Johan Callens Edward II. By Christopher Marlowe. Directed by Ivo van Hove. Schaubühne am Lehniner Platz, Berlin. 20–21 January 2012. When assuming the artistic directorship of Toneelgroep Amsterdam in 2000–2001, Ivo van Hove took a gamble by mounting Marlowe’s Massacre at Paris, a propagandistic piece that has survived in a corrupt memorial reconstruction and that has been underrepresented in the repertoire. That production…
Anne-Marie Boisvert, Manon Oligny, and Thomas Israël: Three Artists in Search of Cindy Sherman
One dancer, one choreographer, one filmmaker. Together they recursively confront Sherman's by now famous, gender-inflected, photographic self-enactments, probing the conventions and lingering specificity, if any, of the media and art forms in our hybridized digital culture. In their intermedial performances, these media and art forms become the means and the objects of analysis
The Wooster Group's Hamlet , According to the True, Original Copies
To all appearances, the Wooster Group’s Hamlet evades the burden of critical interpretation by reconstructing John Gielgud’s 1964 memorial production starring film celebrity, Richard Burton, as mediated through Bill Colleran’s filmic record of it. Upon closer inspection, though, director Elizabeth LeCompte stages the dynamic between the archive and the repertoire to foreground the problematic performance of compulsive mourning, an issue exacerbat…
Diverting the integrated spectacle of war: Sam Shepard's States of Shock
This essay interprets Sam Shepard's States of Shock as an equivocal critique of postmodernity's integrated spectacle, fusing nation state and global economy, ideology and commodification. Though he deploys situationist strategies of subversion‐temporal and spatial, deictic and metadeictic—Shepard's (re)creation of the hyperreal, mediatized Gulf War threatens to divert the play, and his critique, into their opposites
The Wooster Group's Hamlet , According to the True, Original Copies
To all appearances, the Wooster Group’s Hamlet evades the burden of critical interpretation by reconstructing John Gielgud’s 1964 memorial production starring film celebrity, Richard Burton, as mediated through Bill Colleran’s filmic record of it. Upon closer inspection, though, director Elizabeth LeCompte stages the dynamic between the archive and the repertoire to foreground the problematic performance of compulsive mourning, an issue exacerbat…
Diverting the integrated spectacle of war: Sam Shepard's States of Shock
This essay interprets Sam Shepard's States of Shock as an equivocal critique of postmodernity's integrated spectacle, fusing nation state and global economy, ideology and commodification. Though he deploys situationist strategies of subversion‐temporal and spatial, deictic and metadeictic—Shepard's (re)creation of the hyperreal, mediatized Gulf War threatens to divert the play, and his critique, into their opposites
The Wooster Group's Hamlet , According to the True, Original Copies
To all appearances, the Wooster Group’s Hamlet evades the burden of critical interpretation by reconstructing John Gielgud’s 1964 memorial production starring film celebrity, Richard Burton, as mediated through Bill Colleran’s filmic record of it. Upon closer inspection, though, director Elizabeth LeCompte stages the dynamic between the archive and the repertoire to foreground the problematic performance of compulsive mourning, an issue exacerbat…
Anne-Marie Boisvert, Manon Oligny, and Thomas Israël: Three Artists in Search of Cindy Sherman
One dancer, one choreographer, one filmmaker. Together they recursively confront Sherman's by now famous, gender-inflected, photographic self-enactments, probing the conventions and lingering specificity, if any, of the media and art forms in our hybridized digital culture. In their intermedial performances, these media and art forms become the means and the objects of analysis
Edward II (review)
Reviewed by: Edward II Johan Callens Edward II. By Christopher Marlowe. Directed by Ivo van Hove. Schaubühne am Lehniner Platz, Berlin. 20–21 January 2012. When assuming the artistic directorship of Toneelgroep Amsterdam in 2000–2001, Ivo van Hove took a gamble by mounting Marlowe’s Massacre at Paris, a propagandistic piece that has survived in a corrupt memorial reconstruction and that has been underrepresented in the repertoire. That production…
An Example of “False Friends”: Literary Genres / Filmic Genres (Intermediality and Remediation in Print and on Screen)
This article deals with the analogies and differences between the notion of genre in literature and the notion of genre in cinema. Despite the apparent similarities between genre concepts in both domains, it appears that the notion of genre has a very different status in literature and in cinema, not only because not all genres are represented in both media, but also because of the fact that the debate on “ genre fiction” versus “ genreless ficti…
Transcendence through evil: Homicide as tragic thriller
Drawing on the David Mamet papers, the present article takes issue with Vincent Canby’s critique of Homicide (Mamet, 1991) and argues that it successfully revalorizes the popular film genre of the thriller by reconceiving it as a tragedy. While the major sources of inspiration are shown to be classical and neo-classical models thematically revolving around the myth of the Minotaur and structurally relying on confessions, parallels with the metaph…
Art (6 works) · Art history (4 works) · Cinema and Media Studies (3 works) · History (3 works) · History (3 works) · Literature (3 works) · Shakespeare, Adaptation, and Literary Criticism (3 works) · Aesthetics (2 works) · Cultural Studies and Interdisciplinary Research (2 works) · Law (2 works)