narration

[alice wellintown]

Speaking of holes, after Larry smokes with the boyz, the narrative
Begins with that trip that Doc takes down the toilet of memory that
comes up at the Lighthouse, a place Larry and Shasta hang at when they
are first dating, and the narrative Ends with Coy telling him to
"talk to Shasta," and Doc putting himself into a full-sacle paranoid
trip about Shasta, "once again, he was being an asshole." The trip
down the toilet memory to the lighthouse brings back guilty
associations: the repo job Larry had back then, the Rides owned by
studio musicians, who purchased them with a single paycheck, and how
Larry envied and resented the money musicians made. How, as a dun, he
used a needle to threaten people who could not pay off their car
loans, after he was unable to pay his and was turned by the Gotcha
company and ended up working with and for the same guys he now turns
to for information. The toilet, of course, is where Coy and Hope meet.
Larry had been to that spot too. And, as Coy and Hope are so typical
in looks and dress as to be any other California freak and his Blondie
chick, the meeting of Coy and Hope seems to map onto the meeting of
Larry and Shasta. Shasta, of course, is an aspiring ingenue. And, like
Hope, could map onto a Hitchcock ingenue, even a stand in for Kelly
like Novak, a Pygmalion in Vertigo.
Virtual Metamorphoses:
Cosmetic and Cybernetic Revisions of Pygmalion's "Living Doll"
Jane O'Sullivan
The University of New England
Abstract
This paper offers an overview of popular cinematic remakes or
re-visions of Ovid's tale of Pygmalion and conducts a close
interrogation of three exemplary texts: Vertigo (1958), Blade Runner
(1982), and Pretty Woman (1990). Employing a largely feminist and
psychoanalytic approach to film analysis, it argues that these
narratives detail an essentially fetishistic process of substituting a
notionally "real" woman with an ostensibly more manageable version.
This process of remaking or making-over is considered in terms of the
narrative content of the films and the meta-narrative of textual
adaptation, with its associated issues of original versus copy and
hierarchies of high and low cultural production.

http://muse.jhu.edu/journals/arethusa/v041/41.1osullivan.html




On Sat, Dec 12, 2009 at 6:43 PM, Keith <keithsz at mac.com> wrote:
> On Dec 12, 2009, at 3:24 PM, alice wellintown wrote:
>
> but I reamin dubious.
>
> ----------------------------------------
>
> Yeah, he's been reamed a lot here.
>