narration

[alice wellintown]

Sharon Tate, in yet another film made from a novel, Valley of Dolls,
is yet another figure who maps on to the Pygmalion Dolls here. And,
the kiss and tell Hollywood paranoia theme, of course, Kenneth Anger
and Jacqueline Susann, actors and writers who rat and oink and squeel.





On Sat, Dec 12, 2009 at 7:37 PM, alice wellintown
<alicewellintown at gmail.com> wrote:
> 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.
>>
>