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Full Description
Beloved, controversial, influential, the creator of such fascinating and award-winning films as My Own Private Idaho, Good Will Hunting, Elephant, and Milk, Gus Van Sant stands among the great international directors, equally at home in Hollywood and the avant-garde. Examining his films thematically, this book finds consistency of vision in Van Sant's unique approach to cinema, which deploys postmodernist techniques such as appropriation, nonlinear narrative, and queering--not in the service of the chic but to apply an all-inclusive viewpoint to ageless tales of life, love and death. Van Sant's films are viewed through a multi-genre prism, including the work of Bruce Weber and Derek Jarman, the westerns of Sam Peckinpah, the music of the Velvet Underground and Nirvana, the fiction of Sam D'Allesandro, and especially the "cut-up"/collage practice of intertextual authorship pioneered by William Burroughs.
Contents
Table of Contents
Preface: My Own Private Academy Awards
Introduction: Filmmaking as Sampling
Part One : Experiential Texts
1. Van Sant and Intertextualty
2. Cloudscapes and Pietàs: Visual Intertextuality
3. Schizo-ing Psycho: Quotational Intertextuality
4. "Where's Dad?" Thematic Intertextuality
5. Finding Forrester: Postmodern Skin, or, The End of Whose History?
Part Two : Time Names
6. Van Sant and Queer Cinema
7. The Mirror in the Mirror: Gerry
8. Queering the Iconographies of Fashion and Militarism in Even Cowgirls Get the Blues and Elephant
9. Back from Interzone: Reading William Burroughs' Sexual Politics Through the Films of Van Sant
10. Secret Histories
Conclusion: Beyond "Private"
Chapter Notes
Works Cited
Index
