On Wiene’s The Cabinet of Dr. Caligari
by Aaron Zhuo
This essay will focus on the use of composition to demonstrate the way that Wiene ‘shows’ as opposed to ‘tells’ meaning. In particular, the essay will explore the effect of the iris shot, camera proxemics and negative space as compositional techniques to direct attention towards the characters and create meaning through a focus on emotion.
On Whitehead’s The Intuitionist
by Sophia Turunesh Mufuruki
As Colson Whitehead tells the story of Lila Mae’s life in the dystopian elevator world of The Intuitionist, he explores the complexities of racism and religion by illuminating the invisible grounds in which they are rooted. Whitehead makes real those things that the reader may think are not.
On Paul Auster’s City of Glass
by Isaac Fairbairn
It should become apparent that the Barthesian murder of the author – as perpetrated by deconstructive criticism – is the central crime of this detective novel and in keeping with its formula, the reader and detective become jointly involved in a self-deconstructing journey which restores the natural order: of writer over language.
On Toni Morrison’s Jazz
by Eileen Chen
In parallel with the temptation-filled City, the motif of jazz alludes to the danger of indulging in desires, but simultaneously suggests that embracing and recognizing, rather than avoiding, that indulgence is what finally allows the possibility of reconciliation.
On Angela Carter’s “The Bloody Chamber” and Laura Mulvey’s “Visual Pleasure and Narrative Cinema”
by Lea Anderson
In her 1975 article, “Visual Pleasure and Narrative Cinema,” feminist filmmaker and theorist Laura Mulvey analyzes how scopophilia imposes narrative roles upon female figures in mainstream cinema. But scopophilia is not limited to film; four years after Mulvey’s article was published, author Angela Carter released “The Bloody Chamber,” a short story driven by scopophilia and male fantasy.
On Plato and Galileo
By Archie Stapleton
Galileo literally gazes at the sun until he is blind, while Plato looks into his mind at a metaphorical sun, revealing the primary distinction between them in their search for epistemic and metaphysical truth. For Plato and Galilei, in the realm of epistemology, the distinction between inward and outward is evident, while in the metaphysical arguments the lines are blurred beyond recognition.