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Films such as The Adjuster, Calendar and Speaking Parts established Canadian Armenian director Atom Egoyan as leading contender for being the worlds most alluringly postmodern filmmaker. In these and other films the distortions and perversions of the self are mirrored through an omnipresent (and sexualised) visual media culture. Through the filter of a compassionate detachment his work is an unparalleled probing of identity and alienation, sexuality and dysfunction, psychologyand subjectivity.

Leading critic Jonathan Romney traces Egoyan's career, film by film - from his early shorts, through the video-themed features that made his name, to his emergence as prize-winning A list auteur with The Sweet Hereafter and the wider canvases of his most recent films Felicia's Journey and Ararat. The author shows how films such as Egoyan's Exotica (set in a strip club and structured like a striptease) offer their viewers rich, almost inexhaustibly complex pleasures and demonstrate the craft of one of contemporary cinema's most provocative auteurs. ... Read more

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screenplay to Egoyan's film, w/illus, photos ... Read more

Customer Reviews (6)

another brilliant Egoyan film
Speaking Parts begins, as do all of Egoyan's films, in the middle of a complex web of relationships, and part of the joy of the movie is to figure out what those relationships are as they are revealed to us in a very natural way.Lance is a hotel housekeeper/gigolo/aspiring actor and Lisa is another housekeeper who loves him.Since this love is unrequited, Lisa obsessively rents videos in which he appears, though he does not have a speaking part in any of them; at one point Lisa even defends this to another character when she asserts that "words aren't all that important".Clara is the screenwriter for a film that is being cast, and in her staying at the hotel, Lance sees seducing her as his way of taking advantage of a big break.Clara, in the meantime, is often seen viewing a memorial film of her brother at a mausoleum.

As the film progresses, we learn that Clara's screenplay is autobiographical, thoughClara is losing control of the project at the same time she's mesmerized by Lance.Characters are often seen detached from others -- viewing rather than participating in life and watching people rather than interacting with them.Also, many of the characters look alike in an androgynous way, becoming more interchangeable and confusing the relationships we see.

Egoyan is one of my favorite directors.Whenever I start a film of his that I haven't seen before, I settle in for a good long while.I watch it and then watch it with the director's commentary and then re-watch it.They are that rich and rewarding, and Speaking Parts is no exception.

Extras include an excellent and rewarding director's commentary as well as stills and some interviews with Egoyan.

80's Avante Garde
This movie is a prime example of 80's egosim and the human need to see the way others view you.Lisa played by Khanjian,(I think she is also Atom's wife) is a hotel maid that craves the attention of Lance a co-worker. The bulk of the movie is centered on Lance and Lisa and how they their need for attention ultimately throws them into a web of intrigue, delusions, sexual desire and ultimatley death.This is a movie that is best seen more than once, due to it's hidden meaning and dialogue.If possible I would highly recommend getting the DVD version, because there is commentary from Atom that is very helpful. F.Y.I. Micheal McManus also appears in the sci-fi show "Lexx," as the dead bun-headed assassin Kai and he also has a cameo in "Dog Park," as the waiter.

Riveting and Spellbinding!!
I was pleasantly surprised to see the release of this film, since it got less than it's deserved attention. The moodiness and underlying tension focus on Lance, a part-time actor/houskeeper/ prostitute trying desperately to break into the forefront of dramatic performances, but all of his efforts seem to be thwarted at every turn. His employer wants to keep him as her own personal sexual property to be doled out upon demand to customers, and Lisa, another employee at the hotel where he works has raised the level of obsessiveness to new heights, dragging other people into her obsession. Claire, a screenwriter Lance seduces into helping him to be cast in a locally produced film, has her own obsessions, and incorporates Lance into compromising his own needs with disatrous results. The performances were outstanding, especially from McManus, who portrays the effete Lance with a mixture of selfishness and torment. Lisa's descent into madness is underplayed just right, no over-the-top histrionics. The only flaw I found was the unbelievably bad wig they put on McManus for the comparison to Claire's brother's image. It must have been dreadful to acheive the desired results with the stringy locks hovering around just enough to distract his performance. But then, bad wigs pretty much come with the territory for McManus, who is also one of the lead actors on the sci-fi epic, "Lexx", currently on television, but his performances are just as spellbinding.. The Dvd comes with lovely extra goodies, especially the narration by Egoyan, which explains motivations behind each and every scene. Also contained were deleted scenes, which explained a few things not evident on first viewing. Highly recommened, but ignore the bad costumes and hairdos...

A deeper look into Speaking Parts
"Speaking Parts" is far more than just the script for the movie. This softcover book also includes an introduction by Ron Burnett, an essay by Atom Egoyan, and an interview with Egoyan by Marc Glassman. These alllead the viewer to a deeper understanding of the complexity and artistry ofEgoyan's second major film. The book is also enhanced by black and whitestills as well as pages from the original script showing hand writtensketches and dialogue changes. Also included is a filmography of Egoyan'sfilms through 1993. If you've been carried away by the film as I have, youmust find a copy of this book!

Speaking Parts, Brilliant!
An excellent film by Atom Egoyan. The moody atmosphere enhances the plot and the production is excellent. McManus fans who know him through Tales from a Parallel Universe, or Lexx as it is called in the UK, will love himin this. McManus' portrayal as the ambitious, but emotionally ambivilantLance is fantastic as is Arnesee Khanjan's performance as the frustratedLisa. UK buyers will be pleased to know that this tape will play well on avideo with duel PAL and NTSC format, with a decent PAL t.v. and is a must.Well worth the wait and not as pornographic as some reviews make out, butvery erotic in parts. Not rated but not suitable for veiwers undereighteen. ... Read more

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The first book on the extraordinary young Turkish filmmaker, whose work explores the way human relationships are corrupted by the omnipresence of technology. ... Read more

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Four-time winner at the Cannes Film Festival, Canadian filmmaker Atom Egoyan (b. 1960) began his career while still an undergraduate at the University of Toronto. His first love was playwriting, but he began to see that he could investigate themes emotionally through film- that the camera could play a role. He learned his craft in his own independent films and by directing television episodes before attempting his first feature film, Next of Kin (1984). There he explored the themes of family and identity that continue to interest him today.

A frequent winner at film festivals, Egoyan broke through to a general audience with his film Exotica (1994). Since then such films as The Sweet Hereafter (1997) and Felicia's Journey (1999) have gained him wide acclaim. These interviews, collected from the last two decades, reveal Egoyan's unique themes, and his individual, independent approach to filmmaking. He discusses his development as a director, his interest in opera and museum installations, and the expectations he has for his audience. He engages in open, forthright discussions of his work and those who have worked with him.

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"Every film is a foreign film," Atom Egoyan and Ian Balfour tell us in their introduction to Subtitles. How, then, to translate the experience of film—which, as Egoyan says, makes us "feel outside and inside at the same time"? Taking subtitles as their point of departure, the thirty-two contributors to this unique collection consider translation, foreignness, and otherness in film culture. Their discussions range from the mechanics and aesthetics of subtitles themselves to the xenophobic reaction to translation to subtitles as a metaphor for the distance and intimacy of film.

The essays, interviews, and visuals include a collaboration by Russell Banks and Atom Egoyan, which uses quotations from Banks's novel The Sweet Hereafter as subtitles for publicity stills from Egoyan's film of the book; three early film reviews by Jorge Luis Borges; an interview with filmmaker Claire Denis about a scene in her film Friday Night that should not have been subtitled; and Eric Cazdyn's reading of the running subtitles on CNN's post-9/11 newscasts as a representation of new global realities. Several writers deal with translating cultural experience for an international audience, including Frederic Jameson on Balkan cinema, John Mowitt on the history of the "foreign film" category in the Academy Awards, and Ruby Rich on the marketing of foreign films and their foreign languages—"Somehow, I'd like to think it's harder to kill people when you hear their voices," she writes. And Slavoj Zizek considers the "foreign gaze" (seen in films by Hitchcock, Lynch, and others), the misperception that sees too much.

Designed by Egoyan and award-winning graphic designer Gilbert Li, the book includes many color images and ten visual projects by artists and filmmakers. The pages are horizontal, suggesting a movie screen; they use the cinematic horizontal aspect ratio of 1.66:1. Subtitles gives us not only a new way to think about film but also a singular design object.

Subtitles is being copublished by The MIT Press and Alphabet City Media (John Knechtel, Director). Subtitles has been funded in part by grants from The Canada Council for the Arts, The Henry N.R. Jackman Foundation, and the Toronto Arts Council, and the Ontario Arts Council. ... Read more

Customer Reviews (3)

Useful and Entertaining Essays
This is a book for fans of film--in particular, viewers that enjoy non-native language movies and have an interest in how they are subtitled.Many subtitlers may find this interesting, of course, but in fairness it's not written for professionals in the field.This is not a criticism.The book's strength is it accessibility for the casual reader.

'We need to make sense of the foreign on our own terms,' authors Atom Egoyan and Ian Balfour write. 'Subtitles offer a way into worlds outside of ourselves.'To that end, they collected essays and interviews from every area of the subtitling industry.Professional subtitler Henri Behar has an endearingly gruff and pragmatic moment, as does director Claire Denis in her discussion of the subtitles for Friday Night.Amresh Sinha's essay on how subtitles can make one's own language foreign is particularly insightful.Jorge Luis Borges' early film reviews alone, as translated by Calin-Andrei Mihailescu, are worth the price of the book.

Much is made of the design, and rightly so, but the essays would be just as compelling in a standard trade paperback format.The publisher has done the material justice, however, by creating a book as fascinating to hold in one's hands as it is to read.It's not entirely convenient for most bookshelves, but that's a quibble compared to the binding, quality paper, and cinematic faux-widescreen design.

There is something here for every film fan.Like all great anthologies, the book observes its theme without seeming to do so.The essays come at right angles to each other, but all oddly fit the primary goal of the text--to expose readers to this little-understood area of global cinema.In that regard, the book is a remarkable success.

D. Bannon is author of The Elements of Subtitles: A Practical Guide to the Art of Dialogue, Character, Context, Tone and Style in Subtitling

VERY GOOD??
The hard cover is completely detached from the body of the book, and the transparent book cover (which is part of the design of the cover) is quite torn out -- this status was not mentioned in the description of the product (it only stated that the condition is VERY GOOD without further remarks), otherwise I would not purchase it.Very prompt delivery though.

Stunning and fascinating
I have just seen an advance copy of this book, and it is gorgeous! The design, the sweeps of colour images, the construction: just an excellent object (Egoyan was the codesigner as well as coeditor, apparently).

The collection is unique. Who but Egoyan would think to do a whole book riffing on the idea and the aesthetics of Subtitles? There's are something like 30 pieces, just an amazing range. Very accessible, even funny. It opens up a whole range of ideas, from the mechanical work of subtitling to the inside/outside experience watching a subtitled film provides, to the inter-national communication and circulation subtitling enables.

I could never have imagined this book before Egoyan made it, but now with its publication he's opened up a whole set of ideas.

Just a tour de force. Very exciting. ... Read more

Customer Reviews (2)

A great book, even after seeing the movie 3 times.
Atom Egoyan is a great director/writer. I really enjoyed this book. For those people who wrote bad reviews not about the book but about there opinion and the fact that they're not able to admit the truth about the Armenian Genocide committed by the Turkish Ottomans, I suggest reading and researching hundreds of books and encyclopedias to help them believe and understand the truth about the history. Encyclopedias don't lie, do they? Conveniently those books are available at Amazon.com

This book itself is a disaster
A bad movie script from a good director. This is a propoganda book which shows turkish people as monsters and armenian terorists as heroes. An attempt to brain wash the world. It creates its own fictious history, detached from all scientific facts and tries to create a one sided public opinion. I don't believe it is made to contribute to the creation of dialogue between armenian and turkish people. The litterature and art is sacrified for propoganda. ... Read more

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One of Canada's pre-eminent auteur filmmakers, Atom Egoyan has been celebrated internationally, earning multiple awards from the prestigious Cannes and Toronto Film Festivals and an Academy Award nomination. One of his most accomplished and controversial early works, The Adjuster, is a dark drama about the complex and intense relationship between an insurance adjuster and his clients.

In this accessible analysis, Tom McSorley traces the genesis, production, and reception of Egoyan's fourth feature film, from its Cannes Film Festival premiere to its North American commercial release. The book locates The Adjuster in the larger context of Canadian cinema history's peculiar and often troubled evolution, and offers a provocative interpretation of the film's unique analysis of the malaise of materialism in North American culture. Richly illustrated and featuring new interview material with Egoyan himself, this study in the Canadian Cinema series offers an insightful review of one of Atom Egoyan's most searching, unsettling films.

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Egoyan's filmmaking career is well-documented but his equally prestigious reputation as a visual artist, less so. This publication fills that gap. With an interview, filmography, bibliography and a list of Egoyan's installations and projects. ... Read more

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The questions of the "Narrative" in art and film are posed and compellingly expounded upon in this innovative publication from the Irish Museum of Modern Art. ... Read more

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In a culture that often understands formal experimentation or theoretical argument to be antithetical to pleasure, Atom Egoyan has nevertheless consistently appealed to wide audiences around the world. If films like The Adjuster, Calendar, Exotica, and The Sweet Hereafter have ensured him international cult status as one of the most revered of all contemporary directors, Egoyan’s forays into installation art and opera have provided evidence of his versatility and confirmed his talents.

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Expertly compiled
Atom Egoyan has made significant contributions to filmmaking, installation art and opera that contradict the widespread notion that formal experimentation and theoretical argument must, of necessity, be antithetical to the pleasures of creation and/or enjoyment of observational or experiential art. Expertly compiled and collaboratively edited by Ryerson University Department of English associate professors Monique Teschofen and Jennifer Burwell, "Image + Territory: Essays On Atom Egoyan" offers eighteen diversely informed and informative essays grouped around the themes of `Media Technologies, Aura, and Redemption'; `Diasporic Histories and the Exile of Meaning'; `Pathologies/Ontologies of the Visual'; and `Conversations'. Enhanced with the inclusion of an exhaustive Filmography, an extended Bibliography, Notes on Contributors, and an Index, "Image + Territory: Essays On Atom Egoyan" is offers impressive body of commentary pertaining to the study of theatre, film and opera which would prove to be a core contribution to university library collections and supplemental reading lists for academic studies. ... Read more

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This digital document is an article from Parachute: Contemporary Art Magazine, published by Parachute Contemporary Art on July 1, 2001. The length of the article is 5555 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Reloger le spectateur: une interview avec Atom Egoyan.
Author: Jacinto Lageira
Publication: Parachute: Contemporary Art Magazine (Magazine/Journal)
Date: July 1, 2001
Publisher: Parachute Contemporary Art
Volume: 103Issue: 7-9Page: 51-71

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Chapters: Atom Egoyan, Mo Elsalhy, Stephen Hanessian. Source: Wikipedia. Pages: 18. Not illustrated. Free updates online. Purchase includes a free trial membership in the publisher's book club where you can select from more than a million books without charge. Excerpt: Atom Egoyan, OC (Armenian: ; born July 19, 1960) is a critically acclaimed Canadian independent film maker. His work often explores themes of alienation and isolation, featuring characters whose interactions are mediated through technology, bureaucracy or other power structures. Egoyan's films often follow non-linear plot-structures, in which events are placed out of sequence in order to elicit specific emotional reactions from the audience by withholding key information. In 2008 he received the Dan David Prize for "Creative Rendering of the Past". Egoyan was born Atom Yeghoyan in Cairo, Egypt, the son of Shushan (née Devletian) and Joseph Yeghoyan, artists who operated a furniture store. His parents were Armenian-Egyptians, and he was named Atom to mark the completion of Egypt's first nuclear reactor. In 1962, however, his parents left Egypt for Canada, where they settled in Victoria, British Columbia, and changed their last name to Egoyan. Atom and his sister, Eve, now a concert pianist based in Toronto, were raised by their parents in British Columbia. As a boy, Atom's desire for assimilation into Canadian society and his struggle with his father led him to reject his family's Armenian culture. However, years later, when he attended the University of Toronto, he began to study Armenian history. As a teenager, he became interested in reading and writing plays. Significant influences included Samuel Beckett and Harold Pinter. He graduated from Trinity College at the University of Toronto. It was at Trinity College that Egoyan came into contact with Harold Nahabedian, the Armenian-Canadian Anglican Chaplain of Trinity College. In interviews Egoyan credited Nah...More: http://booksllc.net/?id=322696 ... Read more

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Word count: 3641. ... Read more

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Les achats comprennent une adhésion à l'essai gratuite au club de livres de l'éditeur, dans lequel vous pouvez choisir parmi plus d'un million d'ouvrages, sans frais. Le livre consiste d'articles Wikipedia sur : Sinan, David Nalbandian, Hagopdjan de Deritchan, Atom Egoyan, Arda Mandikian, Garbis Aprikian, Sedefhar Mehmet Ağa, Mekhitar Garabedian, Grégoire Pakourianos, Arthur Abraham, Gago Drago, Yousuf Karsh, Arsinée Khanjian, Raymond Nakachian, Vasco Varoujean, Sergueï Movsessian, Abaji, Seta Manoukian, Krikor Amirzayan. Non illustré. Mises à jour gratuites en ligne. Extrait : Mimar Koca Sinan ibn Abd al-Mannan (turc ottoman ) dit Sinan, ou encore Mimar Sinan (l'architecte Sinan), (né le 15 avril 1489 à Kayseri, en Anatolie, (Turquie) - mort le 17 juillet 1588 à Istanbul) est un architecte ottoman d'origine arménienne, créateur de l'architecture classique ottomane, qui intégra les traditions proche-orientales et byzantines. Sinan, héritier à la fois des grands bâtisseurs que furent les Turcs seldjoukides aux - siècles, de l'école de Bursa ( - siècles) - période de formation des mosquées ottomanes - et des Byzantins, sous l'influence de la découverte de Sainte-Sophie, cherchera à dépasser ces modèles. On assiste avec lui à l'instauration de nouvelles règles architecturales, qui se traduiront par la transformation progressive du volume cubique en volume hémisphérique taillé en facettes. Au fur et à mesure, dans les nombreuses mosquées qu'il a construites, grâce à un jeu de contre-coupoles de plus en plus sophistiquées, Sinan réussit l'exploit d'obtenir un espace intérieur très lumineux en faisant de plus en plus reculer les colonnes vers la périphérie. L'école d'Istanbul ou sinanienne marque l'apogée de l'architecture ottomane. L'extérieur devient un savant étagement de volumes destinés à créer un effet de silhouette, comme on le voit avec la Süleymanie à Istanbul. À l'intérieur les décors de céramique, géométriques ou floraux ...http://booksllc.net/?l=fr ... Read more

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This digital document is an article from C: International Contemporary Art, published by C The Visual Arts Foundation on September 22, 2001. The length of the article is 546 words. The page length shown above is based on a typical 300-word page. The article is delivered in HTML format and is available in your Amazon.com Digital Locker immediately after purchase. You can view it with any web browser.

Citation Details
Title: Atom Egoyan and Juliao Sarmento.(installation artwork at the 49th Venice Biennale)(Brief Article)
Author: Laurel MacMillan
Publication: C: International Contemporary Art (Magazine/Journal)
Date: September 22, 2001
Publisher: C The Visual Arts Foundation
Page: 44

Article Type: Brief Article

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Kapitel: Carrie-Anne Moss, Rodney Graham, Roy Dupuis, Atom Egoyan, Marie-Josée Croze, Don Francks, Kiefer Sutherland, Kenojuak Ashevak, Denys Arcand, Christopher Plummer, Donald Sutherland, Stephen Mchattie, Alberta Watson, Walter Pidgeon, Jeff Wall, Michael Ironside, Francine Racette, Kenneth Welsh, Rachel Mcadams, Martin Short, Yousuf Karsh, Matthew Ferguson, Rémy Girard, Sarah Polley, Ryan Reynolds, Bruce Greenwood, Oliver Platt, Lili Francks, Lexa Doig, Charles Binamé, Mike Myers, Kevin Zegers, Kate Nelligan, Molly Parker, Joshua Jackson, Pitseolak Ashoona, Jerry Alfred, Alan Thicke, Corey Haim, Seth Rogen, Yves Simoneau, Tom Mccamus, Sandra Oh, Graham Greene, Jean-Marc Vallée, Lothaire Bluteau, Colleen Dewhurst, Lochlyn Munro, Marcel Dzama, Wendy Crewson, John Greyson, Michel Brault, Pascale Bussières, Norman Jewison, Jason Reitman, Lucie Laurier, David Rimmer, Rick Moranis, Victor Garber, Ivan Reitman, Richard Hambleton, Raymond Verdaguer, Lolita Davidovich, Ryan Gosling, Daniel Petrie, Lisa Jakub, Osuitok Ipeelee, Gordon Pinsent, Susan Clark, Rob Gonsalves, Hume Cronyn, Pierre Curzi, Annie Pootoogook, Carly Pope, Lisa Langlois, Luis Jacob, Ann-Marie Macdonald, Joyce Wieland, Nia Vardalos, Diz Disley, Joseph Wiseman, Deborah Kara Unger, Alexandra Stewart, Christopher Heyerdahl, Sidney J. Furie, Helen Shaver, Jeremy Peter Allen, Isabelle Mcewen, Will Arnett, Norm Macdonald, Arsinée Khanjian, Michael Wincott, Charmion King, Jacob Tierney, Rachael Crawford, Luc Courchesne, Geneviève Cadieux, Jeremy Ratchford, Gratien Gélinas, Pierre Falardeau, Vanessa Lengies, Jean-François Pouliot, August Schellenberg, Patricia Rozema, Dave Foley, Reece Thompson, Adam Brooks, Jaimz Woolvett, Eric Canuel, Will Sanderson, Robert Beatty, Julie le Breton, Catherine Durand, Brian Jungen, Sabrina Ward Harrison, Brooke Nevin, Paul Aaron, Istvan Kantor, Jean Adair, Jarred Blancard. Aus Wikipedia. Nicht dargestellt. Auszug: Carrie-Anne Moss (born ...http://booksllc.net/?l=de ... Read more