James Joyce and the phenomenology of film PDF
Preview James Joyce and the phenomenology of film
OXFORD ENGLISH MONOGRAPHS GeneralEditors PAULINA KEWES LAURA MARCUS ’ PETER MCCULLOUGH HEATHER O DONOGHUE SEAMUS PERRY LLOYD PRATT FIONA STAFFORD James Joyce and the Phenomenology of Film CLEO HANAWAY-OAKLEY 1 3 GreatClarendonStreet,Oxford,OX26DP, UnitedKingdom OxfordUniversityPressisadepartmentoftheUniversityofOxford. ItfurtherstheUniversity’sobjectiveofexcellenceinresearch,scholarship, andeducationbypublishingworldwide.Oxfordisaregisteredtrademarkof OxfordUniversityPressintheUKandincertainothercountries ©CleoHanaway-Oakley2017 Themoralrightsoftheauthorhavebeenasserted FirstEditionpublishedin2017 Impression:1 Allrightsreserved.Nopartofthispublicationmaybereproduced,storedin aretrievalsystem,ortransmitted,inanyformorbyanymeans,withoutthe priorpermissioninwritingofOxfordUniversityPress,orasexpresslypermitted bylaw,bylicenceorundertermsagreedwiththeappropriatereprographics rightsorganization.Enquiriesconcerningreproductionoutsidethescopeofthe aboveshouldbesenttotheRightsDepartment,OxfordUniversityPress,atthe addressabove Youmustnotcirculatethisworkinanyotherform andyoumustimposethissameconditiononanyacquirer PublishedintheUnitedStatesofAmericabyOxfordUniversityPress 198MadisonAvenue,NewYork,NY10016,UnitedStatesofAmerica BritishLibraryCataloguinginPublicationData Dataavailable LibraryofCongressControlNumber:2016962491 ISBN 978–0–19–876891–3 Printedandboundby CPIGroup(UK)Ltd,Croydon,CR04YY LinkstothirdpartywebsitesareprovidedbyOxfordingoodfaithand forinformationonly.Oxforddisclaimsanyresponsibilityforthematerials containedinanythirdpartywebsitereferencedinthiswork. Acknowledgements Everyone at Oxford University Press has been incredibly helpful and attentivethroughoutthepublicationprocess;particularthanksgotoEleanor Collins for swiftly and coherently answering all of my many queries, Hilary Walford for her excellent copy-editing, and Elakkia Bharathi for herexpertprojectmanagement.Everyefforthasbeenmadetoensurethat my illustrations and quotations are correctly attributed and/or fit the criteria for fair use. Special thanks go to the British Film Institute (BFI), the Charlie Chaplin Archive,theMary EvansPictureLibrary,andBoston MedicalLibraryintheFrancisA.CountwayLibraryofMedicine.Iwould alsoliketothankPatLockleyforhisPhotoshopwizardry. ThisbookgrewoutofmyD.Phil.thesis.Iamgratefulfortheadviceand supportfrommyD.Phil.supervisors,MsJeriJohnsonandProfessorLaura Marcus, and my examiners, Dr Keith Williams and Professor Sue Jones. I am also thankful for my funders—the Arts and Humanities Research Council (AHRC) and Mr Oppenheimer, whose gift provided the New College1379SocietyOldMembersAward.Overthecourseofwritingthis book, I have enjoyed many enlightening discussions—and made several goodfriends—at Joyce and modernismeventsacross the globeand in the virtualspacesofsocialmedia.ScarlettBaron,JoeBrooker,ScottKlein,John McCourt,andAndrewShaildeservespecialthanksfortheirencouragement and guidance.Oxford,withitsincredible librariesand inspiring interlocu- tors, has been a brilliant base. Funding and support from TORCH (The OxfordResearchCentreintheHumanities)enabledmetoestablishOxford PhenomenologyNetwork,allowingmetodiscussphenomenologicalideas with convivial colleagues across the University and further afield. Special thanks must go to three Oxford-based colleagues: Carole Bourne-Taylor and Elsa Baroghel, for their French language skills, and John Scholar for patientlyreadingthroughmyentiremanuscript. My love of learning and research, the roots of this book, was fostered byseveralindividualsoverthecourseofmylife.Withoutmytutorsatthe University of Leeds, Katy Mullin and Richard Brown in particular, I might never have gained the confidence to delve into the depths of Joyce’s writing or developed my interest in early cinema. My school teachers also deserve thanks,particularly Cheney School’sGuy Goodwin (for his inspiring Philosophy classes), Emma Frank (for her exciting Englishclasses),GiselleSinnott(forencouragingmyoff-kilterapproaches to literature), and Cathy Keogh (for teaching me how to write academic vi Acknowledgements essays). My mother, Monica Hanaway, must be credited with inspiring my interest in phenomenology and for transmitting her admirable work ethic.Myfather,BernardHanaway,deservesrecognitionforhisexcellent proof-reading skills and for passing on his compulsion to question and investigate. And I am thankful to my grandmother, Pauline Brannan (1920–2014),whotaughtmehowtospell. I am fortunate to have a supportive group of close friends—Laura Coffey-Glover,SophieButler,AnneSwarbrick,IanBoutle,JoeSwarbrick, LeilaSoltau(1981–2012),JoeWilkins,andPhoebeHamling—whohave patientlylistenedtomeramble onaboutJoyce,cinema, andphenomen- ology, and provided counsel and diversion when needed. My immediate family—Monica, Bernard, and Pascha Hanaway—deserve extra-special thanks for their emotional support, and for putting up with me and my vastcollectionofspace-invadingbooksandpapersovertheyears.AndPhil Hanaway-Oakley is worthy of my gratitude for bearing the brunt of my thesis-and-monograph-based anxiety and accompanying me to several Joyce events, despite having never read any of Joyce’s texts (he has now listened to the Ulysses audiobook and incorporated a couple of Joyce- related songs into his band’s repertoire). Uly, my faithful dog, should be thankedforregularlydraggingmeawayfrommycomputer,allowingme totakeinsomemuchneededfreshair.LyraHanaway-Oakley,whocame along towards the end of the publication process, can be credited with providingperspective,amusement,andjoywhenitwasmostneeded. Contents ListofIllustrations ix ListofAbbreviations xi ASharedEnterprise:Joyce,Phenomenology,Film 1 1. ReciprocalSeeingandEmbodiedSubjectivity 7 2. ModernThoughtandthePhenomenologyofFilm 35 3. Machine–HumansandBody-Subjects 57 4. TactileVisionandEnworldedBeing 85 Fin:SoundingOut 115 Bibliography 123 Index 141 List of Illustrations 3.1. StillfromOneA.M.(1916),dir.CharlesChaplin.Reproduced withthankstotheBFIandtheCharlieChaplinArchive 64 3.2. StillfromLeMélomane(1903),dir.GeorgesMéliès. ReproducedwiththankstotheBFI 66 3.3. StillfromTheFloorwalker(1916),dir.CharlesChaplin. ReproducedwiththankstotheBFIandtheCharlie ChaplinArchive 73 4.1. Advertisementforthehand-held‘Holmes-type’stereoscope (1869),fromBostonAlmanac.Reproduced,withpermission, fromacopyheldbytheBostonMedicalLibraryintheFrancisA. CountwayLibraryofMedicine.Thisimageisinthepublic domainandcanbeviewedonlineat<http://collections. countway.harvard.edu/onview/items/show/6277> 87 4.2. StereocardbytheAmericanMutoscopeandBiographCompany; series106,no.11(1904).Reproducedwithpermissionfrom aprivatecollectorwhosoldthecardsviaeBay 93 4.3. StereocardbytheAmericanMutoscopeandBiographCompany; series106,no.6(1904).Reproducedwithpermissionfroma privatecollectorwhosoldthecardsviaeBay 93 4.4. Anaglyphofthemoon(1924),fromtheIllustratedLondonNews. ReproducedwithkindpermissionfromtheMaryEvans PictureLibrary 98 4.5. StillfromExplosionofaMotorCar(1900),dir.CecilHepworth. ReproducedwiththankstotheBFI. 108
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