, vol.32, no.9, 13 May 2010.
32
Theodor W. Adorno,
Aesthetic Theory
(1970; trans. Robert Hullot-Kentor), Minneapolis: University of Minnesota Press, 1997, pp.245–46.
33
W.B. Yeats, ‘Leda and the Swan’, in
The Poems of W.B. Yeats: A New Edition
(ed. Richard J. Finneran), London: Macmillan, 1989, p.182.
34
John Ashbery, ‘The Impossible: On Gertrude Stein's Stanzas in Meditation’,
Poetry Magazine
, July 1957, pp.250–54.
35
Gabriel Zaid,
So Many Books: Reading and Publishing in an Age of Abundance
, Philadelphia: Paul Dry, 2003, p.22.
36
Wisława Szymborska, ‘Brueghel's Two Monkeys’, in
Calling Out to Yeti
(1957; trans. Stanisław Barańczak & Clare Cavanagh), New York: Harcourt Brace, 1998, p.15.
37
Desmond Morris,
The Naked Ape: A Zoologist's Study of the Human Animal
, London: Vintage, 2005.
38
W.E.B. Du Bois
, Black Reconstruction in America
:
An Essay Toward a History of the Part Which Black Folk Played in the Attempt to Reconstruct Democracy in America, 1860–1880
(1935), Cambridge: The Free Press, 1998, p.xxxvi.
39
Hilton Als, ‘The Animals and their Keepers: Garry Winogrand and Photography After September 11th’, available at
http://www.columbia.edu/cu/najp/publications/articles/Als.pdf
(last accessed on 1 June 2021).
40
Donna Haraway,
Primate Visions: Gender, Race, and Nature in the World of Modern Science
, London and New York: Verso, 1992, p.11.
41
Mark Rothko and Adolph Gottlieb, letter to the art editor,The New York Times
, 7 June 1943.
42
Douglas Coupland
, Microserfs
, London: Flamingo, 1996, p.166.
43
Eugene Thacker
, In the Dust of this Planet
, Winchester: Zero Books, 2011, p.8.
44
The Collected Works of Theodore Parker Sermons Prayers
, vol. 2. London: Trübner, p.48.
45
Martin Luther King, Jr, ‘Remaining Awake Through a Great Revolution’, speech delivered at the National Cathedral, Washington DC, 31 March 1968.
46
Georges Didi-Huberman,
Confronting Images: Questioning the Ends of a Certain History of Art
(1990; trans. John Goodman), University Park: The Pennsylvania State University Press, 2005, p.21.
47
E.P. Thompson,
The Making of the English Working Class
(1963), London: Penguin, 2013.
48
Jacques Derrida,
The Animal That Therefore I Am
(2002; ed. Marie-Louise Mallet, trans. David Wills) New York: Fordham University Press, 2008, p.3.
49
Ibid
., p.4
50
‘Masks are very important in the Noh and are typically worn only by the main character. The mask helps to raise the action out of the ordinary, to freeze it in time. For the Noh actor the mask of a particular character has almost a magic power. Before putting it on he will look at it until he feels the emotion absorbed within himself.’ Weatherhead East Asian Institute at Columbia University, ‘Noh Drama’,
Asia for Educators
, available at
http://afe.easia.columbia.edu/special/japan_1000ce_noh.htm
(last accessed on 1 June 2021).
51
David Krasner,
Resistance, Parody, and Double Consciousness in African American Theatre
,
1895–1910,
London: St. Martin's Press, 1997, p.32.
52
Marvin McAllister, ‘Whiting Up: Whiteface Minstrels and Stage Europeans’,
African American Performance
, Chapel Hilclass="underline" University of North Carolina Press, 2011, p.47.
53
Ray Bradbury, ‘A Sound of Thunder
’
(1952),
A Sound of Thunder and Other Stories
, New York: William Morrow, 2005, p.203.
54
I write this as someone who regularly makes films less than a few minutes in length and who once entitled a text ‘Trying Not to Make Films Too Long’.
55
William Shakespeare,
As You Like It
(1623), act 3, scene 5.
56
J. Ashbery, ‘The Impossible’,
op
.
cit
.
57
St. Augustine,
Confessions
, book 11.
58
Michael Wood, ‘At the Movies’,
London Review of Books,
vol.30, no.19, 9 October 2008. V.F. Perkins also writes beautifully about
Le Masque
in ‘Le Plaisir: “The Mask” and “The Model”‘,
Film Quarterly
, vol.63, no.1, Autumn 2009, pp.15–22 (my thanks go to Laura Mulvey for alerting me to this text).
59
Charlie McCarthy, the famous ventriloquist dummy from the 1930s through to the 60s, was invented by Edgar Bergen. Charlie's face looks like a mask – which of course it is, in a way.
60
Verlyn Klinkenborg, ‘A Noah's Ark of Books’,
The New York Review of Books
, 17 December 2020.
61
Alfred Hayes,
In Love
(1954), London: Penguin, 2017, p.5.
62
David Bowie, ‘Five Years,’ on the albumThe Rise and Fall of Ziggy Stardust and the Spiders from Mars
(RCA Records, 1972).
63
Quoted in Galen Strawson, ‘Is R2-D2 a Person?’,
London Review of Books
, vol.37, no.12, 18 June 2015.
64
I borrow here from the title of Kim Stanley Robinson's 2020 novel.
65
Thomas Hobbes,
Leviathan: The Matter, Forme, & Power of a Common-Wealth Ecclesiastical and Civill
, 1651.
66
Hollis Frampton, ‘The Invention Without a Future’,
October
, vol.109, Summer 2004, p.67.
67
Wallace Stevens, ‘The Necessary Angeclass="underline" Essays on Reality and the Imagination’, quoted in Frank Doggett ‘The Poet of Earth: Wallace Stevens’,
College English Journal
, vol.22, no.6, March 1961, p.373.
68
Michel Serres,
Biogea
(trans. Randolph Burks), Minneapolis: Univocal Press, 2012, p.26.
69
Elena Ferrante,
Frantumaglia: A Writers’ Journey
, New York: Europa Editions, p.300, quoted in Patricia Lockwood, ‘I hate Nadia beyond Reason’,
London Review of Books
, vol.43, no.4, 18 February 2021.
70
H.G. Wells, ‘The Time Machine’ (1895), in
The Time Machine and Other Works
, Hertfordshire: Wordsworth Classics, 2017, p.72.
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