{"title":"‘Every love story is a ghost story’ : The Spectral Network of Laurie Anderson’s Heart of a Dog (2015)","authors":"Deane Williams","doi":"10.5117/9789463728706_ch04","DOIUrl":null,"url":null,"abstract":"While it has been described as ‘a paean to a canine friend’ and ‘a meditation\n on love and loss’, Laurie Anderson’s Heart of a Dog (2016) can also\n be understood as a network of ghost stories. Drawing on Anderson’s\n idiosyncratic multimedia technique (foregrounding technology) and\n conceptualizing of the future, this chapter explores the ways in which the\n figures of 9/11, Lou Reed, David Foster Wallace, Gordon Matta-Clark, and\n the Bardo course through Heart of a Dog. Exploring the implications of the\n juxtaposition of these themes and Anderson’s oeuvre, Williams positions\n the film in relation to a confluence of network theory and hauntology as\n a particular rendering of 21st-century subjectivity.","PeriodicalId":162972,"journal":{"name":"Beyond the Essay Film","volume":"86 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2020-07-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Beyond the Essay Film","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5117/9789463728706_ch04","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
While it has been described as ‘a paean to a canine friend’ and ‘a meditation
on love and loss’, Laurie Anderson’s Heart of a Dog (2016) can also
be understood as a network of ghost stories. Drawing on Anderson’s
idiosyncratic multimedia technique (foregrounding technology) and
conceptualizing of the future, this chapter explores the ways in which the
figures of 9/11, Lou Reed, David Foster Wallace, Gordon Matta-Clark, and
the Bardo course through Heart of a Dog. Exploring the implications of the
juxtaposition of these themes and Anderson’s oeuvre, Williams positions
the film in relation to a confluence of network theory and hauntology as
a particular rendering of 21st-century subjectivity.
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