![]() ![]() But transgenerational transmission also involves a dimension of haunting as one inherits the unsaid and the desire that are part of the unconscious of another, usually the parent. Shaped by the desires and the unconscious of those who, like the parents, dream, speak or name him, the subject becomes a self through cultural inheritance. The subject is an «intersubject», a mere link in the chain of generations and a subject in a group as well as an independent entity. In addition to listening for the telephone, you are being asked to tune your ears to noise frequencies, to anticoding, to the inflated reserves of random indeterminateness - in other words, you are expected to stay open to the static and interference that will occupy these lines.ġAt the origin of the individual psyche there is always, in part, another or others. Paradoxalement, le vampire est donc produit par cette technicité même qui vise à l’éliminer. Mais la sténographie s’offre en fait comme le lieu de la résurgence inattendue du spectral. Autour du phonographe et de la machine à écrire, un réseau d’informations se tisse, qui relie neurologues, phrénologues, avocats, sténodactylographes et hommes d’affaires, unis dans la certitude que le savoir, aidé de la technique, ne peut que triompher du monde de la mémoire. Dracula est un produit emblématique de l’âge de la communication, tel qu’il émerge à la fin du XIX e siècle. Une à une, les victimes de Dracula apparaissent comme cryptophores d’un secret dont l’émergence est d’autant plus inévitable qu’elle est fonction du mode de communication mis en place par le texte. Une lecture de trois scènes cruciales de Dracula, reliées par une logique autre que celle de l’intrigue, découvre l’inscription cryptique d’un non-dit familial : le secret de la bâtardise qui choisit la hantise vampirique pour s’incarner. Private lifeįarley is a mother.Partant de l’idée d’une hantise transgénérationnelle, cet article fait du vampire la figure du retour d’une mémoire refoulée sur plusieurs générations. This film has won 20 prestigious film awards, has been selected for over 70 film festivals, and was named as a shortlisted Academy Award for Best Live Action Short Film nominee at the 91st Academy Awards. In 2017 she wrote and directed the short film Marguerite. In 2015 Farley directed the short film Saccage. Farley enjoyed the complexity of her character.įarley has also worked as a producer, director and screenwriter. She was very emotional and tried to be in control in which she did not succeed much. Farley later said that she loved playing Nicole since she was a bit of everything. From 2015 to 2016 she starred as Nicole Breen in the TV series This Life. She plays Julia, the wife of Noah Bennet (Jack Coleman), one of the main figures of the series. In 2015 she could be seen as Julia in four episodes of the series Heroes Reborn. ![]() From 2014 to 2015 Farley played Judith Laramée in the series Mémoires vives from Radio-Canada. In 2014 Farley could be seen as Anna in Uvanga, directed by Hélène Cousineau and Madeline Ivalu. However, the series was canceled and so Farley remained only six episodes in the series. This look was inspired by the character Lola ( Franka Potente) from the German film Run Lola Run. Since the producers were searching for a girl who looked quirky Farley dyed her then blonde hair red. Farley auditioned for the part and was cast after three auditions. When Meghan Ory wanted to leave Vampire High in 2002 the producers needed to introduce another main character, Dillan Vanderson. ![]()
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