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Narrative and spectacle describe two extremes of film content, but the oeuvres of John Cassavetes and David Cronenberg resist such categorization. Instead, Robert Furze argues, the defining characteristic of these directors' respective approaches is that of 'visceral' cinema - a term that illustrates the anxiety these filmmakers provoke in their audiences. Cassavetes demonstrates this through disregard for plot structure and character coherence, while Cronenberg's focus is on graphic depictions of mutilation, extreme forms of bodily transformation and violence.

This paper examines the extreme and visceral way as the Canadian filmmaker David Cronenberg presents and investigates, in his films, the human body and the sexuality, and what social, cultural and artistic issues involved in this representation as evidence of the potential transformation of the body resulting from biotech advents and interaction with other bodies through violence or sex. The concepts of the grotesque, by Mikhail Bakhtin, and of the abjection, by Julia Kristeva, permeate and underpin this research, aiding the understanding of the configuration process of cronenbergian becoming-body. In this sense, it uses the idea of becoming, proposed by Gilles Deleuze, as contribution to the understanding of the constant transformation of these bodies into all aspects of becoming-body: becoming-animal, becoming monster and becoming-machine. Keywords: David Cronenberg. Cinema. Sexuality. Este artigo analisa a maneira extrema e visceral como o cineasta canadense David Cronenberg apresenta e investiga o corpo humano e a sexualidade em seus filmes, e quais as questoes sociais, culturais e artisticas implicadas nessa representacao enquanto evidencia das potencialidades transformacao do corpo decorrentes dos adventos biotecnologicos e da interacao com outros corpos atraves da violencia ou do sexo. Os conceitos de grotesco, formulado por Mikhail Bakhtin, e de abjecao, articulado por Julia Kristeva, permeiam e fundamentam a investigacao, auxiliando na compreensao do processo de configuracao do devir-corpo cronenberguiano. Nesse sentido, utilizase a ideia de devir, proposta por Gilles Deleuze, como aporte para a compreensao da constante transformacao desses corpos em todas as suas vertentes de devir-corpo: devir-animal, devir-monstro e devir-maquina. Palavras-chave: David Cronenberg. Cinema. Sexualidade.

InA Dangerous Method, David Cronenberg turns his cinematic method inside out. By shifting his attention to the absence, loss, and emptiness of repression triumphant as intensively as he usually focuses on the shock, horror, and ambivalent ecstasy of repression overturned, Cronenberg sharpens the pain that characterizes his cinematic vision.

After Roe v. Wade was overturned by the Supreme Court, pregnant people lost their Constitutional protection of abortion. The new, visible politics of susceptibility have invited a revisitation to the psychoanalytic work of Sigmund Freud. This article examines the trauma narrative of Freud’s Beyond the Pleasure Principle and the theory of the death drive in elaborating the enduring cultural investment in protecting fetal life while examining its implications for pregnant subjects.

An interview with David Cronenberg aboutA Dangerous Method, in which the director discusses his drama about the history of psychoanalysis in terms of period detail, acting, cinematography, history, and the body.

This paper examines the extreme and visceral way as the Canadian filmmaker David Cronenberg presents and investigates, in his films, the human body and the sexuality, and what social, cultural and artistic issues involved in this representation as evidence of the potential transformation of the body resulting from biotech advents and interaction with other bodies through violence or sex. The concepts of the grotesque, by Mikhail Bakhtin, and of the abjection, by Julia Kristeva, permeate and underpin this research, aiding the understanding of the configuration process of cronenbergian becoming-body. In this sense, it uses the idea of becoming, proposed by Gilles Deleuze, as contribution to the understanding of the constant transformation of these bodies into all aspects of becoming-body: becoming-animal, becoming monster and becoming-machine.

Anyone with the experience of relating to regressed, institutionalized psychiatric patients would recognize the meticulous accuracy of our protagonist's staccato movements; his changes of tempo, from unbearably slow to jerky; his way of dragging his feet down the road; his collecting and hiding of useless objects; the shifty expression in his eyes, accustomed to a life of both real and imagined persecution, watching out for potential dangers; the complex mixture of infuriatingly passive aggressivity and pathetic meekness.

This article situates David Cronenberg’s film Eastern Promises in the context of post-Cold-War European narratives. It argues that the secret dealings of the Russian mob in London are presented in the film as the uncanny and spectral return of forms of government and business that run counter to the rationale conventionally associated with democratic capitalism and at the same time reveal much about its inherent logic. Cronenberg’s film connects private traumata with the violent reality of globalization, staging one as the ghostly realization of the other.