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REVIEW OF CONTEMPORARY MEDIA
1. Morris, Catherine. The Essential Cindy Sherman. New York: Harry Abrams, Inc., 2001. 104. [return to essay]
2. Miramax had no idea what to do with it, its release was limited to say the least, and the domestic gross was only $37,446.
3. Roberta Smith, in her review of Office Killer for the New York Times, November 30, 1997, writes: “To people familiar with her career as an artist, Office Killer is a fascinating if lumpish bit of Shermaniana, especially when considered in conjunction with the Los Angeles retrospective.”
4. Fuku, Noriko. “A Woman of Parts,” Art in America 85 (June 1997). 74.
5. A typical Sherman criticism: “The lure of voyeurism turns around like a trap, and the viewer ends up aware that Sherman, the artist, has set up a machine for making the gaze materialize uncomfortably in alliance with Sherman, the model.” Laura Mulvey. “Cosmetics and Abjection.” Cindy Sherman, The October Files. Ed. Johanna Burton. Cambridge: MIT Press, 2007. 69.
6. Smith, Roberta. “A Horror Movie, Complete With Zombies.” New York Times, November 30, 1997.
7. Fuchs, Dale. “Cubicle Culture.” In-Forum. 14 Sept. 1997.
<http://www.inforum.com/archive/purchases/
?page=view&type=archive&id=180501>.
8. Not only does Melanie Griffith’s character, Tess McGill undergo a “cleaning up” and “feminization” throughout the film, a la Dorine’s similar journey, but her boyfriend cheats on her with a character named Doreen DiMucci. Katharine also tries to befriend Tess in a manner similar to Norah’s attempts at friendship with Dorine. Both brunettes are untrustworthy and ruthless.
9. Also see the Anna Wintour-inspired character from The Devil Wears Prada.
10. Rushdie, Salman. The Wizard of Oz. London: BFI Publishing, 1992. 42.
[return to page 2]
11. Rushdie 43.
12. Fuku, Noriko. “A Woman of Parts,” Art in America 85 (June 1997). 74.
13. Seltzer 262.
14. Center for Disease Control
<http://www.cdc.gov>.
15. Johanna Burton, “A Body Slate,” Cindy Sherman, The October Files. Ed. Johanna Burton. Cambridge: MIT Press, 2007. 195. [return to page 3]
16. Burton 198.
17. “Cindy Sherman: Office Killer.” 50th Locarno International Film Festival, August 1997
<http://www.pardo.ch/1997/filmprg/r004.html>.
18. Cindy Sherman Retrospective. New York: Thames and Hudson, 1997. 100.
19. In Borat: Cultural Learnings of America for Make Benefit Glorious Nation of Kazakhstan (2006), Borat, a character played by Sacha Baron Cohen, tries to kidnap Pamela Anderson in a gunny sack to take her back to Eastern Europe to get married. He fails.
20. Fuku, Noriko. “A Woman of Parts,” Art in America 85 (June 1997). 74.
21. De Man, Paul. The Rhetoric of Romanticism. New York: Columbia University Press. 208.
22. Johnny Mnemonic tells the tale of a man, played by Keanu Reeves, who delivers information that has been downloaded into his brain. His memory has been “augmented” to provide him with more than twice the normal gigabytes of the ordinary individual. In his book on The Matrix, Joshua Clover emphasizes the significance of the fact that Johnny “has no conscious access to the digital data he carries; he’s perfectly alienated labor of the digital era.” The film deals with both the alienation enacted by technological advances and the interconnectedness the internet provides, an interconnectedness based on isolation, which Johnny makes literal when he dons gloves and a mask to enter, literally, cyberspace, a touchable environment complete with animated “physical” objects with which he interacts, all while he is fundamentally alone and disengaged. Clover, Joshua. The Matrix. London: British Film Institute, 2004. 21
23. His fashion editorial and advertising was published principally in French Vogue from the mid-1950s through to the late 1980s, where it had its greatest impact in the decade of the 1970s.
Office Killer credits
Office Killer USA 82 minutes Director Executive Producers Producers Writing Credits Original Music by Cinematography by |
Film Editing by Production Design by Art Direction by Set Decoration by Costume Design by Hair and Makeup by Production Management Second Unit Director or Assistant Director Art Department |
Sound Department Editorial Department |
Music Department Other crew Special Effects by Stunts Costume and Wardrobe Department |
Cast
Carol Kane |
Paula Cale
|
Bibliography
*Texts which contain a discussion of Office Killer.
Avgikos, Jan. “Cindy Sherman, Metro Pictures.” |
Burton, Johanna, ed. Cindy Sherman, The October Files. |
Cindy Sherman. Basel, Switzerland: Kunsthalle; Munich, Germany: |
Cindy Sherman. London, England: Serpentine Gallery, 2003 |
Cindy Sherman. New York, New York: |
*“Cindy Sherman: Office Killer.” |
Cindy Sherman Retrospective. New York: |
Cindy Sherman: Transformations. Dir. Paul Tschinkel. |
Cindy Sherman: Working Girl. St. Louis, Missouri: |
Clover, Joshua. The Matrix. London: British Film Institute, 2004. |
De Man, Paul. The Rhetoric of Romanticism. |
Derry, Charles. Dark Dreams. Cranbury: |
Foster, Jennifer Ann. “Hiding Out Beauty: A Study of Making Horror.” |
*Frankel, David. “Cindy Sherman Talks to David Frankel.” |
Friedman, Martin. Close Reading: Chuck Close and the |
Fuchs, Dale. “Cubicle Culture.” In-Forum. 14 Sept. 1997 |
*Fuku, Noriko. “A Woman of Parts,” Art in America 85 (June 1997). |
*Geffner, David. “First Things First.” Filmmaker Magazine, Fall 1997 |
Koestenbaum, Wayne. “Fall Gals.” ArtForum, September 2000. |
Krauss, Rosalind. Cindy Sherman, 1975-1993. |
Morris, Catherine. The Essential Cindy Sherman. |
Nobody’s Here But Me: Cindy Sherman. Dir. Mark Stokes. |
*Plagens, Peter. “The Odd Allure Of Movies Never Made: |
*Rickels, Laurence A. “American Psychos: The End of |
Rushdie, Salman. The Wizard of Oz. London: BFI Publishing, 1992. |
Seltzer, Mark. Serial Killers. New York: Routledge, 2003. |
Smith, Brook. “The State of the Desk.” |
*Smith, Roberta. “A Horror Movie, Complete With Zombies.” |
*Tompkins, Calvin. “Her Secret Identities.” |
The Hasselblad Award 1999: Cindy Sherman. |
Waller, Gregory, ed. American Horrors. |
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