The Camera as a Container: Jonathan Caouette's Tarnation

in Projections
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  • 1 New York University
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This article examines Jonathan Caouette's Tarnation as a creative enterprise that opens up new ideas about documentary film and insights into working with new media. It considers how the making of this film worked as a prosthetic aspect to the filmmaker's identity and stability. In examining the interplay of sound, image, and written text, I note how Tarnation develops an artistic meditation on a number of important topics: the representation of trauma, the abstract and formal means of expressing the fragility of survival, the damage to memory and to identity that family dys-function causes, the technical demands of creating narratives of broken and contested lives. The material in the film and its mode of composition from the perspective of psychoanalytic studies of mourning, gay performance and identity, gender dysphoria and its relation to loss, and artistic projects as acts of healing are also considered.


The Journal for Movies and Mind


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