Hauntings in James Ivory’s Howards End

Despite its apparent claims to modernity in style and subject, James Ivory’s Howards End can be viewed in terms of a deconstructionist approach that pays attention to the presence of themes and figures of spectrality. First seen as an opposition between characters who embody contrasting existential...

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Bibliographic Details
Published inÉtudes britanniques contemporaines Vol. 58; no. 58
Main Author Baillon, Jean-François
Format Journal Article
LanguageEnglish
Published Presses universitaires de la Méditerranée 21.04.2020
Presses Universitaires de la Méditerranée
Subjects
cinematic apparatus
deconstruction
Derrida (Jacques)
ghosts
Ivory (James)
spectrality
dispositif cinématographique
Ivory (James)
fantômes
ghosts
Derrida (Jacques)
cinematic apparatus
spectralité
spectrality
déconstruction
heterochrony
deconstruction
hétérochronie
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Summary:Despite its apparent claims to modernity in style and subject, James Ivory’s Howards End can be viewed in terms of a deconstructionist approach that pays attention to the presence of themes and figures of spectrality. First seen as an opposition between characters who embody contrasting existential attitudes, spectrality also—above all—governs their mode of presence and presentation on screen. Ultimately, this reveals Ivory’s subtle way to intimate the elusive nature of his own creation as mere projection.
ISSN:1168-4917
2271-5444
DOI:10.4000/ebc.9091