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Calendar 

by Atom Egoyan
Kate Liu 11/15, '96 
What spaces does the film open? Personal? National?
    The global and the local
      global
      communication technology: telephone, camcorder, camera, --small prison cells?

      --illusion of getting closer, which reinforces our alienation
      commodity: calendar--reproducible, marketable, flattened and dead
    1. turned local/personal: speaking to the camera, speaking to the answering machine,

      2. calendar: double plot, re-lived and re-populated
      video--fastforward and rewind,
    Tourist and immigrant
      Tourist/director
      Egoyan--
      anally retentive, controlling,

      pictures with no humans on them
      not understanding the language or culture
      the exotic scenery and languages--beyond his control
      adopt a daughter--ask her to learn the language
      -- only use money
    1. immigrant--no "home"; no origin; "Yellow Submarine" diasporic--churches, castles and fortresses meant to protect, but bound to isolate and hurt
  1. control and lack of controlnon-scripted with a loose plot structure, limited by time and space 
  2. Human communication--

    3. Egoyan's writing
    the ending--understanding achieved? 
  3. Metissage of identities?--languages, 2/3 of which non-English
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