Richard Johnston

Fiction and the Photographic Uncanny

BA(Hons) Photography
2011
 Confirmation / Declaration:
This dissertation is submitted in partial fulfillment of the requirements of the
award of BA(Hons) Photography.
I confirm that, except where other sources are acknowledged, this project is
my own unaided work, and that its length is 4020 words.
Signed:
..

Acknowledgements:
I would like to thank the following individuals for any assistance and/or
inspiration given to me over the course of this project:
David Johnston
Krista Johnston
Nancy Roth
Pandora James
Vega Brennan

Contents:
Page 1 . Declaration, Acknowledgements & Contents
Page 2 .. Introduction
Pages 2 to 4 Understanding the Uncanny
Pages 4 to 11 ... The Uncanny Within Photography
Pages 11 to 13 . The Photograph as an Uncanny Medium
Pages 14 to 15 . Conclusion
Page 16 ........... List of Images
Page 17 .... List of References

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 Fiction and the Photographic Uncanny

Introduction
What conditions are needed to create an uncanny experience? Many
philosophers throughout history have deliberated this question; nevertheless
an entirely clear and definite answer is yet to be found. Ernst Jentsch, a
German philosopher and publisher of On the psychology of the uncanny first
identified the state in 1906, suggesting it was a product of psychical
uncertainty(1906 : 6). Later in 1919, Sigmund Freud analysed the ambiguous
subject in more detail, revealing the uncanny is also linked to feelings of
anxiety and fear. However these definitions are somewhat vague in character,
a more in-depth investigation into Freuds essay The Uncanny is needed to
fully understand the subject in question.

For me, the desire to understand extends to a personal level. I feel the
uncanny has the ability to create extremely haunting traces of any given
subject or situation. By exploiting this within my own work I hope to make my
images more memorable, setting them apart from an ever-expanding sea of
photographs.

Understanding the Uncanny

To begin, Freud translates the uncanny as Das Unheimliche, the opposite of
what is familiar(1919 : 2). He also states; the unfamiliar is undoubtedly related
to what is frightening(1919 : 1), leading us to assume the uncanny is unfamiliar
and the unfamiliar is frightening.

However, I find this thesis somewhat contradictory, as not everything that is

new and unfamiliar is frightening(Freud 1919 : 2). Freud mentions, A novelty
[must] be added in order to make it uncanny(1919 : 2). By using novelty the
once familiar can be transformed into the unfamiliar.

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In order for this change to be accomplished, a clash between contradictory
elements is necessary. We accept the reality we live in as fact; it is familiar to
us. However, when fiction is applied to this reality it becomes unfamiliar. This
is because Fiction presents more opportunities for creating uncanny feelings
than are possible in real life(Freud 1919 : 22). The incompatible combination of
factual reality and fictional novelty provides the ultimate visual conflict. This
harsh contrast between fact and fiction creates a seemingly impossible
paradox, which in turn fabricates a reality test(Freud 1919 : 20). This reality test
provides the uncertainty needed to initiate an uncanny experience. To justify
these opinions, Freud writes:

The uncanny effect is easily produced when the distinction between

imagination and reality is affected(1919 : 18), adding The uncanny is
frightening precisely because is it is not known and familiar(1919 : 2).

To briefly summarise, the unheimliche is strongly related to conditions

produced by fear and uncertainty. Furthermore the experience is easily
created when a seemingly impossible paradox fabricates a reality test,
prompting us to question a fictional novelty applied to a once factual subject
or situation.

However, Freuds analysis mainly explores literature and the uncanny effect
of narrative(Freud 1919 : 11), he disregards visual or even photographic
examples altogether, stating the feeling is communicated well through the
realm of fiction, of imaginative writing(1919 : 20). The problem at hand now
arises when attempting to communicate these same uncanny experiences
through the entirely different medium of photography.

Consequently, I wish to explore how Freuds notions of the unfamiliar can be

applied through a photograph. I feel communicating the fiction of imaginative
writing through the static medium of photography presents quite a challenge.
This challenge is further exaggerated by the cameras incapability to test
reality. After all a camera can only record(Clarke 1997 : 13). This affiliation
restricts a photographers freedom when conveying novelty through the lens.
In turn, it becomes necessary to stage any fictional novelties within a
photograph.

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Moreover I believe the notion of staged fiction within a photograph is one of
great relevance. When we combine the cameras capacity to record reality
with staged fictitious novelty, a clash is formed. This clash is between
photographic fact and staged fiction. The resulting paradox provides a strong
visual reality test that conveys a firm sense of unease. For these reasons I
feel fiction is deeply significant in relation to this investigation, bringing us to
our title: Fiction and the photographic uncanny.

With the use of examples, I would like to conduct a more in-depth

investigation into how staged subject matter is used to communicate these
ambiguous feelings through the medium of photography.

The Uncanny Within Photography

Freud touches upon many themes within literature that may provoke an
uncanny experience. One of these themes is the insinuation of death. The
idea of death is familiar to us, yet we fear it precisely because its
repercussions are unknown. We obscure the idea of our own mortality
through various forms such as religion. However, the primitive fear of [death]
is still strong within us and always ready to come to the surface at any
provocation(Freud 1919 : 16). We have already established, the uncanny is
undoubtedly linked to what is frightening, therefore by provoking our primitive
fear of death through a photograph, we can of course achieve our desired
effect.

One would firstly, but wrongly assume that staging a fearful impression of
death through a photograph would be easy, the representation of a corpse
perhaps? Indeed this example gives the viewer an impression of the dead and
consequently triggers a fear response, however something can be frightening
but not uncanny. Novelty and unfamiliarity must be present to produce a
sense of the unheimliche. This is where we realise an important difference
between conveying the genre of horror through a photograph or the entirely
separate genre of the uncanny.

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The corpse example unsuccessfully connotes the uncanny because it is too
closely related to the genre of horror. Justification for this can be found when
Freuds states, The uncanny is too much intermixed with what is purely
gruesome and is in part overlaid by it(1919 : 16). This is because our fear of
death is still very much familiar to us. Familiarity fails to produce an uneasy
experience because it is the opposite of what fabricates one.

Freud also mentions; dismembered limbs, a severed head, a hand cut off at
the wrist [and] feet which dance by themselves [all have something] peculiarly
uncanny about them(1919 : 17) but feels that the feet dancing by themselves
are especially [effective] when they prove capable of independent activity in
addition(1919 : 17). It is this addition of novelty given to the feet that elevate
them from the genre of horror, to the truly uncanny. The dancing feet provoke
feelings of the unheimliche because they are related to what is horrifying and
familiar, yet they additionally provide a reality test. They also provoke our
repressed fictional belief that the dead do live on and appear on the scene of
their former activities(Freud 1919 : 20).

Themes of repressed fictional beliefs and the inanimate becoming animate

once again are essential ingredients for any photographer wanting to visually
provoke feelings of the uncanny through death. This brings me to my first
example, Ophelia in water (Figure 1) by Gregory Crewdson (2001).

Portraying Freuds notions of the inanimate becoming animate through

photography can prove quite challenging, due to the static nature of the
medium. Crewdson tackles this problem by subtly hinting at the possibility of
re-animation via the fictional subject within the photograph. The figure in the
water undoubtedly references the corpse of Ophelia found in Shakespeares
play Hamlet. Yet the corpse
within Crewdsons photograph
also bears hints of life (or
indeed animation). Her head is
turned towards the camera with
open eyes, almost suggesting
an awareness of our presence.

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The peachy tone of her skin also implies signs of life. The staged elements
within Ophelia in water combine to create visual uncertainty as to whether the
corpse is indeed alive or not. Through these hints Crewdson successfully
creates a sense of the uncanny by provoking our repressed fictional beliefs
regarding death.

Many other elements staged within the photograph relate to aspects of

Freuds essay and help to further amplify its given effects. For example The
fearful hours of the night(1919 : 6) used within the photograph conjure up our
instinctive fear of the dark. In addition, the scene is contextually and
environmentally uncanny. A reality test is fabricated through the paradox of
water within a living room, a space usually perceived as dry and comfortable. I
also find the use of reflection interesting as I feel this effectively
communicates the surreal aspects associated with Freuds theory of the
double(1919 : 20).

The theme of the double has become a thing of terror(Freud 1919 : 12), the
notion itself within literature can arouse feelings of the uncanny very
successfully. Therefore any photographer communicating elements of
repetition and/or duplication within their work certainly has the ability to
convey a sense of unease and confusion to the viewer. One photograph that
successfully realises this notion is The Glance (Figure 2) by Wendy
McMurdo (1995).

I feel McMurdo conveys a strong

sense of unease via the staged fiction
within The Glance. The photograph
depicts two young girls that bear an
uncanny resemblance to one another;
the two girls in the image however,
are in fact one. McMurdo uses
modern digital techniques to create a
second, fictional representation of the
same child within the same image, a
double if you will. Furthermore, through McMurdos choreography, the

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doubles appear to be reacting to each others presence giving the image an
elevated sense of photographic truth. Once again this fabricates a reality test
between the cameras ability to record and the staged fictional novelty seen
within the image.

Following on from this point, I would like to investigate the notion of the double
with regards to ones soul. Freud mentions the immortal soul was probably
the first double of the body(1919 : 11), later remarking the notion of immortality
becomes the uncanny harbinger of death(1919 : 12). The combination of these
two theories leads me to believe that; the double of the body indeed becomes
the uncanny harbinger of death.

This brings us back to our previous theory on repressed fictional beliefs and
the fear created upon their return. In our society we hold back the idea of
mortality because the thought of death is simply too frightening to
comprehend. We are therefore frightened by our doubles(Freud 1919 : 20)

because they are the uncanny harbinger of death. This leads me to believe
that the double staged within The Glance has an unparalleled ability to
communicate the unheimliche because it provokes our repressed attitudes
towards death.

One more point of interest I would like to investigate regarding The Glance is
Freuds castration complex, or more importantly the conflicting effect
McMurdos work has on this theory. The castration complex is the anxiety of
losing a sense or limb. The feeling of something uncanny is directly attached
to the figure of the Sand-Man, [a character renowned for] taking childrens
eyes(Freud 1919 : 9). Thus we find the horrific complex of losing something is
comparable to that of the double in a conflicting sense. Here the double is not
the fear of losing something, but the fear of gaining something more.

Involuntary repetition surrounds what would otherwise be innocent enough

with an uncanny atmosphere(Freud 1919 : 13).
Following on from this example, elements of portraiture within McMurdos
image have prompted me to investigate the subject further, with regards to the
uncanny. Firstly, the very idea of the photographic portrait alone can provoke
a fear response. Examples of this can be found throughout photographys

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early history, take the French writer Balzac; he was described to have a
dread of being photographed(Sontag 1977 : 158). Furthermore, primitive
communities believe that taking a photographic portrait indeed steals ones
soul. In our society however, the portrait is feared because of the cameras
judgemental eye:

Many people feel anxious when theyre about to be photographed; not

because they fear as primitives do, being violated, but because they fear the
cameras disapproval people want the idealised image(Sontag 1977 : 85).
I believe, by combining the photographic portrait with the additional element of
novelty, a much stronger sense of unease and fear can be communicated.
This notion brings me to my next
example Wrong (Figure 3) by Asger
Carlsen (2010).

The photograph depicts what first

appears to be an innocent scenario.
However upon closer inspection we
come to realise the mans knees are
bent in an unfamiliar or unheimliche
way. Once again the addition of this
novelty tests our trust in the cameras
ability to record, producing a visual
dispute between perceived fact and
constructed fiction. The combination
of these elements intermixed with characteristics of the photographic portrait
help Carlsen communicate an uneasy sense more successfully.

The next theory I would like to investigate in relation to photography is Freuds

notion involving the uncanny effect of narrative. In telling a story, one of the
most successful devices for easily creating the uncanny is to leave the reader
in uncertainty(Freud 1919 : 6). By leaving somebody in the dark, their suspense
transforms into anxiety(Foster 1993 : 8), triggering confusion and fear. Hoffmann
repeatedly employs this psychological artifice with success in his fantastic
narratives(Freud 1919 : 6).

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However a problem now arises when we consider photography and literature
as two very separate tools of communication. The pages of a book
communicate fictional narrative in a completely different way to the
photograph. Photography is somewhat restricted in this sense. A compromise
can be found within the moving image, through cinema. Film combines both
aspects of photography and narrative, yet when stripped down to its bare
components a film is only a series of photographs(Metz 1985 : 156). This
discovery leads me to believe that by displaying images in series, one can
achieve a sense of the uncanny comparable to that communicated through
cinema. This proposal brings me to my third example, Boogieman (Figure 4)
by Duane Michals (1973).

Michals communicates a fictional narrative within his work through the use of
triptychs. The first image depicts the seemingly innocent scene of a child
opening a coat. At first the coat seems to be inanimate, but as our eyes are
lead towards the second image, this is apparently not the case. The subtle
hint of animation depicted through the blurring of the coat, triggers unease as
our factual reality is once again tested. This unease continues to intensify, as
we are lead through to the third and final
image. The once inanimate coat now appears
animated and moves towards the child.

We are left in uncertainty as the fictional

narrative within the image is cut short, leaving
our mind to wander and jump to conclusions.
The narrative staged within the series,
combined with anxiety gives Michalss image
an undeniable sense of anxiety.

Boogieman also has many other disturbing

aspects about it. The use of repetition
recounts our previously disclosed ideas
involving the uncanny double. Furthermore,
Particularly favourable conditions for
awakening such feelings are created when

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there is an intellectual uncertainty [as to] whether an object is alive or
not(Freud 1919 : 11). Michals exploits this idea within Boogieman through the
animation of the coat. The innocence of the child also plays a large part in
summoning feelings of the uncanny. Freud mentions many of our uncanny
feelings can be traced back to infantile sources(1919 : 11). Thus by restoring
our once forgotten childhood recollections, Michals triggers our previously
touched upon ideas involving the return of the repressed. These aspects,
combined with staged narratives and the feeling of anxiety influence
Boogiemans ability to achieve an elevated sense of the Unheimliche.

Consequently, we find a series of photographs can successfully communicate

the uncanny effect of narrative. Nevertheless, I am curious as to whether a
single image can also embody these same unsettling themes, regardless of
its individuality. This query brings me to my final example Untitled (Figure 5)
by Gregory Crewdson (1998).

I believe Crewdson communicates narrative through the use of subtle hints

placed throughout his image. The photograph undeniably includes characters,
perhaps comparable to those found in literature. Through lighting and
composition he mimics that of a film still, once again suggesting qualities
comparable to cinema, qualities such as plot. Further hints such as clothes
strewn on the floor and open doors all contribute to this impression of
narrative. Elements of the double also reside within Crewdsons use of
reflections and mirrors.

However the image once again leaves us in a state of uncertainty.

Crewdsons choice of
title also complements
this, revealing no clues
regarding narrative or
context. We are left to
ponder unanswerable
questions, which
surrounds the
photograph with a

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sense of mystery. The constructed, fictional components within the image
provoke a further sense of confusion and unease. This demonstrates that the
uncanny effect of narrative can indeed be successfully communicated through
a single, solitary image.

I also find Untitled very disturbing because I am able to relate to the

circumstances portrayed. On many occasions I have experienced the fear of
being alone in a house at night, Crewdsons intended audience will also
recognise this familiar fear. The naked figure provides an unfamiliar twist to an
already familiar yet frightening situation. This common intimacy we all share
with Untitled allows Crewdson to communicate a heightened sense of the
unheimliche to a much broader audience.

Furthermore, a surreal atmosphere surrounds the image. Crewdson is a

hyperrealist, creating his fictional images with the use of large camera crews
and high production values. Consequently his photographs resemble that of
film stills. However his pictures are not animated in any way, resulting in a
single, hyper real image. Crewdsons overemphasised take on reality
produces the unnerving atmosphere experienced through his work.

In conjunction with these examples, I would like to examine how the

photograph can be an uncanny medium in its own right. To me the
photograph is a surreal medium for a variety of reasons, whatever the subject
matter. If a photograph can communicate an uncanny sense regardless of
content, then surely the uneasy experience would be amplified if the subject
matter within also reflected these same ambiguous feelings and emotions.

The Photograph as an Uncanny Medium

All photographs are inherently uncanny, but in order for most viewers to
realise this clearly, certain visual triggers must be put in place. Many of
Freuds previously discussed theories can be visually constructed within a
photograph to trigger such a realisation.

In other words, for a viewer to recognise a photographs uncanny

characteristics, the subject matter must first convey a sense of the unfamiliar.

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Once the surreal qualities of the medium become apparent to the viewer
(either consciously or subconsciously), the experience received is amplified
twofold. I feel further investigation into this theory would help justify my
previous argument and give some insight into how photographs can
communicate the unheimliche so unequivocally.

Consider the phrase an uncanny resemblance when regarding photography.

A photograph undoubtedly bares an uncanny resemblance to its subject
matter. To achieve this, notions of Freuds theories regarding the familiar must
be present. After all, photographs are merely slices of the world(Sontag 1977 :
69). This therefore makes the photograph itself unheimliche, due to the
cameras ability to record our factual reality i.e. the familiar.

In accordance, this ability leads us to the assumed belief that photography

never lies(Barthes 2000 : 87). After all, the photograph is a document and a
document means evidence(Clarke 1997 : 145). However this is not always the
case.

A photograph also boasts the conflicting ability to offer an unfamiliar or

unheimliche perspective on reality. Take the long exposure photograph
Boulevard Du Temple (Figure 6) by Louis Daguerre (1838) for instance. This
photograph is able to portray a length of time unperceivable by the naked eye,
blurring the busy street below and
rendering it bare. This false portrayal
of reality conveyed through a medium
we believe never lies once again
fabricates a reality test.

To take this idea further I believe that

Daguerres image gains a lot of
credibility through the use of analogue photography. In our modern digitalised
society, changing photographic truth is easy and can be done with the simple
click of a button. This encourages us to question the authenticity of digital
mediums more vigorously, making analogue photography more believable
and real. This belief increases the unsettling feelings communicated through
Daguerres image, allowing it to portray a stronger sense of the uncanny.

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To develop my argument further, I feel a photograph can be perceived as
merely a double of reality. J L M Daguerre once stated photography is not an
instrument which serves to draw nature, it gives her the power to reproduce
herself(1838 : 188). This idea immediately links the photographic medium to the
uncanny aspects of the double and also gives me grounds to develop the
argument further.

Freud states the uncanny is strongly linked to the idea of repetition. I believe
the photographic double can directly communicate feelings associated with
this notion. Essentially, if a photograph can be doubled, there is no reason
why it cant be tripled or quadrupled etc after all, isnt the purpose of a
photographic negative, to create multiple copies of an original? Freud
remarks, repetition surrounds what would otherwise by innocent enough with
an uncanny atmosphere(1919 : 13), again asserting my belief that photography
as a medium is directly linked to the unheimliche.

One final thought I would like to discuss is the idea of photography being an
assurance of immortality(1919 : 12). We take photographs, snatching a
moment of reality and preserving it as a document. The theory of
photographic preservation becomes most disturbing in relation to portraiture.
By taking a photographic portrait and transforming the once animate moment
into the inanimate, we are essentially allowing the past to exist within the
present. Freud mentions by making images of the dead in lasting materials
[the subject is given] an assurance of immortality, [they] become the uncanny
harbinger of death(1919 : 12). Undeniably the photographic medium is a lasting
material capable of preserving what was but no longer is(Metz 1985 : 83). I feel
Roland Barthes justifies this idea, stating photographs always [have] a
descent of time in them: that is dead and that is going to die(2000 : 96).

Consequently, we can see from the notions explained above, that

photography can indeed be considered an uncanny medium in its own right.
This may also give some indication and/or a justification into why elements of
Freuds unheimliche are so potent when portrayed through this unique
medium.

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 Conclusion
When looking at the photographic examples within this essay I gain haunting
feelings of presence and unease. However, I feel some examples portray this
more successfully than others. This leads me to conclude that there are
different degrees of the photographic uncanny, making me doubt the very
consistency of the unheimliche itself.

I feel the problem at hand is one of subjectivity. The inconsistency of the

uncanny is a result of human individuality. What is considered uncanny to one
person may not be to another. Variable human attributes such as age, mood
and cultural influences all contribute to the degree in which we receive the
unheimliche. Therefore I believe the most predictable way of achieving a
consistent, high level of the uncanny is by exploiting our more generic,
collective fears and phobias, such as our instinctive fear of the dark. In doing
so, a photographer is able to convey a higher sense of the uncanny to a much
wider audience.

To finalize, we find that fiction is an essential ingredient for any photographer

wanting to convey a sense of the unfamiliar through their work. However, any
fictional elements included within the photograph must be constructed. The
cameras limiting ability to record as opposed to create produces this
necessity. The fiction constructed within a photograph produces a seemingly
impossible paradox within the viewers mind, a paradox between photographic
fact and staged fiction. The combination of these two incompatible elements
gives the viewer a strong uncanny experience.

I also believe our perceived faith that a photograph is truthful compliments

this, making the uncanny elements portrayed within a photograph more
believable and therefore more real. This is demonstrated best through the use
of analogue photography because it is harder to fake than our modern digital
equivalent.

Although the uncanny is most commonly connoted through fictional narrative

and literature, we find a paralleled sense of the unheimliche can be achieved

14
photographically through constructed fiction. However, to compare the two
mediums would be unjust, as they differ greatly in terms of technique.
Photographs integrate impossible paradoxes within a truthful yet unfamiliar
medium. This affiliation makes photography a tantalisingly unique method of
communication for any artist wanting to convey the feelings associated with
Freuds Unheimliche.

Ultimately, a truly uncanny experience instigates unanswerable questions.

Our anxiety is only reduced when we accept the irresolvable nature of these
queries. Comfort can be found in the reactions of others, confirming its the
photograph that is uncanny, not ourselves. Consequently, by accepting the
unheimliche we are able to transform our fears into curiosity. Personally the
unfamiliar has become a thing of fascination and interest. It wraps the
mundanely predictable world we live in with a frisson, providing an escape
from a pre-designated reality. A reality we are indeed all too familiar with.

Richard Johnston 2011

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 List of Images:
Figure 1: Crewdson, G., 2001. Ophelia in water, digital photograph. [Online].
Available at:
http://4.bp.blogspot.com/_mIGy7aGghmo/SGNRRiJEMMI/AAAAAAAAAoo/dO
n72kdtqV8/s400/ophelia+in+water.jpg [Accessed 3 October 2011]
Figure 2: Mcmurdo, W., 1995. The Glance, manipulated photograph. [Online].
Available at:
http://chlooooe.files.wordpress.com/2010/11/throughthelookingglass1.jpg
[Accessed 5 October 2011]
Figure 3: Carlsen, A., 2010. Wrong, manipulated photograph. [Online].
Available at:
http://4.bp.blogspot.com/_5JWdPFI5vQI/SusKas4YL2I/AAAAAAAAA04/DzEQ
9NTQrSU/s400/AsgerCarlsen4.jpg [Accessed 1 October 2011]
Figure 4: Michals, D., 1973. Boogieman, analogue photograph. [Online].
Available at:
http://www.cc.ncu.edu.tw/~sctseng/ContemporaryArt/photography2/2.1.jpg
[Accessed 6 October 2011]
Figure 5: Crewdson, G., 1998. Untitled, digital photograph. [Online]. Available
at: http://www.marthagarzon.com/contemporary_art/2011/01/gregory-
crewdson-twilight/ [Accessed 3 October 2011]
Figure 6: Daguerre, L., 1838. Boulevard Du Temple, daguerreotype. [Online].
Available at: http://www.magictech.it/wp-
content/uploads/2011/11/dagherrotipo-louis-daguerre.jpg [Accessed 5
October 2011]

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 List of References:

Cited:
Barthes, R., 2000. Camera Lucida. Reading: Vintage.
Clarke, G., 1997. The Photograph. Oxford: Oxford University Press.
Foster, H., 1993. Compulsive Beauty. Cambridge: MIT Press.
Freud, S.,1919. The Uncanny, [Pdf]. Lowa. Lowa Education. Available at:
http://wiki.uiowa.edu/download/attachments/570/Freud-Uncanny.pdf
[Accessed 5 October 2011]
Jentsch, E., 1906. On the Psychology of the Uncanny, [Pdf]. Penn State.
Penn State University. Available at:
http://art3idea.psu.edu/locus/Jentsch_uncanny.pdf [Accessed 20 October
2011].
Metz, C., 1985. Photography and Fetish, [Pdf]. Georgetown. Georgetown
Education. Available at:
http://www9.georgetown.edu/faculty/irvinem/visualarts/Metz-Photography-
and-Fetish-October-1985.pdf [Accessed 23 October 2011].
Sontag, S., 1977. On Photography. London: Penguin Books.

Other:
Cotton, C., 2009. The Photograph as Contemporary Art. New edition. London:
Thames & Hudson
Flusser, V., 2000. Towards a Phlosophy of Photography. London: Reaktion
Books.
Shakespeare, W. 2007. Hamlet. Prescott, P. ed. London: Penguin Books.
Trachtenberg, A., 1980. Classic Essays on Photography. Sedgwick: Leetes
Island Books.
Fantasia, 1941. [DVD]. Ben Sharpsteen. USA: Buena Vista.
The Number 23, 2007. [DVD]. Joel Schumacher. USA: New Line Cinema.
The Shining, 1980. [DVD]. Stanley Kubrick. USA: Warner Bros. Pictures.
NewmusicXX, 2008. Feldman: "Rothko Chapel". [Video Online]. Available at:
http://www.youtube.com/watch?v=qxSt_w2ODaQ {Accessed 20 October
2011]

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