Abstract
Los Angeles, and a man is staring out at the airport from the hotel room where he has spent the afternoon with his lover. A black shadow silhouetted against the bright light outside, he stands for a moment motionless as the dead. Then as a whining plane lifts off, a butterfly flaps at the window. He peers at the insect through net curtains and stirs into life, and we see the dark countenance of a man intent on, and used to gaining, his own ends. Indeed as they dress his first words to the woman are, ‘Can you go through with it?’
Nicolas Roeg generously lent me a videotape of the cutting copy before the film’s release to the circuits.
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Notes and References
James Hillman, Suicide and the Soul, 2nd edn (Dallas, Texas: Spring Publications, 1988) p.67.
C. G. Jung, Mysterium Coniunctionis, The Collected Works, Vol. 14, 2nd edn (Princeton NJ: Princeton University Press, 1977) p.485.
Barbara Greenfield, ‘The archetypal masculine: its manifestation in myth, and its significance for women’, in A. Samuels (ed.), The Father: Contemporary Jungian Perspectives (London: Free Association Books, 1985) p.189.
Hillman, p.121; Andrew Samuels, Bani Shorter and Fred Plaut, A Critical Dictionary of Jungian Analysis (London: Routledge & Kegan Paul, 1986) pp.64–5.
C. G. Jung, Symbols of Transformation, The Collected Works, Vol. 5, 2nd edn (London: Routledge & Kegan Paul, 1956) p.431.
W. B. Yeats, ‘The Cold Heaven’ lines 1–6, in Poems, A. N. Jeffares (ed.) (London: Macmillan, 1962) pp.56–7.
Balachandra Rajan, W. B. Yeats (London: Hutchinson University Library, 1969) p.76
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© 1992 Kenneth John Izod
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Izod, J. (1992). Cold Heaven. In: The Films of Nicolas Roeg. Palgrave Macmillan, London. https://doi.org/10.1007/978-1-349-11468-9_14
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