By John A. Riley

Adam Curtis and Patrick Keiller are two makers of idiosyncratic documentaries who have carved out unique careers over the past few decades, stretching the documentary form to breaking point in the process. In this article, I’ll argue that haunting is one particular theme that not only unites the two filmmakers, but goes a long way to explaining their respective warpings of the documentary form. What emerges from their use of the haunting motif is a critique of the prevailing political status quo in Britain

By John A. Riley

In The Pursuit of Happiness, the American philosopher Stanley Cavell outlines a blueprint for the comedy of remarriage. In Audition, genre-bending director Takashi Miike unveils his tragedy of remarriage, a radical inversion in which Aoyama, a middle-aged film producer is persuaded to remarry. His desire to find a wife is staged, with the help of another film industry professional, as an audition for a part in a nonexistent film. The film will never materialise but Aoyama’s new bride will. But where Cavell found fables of change and growth in his remarriage movies, Miike fashions his visceral tragedy from myopia, vanity, wealth and status, insecurity, and a long legacy of abuse.