Notes on Oedipus's Foot: Parody, Patricide, and Sovereignty of the Letter in Footnote

Images of the foot frame both the opening and closing sequences of Joseph Cedar's retelling of the old, old story of Oedipus, through a focus on an Israeli father and son, both academics in the same field of study —ancient Hebrew texts. That the name Oedipus in Greek means swollen foot is significant since the infant Oedipus was abandoned and left to die (by his father as most classical texts suggest) on an isolated crossroads, his foot pricked with pins. And by this wound, both physical and psychic, he would for all of history always be known.

In a close-up shot on Eliezar Shkolnik, seated in a car, we see sneakers worn by a father going to a prestigious awards ceremony where his son, Uriel Shkolnik, will be honored. The shot lasts a few seconds. Later, while the son, Uriel, gives his acceptance speech (in part, thanking his father's influence), we see Eliezar's feet, in close up, tapping. A film viewer might not even notice these shots, or, if seen, give them any significance. But in the visual messaging of cinematic discourse, just as in the listening mode of psychoanalytic clinical practice, details matter. In the concluding sequence of Footnote, Eliezar will be the one to receive a prestigious prize at a national ceremony of honor. He wears the shabby sneakers once again, but carries a bag that holds his dress shoes. In long shot we see him change shoes, now appropriately dressed for the upcoming event. The question we might ask is, Who is the father and who is the son? since it seems to be that Eliezar has