Lacan and Contemporary FilmOther Press, LLC, 8 Σεπ 2020 - 280 σελίδες This unique volume collects a series of essays that link new developments in Lacanian psychoanalytic theory and recent trends in contemporary cinema. Though Lacanian theory has long had a privileged place in the analysis of film, film theory has tended to ignore some of Lacan's most important ideas. As a result, Lacanian film theory has never properly integrated the disruptive and troubling aspects of the filmic experience that result from the encounter with the Real that this experience makes possible. Many contemporary theorists emphasize the importance of the encounter with the Real in Lacan's thought, but rarely in discussions of film. By bringing the encounter with the Real into the dialogue of film theory, the contributors to this volume present a new version of Lacan to the world of film studies. These essays bring this rediscovered Lacan to bear on contemporary cinema through analysis of a wide variety of films, including Memento, Eyes Wide Shut, Breaking the Waves, and Fight Club. The films discussed here demand a turn to Lacanian theory because they emphasize the disruptive role of the Real and of jouissance in the experience of the human subject. There is a growing number of films in contemporary cinema that speak to film's power to challenge and disturb the complacency of spectators, and the essays in Lacan and Contemporary Film analyze some of these films and bring their power to light. Because of its dual focus on developments in Lacanian theory and in contemporary film, this collection serves as both an accessible introduction to current Lacanian film theory and an introduction to the study of contemporary cinema. Each essay provides an accessible, jargon-free analysis of one or more important films, and at the same time, each explains and utilizes key concepts of Lacanian theory. The collection stages an encounter between Lacanian theory and contemporary cinema, and the result is the enrichment of both. |
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... figure in the rest of the humanities, he was firmly ensconced in a foundational role within film studies. Christian Metz's The Imaginary Signifier, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” and Jean-Louis Baudry's “Basic ...
... figure in the rest of the humanities, he was firmly ensconced in a foundational role within film studies. Christian Metz's The Imaginary Signifier, Laura Mulvey's “Visual Pleasure and Narrative Cinema,” and Jean-Louis Baudry's “Basic ...
Σελίδα
... emergence of this new paternal figure and the irruptions of the Real that he engenders. Pizzato claims that Kubrick's film changes the coordinates of the cinematic experience, thereby revealing the cinema itself as a version of.
... emergence of this new paternal figure and the irruptions of the Real that he engenders. Pizzato claims that Kubrick's film changes the coordinates of the cinematic experience, thereby revealing the cinema itself as a version of.
Σελίδα
... figure, John Murdoch (Rufus Sewell), breaks through the hold that fantasy has over him and thus changes the entire ideological edifice upon which the Strangers' society exists. Here, we see that traversing the fantasy is not just a ...
... figure, John Murdoch (Rufus Sewell), breaks through the hold that fantasy has over him and thus changes the entire ideological edifice upon which the Strangers' society exists. Here, we see that traversing the fantasy is not just a ...
Σελίδα
... figures are, in themselves, a priori. Instead, what geometry elucidates is that numbers and the properties of figures are brought out by an act of the subject—that is, “by virtue of what [the mathematician] himself was, according to ...
... figures are, in themselves, a priori. Instead, what geometry elucidates is that numbers and the properties of figures are brought out by an act of the subject—that is, “by virtue of what [the mathematician] himself was, according to ...
Σελίδα
... figure whom Max's mentor, Sol, actually invokes later in the film. I thank Edward Fowble for helping me to read these scenes of the film. 18. Each letter in the Hebrew alphabet carries a numerical value, a fact that has led some to ...
... figure whom Max's mentor, Sol, actually invokes later in the film. I thank Edward Fowble for helping me to read these scenes of the film. 18. Each letter in the Hebrew alphabet carries a numerical value, a fact that has led some to ...
Περιεχόμενα
Between the Two Fears | |
Erotic Masques of the Death Drive in Eyes | |
Choice Love and Contradiction | |
Dark City and the Politics | |
An Ethical Plea for Lies and Masochism | |
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alienation Aronofsky becomes Bess Bill Bill’s Bowden Breaking the Waves Cady’s Campion’s Cape Fear choice cinema contemporary Copjec critique Cyrano Dark City depicts desire Diane encounter erotic exist experience fantasmatic fantasy father feminine jouissance feminist feminist film theory Fight Club film studies film’s filmic text Fink freedom function fundamental gaze Hollywood Holy Smoke human hysteric identity ideological control ideology imaginary Jack Jack’s Jacques Lacan Kubrick Lacanian Lacanian film theory lack male mask Max Cady Max’s Murdoch mysterious narrative object objet petit obscene orgy Other’s patriarchal perverse phallic phallus political position primordial signifier psychoanalysis psychotic question Real reality relation relationship reveals role Ruth Ruth’s Sam’s scene Schreber Scorsese’s Seminar sense sexual Shell Beach Slavoj Žižek social spectator Strangers structure Superego sweet hereafter symbolic authority symbolic order takes tefillin Thompson’s trans trauma traversing the fantasy University viewer wants woman women York Žižek