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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... lack of symbolic mediation that would provide respite from the Other in its Real dimension. Max constantly encounters this Real as he moves closer to acquiring perfect certainty through his mathematical calculations. Even though Max ...
... lack of symbolic mediation that would provide respite from the Other in its Real dimension. Max constantly encounters this Real as he moves closer to acquiring perfect certainty through his mathematical calculations. Even though Max ...
Σελίδα
... lack in meaning and the beyond of the signifier that so many contemporary films have in their sights. The analyses that follow work to discern the traces of the ineffable Real without, at the same time, abandoning the project of ...
... lack in meaning and the beyond of the signifier that so many contemporary films have in their sights. The analyses that follow work to discern the traces of the ineffable Real without, at the same time, abandoning the project of ...
Σελίδα
... lack of freedom and thereby actively adopts necessity rather than passively enduring it. 4. Walter Davis (1994) has given this idea its most thorough and compelling articulation, though in terms of drama rather than film. 5. Prince is ...
... lack of freedom and thereby actively adopts necessity rather than passively enduring it. 4. Walter Davis (1994) has given this idea its most thorough and compelling articulation, though in terms of drama rather than film. 5. Prince is ...
Σελίδα
... lack and inconsistency that is part and parcel of that position. It is here that we can see the extent to which today, by failing to exempt primordial signifiers from our meaning-seeking efforts, we obstruct the signifier's crucial role ...
... lack and inconsistency that is part and parcel of that position. It is here that we can see the extent to which today, by failing to exempt primordial signifiers from our meaning-seeking efforts, we obstruct the signifier's crucial role ...
Σελίδα
... lack admitted in the Other, in which the Other telegraphs its intentions not through the dead letter of the Name or formula but directly to the subject in the form of libidinally invested, prelapsarian primordial signifiers. The ...
... lack admitted in the Other, in which the Other telegraphs its intentions not through the dead letter of the Name or formula but directly to the subject in the form of libidinally invested, prelapsarian primordial signifiers. The ...
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