Lacan and Contemporary FilmTodd Mcgowan, Sheila Kunkle Other Press, 17 Φεβ 2004 - 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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Σελίδα 65
... force of Drive , created by the framing of Law and its unconsciously extant remainders in the subject . Once the Law is given an official face of freedom rather than prohibition , drives reach a new level of intensity and require a new ...
... force of Drive , created by the framing of Law and its unconsciously extant remainders in the subject . Once the Law is given an official face of freedom rather than prohibition , drives reach a new level of intensity and require a new ...
Σελίδα 67
... force of unconscious fantasy . Cady con- fronts Sam ( the merely symbolic father ) with the fact that symbolic stature is never secured once and for all ; it must be re - won again and again by facing off against lethal jouissance ( the ...
... force of unconscious fantasy . Cady con- fronts Sam ( the merely symbolic father ) with the fact that symbolic stature is never secured once and for all ; it must be re - won again and again by facing off against lethal jouissance ( the ...
Σελίδα 141
Todd Mcgowan, Sheila Kunkle. gated minds . The channeling of the love force by hegemonic forces is therefore imperative , as the order of things relies upon our con- tinued geography of love as a private movement . In other words , the ...
Todd Mcgowan, Sheila Kunkle. gated minds . The channeling of the love force by hegemonic forces is therefore imperative , as the order of things relies upon our con- tinued geography of love as a private movement . In other words , the ...
Περιεχόμενα
Aronofskys π and | 1 |
The Anxiety of Love Letters | 29 |
Between the Two Fears | 47 |
Πνευματικά δικαιώματα | |
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Συχνά εμφανιζόμενοι όροι και φράσεις
alienation Aronofsky becomes Bess Bill 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 femi 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 ideology imaginary Jack Jack's Jacques Lacan Kubrick Lacanian Lacanian film theory lack love letters male mask Max Cady Max's Murdoch mysterious narrative Norton object objet petit obscene orgy patriarchal perverse phallic phallus play political position primordial signifier psychoanalysis psychotic Real reality relation relationship reveals role romantic love Ruth Ruth's scene Schreber Scorsese's sense sexual Shell Beach Slavoj Žižek social spectator Strangers structure Superego sweet hereafter symbolic authority symbolic order takes tefillin Thompson's tion trans trauma traversing the fantasy University viewer wants woman women York Žižek