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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Αποτελέσματα 1 - 3 από τα 39.
Σελίδα 14
... wants access to Euclid's predictive abilities . On the contrary , Max wants perfec- tion — the jouissance of the Other in an unmediated form . Aronofsky extends this insight into psychosis in his second film , Requiem for a Dream ( 2001 ) ...
... wants access to Euclid's predictive abilities . On the contrary , Max wants perfec- tion — the jouissance of the Other in an unmediated form . Aronofsky extends this insight into psychosis in his second film , Requiem for a Dream ( 2001 ) ...
Σελίδα 40
... wants to receive from his lover . When the signed letter arrives back , Pablo reads with great joy that Juan cannot ... wants or what the Other wants . However , while the neurotic con- stantly complains about the prohibitions he ...
... wants to receive from his lover . When the signed letter arrives back , Pablo reads with great joy that Juan cannot ... wants or what the Other wants . However , while the neurotic con- stantly complains about the prohibitions he ...
Σελίδα 205
... want to exist ? She wants a feminine identification , while to achieve one is not to be identified . Is , then , the relation of the hysteric to femininity paradoxical ? The hysteric wants it ; yet it is the last thing she wants . Also ...
... want to exist ? She wants a feminine identification , while to achieve one is not to be identified . Is , then , the relation of the hysteric to femininity paradoxical ? The hysteric wants it ; yet it is the last thing she wants . Also ...
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