|
Showing 1 - 6 of
6 matches in All Departments
This book presents a new reading of film noir through
psychoanalytic theory. In a field now dominated by Deleuzian and
phenomenological approaches to film-philosophy, this book argues
that, far from having passed, the time for Lacan in Film Studies is
only just beginning. The chapters engage with Lacanian
psychoanalysis to perform a meta-critical analysis of the writing
on noir in the last seven decades and to present an original theory
of criticism and historiography for the cinema. The book is also an
act of mourning; for a lost past of the cinema, for a longstanding
critical tradition and for film noir. It asks how we can talk about
film noir when, in fact, film noir doesn't exist. The answer starts
with Lacan and a refusal to relinquish psychoanalysis. Lacanian
theories of retroactivity and ontology can be read together with
film history, genre and narrative to show the ways in which theory
and history, past and present, cinema and psychoanalysis are
fundamentally knotted together. Tyrer also explores Lacan through
particular noir films, such as Double Indemnity andThe Maltese
Falcon - and demonstrates the possibilities for a Lacanian Film
Studies (as one that engages fully with Lacan's entire body of
work) that has hitherto not been realised.
Psychoanalysis and the Unrepresentable opens a space for meaningful
debate about translating psychoanalytic concepts from the work of
clinicians to that of academics and back again. Focusing on the
idea of the unrepresentable, this collection of essays by
psychoanalysts, psychotherapists, counsellors, artists and film and
literary scholars attempts to think through those things that are
impossible to be thought through completely. Offering a unique
insight into areas like trauma studies, where it is difficult - if
not impossible - to express one's feelings, the collection draws
from psychoanalysis in its broadest sense and acts as a gesture
against the fixed and the frozen. Psychoanalysis and the
Unrepresentable is presented in six parts: Approaching Trauma,
Sense and Gesture, Impossible Poetics, Without Words, Wounds and
Suture and Auto/Fiction. The chapters therein address topics
including touch and speech, adoption, the other and grief, and
examine films including Gus Van Sant's Milk and Michael Haneke's
Amour. As a whole, the book brings to the fore those things which
are difficult to speak about, but which must be spoken about. The
discussion in this book will be key reading for psychoanalysts,
including those in training, psychotherapists and
psychotherapeutically-engaged scholars, academics and students of
culture studies, psychosocial studies, applied philosophy and film
studies, filmmakers and artists.
For Freud, famously, the feminine was a dark continent, or a riddle
without an answer. This understanding concerns man's relationship
to the question of 'woman' but femininity is also a matter of
sexuality and gender and therefore of identity and experience.
Drawing together leading academics, including film and literary
scholars, clinicians and artists from diverse backgrounds,
Femininity and Psychoanalysis: Cinema, Culture, Theory speaks to
the continued relevance of psychoanalytic understanding in a social
and political landscape where ideas of gender and sexuality are
undergoing profound changes. This transdisciplinary collection
crosses boundaries between clinical and psychological discourse and
arts and humanities fields to approach the topic of femininity from
a variety of psychoanalytic perspectives. From object relations, to
Lacan, to queer theory, the essays here revisit and rethink the
debates over what the feminine might be. The volume presents a
major new work by leading feminist film scholar, Elizabeth Cowie,
in which she presents a first intervention on the topic of film and
the feminine for over 20 years, as well as a key essay by the
prominent artist and psychoanalyst, Bracha Ettinger. Written by an
international selection of contributors, this collection is an
indispensable tool for film and literary scholars engaged with
psychoanalysts and anybody interested in different approaches to
the question of the feminine.
This book presents a new reading of film noir through
psychoanalytic theory. In a field now dominated by Deleuzian and
phenomenological approaches to film-philosophy, this book argues
that, far from having passed, the time for Lacan in Film Studies is
only just beginning. The chapters engage with Lacanian
psychoanalysis to perform a meta-critical analysis of the writing
on noir in the last seven decades and to present an original theory
of criticism and historiography for the cinema. The book is also an
act of mourning; for a lost past of the cinema, for a longstanding
critical tradition and for film noir. It asks how we can talk about
film noir when, in fact, film noir doesn't exist. The answer starts
with Lacan and a refusal to relinquish psychoanalysis. Lacanian
theories of retroactivity and ontology can be read together with
film history, genre and narrative to show the ways in which theory
and history, past and present, cinema and psychoanalysis are
fundamentally knotted together. Tyrer also explores Lacan through
particular noir films, such as Double Indemnity andThe Maltese
Falcon - and demonstrates the possibilities for a Lacanian Film
Studies (as one that engages fully with Lacan's entire body of
work) that has hitherto not been realised.
For Freud, famously, the feminine was a dark continent, or a riddle
without an answer. This understanding concerns man's relationship
to the question of 'woman' but femininity is also a matter of
sexuality and gender and therefore of identity and experience.
Drawing together leading academics, including film and literary
scholars, clinicians and artists from diverse backgrounds,
Femininity and Psychoanalysis: Cinema, Culture, Theory speaks to
the continued relevance of psychoanalytic understanding in a social
and political landscape where ideas of gender and sexuality are
undergoing profound changes. This transdisciplinary collection
crosses boundaries between clinical and psychological discourse and
arts and humanities fields to approach the topic of femininity from
a variety of psychoanalytic perspectives. From object relations, to
Lacan, to queer theory, the essays here revisit and rethink the
debates over what the feminine might be. The volume presents a
major new work by leading feminist film scholar, Elizabeth Cowie,
in which she presents a first intervention on the topic of film and
the feminine for over 20 years, as well as a key essay by the
prominent artist and psychoanalyst, Bracha Ettinger. Written by an
international selection of contributors, this collection is an
indispensable tool for film and literary scholars engaged with
psychoanalysts and anybody interested in different approaches to
the question of the feminine.
Psychoanalysis and the Unrepresentable opens a space for meaningful
debate about translating psychoanalytic concepts from the work of
clinicians to that of academics and back again. Focusing on the
idea of the unrepresentable, this collection of essays by
psychoanalysts, psychotherapists, counsellors, artists and film and
literary scholars attempts to think through those things that are
impossible to be thought through completely. Offering a unique
insight into areas like trauma studies, where it is difficult - if
not impossible - to express one's feelings, the collection draws
from psychoanalysis in its broadest sense and acts as a gesture
against the fixed and the frozen. Psychoanalysis and the
Unrepresentable is presented in six parts: Approaching Trauma,
Sense and Gesture, Impossible Poetics, Without Words, Wounds and
Suture and Auto/Fiction. The chapters therein address topics
including touch and speech, adoption, the other and grief, and
examine films including Gus Van Sant's Milk and Michael Haneke's
Amour. As a whole, the book brings to the fore those things which
are difficult to speak about, but which must be spoken about. The
discussion in this book will be key reading for psychoanalysts,
including those in training, psychotherapists and
psychotherapeutically-engaged scholars, academics and students of
culture studies, psychosocial studies, applied philosophy and film
studies, filmmakers and artists.
|
|