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This volume takes up perspectives from object relations theory and
other psychoanalytic approaches to ask questions about the role of
television as an object of the internal worlds of its viewers, and
also addresses itself to a range of specific television programs,
ranging from Play School, through the plays of Jack Rosenthal to
recent TV blockbuster series such as In Treatment . In addition, it
considers the potential of television to open up new public spaces
of therapeutic experience. At the same time, however, the pitfalls
of reality programming are explored with reference to the politics
of entertainment and the televisual values that heighten the drama
of representation rather than emphasizing the emotional experience
of reality television participants and viewers. A recurring theme
throughout is that television becomes a psychological object for
its viewers and producers, maintaining the psychological "status
quo" on the one hand and yet simultaneously opening up playful
spaces of creative, therapeutic engagement for these groups. This
collection of essays arises from a conference organized by the
Media and the Inner World research network in collaboration with
the Freud Museum."
Despite the prominence of television in our everyday lives,
psychoanalytic approaches to its significance and function are
notoriously few and far between. This volume takes up perspectives
from object relations theory and other psychoanalytic approaches to
ask questions about the role of television as an object of the
internal worlds of its viewers, and also addresses itself to a
range of specific television programmes, ranging from Play School,
through the plays of Jack Rosenthal to recent TV blockbuster series
such as In Treatment. In addition, it considers the potential of
television to open up new public spaces of therapeutic experience.
Interviews with a TV producer and with the subject of a documentary
expressly suggest that there is scope for television to make a
positive therapeutic intervention in people's lives. At the same
time, however, the pitfalls of reality programming are explored
with reference to the politics of entertainment and the televisual
values that heighten the drama of representation rather than
emphasising the emotional experience of reality television
participants and viewers.
This timely book provides new insights into debates around the
relationship between women and film by drawing on the work of
philosopher Luce Irigaray. Arguing that female-directed cinema
provides new ways to explore ideas of representation and
spectatorship, it also examines the importance of contexts of
production, direction and reception.
This timely book provides new insights into debates around the
relationship between women and film by drawing on the work of
philosopher Luce Irigaray. Arguing that female-directed cinema
provides new ways to explore ideas of representation and
spectatorship, it also examines the importance of contexts of
production, direction and reception.
Lars von Trier is one of the most controversial figures of
contemporary European cinema. This volume analyzes the themes and
motifs of the director's work and the changes he has brought to
modern film. Ever since he founded the back-to-basics Dogme
philosophy of filmmaking in 1995, von Trier's name has been tied to
taboo-breaking cinema. He consistently courts media controversy
through films such as The Idiots (1998), with its unsimulated sex
and nonconformist politics. This volume presents von Trier as one
of the most daring cinematic exponents of postmodern politics and
satire.
Lars von Trier is the most controversial figure of contemporary
European cinema. This volume is the first book to analyse in depth
the changes he has brought to modern film. Since founding the
back-to-basics Dogme philosophy of filmmaking in 1995, von Trier's
name has become a by-word for taboo-breaking cinema. As a director,
he has courted media controversy through films such as The Idiots
(1998), with its unsimulated sex and non-conformist politics, and
through his complex relationships with actresses such as Bjork and
Nicole Kidman, from whom he coaxed career-best performances in
Dancer in the Dark (2000) and Dogville (2003) respectively.
Analysing these films as well as recent works such as The Five
Obstructions (2004) from a psychoanalytic perspective, it forges a
new understanding of the founder of Dogme 95 as a great
democratiser of cinema in the digital age.
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