Relevant bibliographies by topics / Melancholia (film)

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Melancholia (film)'

Author: Grafiati
Published: 4 June 2021
Last updated: 1 February 2022

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Journal articles on the topic "Melancholia (film)"

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Marks, Laura U. "Loving a Disappearing Image." Cinémas 8, no. 1-2 (October 26, 2007): 93–111. http://dx.doi.org/10.7202/024744ar.

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ABSTRACTThe author explores how a viewer identifies with a decaying or disintegrating film or videotape, given that cinema is, in effect, dying even as we watch it. She discusses several experimental films and videos that take as their subject the disintegration of film, often erotic film. A psychoanalytic model of melancholia is posited for this identificatory process, but it is found to be unsatisfactory since it is premised on the maintenance of the ego's coherence. Instead a model of devotional melancholia is posited for how one might love a disappearing image.
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Lee, Seong Joo. "Melancholia and Decadence－The Film Melancholia (2011) by Lars von Trier－." Journal of Humanities 81 (May 30, 2021): 113–45. http://dx.doi.org/10.31310/hum.081.04.

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Figlerowicz, Marta. "Comedy of Abandon: Lars von Trier's Melancholia." Film Quarterly 65, no. 4 (2012): 21–26. http://dx.doi.org/10.1525/fq.2012.65.4.21.

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The piece reviews Lars von Trier's Melancholia (2011). This film marks a break with von Trier's prior work. Rather than push its plot to the limits of emotional intensity and gravity, Melancholia studies and comically questions our sense of feelings’ proportion and scale.
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Nicholls, Mark. "Male Melancholia and Martin Scorsese's The Age of Innocence." Film Quarterly 58, no. 1 (2004): 25–35. http://dx.doi.org/10.1525/fq.2004.58.1.25.

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Abstract Through an analysis of Martin Scorsese's The Age of Innocence, this article proposes a psychoanalytically based theory of male melancholia. Grounded in the cultural ambiguities of loss and masculinity, melancholia is revealed as an essential tool for reading Scorsese's film and for understanding representations of male desire in the cinema.
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Chusna, Inayatul, Anggita Rizkiarachma Ansyahputri, Avi Ainul Fikri, and Muhammad Rafli. "The Manifestation of Monster and the Emotional Repression in Jennifer Kent’s The Babadook (2013)." Insaniyat: Journal of Islam and Humanities 4, no. 2 (May 24, 2020): 123–32. http://dx.doi.org/10.15408/insaniyat.v4i2.14453.

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The purpose of this research is to explore the emotional state of the main character, Amelia, in The Babadook film. The film portrays how Amelia deals with her loss and how the monster Babadook represents the repressed feeling of loss. This research analyses the emergence of the Babadook, how it affects her, and how her behaviors are considered as melancholia by using qualitative method and the theory of psychoanalysis, Mourning and Melancholia by Sigmund Freud (1917). The research finds that the eerie monster haunts Amelia whenever she is confronted to her repressed emotion: grief and self- loathing. The Babadook monster is the manifestation of grief and loss. As the monster getting stronger, the sinister presence of the Babadook starts to affect Amelia’s psyche as she is getting more paranoid and more aggressive. She is also unable to show affection toward her son. Moreover, Amelia shows an act of self-destruct by keeping herself from the outside world and unconsciously blaming herself for the death of the husband. Those behaviors indicate that Amelia comes into the state of melancholia. Finally, she manages to overcome the state by accepting the feeling of loss and let herself mourn. The study of this film suggests a way of dealing with trauma and loss by accepting their permanent presence in life.
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Waligórska-Olejniczak, Beata. "ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY." Porównania 24 (June 15, 2019): 85–94. http://dx.doi.org/10.14746/por.2019.1.8.

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Beata Waligórska-Olejniczak, ZNIEWAŻONA ZIEMIA (LA TERRE OUTRAGÉE, 2012) MICHALE BOGANIM JAKO FILM POSTTRAUMATYCZNY. „PORÓWNANIA” 1 (24), 2019. T. XXIV, S. 85-94. ISSN 1733-165X. Celem artykułu jest analiza filmu Znieważona ziemia Michale Boganim z punktu widzenia współczesnych badań nad traumą i studiów nad pamięcią. Wykorzystując aparat pojęciowy, funkcjonujący w obszarze tych badań, zauważono, że film Znieważona ziemia mieści się w kategorii filmu posttraumatycznego nie tylko ze względu na centralny dla niego temat czarnobylskiej katastrofy i jej następstw, które widz ma okazję obserwować głównie przez pryzmat milieu. Boganim umiejscawia traumę świadka przede wszystkim w niezdolnym do jej przepracowania ciele i psychice człowieka. Źle ulokowana nostalgia, melancholia, kinetyczna nadpobudliwość funkcjonują w filmie jako znaki, pozwalające widzowi współodczuwać tragedię bohaterów, rodzaj powtarzalnego kodu, zmuszającego do refleksji nad mechanizmami pamięci i zapominania.
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Dima, Vlad. "Ousmane Sembene'sLa Noire de…: melancholia in photo, text, and film." Journal of African Cultural Studies 26, no. 1 (August 2, 2013): 56–68. http://dx.doi.org/10.1080/13696815.2013.811069.

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Troth, Brian. "Haunted spaces: trauma, mourning, and melancholia in the HIV epidemic in France." Contemporary French Civilization: Volume 46, Issue 2 46, no. 2 (June 1, 2021): 129–46. http://dx.doi.org/10.3828/cfc.2021.7.

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Several AIDS films produced in France in the last five years approach the subject of AIDS in a memorialized fashion, resulting in the contemporary stakes of the epidemic going unheard, as noted by François Berdougo and Gabriel Girard. In this essay, this phenomenon is read as a cultural trauma and melancholia for gay men. Through Freudian trauma theory and Derridean notions of hauntology, this article argues that gay men are unable to escape the specters of the AIDS epidemic. First, the article explores the way haunting is invoked through public health campaigns, reactions to the epidemic, and cultural productions. Second, it engages with the 2016 film Théo et Hugo dans le même bateau to assert that while contemporary discourse is still marked by spectres of trauma, today’s advances in medicine and understanding of the disease allow for certain sexual behaviors to be practiced without fear of contamination and with the resolution of melancholia. Théo et Hugo accomplishes this through a reversal of the Orphic tragedy, here reread as an invitation to live life after AIDS.
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Gauvin, Francis. "Nihilisme et fin du monde dans Melancholia de Lars von Trier." Cinémas 26, no. 1 (July 6, 2016): 31–48. http://dx.doi.org/10.7202/1037000ar.

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Le film Melancholia (Lars von Trier, 2011) s’ouvre et se clôt sur une même représentation : la collision entre la Terre et une autre planète. L’histoire de Justine, la protagoniste, se déroule ainsi à l’intérieur d’un intervalle fort particulier, puisqu’elle se situe entre deux catastrophes. Cet article défend l’hypothèse selon laquelle la mélancolie de Justine serait symptomatique d’une première catastrophe — une perte incommensurable —, tandis que l’impact violent qui met fin au film s’apparenterait plutôt à un brusque retour du refoulé. La mise en parallèle de l’histoire de Justine avec l’histoire de l’art suggère en outre que le trouble du personnage n’est pas indépendant de la mélancolie romantique. En considérant le nihilisme comme un « sinthome », l’auteur montre comment, depuis le moment cartésien, il y eut non pas une perte, mais un aveuglement face à l’objet a et au grand Autre, lesquels n’auraient ainsi d’autre choix que de revenir à l’instar d’un retour du refoulé. La danse de la mort de la planète Melancholia décrirait donc le mouvement insaisissable de ce qui échappe aux lumières de la raison.
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Hyett, Matthew P., Gordon B. Parker, Christine C. Guo, Andrew Zalesky, Vinh T. Nguyen, Tamara Yuen, and Michael Breakspear. "Scene unseen: Disrupted neuronal adaptation in melancholia during emotional film viewing." NeuroImage: Clinical 9 (2015): 660–67. http://dx.doi.org/10.1016/j.nicl.2015.10.011.

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Dissertations / Theses on the topic "Melancholia (film)"

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Cabart, Anaïs. "Cinéma analytique et transfert : l’expérience spectatorielle dans "Persona" et "L’Heure du loup" de Bergman et "Antichrist", "Melancholia" et "Nymphomaniac" de Von Trier." Thesis, Bordeaux 3, 2017. http://www.theses.fr/2017BOR30039/document.

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Le développement simultané du cinéma et de la psychanalyse a donné lieu à de nombreuses études confrontant et associant ces deux sphères. Cette thèse interroge plus particulièrement le transfert comme phénomène se manifestant dans la rencontre entre le spectateur et le film, et s’appuie sur les théories de psychanalyse jungienne. À partir de la prise en compte d’un cinéma analytique, associant réflexivité et thématique psychologique, l’hypothèse émise est celle de la présence de « psychés-films », facilitant l’étude du phénomène de transfert dans l’expérience spectatorielle. À travers leur construction spatiale et temporelle et par leur constitution figurale, ces « psychés-films » s’apparentent à des psychés projetées à l’écran et visuellement accessibles. Dans son acception jungienne, le transfert est un phénomène transpersonnel aux conséquences psychiques et physiques et qui engage deux individus dont les inconscients communiquent entre eux. En mettant en évidence les spécificités d’un tel phénomène au cinéma, cette thèse interroge la possibilité d’envisager un inconscient propre au film, notamment à l’aide de théories d’esthétique du cinéma, et les conséquences éventuelles, dans le corps et dans la psyché, d’une rencontre transférentielle entre le spectateur et le film. Afin d’étudier la possibilité d’un transfert dans l’expérience spectatorielle, cinq films interprétables en tant que « psychés-films » sont analysés sous un angle jungien : Persona et L’Heure du loup, réalisés par Ingmar Bergman et Antichrist, Melancholia et Nymphomaniac, réalisés par Lars von Trier. Pour ce faire, cette recherche s’effectue suivant des perspectives psychanalytique (Jung, Ferenczi, Freud, Abraham et Török), esthétique (Brenez, Lefebvre, Vancheri) et philosophique (Damasio, Derrida), et par la prise en compte d’un spectateur idéal
The simultaneous development of cinema and psychoanalysis led to many studies confronting and associating these two fields. This thesis examines more specifically transference as a phenomenon arising in the encounter between spectator and film, and is based on Jungian psychoanalytic theories. Considering an analytic cinema, which associates reflexivity and psychological themes, I hypothesised the existence of “psyche-films”, enabling the study of the psychoanalytic transference within spectator’s experience. Through their spatial and temporal constructions and their figural composition, these “psyche-films” are akin to psyches projected on screen and visually accessible. According to Jung, transference is a transpersonal phenomenon with psychological and physical consequences, involving two individuals whose unconscious communicate together. Bringing out the characteristics of such a phenomenon, this thesis explores the possibility of considering the film’s own unconscious, in particular with the help of film aesthetics theories, and questions the consequences, inside body and psyche, that might be caused by the transferential encounter between spectator and film. In order to study the possibility of such a transference in the spectator’s experience, five films regarded as “psyche-films” are analysed using a Jungian perspective: Persona and Hour of the Wolf, directed by Ingmar Bergman and Antichrist, Melancholia and Nymphomaniac, directed by Lars von Trier. To this end, this research is performed using psychoanalytic (Jung, Ferenczi, Freud, Abraham and Török), aesthetic (Brenez, Lefebvre, Vancheri) and philosophical (Damasio, Derrida) perspectives, and considering an ideal spectator
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Machado, Elsa Cascais Silva Andrade. "Masculinity, melancholia and misogyny in the films of Sam Peckinpah." Doctoral thesis, Universidade de Aveiro, 2017. http://hdl.handle.net/10773/22904.

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Doutoramento em Estudos Culturais
With this thesis I have attempted to analyse three salient features in Sam Peckinpah’s films: masculinity, melancholia and misogyny. Having made only fourteen films, Peckinpah distinguished himself as an important director in the history of American cinema not only because of his innovative techniques but also because his work was so much in tune with the zeitgeist of the turbulent times in which he lived. The analysis of these three main themes aims to cast some light on the work of a director whose temperamental traits and difficult relation with the film industry tend to obfuscate an un-romanticized view of his oeuvre. Peckinpah’s best work was within the generic traits of the Western but he also made forays into other genres, never forsaking the main worries and worldview that give his films a sense of thematic coherence. While American cinema is inclined to foreground a strong patriarchal hegemonic model, Peckinpah’s films, although centered on masculinity, unwittingly undermine this model by disclosing flaws and weaknesses in his protagonists, rendering them more vulnerable and prone to suffering. This singularity allowed me to bring into relief the elegiac mood of his films, a characteristic which entwines with the perception of a fading West and with the obsolescence of his male characters. Peckinpah became notorious in his association with misogyny not only because of his impromptu comments in the interviews he gave but also because he displayed a problematic relationship with women in real life, giving them a dismissive treatment in his films. This thesis attempts to deal with this unsavoury feature which many critics disavow or simple ascribe to inflamed feminist criticism. I hope in this work I have managed to address the richness of Peckinpah’s films and to reveal how he left a legacy which surpasses the technical artistry for which he became known and the violence which he stylised with the details of his obsessive directorial flair. This legacy lies in the melancholy mood that suffuses his work, resulting from disenchantment and loss.
Com esta tese procurei abordar três aspectos que se salientam na obra de Sam Peckinpah: masculinidade, melancolia e misoginia. Tendo realizado apenas catorze filmes, Peckinpah distinguiu-se na história do cinema Americano não apenas pelos elementos técnicos inovadores mas também pelo facto de os seus filmes estarem em sintonia com o zeitgeist dos tempos turbulentos em que viveu. A partir da análise destes três aspectos, pretendi realçar o trabalho de um realizador cuja personalidade temperamental e a difícil relação com os estúdios tendem a obfuscar uma exploração menos romanticizada do seu trabalho. Apesar de se ter distinguido no Western, Peckinpah aventurou-se por outros géneros, nunca abandonando as principais preocupações e mundividência que conferem ao seu trabalho uma coerência temática. Enquanto o cinema Americano promove um modelo fortemente patriarcal e hegemónico, os filmes de Peckinpah, apesar de se centrarem na masculinidade, tendem a subverter este modelo ao colocarem em evidência as falhas e fraquezas dos seus protagonistas, que se revelam vulneráveis e mais suscetíveis ao sofrimento. Esta singularidade permitiu-me sublinhar a disposição elegíaca dos seus filmes e a sua relação com melancolia, uma característica que se associa à perceção de um Oeste em declínio e ao anacronismo dos seus protagonistas. Peckinpah ficou marcado pela sua postura misógina não apenas através dos seus comentários precipitados e irrefletidos, presentes nas várias entrevistas que concedeu, mas também porque manifestou uma relação problemática com as mulheres, algo que se refletiu na forma como as tratou e representou no ecrã. Esta tese procura assim abordar uma vertente menos agradável da sua obra que muitos críticos minimizam ou percecionam como resultado de uma crítica feminista inflamatória. Espero assim que, com este trabalho, tenha conseguido explorar a riqueza do cinema de Sam Peckinpah, demonstrando que a herança que este nos deixou ultrapassa em muito a técnica artística dos seus filmes ou a violência que ele explorou exaustivamente com a sua entrega à realização. Esta herança reside na melancolia que atravessa o seu trabalho, resultante de desencanto e perda.
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Rissing, Thilo. "Jenseits von Mythos und Melancholie : philosophisch-theologische Überlegungen im Anschluss an das Kino von Theo Angelopoulos /." Marburg : Schüren, 2008. http://d-nb.info/986511919/04.

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Rissing, Thilo. "Jenseits von Mythos und Melancholie philosophisch-theologische Überlegungen im Anschluss an das Kino von Theo Angelopoulos." Marburg Schüren, 2007. http://d-nb.info/986511919/04.

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Baker, William Andrew. "Melancholy and the Photo-Historical Approach in the Films of Wim Wenders." The Ohio State University, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=osu161913209076124.

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Schlumpf, Erin. "Melancholy, Ambivalence, Exhaustion: Responses to National Trauma in the Literature and Film of France and China." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10263.

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This dissertation exposes responses to national trauma in literature and film from France in the twenty-five years following the 1940-1944 German Occupation, and from China in the twenty years following the 1989 Tiananmen Square Incident. My study is unique in that it focuses on French and Chinese authors who lived through the two traumatic periods, but whose work does not present a conventional version of bearing witness. Instead of locating expressions of national trauma in narratives describing historical traumatic events, I detect three aesthetic concerns or symptoms--melancholy, ambivalence, and exhaustion, which can be read as the traces of traumas that seem to evade direct identification. I argue that trauma may make its presence known by an absence of reference to its source. Emerging during post-traumatic periods--the Trente glorieuses in France (from 1945 to 1973) and the Post-New Era in China (from 1990 to the present)--my dissertation argues that novels by Marguerite Duras and Wang Anyi, novellas by Samuel Beckett and Ge Fei, and films by Jean-Luc Godard and Jia Zhangke reveal a tension between present national circumstances and ghosts from the past. These two post-traumatic national moments in France and China share the state projects and dominant discourses of economic growth, consumption, individualism, and nationalism, which I claim aided in the repression of troubled recent histories. The works of fiction and film I discuss in this dissertation, marked by melancholy, ambivalence, and exhaustion, offer counter-discourses in that they fail to partake in the project of national "progress," instead exposing irresolution with respect to overcoming history. In these works, furthermore, I contend that such historical (re)negotiations prompt aesthetic innovations, allowing for a redefinition of the causes and cases of early postmodernism.
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Stamm, Gina M. "The Context of Loss: Contextualization of the Language of Traumatic Memory in Hiroshima Mon Amour and Le Ravissement de Lol V. Stein." Miami University / OhioLINK, 2010. http://rave.ohiolink.edu/etdc/view?acc_num=miami1279639764.

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Carvalho, Taísa. "Rastros e vozes de Sylvia Plath: reminiscências e memória." Universidade Estadual do Oeste do Parana, 2013. http://tede.unioeste.br:8080/tede/handle/tede/2353.

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The purpose of this paper is to analyze, in a comparative way, the theme of melancholy, suicide, and death in eight Ariel poems the work of Sylvia Plath - "Lady Lazarus", "Daddy", "The moon and the yew tree "," Death & Co ", "Ariel," Tulips "," The detective "and" Purdah "- in five poems from other works of the same writer -" Pursuit "," the tree of life "," Mirror "," Edge "and" Words "- in four paintings entitled Vita e Morte , Allegoria la vita unama , La morte del peccatore and Melancolia I and the movie Sylvia , passion beyond words by Christine Jeffs. Based on the established thematic intertextuality between artistic forms - film, painting and poem - which constitute the corpus of this research and the conception of poetry as a place of culture, studies the poetry of Sylvia Plath, which is constructed by the plots of the imaginary, process and reminiscent of forgetfulness, so that art and suffering may converge and the shadow of suicide author protrudes over the text. It is, above all, a poetic which refers to the human condition of transience and permanence: the permanence of writing and transience of life. Therefore, this study is based mainly on the theoretical principles of Paz (1982, 1991 and 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) and Chevalier (2003).
A proposta deste trabalho é analisar, de modo comparativo, a temática da melancolia, do suicídio e da morte em oito poemas da obra Ariel, de Sylvia Plath Lady Lazarus , Daddy , The moon and the yew tree , Death & Co , Arie l, Tulips , The detective e Purdah , em cinco poemas de outras obras da mesma escritora Pursuit , The tree of life , Mirror , Edge e Words , em quatro pinturas intituladas Vita e Morte, Allegoria de la vita unama, La morte del peccatore e Melancolia I e na obra fílmica Sylvia, paixão além das palavras, de Christine Jeffs. Partindo da intertextualidade temática estabelecida entre as linguagens artísticas cinema, pintura e poema que constituem o corpus desta pesquisa e da concepção de poesia enquanto local de cultura, estuda-se a poética de Sylvia Plath, que se constrói pelas tramas do imaginário, do processo rememorativo e do esquecimento, de modo que arte e sofrimento se confluem e a sombra do suicídio da autora se projeta sobre o texto. Trata-se, sobretudo, de um fazer poético que remete à condição humana de transitoriedade e permanência: a permanência da escrita e a transitoriedade da vida. Para tanto, este estudo baseia-se, sobretudo, nos pressupostos teóricos de Paz (1982, 1991 e 1993), Gagnebin (2005, 2006, 2009), Schopenhauer (2001), Yates (2007), de Almeida (1999), Weinrich (2001), Bosi (2000), Adorno (1975), Benjamin (2000), Seligmann-Silva (2010) e Chevalier (2003).
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Carobolante, Jean-Baptiste. "Vers un monde spectral : théorie d'une hantise de l'image à partir du cinéma de spectre (1998-2018)." Electronic Thesis or Diss., Normandie, 2020. http://www.theses.fr/2020NORMC036.

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Cette thèse tente d'atteindre deux objectifs : premièrement, produire une analyse générale du cinéma de spectre contemporain dont nous définissons le point de départ en 1998 avec le film Ringu d'Hideo Nakata. Les films de spectres diffèrent des films de fantômes par le fait que leurs motifs sont à comprendre à partir des doutes technologiques, sociaux et métaphysiques de nos sociétés contemporaines. Par ailleurs, ce concept de spectre, que nous définissons tout au long de la recherche, est intrinsèquement lié à l'histoire de l'art et à la philosophie de l'image. C'est ainsi que nous arrivons au second objectif que tente d'atteindre notre recherche : proposer une théorie de notre rapport contemporain à l'image à partir de ce genre cinématographique. L'intuition théorique de départ est que nous vivons à une époque où l'image a une valeur politique prédominante, au point d'influencer l'agir, et que nous pouvons trouver, en l'image elle-même, une matière pour penser cette influence croissante. Ainsi, le cinéma « spectral », en tant que cinéma où le spectre est défini comme « une forme invisible qui va tout faire pour se rendre visible », nous semble être le cinéma même où se jouent cette puissance de l'image et sa part d'incarnation
This thesis attempts to achieve two objectives: first, to produce a general analysis of contemporary cinema of spectre where we define its genesis with Ringu (Hideo Nakata, 1998). What distinguishes spectral films from ghost films is the fact that their patterns are intimately linked to technological, social and metaphysical doubts of our contemporary societies. The concept of spectre, defined throughout this research, is intrinsically linked to the history of art and the philosophy of the image and perception. This is how we arrive at the second objective: to propose a theory of our contemporary relationship to the image based on this cinematographic genre. The initial theoretical intuition is that we live in times where the image has a predominant political value, to the point of influencing action and that we can find, in the image itself, the material for thinking about this growing influence. Thus, the "spectral" cinema, as a cinema where the spectre is defined as "an invisible form which will do everything to make itself visible", is to us the very cinema where this power of the image and its part of incarnation are played out
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BOCCHI, GIUSEPPE. "PHILOSOPHIA MEDICA E MEDICINA RHETORICA IN SENECA." Doctoral thesis, Università Cattolica del Sacro Cuore, 2009. http://hdl.handle.net/10280/526.

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E' possibile approfondire la conoscenza del pensiero senecano tenendo conto delle conoscenze mediche del filosofo. L'influenza della scuola medica Pneumatica, di ispirazione stoica, consente di dimostrare che le passioni come l'ira non sono per Seneca solo malattie dell'anima, ma sindromi psicofisiche che coinvolgono tutti i livelli dell'individuo, alla luce di un monismo corpo- anima possibile solo alla luce delle dottrine Pneuamtiche. Malattie come la mania e la melancolia, inoltre, hanno un decorso particolare che oltre ad influenzare la visione senecana dell'ira, permette anche di comprendere il carattere apparentemente incoerente di alcuni personaggi delle tragedie (Clitennestra, Atreo, Fedra e Medea), che possono essere considerati traduzioni drammaturgiche di sindromi maniaco- depressive.
It's possible to deepen our knowledge of Senecan thought by considering his medical knowledge. The influence of the Pneumatic school, inspired by Stoic philosophy, makes possible to show that passions like anger are for Seneca not only soul diseases, but also a kind of psycho- physical syndrome that concerns every aspect of the individual in the light of a psycho- physical monism that is possible to understand only through the Pneumatic doctrines. Diseases like mania and melancholy, moreover, have a peculiar development which, influencing Senecan view of anger, let us understand the apparently incoherent features of some characters of the tragedies (Clitaemestra, Atreus, Phaedra, Medea) who can be considered dramatic translations of manic- depressive syndromes
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Books on the topic "Melancholia (film)"

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"Melancholia": Wege zur psychoanalytischen Interpretation des Films. Göttingen: Vandenhoeck & Ruprecht, 2014.

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Blothner, Dirk, and Ralf Zwiebel, eds. »Melancholia« - Wege zur psychoanalytischen Interpretation des Films. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.

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Szymanski, Adam. Cinemas of Therapeutic Activism. NL Amsterdam: Amsterdam University Press, 2020. http://dx.doi.org/10.5117/9789463723121.

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The hegemonic meaning of depression as a universal mental illness embodied by an individualized subject is propped up by psychiatry’s clinical gaze. Cinemas of Therapeutic Activism turns to the work of contemporary filmmakers who express a shared concern for mental health under global capitalism to explore how else depression can be perceived. In taking their critical visions as intercessors for thought, Adam Szymanski proposes a thoroughly relational understanding of depression attentive to eventful, collective and contingent qualities of subjectivity. What emerges is a melancholy aesthetics attuned to the existential contours and political stakes of health. Cinemas of Therapeutic Activism adventurously builds affinities across the lines of national, linguistic and cultural difference. The films of Angela Schanelec, Kelly Reichardt, Apichatpong Weerasethakul and Kanakan Balintagos are grouped together for the first time, constituting a polystylistic common front of artist-physicians who live, work, and create on the belief that life can be more liveable.
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Friedlander, Jennifer. Melancholia and the Real of the Illusion. Oxford University Press, 2017. http://dx.doi.org/10.1093/acprof:oso/9780190676124.003.0009.

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This chapter explores Lars von Trier’s 2012 film, Melancholia, which tells the story of a profoundly depressed woman on the brink of the apocalypse. The film ends with its main characters huddled in terror as Earth is destroyed via a collision with rogue planet, Melancholia. It examines the film in terms of von Trier’s surprising statement that Melancholia contains the “happiest ending he’s ever made” and Slavoj Žižek’s declaration of Melancholia as a “profoundly optimistic” film. This chapter makes sense of these comments by arguing that the film offers insight into ways of living ethically in the face of utter loss. Such a possibility requires embracing the constitutive power of illusion.
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Marston, Kendra. Postfeminist Whiteness. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474430296.001.0001.

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This book is the first extended study into the politics of whiteness inherent within postfeminist popular cinema. It analyses a selection of Hollywood films dating from the turn of the millennium, arguing that the character of the ‘melancholic white woman’ operates as a trope through which to explore the excesses of late capitalism and a crisis of faith in the American dream. Melancholia can function as a form of social capital for these characters yet betrays its proximity to a gendered history of emotion and psychopathology. This figure is alternately idealised or scapegoated depending on how well she navigates the perils of postfeminist ideology. Furthermore, the book considers how performances of melancholia and mental distress can confer benefits for Hollywood actresses and female auteurs on the labour market, which in turn has contributed to the maintenance of white hegemony within the mainstream US film industry. Case studies in the book include Black Swan (Darren Aronofksy 2010), Gone Girl (David Fincher 2014) and Alice in Wonderland (Tim Burton 2010).
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Singleton, Jermaine. Introduction. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252039621.003.0001.

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This introductory chapter provides an overview of the book's main themes. This book explores the disavowed claims of the past on the present through a group of cultural productions—literature, drama, and film—focused on racialized subject-formations and cultural formations. Investigating the intersection of categories of social difference, nation making, and buried social memory, it uncovers a host of hidden dialogues for the purpose of dismantling the legacy effects of historical racial subjugation and inequality. The book brings psychoanalytic paradigms of mourning and melancholia and discussions of race and performance by W. E. B. Du Bois, Frantz Fanon, Julian Carter, Diana Taylor, and Kimberly Benton into conversation with literary work on post-Emancipation America's everyday life and ritual practice to challenge scholarship that calls for the clinical separation of ethnic studies and psychoanalysis as well as the divorce of psychoanalysis and socioeconomic history, and presumes that this disengagement is central to American nationhood's continued relationship with unresolved racial grievances. This study develops a theory of “cultural melancholy” that uncovers the ideological and psychical claims of the history of slavery and ongoing racial subjugation on contemporary racialized subject-formations and dominant American culture.
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Pipolo, Tony. The Melancholy Lens. Oxford University Press, 2021. http://dx.doi.org/10.1093/oso/9780197551165.001.0001.

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The Melancholy Lens is an original study of the films and videos of five major figures of American avant-garde cinema: Maya Deren, Stan Brakhage, Gregory Markopoulos, Robert Beavers, and Ernie Gehr. Unlike other books on these artists, the approach of The Melancholy Lens is to examine the filmic form, imagery, and structures of the selected works in terms of how they reflect, directly or indirectly, consciously or unconsciously, important aspects of the personal and psychological dimensions of each artist, including how each grappled with significant losses in their lives. The author, a film scholar and practicing psychoanalyst, is in a unique position to consider these filmmakers and their work from such a perspective.
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Fay, Jennifer. Conclusion. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696771.003.0007.

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Cinema is a record of the Anthropocene, and not just because it has recorded the changing planet. Celluloid is already embedded in the geological record. Bill Morrison’s film Dawson City: Frozen Time tells the story of how nitrate films were buried in the Yukon permafrost and unearthed decades later. Considered hazardous material, the nitrate film reels are also our cultural heritage. We can read the film as a lamentation that humanity and its culture are impermanent and its archives in jeopardy. But when we consider that so many films have been dumped, burned, and buried, we may be struck with the melancholic possibility that humanity and its culture will never disappear from the earth. In time, the human artifacts on the planet and the traces of humanity’s artificial life worlds will be the nature upon which future life forms create their worlds and rituals of hospitality.
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Mehnert, Antonia, and Stephanie Siewert. Morbidity of Culture: Melancholy, Trauma, Illness and Dying in Literature and Film. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.

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Morbidity of Culture: Melancholy, Trauma, Illness and Dying in Literature and Film. Lang GmbH, Internationaler Verlag der Wissenschaften, Peter, 2012.

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Book chapters on the topic "Melancholia (film)"

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Anderson, David. "A Melancholy Topography: Patrick Keiller’s London." In London on Film, 147–62. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_11.

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Brunsdon, Charlotte. "London in Transition: Sites of Melancholy." In London on Film, 221–37. Cham: Springer International Publishing, 2017. http://dx.doi.org/10.1007/978-3-319-64979-5_16.

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Holland, Timothy. "Melancholia’s End." In The Films of Lars von Trier and Philosophy, 91–101. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-24918-2_8.

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Kremer, Detlef. "Einleitung: Im Zeichen von Melancholie und Groteske." In Peter Greenaways Filme, 7–21. Stuttgart: J.B. Metzler, 1995. http://dx.doi.org/10.1007/978-3-476-03624-7_1.

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Falconer, Peter. "The Melancholy Couple in Winchester ’73." In Love in Western Film and Television, 125–39. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137272942_9.

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Stiglegger, Marcus. "Verführung zum Untergang – Melancholia als seduktives Konstrukt." In »Melancholia« - Wege zur psychoanalytischen Interpretation des Films, 26–42. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.26.

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Blothner, Dirk. "Zur Methode der wirkungsanalytischen Filminterpretation." In »Melancholia« - Wege zur psychoanalytischen Interpretation des Films, 110–30. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.110.

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Bliersbach, Gerhard. "Lars von Triers Spiel mit dem Anti-Kino." In »Melancholia« - Wege zur psychoanalytischen Interpretation des Films, 131–45. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.131.

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Kutschinski, Salek. "Wie habe ich mich Melancholia angenähert? – Rückblick auf eine persönliche Rezeptionsgeschichte." In »Melancholia« - Wege zur psychoanalytischen Interpretation des Films, 146–54. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.146.

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Bliersbach, Gerhard, and Dirk Blothner. "Transkription der Diskussion des Arbeitskreises Filmpsychoanalyse am 19. Januar 2013 in Mannheim." In »Melancholia« - Wege zur psychoanalytischen Interpretation des Films, 155–67. Göttingen: Vandenhoeck & Ruprecht, 2014. http://dx.doi.org/10.13109/9783666461255.155.

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Conference papers on the topic "Melancholia (film)"

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Bono, Francesco. "A CINEMA OF MELANCHOLY AND DISILLUSIONMENT: INVESTIGATING THE WORK OF AUSTRIAN FILM DIRECTOR WILLI FORST." In 6th SWS International Scientific Conference on Arts and Humanities ISCAH 2019. STEF92 Technology, 2019. http://dx.doi.org/10.5593/sws.iscah.2019.2/s07.036.

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