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Books on the topic 'Psychoanalytical film theory'
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1
rickels, laurence. Critique of Fantasy, Vol. 1: Between a Crypt and a Datemark. Brooklyn, NY: punctum books, 2020.
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2
Granados, Janice. 10 bud p̊a livet: En psykoanalytisk gennemgang af Kieslowski's "Dekalog"-film. [København?]: Borgen, 1994.
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3
Women and sado-masochistic tension in film and prime time television melodrama: An application of psychoanalytic film theory to television. Bethel, CT: Rutledge Books, 1996.
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4
The difficulty of difference: Psychoanalysis, sexual difference & film theory. New York: Routledge, 1991.
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5
Manning, Malcolm. Film and fantasy: A consideration of the importance of recent work in film theory based on the psychoanalytic concept of fantasy.... [Derby]: Derbyshire College of Higher Education, 1987.
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7
Tulloch, John, and Belinda Middleweek. Introduction. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190244606.003.0001.
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This introduction traces the book’s origins across three significant dialogical moments. First is the mediated moment of television producer Middleweek interviewing the 7/7 survivor Tulloch, followed by their intertextual engagement with two texts of intimacy, Chéreau’s film and Giddens’s book. Second is an interdisciplinary dialogue employing feminist mapping theory to forge a “bridging” and “rainbow” scholarship between disciplinary fields that provide ways of seeing real sex films, including risk sociology, feminist psychoanalytical theory, and critical geopolitical theory, in combination with concepts of genre, authorship, production, stardom, social audience, and spectatorship. Third is a dialogue within theories of risk modernity exploring the tension between the “demand for constant emotional closeness” and the quest for “confluent love” in real sex film as the utopia and dystopia of love are played out through cinema.
8
Psychoanalytic Film Theory and the Rules of the Game. Bloomsbury Publishing Plc, 2015.
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9
McGowan, Todd. Psychoanalytic Film Theory and The Rules of the Game. Bloomsbury Publishing Inc, 2015. http://dx.doi.org/10.5040/9781501304675.
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10
Halle, Randall. The Film Apparatus. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252038457.003.0002.
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This chapter illustrates how the discussion of cinematic apparatus was international and in many instances foundational for the establishment of film studies as a discipline. Apparatus offered a means to consider precisely the study of film as more than formal analysis of the projected image; it sought to arrive at a more comprehensive discussion of cinema. The production of the image was understood not simply as an industrial tale, but as a matter of signification, social relations, modes of production, methods of projection, space of reception, and subjective effects on spectators. In the 1960s, the discourse on the apparatus was connected to the quest for revolutionary forms. By the 1980s, the debates regarding apparatus theory became bogged down by considerations of ideology and an overwhelming focus on psychoanalytic models.
11
Rodowick, David Norman. Difficulty of Difference: Psychoanalysis, Sexual Difference and Film Theory. Taylor & Francis Group, 2015.
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12
Toymentsev, Sergei, ed. ReFocus: The Films of Andrei Tarkovsky. Edinburgh University Press, 2020. http://dx.doi.org/10.3366/edinburgh/9781474437233.001.0001.
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Despite an output of only 7 feature films in 20 years, Andrei Tarkovsky has had a profound influence on international cinema. Famous for their spiritual depth and incredible visual beauty, his films have gained cult status among cineastes and are often included in ranking polls and charts dedicated to the best movies ever made. Beginning with the late 1980s, Tarkovsky’s highly complex cinema has continuously attracted scholarly attention by generating countless hermeneutic challenges and possibilities for film critics. This book provides a fresh look at the director’s legacy, with critical essays by both world-famous and early-career film scholars. It consists of four parts covering biographical, aesthetic, and philosophical aspects of Tarkovsky’s work as well as tracing his influence on other filmmakers. Part one, entitled ‘Backgrounds’ (chapters one to three), discusses extra-cinematic factors that influenced Tarkovsky’s cinema, such as his biography and theoretical statements. Part two, entitled ‘Film Method’ (chapters four to eight), examines Tarkovsky’s cinematic techniques, including his treatment of film genre, documentary style, temporality, landscape, and sound. Part three, ‘Theoretical Approaches’ (chapters nine to thirteen), discusses Tarkovsky’s work in the contexts of psychoanalytical, philosophical, and other theoretical perspectives. The fourth and final part of this volume, ‘Legacy’ (chapters fourteen and fifteen), is dedicated to Tarkovsky’s longstanding influence on such prominent auteurs as Andrei Zvyagintsev and Lars von Trier, who are often hailed as the heirs of the Russian master.
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Hanaway-Oakley, Cleo. Reciprocal Seeing and Embodied Subjectivity. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.003.0002.
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This chapter considers the previous ways in which literary scholars have used film theory in their interpretations of Ulysses. Joyce scholars have tended to favour the psychoanalytic film theories of Christian Metz and Laura Mulvey, employing them in their analyses of the relationship between Gerty and Bloom in the ‘Nausicaa’ episode of Ulysses. Phenomenology is offered as an alternative approach, as a way of seeing beyond the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. Starting from Merleau-Ponty’s ‘The Film and the New Psychology’ (1945), then moving on to consider the ideas of contemporary film phenomenologists (such as Vivian Sobchack, Spencer Shaw, and Jennifer Barker), the second half of the chapter outlines the insights provided by phenomenology, focusing on the reciprocity of cinematic perception and the embodied nature of film spectatorship.
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Hanaway-Oakley, Cleo. James Joyce and the Phenomenology of Film. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780198768913.001.0001.
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James Joyce and the Phenomenology of Film reappraises the lines of influence said to exist between Joyce’s writing and early cinema and provides an alternative to previous psychoanalytic readings of Joyce and film. Through a compelling combination of historical research and critical analysis, Cleo Hanaway-Oakley demonstrates that Joyce, early film-makers, and phenomenologists (Maurice Merleau-Ponty, in particular) share a common enterprise: all are concerned with showing, rather than explaining, the ‘inherence of the self in the world’. Instead of portraying an objective, neutral world, bereft of human input, Joyce, the film-makers, and the phenomenologists present embodied, conscious engagement with the environment and others: they are interested in the world-as-it-is-lived and transcend the seemingly rigid binaries of seer/seen, subject/object, absorptive/theatrical, and personal/impersonal. This book re-evaluates the history of body- and spectator-focused film theories, placing Merleau-Ponty at the centre of the discussion, and considers the ways in which Joyce may have encountered such theories. In a wealth of close analyses, Joyce’s fiction is read alongside the work of early film-makers such as Charlie Chaplin, Georges Méliès, and Mitchell and Kenyon, and in relation to the philosophical dimensions of early cinematic devices such as the Mutoscope, the stereoscope, and the panorama. By putting Joyce’s literary work—Ulysses above all—into dialogue with both early cinema and phenomenology, this book elucidates and enlivens literature, film, and philosophy.
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Walker, Elsie. The White Ribbon. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190495909.003.0008.
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This chapter explores the psychoanalytic resonance of the sound track for The White Ribbon. The film is among Haneke’s most ambitious feature productions, with over a hundred elliptical scenes. Its coherent thematic logic becomes clear through psychoanalysis, especially with regard to Lacanian concepts of the Symbolic and the Real. The Symbolic realm of the film is within a small village in Germany in the lead-up to World War One, where the voices of tyrannical patriarchs and the sounds of their violence dominate. The Real realm of The White Ribbon is even more fearsome, for it is shockingly, sonically attached to the bodies of children that ultimately resist their oppressive elders. The chapter establishes how every aural detail of The White Ribbon is loaded with repressed and subtextual meanings that constitute an ultimate warning: the oppressive Symbolic engenders the nightmarish Real.
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Paunksnis, Šarūnas. Dark Fear, Eerie Cities. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780199493180.001.0001.
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What haunts the city? Why is there so much pessimism in our urban lives? How does this physical and psychological insecurity of relentless competition and a desire to succeed against all odds proliferate into cinema? Dark Fear, Eerie Cities analyses a wide array of films made in the early 21st century to offer a philosophical and psychoanalytical critique of the transforming cinematic imagery. It traces the trajectory of Hindi cinema from the pre-1990s feudal family ideal to the contemporary construction of the new middle class’s subjectivities against a postcolonial backdrop. Keeping in mind the effects of globalization, market liberalization and the emergence of new forms of media and their consumption, the book provides a theoretical perspective to cinematic transformations. Paunksnis presents an interdisciplinary study of a genre of cinema in which crime thrillers and horror films are aimed at answering some of the fundamental questions of our contemporary times.
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Richardson, John, Claudia Gorbman, and Carol Vernallis, eds. The Oxford Handbook of New Audiovisual Aesthetics. Oxford University Press, 2013. http://dx.doi.org/10.1093/oxfordhb/9780199733866.001.0001.
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This volume offers new ways to read the audiovisual. In the media landscapes of today, conglomerates jockey for primacy and the Internet increasingly places media in the hands of individuals-producing the range of phenomena from movie blockbuster to YouTube aesthetics. Media forms and genres are proliferating and interpenetrating, from movies, music, and other entertainments streaming on computers and iPods to video games and wireless phones. The audiovisual environment of everyday life, too-from street to stadium to classroom-would at times be hardly recognizable to the mid-twentieth-century subject. The Oxford Handbook of New Audiovisual Aesthetics provides powerful ways to understand these changes. Earlier approaches tended to consider sound and music as secondary to image and narrative. These remained popular even as practices from theater, cinema, and television migrated across media. However, the traversal, or “remediation,” from one medium to another has also provided practitioners and audiences the chance to rewrite the rules of the audiovisual contract. Whether viewed from the vantage of televised mainstream culture, the Hollywood film industry, the cinematic avant-garde, or the participatory discourses of “cyberspace,” audiovisual expression has changed dramatically. The book provides a definitive cross-section of current ways of thinking about sound and image. Its authors-leading scholars and promising younger ones, audiovisual practitioners and nonacademic writers (both mainstream and independent)-open the discussion on audiovisual aesthetics in new directions. Our contributors come from fields including film, visual arts, new media, cultural theory, and sound and music studies, and they draw variously from economic, political, institutional, psychoanalytic, genre-based, auteurist, internationalist, reception-focused, technological, and cultural approaches to questions concerning today’s sound and image. All consider the aural dimension, and what Michel Chion calls “audio-vision:” the sensory and semiotic result of sound placed with vision, an encounter greater than their sum.
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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.