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"Melancholia": Wege zur psychoanalytischen Interpretation des Films. Göttingen: Vandenhoeck & Ruprecht, 2014.
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Blothner, Dirk, i Ralf Zwiebel, red. »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, i 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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Mehnert, Antonia, i Stephanie Siewert. Morbidity of Culture: Melancholy, Trauma, Illness and Dying in Literature and Film. Lang Publishing, Incorporated, Peter, 2012.
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Balme, Christopher, Fabienne Liptay i Miriam Drewes, red. Die Passion des Künstlers. edition text + kritik im Richard Boorberg Verlag, 2011. http://dx.doi.org/10.5771/9783869169392.
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Der Mythos von der schöpferischen Kraft des Leidens prägt zahlreiche Künstlerbiografien und kulminiert in der Vorstellung, dass das künstlerische Genie seine Erfindungen aus den dunklen Tiefen von Melancholie und Wahnsinn schöpft. Auf der Suche nach vielschichtigeren Antworten auf die Frage nach der Entstehung von Kunst haben Filmschaffende versucht, die Legende des leidenden Künstlers zu variieren oder zu destruieren. Der Sammelband "Die Passion des Künstlers" ist ebenjener Erkundung der Triebkräfte künstlerischer Schöpfung im Film gewidmet, die zwischen Leiden und Leidenschaft, Krise und Kreativität oszillieren.
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Ty, Eleanor. Que(e)rying the American Dream in Films of the Early Twenty-First Century. University of Illinois Press, 2017. http://dx.doi.org/10.5406/illinois/9780252040887.003.0003.
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This chapter looks at a selection of post-2000 Asian American films that feature Asian American protagonists who are 1.5 or second-generation immigrants. The Debut (dir. Gene Cajayon), Red Doors (dir. Georgia Lee), Saving Face (dir. Alice Wu), and Charlotte Sometimes (dir. Eric Byler) question the professional and financial ambitions that were hallmarks of the model minority ideal of the economically successful Asian American established in the 1960s. The films depict protagonists who find themselves unable to fulfill what Sara Ahmed calls the "happiness duty" and experience melancholia and depression. A number of these independent Asian American filmmakers explore non-heteronormative and non-conjugal ways of expressing love and passion, revealing the shifting values, transcultural affiliations and desires that are now part of the multiplicity of Asian North American identity.
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Platte, Nathan. “Our Valedictory to Wild Extravagance”. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780199371112.003.0013.
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Melancholy and troubled, Portrait of Jennie has elicited widely divergent responses. Its music—based on themes of Debussy as adapted by Dimitri Tiomkin and Jester Hairston—has been hailed as alternately innovative and regressive. Perhaps because the film was so different from previous productions and its fantasy-based story so vulnerable to disdain, Selznick turned to the score with unprecedented vigor, hoping to improve a production plagued by difficulties. Portrait became Selznick’s most ambitious scoring project, and its complexities resonate in an astonishing paper trail. Assembling Dimitri Tiomkin’s musical score through this archival trove shows how Selznick sought to come full circle in Portrait, returning to musico-cinematic principles drawn from the silent era.
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Buovolo, Marisa, red. Ettore Scola. edition text + kritik im Richard Boorberg Verlag, 2011. http://dx.doi.org/10.5771/9783869168869.
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In seiner vielfältigen Reflexion über die nationale Identität und ihre kulturellen und historischen Wurzeln hat der italienische Regisseur Ettore Scola immer wieder große Geschichten von kleinen Leuten erzählt. Hierbei richtet sich sein Blick auf Menschen voller Sehnsucht, die sich auf ihrer Suche nach Glück in Rollenspielen verlieren - wenn die "Maske" abgelegt wird, ist es meistens zu spät. Ettore Scola, 1931 in Süditalien geboren, steht für die große Tradition des italienischen Films. Sein Werk markiert die Schnittstelle von Neorealismus und Commedia all’italiana. Er erlernte sein Handwerk bei Dino Risi, dem Altmeister der "Commedia", und prägt mit zahlreichen Drehbüchern das nationale Genre der Sittenkomödie. Wie kaum ein anderer italienischer Regisseur seiner Generation versteht es Scola, die "Italianitá" und deren Wandel in seinem Kino in Szene zu setzen - und sich im Spielraum zwischen Ironie und Melancholie, Komödie und Drama, Politischem und Privatem frei zu bewegen. Im Mittelpunkt seiner berühmten Trilogie "Le Bal – Der Tanzpalast" (1983), "Die Familie" (1986) und "Splendor" (1988) stehen gewöhnliche Menschen, Antihelden des Alltags, die sich den Anforderungen der Historie stellen müssen. 1976 erlaubte sich der Humanist Scola mit "Die Schmutzigen, die Hässlichen und die Gemeinen" einen überraschend grellen Streifzug in die römischen Slums: ein erstaunlich drastisches Sozialdrama, dessen politische Radikalität die deutsche Theaterregisseurin Karin Baier in ihrer Inszenierung am Schauspiel Köln 2010 kongenial vergegenwärtigt hat.
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Yust, Jason. Epilogue. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780190696481.003.0016.
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I offer the final word on time to György Ligeti:As a small child I once had a dream that I could not get to my cot, to my safe haven, because the whole room was filled with a dense confused tangle of fine filaments. It looked like the web I had seen silkworms fill their box with as they change into pupas. I was caught up in the immense web together with both living things and objects of various kinds—huge moths, a variety of beetles—which tried to get to the flickering flame of the candle in the room; enormous dirty pillows were suspended in this substance, their rotten stuffing hanging out through the slits in the torn covers. There were blobs of fresh mucus, balls of dry mucus, remnants of food all gone cold and other such revolting rubbish. Every time a beetle or a moth moved, the entire web started shaking so that the big, heavy pillows were swinging about, which, in turn, made the web rock harder. Sometimes the different kinds of movements reinforced one another and the shaking became so hard that the web tore in places and a few insects suddenly found themselves free. But their freedom was short-lived, they were soon caught up again in the rocking tangle of filaments, and their buzzing, loud at first, grew weaker and weaker. The succession of these sudden, unexpected events gradually brought about a change in the internal structure, in the texture of the web. In places knots formed, thickening into an almost solid mass, caverns opened up where shreds of the original web were floating about like gossamer. All these changes seemed like an irreversible process, never returning to earlier states again. An indescribable sadness hung over these shifting forms and structure, the hopelessness of passing time and the melancholy of unalterable past events. (Ligeti, from program notes to ...