This unique volume collects a series of essays that link new developments in Lacanian psychoanalytic theory and recent trends in contemporary cinema. Though Lacanian theory has long had a privileged place in the analysis of film, film theory has tended to ignore some of Lacan's most important ideas. As a result, Lacanian film theory has never properly integrated the disruptive and troubling aspects of the filmic experience that result from the encounter with the Real that this experience makes possible. Many contemporary theorists emphasize the importance of the encounter with the Real in Lacan's thought, but rarely in discussions of film. By bringing the encounter with the Real into the dialogue of film theory, the contributors to this volume present a new version of Lacan to the world of film studies. These essays bring this rediscovered Lacan to bear on contemporary cinema through analysis of a wide variety of films, including Memento, Eyes Wide Shut, Breaking the Waves, and Fight Club. The films discussed here demand a turn to Lacanian theory because they emphasize the disruptive role of the Real and of jouissance in the experience of the human subject. There is a growing number of films in contemporary cinema that speak to film's power to challenge and disturb the complacency of spectators, and the essays in Lacan and Contemporary Film analyze some of these films and bring their power to light. Because of its dual focus on developments in Lacanian theory and in contemporary film, this collection serves as both an accessible introduction to current Lacanian film theory and an introduction to the study of contemporary cinema. Each essay provides an accessible, jargon-free analysis of one or more important films, and at the same time, each explains and utilizes key concepts of Lacanian theory. The collection stages an encounter between Lacanian theory and contemporary cinema, and the result is the enrichment of both.
During the twentieth century, the medium of film has developed as a means of understanding the complexity of modern life. Since 1968, film theory has concentrated not so much on theme or content but on the deeper question of how the medium works on its viewer. Film theory has been profoundly influenced by the writings of such modern thinkers as Saussure, Freud, Lacan, Anthusser, Derrida and Kristeva. It combines modes of textual analysis relating to linguistics and semiology, a Marxist reading of ideology, and theories of subjectivity, the spectator and gender redefined by psychoanalysis. This judicious selection from key work by Stephen Heath, Fredric Jameson, Laura Mulvey, Mary Ann Doanne and others, represents some of the most important contemporary writing about film. It provides a consistent and developing analysis that will be of interest to students concerned with film and film studies, as well as students of cultural, media and communication studies.
"Psychoanalytic Film Theory and The Rules of the Game offers a concise introduction to psychoanalytic film theory in jargon-free language and shows how this theory can be deployed to interpret Jean Renoir's classic film"--
In this book, Thomas J. Connelly draws on a number of key psychoanalytic concepts from the works of Jacques Lacan, Slavoj Žižek, Joan Copjec, Michel Chion, and Todd McGowan to identify and describe a genre of cinema characterized by spatial confinement. Examining classic films such as Alfred Hitchcock's Rope and Stanley Kubrick's The Shining, as well as current films such as Room, Green Room, and 10 Cloverfield Lane, Connelly shows that the source of enjoyment of confined spaces lies in the viewer's relationship to excess. Cinema of Confinement offers rich insights into the appeal of constricted filmic spaces at a time when one can easily traverse spatial boundaries within the virtual reality of cyberspace.
Slavoj Žižek, a leading intellectual in the new social movements that are sweeping Eastern Europe, provides a virtuoso reading of Jacques Lacan. Žižek inverts current pedagogical strategies to explain the difficult philosophical underpinnings of the French theoretician and practician who revolutionized our view of psychoanalysis. He approaches Lacan through the motifs and works of contemporary popular culture, from Hitchcock's Vertigo to Stephen King's Pet Sematary, from McCullough's An Indecent Obsession to Romero's Return of the Living Dead—a strategy of "looking awry" that recalls the exhilarating and vital experience of Lacan. Žižek discovers fundamental Lacanian categories the triad Imaginary/Symbolic/Real, the object small a, the opposition of drive and desire, the split subject—at work in horror fiction, in detective thrillers, in romances, in the mass media's perception of ecological crisis, and, above all, in Alfred Hitchcock's films. The playfulness of Žižek's text, however, is entirely different from that associated with the deconstructive approach made famous by Derrida. By clarifying what Lacan is saying as well as what he is not saying, Žižek is uniquely able to distinguish Lacan from the poststructuralists who so often claim him.
This volume provides an excellent introduction to the work of Jacques Lacan, covering all of Lacan's major concepts such as the Imaginary, the Symbolic and the Real.
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.