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Chapter 4 |
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[4.7] Psychoanalytic Theories: The Role of the Subjective |
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[4.7.1] During the 1970s and 1980s, film theorist were heavily influenced by psychoanalytic theories applied to understanding these subjective experiences with texts, work published in the journal Screen, founded in 1950. |
[4.7.2] Summary of a longer summary version of Lacan’s theory of development by Mary Klages, University of Colorado |
[4.7.3] For example, Laura Mulvey’s Screen article, “Visual pleasure and narrative cinema,” published in 1975, launched a focus on the ways in which the “male gaze” was shaped by psychological and cultural forces of male desire.
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[4.7.4] The male gaze: examples from different films |
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[4.7.5] Dan Chandler: Notes on The Gaze |
[4.7.6] Terje Skjerhal: Laura Mulvey against the grain: a critical assessment of the psychoanalytic feminist approach to film
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Resources on queer theory: |
[4.7.7] Queer theory and film analysis
[4.7.8] Queertheory
[4.7.9] Theory.org: Queer Theory |
[4.7.10] Don Callen applies Lacan’s theories to an analysis of Citizen Kane.
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[4.7.11] Mike Pinsky argues that a central theme in Lacan is the search for the phallus as the object of desire. |
[4.7.12] Drawing on psychoanalytic theories, Norman Holland (1998) argues that readers and audiences apply certain “identity themes” to their responses that reflect a dialectic of sameness and difference by noting patterns in their own and in character’s practices that represent sameness.
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Norman Holland: responses to films:
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[4.7.13] Shakespeare in Love
[4.7.14] The Seventh Seal
[4.7.15] 8 1/2
[4.7.16] Vertigo
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Another important theorist related to subjective aspects of media and film is Gilles Deleuze (1989), a French philosopher. Deleuze was interested in how audiences assigned certain subjective meaning to certain perspectives operating in moving images. He identified three types of movement: the perception-image, the action-image, and the affection-image: |
[4.7.17] Gilles Deleuze’s theories
[4.7.18] Daniel Frampton (1991) describes each of these types of movements.
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Gilles Deleuze links: |
[4.7.19] Gilles Deleuze
[4.7.20]
[4.7.21] Deleuze and Guattari internet resources
[4.7.22] Deleuze and Guattari: An Introduction
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References: Psychoanalytic theory |
[4.7.23] Holland, N. (1998). Reading and identity. [Online]:
http://www.clas.ufl.edu/users/nnh/rdgident.htm
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[4.7.24] JPCS: Journal for the Psychoanalysis of Culture & Society
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For applications of Lacan to film/media:
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Allen, R. (1997). Projecting illusion: Film spectatorship and the impression of reality. New York: Cambridge University Press. |
Fuery, P. (2000). New developments in film theory. New York: Palgrave. |
Fuery, P. (2003). Madness and Cinema : Psychoanalysis, Spectatorship and Culture. New York: Palgrave. |
Gledhill, C., & Williams, L. (2001). Reinventing film studies. London: Arnold. |
McGowan, T. & Kunkle, S. (Eds.). (2004). Lacan and contemporary film. New York: The Other Press. |
Rocchio, V. (2000). Reel racism: Confronting Hollywood's construction of Afro-American culture. New York: Westview. |
Zizek, S. (1992). Looking awry: An introduction to Jacques Lacan through popular culture. New York: October Books. |
Zizek, S. (2001). Enjoy your symptom!: Jacques Lacan in Hollywood and out. New York: Routledge. |
For application of Queer Theory to media/film:
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Bad object-choices. (Ed.). (1991). How do I look? Queer film and video. Seattle: Bay Press. |
Barrios, R. (2001). Screened out: Playing gay in Hollywood from Edison to Stonewall. New York: Routledge. |
Benshoff, H., & Griffin, S. (2004). Queer cinema: the film reader. New York: Routledge. |
Bornstein, K. (1994). Gender outlaw: Of men, women, and the rest of us. New York: Routledge. |
Campbell, J. (2000). Arguing with the phallus: Feminist, queer and postcolonial theory: A psychoanalytic contribution. New York: Zed Books. |
Creekmur, C., & Doty, A. (Eds.). (1995). Out in culture: Gay, lesbian, and queer essays on popular culture. Durham, NC: Duke University Press. |
Doty, A. (1993). Making things perfectly queer: Interpreting mass culture. Minneapolis: University of Minnesota Press. |
Dyer, R. (2002). Now you see it: Studies on lesbian and gay film. New York: Routledge. |
Hanson, E. (Ed.). (1999). Out takes: Essays on queer theory and film. Durham, NC: Duke University Press. |
Jagose, A. (1996). Queer theory: An introduction. New York: New York University Press. |
Mayne, J. (2000). Framed: Lesbians, feminists, and media culture. Minneapolis: University of Minnesota Press. |
Tasker, Y. (1993). Spectacular bodies: Genre, genre, and the action film. New York: Routledge. |
Wilton, T. (1995). Immortal invisible: Lesbians and the moving image. New York: Routledge. |
For texts on issues of gender and sexuality in films:
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Benshoff, H. M., & Griffin, S. (2003). America on film: Representing race, class, gender. New York: Blackwell. |
hooks, b. (1996). Reel to real: Race, sex, and class at the movies. New York: Routledge |
Hirabyashi, L. R. (Ed.) (2003). Reversing the lens: Ethnicity, race, gender and sexuality through film. Boulder, CO: University Press of Colorado. |
For further reading on Deleuze and film
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Pisters, P. (2003). The matrix of visual culture: Working with Deleuze in film theory. Stanford: Stanford University Press.
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For further reading on psychoanalytic theory:
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Alcorn, M. W. (2002). Changing the subject in English class: Discourse and the constructions of desire. Carbondale, IL: Southern Illinois University Press. |
Butler, J. (1990). Gender trouble: Feminism and the subversion of identity. New York: Routledge. |
Cowie, E. (1984). Fantasia. m/f, 9, 71-105. |
Creed, B. (2000). Film and psychoanalysis. In J. Hill & P. C. Gibson (Eds.), Film studies: Critical approaches (pp. 75-88). New York: Oxford University Press. |
Deleuze, G. (1989). Cinema 2: The Time-Image. Minneapolis: University of Minnesota Press. |
Doane, M. A. (1987). The desire to desire: The woman’s film of the 1940s. Bloomington, IN: Indiana University Press. |
Green, K., & LeBihan, J. (1996). Critical theory & practice: A coursebook. New York: Routledge. |
Gutjahr, P. C. (2002). No longer left behind: Amazon.com, reader-response, and the changing fortunes of the Christian novel in America. Book History, 5, 209-236. |
Holland, N. (1998). Reading and identity. [Online]:
http://www.clas.ufl.edu/users/nnh/rdgident.htm |
Kaplan, A. (Ed.). (1990). Psychoanalysis and the cinema. New York: Routledge. |
Labeua, V. (1994). Lost angels: Psychoanalysis and cinema. New York: Routledge. |
Lacan, J. (1977). The four fundamental concepts of psycho-analysis. London: Hogarth Press. |
Metz, C. (1982). Psychoanalysis and cinema: The imaginary signifier. New York: Macmillan. |
Modleski, T. (1988). The women who knew too much: Hitchcock and feminist theory. New York: Methuen. |
Soloman, R. (1976). The passions: The myth and nature of human emotions. Garden City, NY: Doubleday. |
Vetlesen, A. J. (1994). Perception, empathy, and judgment: An inquiry into the preconditions of moral performance. University Park, PA: Pennsylvania State University Press. |
Silverman, K. (1992). Male subjectivity at the margins. New York: Routledge. |
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