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John Gibbs

the characters can openly express themselves in dance or decisive action – we encounter both the bond between character psychology and visual style, and the metaphorical use of psychoanalytic terms and concepts which underlie much of Elsaesser’s argument and find particular expression in the second of his models of melodramatic mise-­en-­scène. Character into décor Elsaesser argues that one factor in the development and reception of the postwar family melodrama was America’s ‘discovery’ of Freud: ‘the connections of Freud with melodrama are as complex as they are

in The life of mise-en-scène
The (un)homeliness of Gainsbourg’s persona
Felicity Chaplin

figure’ in the film ‘as she was playing a demonic wife [in Antichrist ]’ . Despite the strange location Gainsbourg ‘exudes a sympathetic, matter-of-fact naturalness’. Holden here points to another important contradiction in Gainsbourg’s persona, which is brought into play particularly during this stage of her career: she is both ‘striking’ and ‘natural’, both out of place and at home. It is a strange familiarity one experiences watching Gainsbourg during this period, which the German term unheimlich or ‘unhomely’ describes well and which, as Freud points out in his

in Charlotte Gainsbourg
Abstract only
The tattoo as navel in Louisa May Alcott’s ‘V.V.: Or, plots and counterplots’
Alexander N. Howe

problematises any final marking – and thus knowing – of the woman. Virginie’s tattoo in fact serves as the navel of the story, in the sense spoken of by Sigmund Freud, Jacques Lacan, Shoshana Felman and others – that is, a tangled knot of signification that remains impenetrable to interpretation. The navel marks that point where signification traumatically touches the body, yet in this tangle the body likewise speaks through its disruption of narrative. Alcott engages this disruption by embodying Virginie incessantly and inscrutably throughout the story, thus proleptically

in Tattoos in crime and detective narratives
Abstract only
Kate Ince

the hermetic, predictable and phallocentric frameworks on which psycho analytic criticism has often relied – Freud’s Oedipalism and Lacan’s concept of the Symbolic order. In this context, it should perhaps not be forgotten that Franju was a lifelong depressive who regarded psychoanalysis as an art rather than a science (70). However, it was not analysis he depended on to keep him going, but his work: ‘if I don’t work I’m down and if I do I’m up

in Georges Franju
Ulrika Maude

suggest, in a curious candour that seems to exceed the confines of a metadramatic context, that grief is here staged as a near-mechanical performance and that what we are witnessing is a peculiar choreography of mourning in which the object, the ‘Close-up of woman's face reduced as far as possible to eyes and mouth’, which appears as ‘Same shot throughout’, is reduced to a schematised prop (137, 138, 135). Here mourning, as Freud predicts in ‘Mourning and Melancholia’, has become a bad habit, a habitus whose mechanics the play exposes. Ruby Cohn

in Beckett and media
Melodramatic and moral readings of gay conversion therapy in A Place to Call Home
Alley-Young Gordon R.

.e., penetration) and mental health (i.e., illness) definitions of homosexuality ( Smaal, 2013 ). US and Australian psychoanalysts and psychiatrists, influenced by Freud’s attempts to cure some forms of homosexuality in the 1920s, attempted to cure homosexuals, rather than imprison them, in the 1950s onward and thus return them to the heterosexual social order ( Rubinstein, 2010 ; Smaal, 2013 ). Today medical science largely rejects

in Diagnosing history
Le Diable probablement and L’Argent
Keith Reader

We have often enough seen how important the death-drive, Thanatos, is for Bresson’s work. Freud’s Civilisation and its Discontents describes ‘the struggle between Eros and Death, between the instinct of life and the instinct of destruction’ as ‘what all life essentially consists of’ (Freud [1930] 1961 : 82), and Bresson’s last two films foreground that struggle with particular

in Robert Bresson
The good doctor of When the Boat Comes In
James Leggott

everyone else just regards the unfortunate Dixon as ‘crackers’, she refers to Freud’s theorising with a diagnosis of ‘hypermania’, where the patient is subject to uncontrollable fits of rage. And yet, these medical and political interpretations of Dixon’s condition prove to be less valuable than the practical detective work that Jack undertakes in relation to Dixon’s shady past. Just like the very first

in Diagnosing history
Representations of mental illness in the period dramas of Steven Knight
Ward Dan

the cultural memory of the First World War: A literary perspective’, Freud Museum London : Psychoanalysis Podcasts , www.freud.org.uk/2014/10/02/shell-shock-emotional-resilience-cultural-memory-first-world-war-literary-perspective/ (accessed 14 January 2020). Nielson , C. ( 2014 ). ‘ The other war dead: Asylum patients during the First World War ’, Beyond The Trenches , http

in Diagnosing history

Screening the Hollywood Rebels in 1950s Britain explores the relationship between classic American films about juvenile delinquency and British popular youth culture in the mid-twentieth century. The book examines the censorship, publicity and fandom surrounding such Hollywood films as The Wild One, Blackboard Jungle, Rebel Without a Cause, Rock Around the Clock and Jailhouse Rock alongside such British films as The Blue Lamp, Spare the Rod and Serious Charge. Intersecting with star studies and social and cultural history, this is the first book to re-vision the stardom surrounding three extraordinarily influential Hollywood stars: Marlon Brando, James Dean and Elvis Presley. By looking specifically at the meanings of these American stars to British fans, this analysis provides a logical and sustained narrative that explains how and why these Hollywood images fed into, and disrupted, British cultural life. Screening the Hollywood Rebels in 1950s Britain is based upon a wide range of sources including censorship records, both mainstream and trade newspapers and periodicals, archival accounts and memoirs, as well as the films themselves. The book is a timely intervention of film culture and focuses on key questions about screen violence and censorship, masculinity and transnational stardom, method acting and performance, Americanisation and popular post-war British culture. The book is essential reading for researchers, academics and students of film and social and cultural history, alongside general readers interested in the links between the media and popular youth culture in the 1950s.