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Abstract only
Douglas Morrey

curmudgeonly categories of psychoanalysis. But Godard’s cinema is not simply cinema about philosophy or cinema with philosophy, rather it is cinema as philosophy. The cinematograph is a machine for thinking, for propelling thought: this conclusion that is most clearly drawn in Histoire(s) du cinéma was already implicit in the phenomenological excess of 2 ou 3 choses que je sais d’elle , in the dialectics of the Dziga

in Jean-Luc Godard
Science, faith, the law, and the contested body and mind in The Frankenstein Chronicles and The Alienist
Wright Andrea

disability as a congenital birth defect. Eventually it is revealed that it was caused by an injury inflicted by his father when he was a child. Part of Kreizler’s journey is acknowledging his father’s actions, but also forgiving the now frail old man. Whilst he is adept in diagnosing and exploring the afflictions of others through proto-Freudian psychoanalysis, he is less able to acknowledge his own trauma. He appears to derive a

in Diagnosing history
Ulrika Maude

of Ernest Jones's Papers on Psycho-Analysis (1923), where it is associated with dementia praecox, an early name for what is now known as schizophrenia. Catatonia is characterised by psycho-motor ‘stupor’ – a word, as we have seen, that Beckett himself used in the phrase ‘katatonic stupor’ in Murphy and in Watt (Beckett, 2009b , 121; Beckett, 2009c , 43). It is in most cases ‘preceded by grief and anxiety, and in general by depressive moods and affects aimed against the patient by himself’, as the German psychiatrist Karl Kahlbaum, the

in Beckett and media
Renate Günther

latter also shows a certain progression towards the deconstruction of gendered identities in India Song and, even more prominently, in Agatha. The preoccupation in Duras with questions of gender and sexuality may be usefully theorised by drawing on ideas central to feminist psychoanalysis. Although both feminism and psychoanalysis have lost the central position they occupied among the various approaches to film studies

in Marguerite Duras
Early twentieth century surgery on screen
Allitt Marie

the Royal London Hospital, Whitechapel, in the East End of London. It is similarly set against a backdrop of key innovations, such as the introduction of x-rays, light therapy, galvanic baths, psychoanalysis, and developments in anaesthesia. The show grounds itself in true stories. Its central characters are real people, and some of the patients and events are drawn from medical records of the time. Each episode’s opening

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.

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
Subjective realism, social disintegration and bodily affection in Lucrecia Martel’s La ciénaga (2001)
Julián Daniel Gutiérrez- Albilla

. 3 For a fine historical study of psychoanalysis, see Roudinesco ( 1990 ). 4 ‘Sound here is not so stratified (music, dialogue, ambient sounds). Instead, sound generates a real net, a resonant mass in which that which is indiscernible is in tension with that which is differentiated. Hence, the

in Hispanic and Lusophone women filmmakers
Rowland Wymer

psychoanalysis itself has no special insight to offer but is simply one more historical mechanism of control through categorisation. 35 As is well known, Foucault also disputed the idea that there was any such thing as a homosexual ‘identity’ in the Renaissance and Jarman himself would sometimes remind his readers that the word ‘homosexual’ was of recent origin. 36 However, he more typically saw desire (if not

in Derek Jarman