Search results

You are looking at 1 - 6 of 6 items for :

  • "Lacanian theory" x
  • Film, Media and Music x
Clear All
Abstract only

between psychoanalytic approaches (Metz, Žižek) and that of Deleuze, for Deleuze is surely one of the most vehement critics of Freudian and Lacanian theories. Žižek has even published an entire book critical of Deleuze (Žižek 2004), while Rancière (as we have already discovered) finds serious shortcomings in Deleuze’s approaches to film and aesthetics. I should therefore stress that I have deliberately avoided pitting these theories against one another. I wanted to avoid a scorecard by means of which I could discover who provides the best theory. Instead, my point was

in The reality of film
Gender, the family and eroticism

perceives its own identity as a body, and its difference from the world around it) to triadic, triangulated ones. In Lacan’s terminology, entry into the Symbolic order is effected by an encounter with the paternal law which, crucially for Lacanian theory, involves entry into language. Lacan’s ‘return’ to Freud renewed and transformed Freudian narratives of the construction of sexual difference by combining his ideas with structural

in Georges Franju
Abstract only

. The Real, on the other hand, in the psychoanalytical sense of that word, is omnipresent in Robbe-Grillet’s films, not least in the images of cutting, of blood and broken bottles, that keep washing up on the shores of his imaginary. For Slavoj Žižek, who relies on Lacanian theories of the Real, ‘cutting is a radical attempt to (re)gain a hold on reality […] to ground the ego firmly in bodily reality, against the unbearable

in Alain Robbe-Grillet

convention which draws attention to their specific meanings in Lacanian theory. 2 For a more detailed discussion of the Imaginary and the Symbolic, see Turkle, 1979 . 3 ‘Nathalie must go to the Datkin boarding school, they keep saying, so that the violence that afflicts her can be

in Marguerite Duras

written, however, on the possibility of a male version of the masquerade. 1 Those who argue the masculine position does not require a masquerade because the man already occupies the role of the subject in the symbolic order forget that, in Lacanian theory at least, the possession of the phallus (rather than just the penis) is a delusional phantasy of masculinity rather than an attribute of it (Lacan [1958] 1966 ). 2

in Patrice Leconte

’. 4 The Lacanian theory here is taken from his 1964 seminar on the real and the ‘objet petit a’ (see Lacan 1973 ). 5 See the opening chapter of Kristeva’s Sens et non-sens de la révolte (1996) for her detailed and comprehensive exploration of the evolution of the word ‘révolution’.

in The new pornographies