Representing the Woman: Cinema and PsychoanalysisSpringer, 10.01.1997 г. - 397 страници Representing the Woman: Cinema and Psychoanalysis examines the theory and politics of representation in narrative film. Questioning current accounts of cinema's pleasures for men and women, Elizabeth Cowie draws on the psychoanalytic theory of Freud and Lacan to propose a new understanding of the relation of identification, fantasy and the drives, and of voyeurism and fetishism to the pleasures of cinema and to the making of the feminine and masculine spectators of film. |
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Страница v
... Protagonist in Coma 36 3 Identifying in the Cinema 72 4 Fantasia 123 5 The Partiality of the Drives and the Pleasures of the Look in Cinema's Voyeurism 166 6 Female Sexuality , Feminine Identification and the Masquerade 222 7 Figuring ...
... Protagonist in Coma 36 3 Identifying in the Cinema 72 4 Fantasia 123 5 The Partiality of the Drives and the Pleasures of the Look in Cinema's Voyeurism 166 6 Female Sexuality , Feminine Identification and the Masquerade 222 7 Figuring ...
Страница 6
... protagonist of a traditional novel seeks - what the plot moves her toward – is an achieved , finished identity , re- alised in conclusive union with herself - as - heroine . Her marriage or death at the end of the narrative signifies ...
... protagonist of a traditional novel seeks - what the plot moves her toward – is an achieved , finished identity , re- alised in conclusive union with herself - as - heroine . Her marriage or death at the end of the narrative signifies ...
Страница 12
... protagonist . The demand for such positive images , both to challenge existing , nega- tive definitions and as progressive figures for identification , has been a central element in feminism . In Coma , however , the narra- tion on the ...
... protagonist . The demand for such positive images , both to challenge existing , nega- tive definitions and as progressive figures for identification , has been a central element in feminism . In Coma , however , the narra- tion on the ...
Страница 14
... protagonist but in each film a different problem of the woman as a subject of desire and as subject to social discourses is presented . What emerges is not a prescription or formula for women's film - making but a re - posing of the ...
... protagonist but in each film a different problem of the woman as a subject of desire and as subject to social discourses is presented . What emerges is not a prescription or formula for women's film - making but a re - posing of the ...
Страница 35
... protagonist is a positive image for feminism , drawing on the semiological approach outlined here in order to examine the narrative form and structure of Coma as a suspense thriller and detective story . 2 Narrative Positions and the ...
... protagonist is a positive image for feminism , drawing on the semiological approach outlined here in order to examine the narrative form and structure of Coma as a suspense thriller and detective story . 2 Narrative Positions and the ...
Съдържание
15 | |
Narrative Positions and the Placing of the Woman | 36 |
Identifying in the Cinema | 72 |
Fantasia | 123 |
The Partiality of the Drives and the Pleasures | 166 |
Female Sexuality Feminine Identification and | 222 |
Figuring the Fetish | 261 |
The Fetish of Ideology | 282 |
Notes and References | 316 |
Index | 388 |
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Често срещани думи и фрази
active argues arises Barthes becomes Bessiere camera castration castration anxiety character Charlotte child cinema Coma complex concept Connie constituted demand desire disavowal discussion Donnelly Dreyer drive ego-ideal emergence emphasises fantasy father feminine feminism feminist fetishism fetishistic figure film film's Freud function Gertrud girl hence hysterical Ibid ideal identification identity ideology imaginary insofar involved Jacques Lacan Jean Laplanche jouissance kinship knowledge Lacan lack Lévi-Strauss look love-object Lucia male masculine masochism masquerade meaning Megan mise en scène mother narcissism narration narrative object objet petit Oedipal Oedipus complex passive penis perverse phallic phallus play pleasure position present produced protagonist psychical psychoanalysis reality Reckless Moment relation representation represents result role says scenario scene scopophilia sexual difference shot signifier simply Slavoj Žižek social spectator splitting story structure super-ego Susan Susan Wheeler symbolic syuzhet term theory tion trans visual voyeurism wish woman women Žižek