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Topic: Psychoanalytical film theory

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	Psychoanalytical film theory - Wikipedia, the free encyclopedia
		However, the 1970s and 1980s saw the development of theory that took concepts developed by the French psychoanalyst and writer Jacques Lacan and applied them to the experience of watching a film.
		The film viewer is seen as the subject of a "gaze" that is largely "constructed" by the film itself, where what is on screen becomes the object of that subject's desire.
		The theory stresses the subject's longing for a completeness which the film may appear to offer through identification with an image; in fact, according to Lacanian theory, identification with the image is never anything but an illusion and the subject is always split simply by virtue of coming into existence.
	en.wikipedia.org /wiki/Psychoanalytical_film_theory (186 words)

	A critique of Mulvey's psychoanalytic film approach
		When reading films, the female spectator is left with two options: She can either identify with the male camera and the male object within the film, or she can identify with the female object within the film in a masochistic way (Man, 1993).
		From this, it is evident that Mulvey’s psychoanalytic approach to film is a pessimistic one, and indeed deterministic.
		Christine Gledhill (1988) contends that a weakness of the psychoanalytic film approach (which she consistently calls «cine-psychoanalysis») is that it has derived its framework from the perspective of masculinity.
	www.geocities.com /CapitolHill/2152/mulvey.htm (4805 words)

	Film Theory
		From that point on, especially with the expansion of film departments and faculties at institutions of higher learning, film theory and criticism proliferated at a rapid rate, and film journals became as much a place for heated debate on the issues of art and aesthetics as the learned journals were for essays on literature.
		But it is basically Bazin's shrewd and perceptive appreciation of film, his ability to respond to the nuances of each work, his discerning eye for style and form, and his telling use of details and techniques as the source for his concepts that have survived as a model for future writers of film criticism.
		On the other hand, genre theory and criticism, which made considerable strides during the same period of time, sought to recognize and legitimate the very popular nature of film, especially as a product of the Hollywood studio system, and to identify and explain what was similar in a group of works from director to director.
	press.jhu.edu /books/hopkins_guide_to_literary_theory/film_theory.html (2658 words)

	Open Directory - Arts:Movies:Theory and Criticism (Site not responding. Last check: 2007-10-11)
		Film theory seeks to develop concise, systematic concepts that apply to film and video.
		Film criticism is, on some level, encapsulated within this rubric, and includes questions about how and why film works, and what effects it has on viewing subjects.
		Theory and criticism related to a specific genre of film.
	dmoz.org /Arts/Movies/Theory_and_Criticism/desc.html (243 words)

	Film Theory (Site not responding. Last check: 2007-10-11)
		Film theory seeks to develop concise, systematic concepts that apply to the study of cinema.
		Marxist film theory is one of the oldest forms of film theory.
		These efforts have typically taken the form of either interpretive analysis (of a particular film, subgenre, or the genre as a whole) or depth-psychological explanation (of the symbolic/mythic import of horror film monsters; of the horror affect and how it is generated; of the possibly perverse pleasures viewers obtain from being frightened by visible fictions).
	www.jahsonic.com /Film_theory.html (6592 words)

	Articles - Film (Site not responding. Last check: 2007-10-11)
		MÃ©liÃ¨s filmed a mock coronation of Edward VII and it was presented in theaters the same night as the actual ceremony.
		Film theory seeks to develop concise, systematic concepts that apply to the study of film/cinema as art.
		Film preservation of decaying film stock is a matter of concern to both film historians and archivists, and to companies interested in preserving their existing products in order to make them available to future generations (and thereby increase revenue).
	www.worldhammock.com /articles/Motion_picture (11619 words)

	Film Studies - Theory and Criticism
		A course that critically examines functions of films and cinemas in contexts and countries whose nationhood and cultural references are informed by colonial and anticolonial histories.
		A forum for the psychoanalytical study of film containing a short introduction, articles, and links to other resources on the web that deal with film and/or psychoanalysis.
		This bilingual internet forum for film and philosophy provides articles, papers, and essays on film as well as an annotated bibliography and links to other film theory sites.
	www.uibk.ac.at /c/c6/c610/database/m05t01.html (315 words)

	ATOM Queensland Inc. (Site not responding. Last check: 2007-10-11)
		Sally Potter's films challenge gender stereotypes and subvert psychoanalytical theory by the incorporation of certain filming technologies that were a direct result of the involvement of a number of funding institutions, which provided Potter with the freedom to challenge mainstream audience reading practices.
		These correlated impulses come together in the standard film where a passive female star, who is fetishistically costumed and highlighted, serves as the object of both the gaze and the action of a male hero.
		Because of the multinational institutions involved in funding her films her production company Adventure Films was able to be autonomous, as there was no pressure from the financers as they did not and could not interfere in the filmmaking process, as much as financers would in a Hollywood blockbuster.
	www.pa.ash.org.au /atomqld/newsDec03i.html (2535 words)

	Post-Colonial Feminist Theory and film
		Film critics are constantly demanding an autonomy for cinema from the clutches of literature.
		Spectators’ demands, as they see a film, for self–actualisation and their interaction with the categories of ‘who the film is meant for’, and ‘how to see’ manual, i.e., in all films inscribed into the category of the narrator or narrative agency, is related to the commoner’s cultural phenomenon.
		The ‘romantic films’ take the hero, heroine and the audience away from the dominant patriarchy to an hallucinatory pre-symbolic realm (Lacanian film theory which utilises both psychoanalysis and semiology) where dominance of patriarchy, repression of women are not present.
	www.angelfire.com /ar/view/2.html (13251 words)

	Department of Media Study
		The psychoanalytical and psychiatric definitions of Paranoia and Schizophrenia form the basis for this exploration of the possibilities of the representation of paranoia in film.
		This course is an introduction to film analysis that is intended to help prepare students for upper level theory, film history and analysis courses.
		This course is an exploration of the principal theories of film through a critical reading of texts and a close examination of films.
	mediastudy.buffalo.edu /s/sp02.shtml (3904 words)

	Malone on Schluepmann
		Schluepmann's project is inspired by the realisation that 'the feminist psychoanalytical film theory that was developed in the 1970s and 80s has today become stagnant' (7).
		On the contrary, in the German historical context it was the 'reform movement' -- the reactionary forces that sought, in patriarchal fashion, to censor the cinema and protect the working-class audience whom the reformers saw as feminized and infantilized -- who embodied the dominance of the male gaze.
		Schluepmann argues that a feminist film aesthetic should not be founded on the idea of a 'man's cinema' reifying a male gaze.
	www.film-philosophy.com /vol8-2004/n24malone (1197 words)

	A Critical History of the Oneiric Metaphor in Film Theory
		For the author, this fact associates film to the mental image, which is characterised by similar features; and simultaneously differentiates it from the perceptive image that, on the contrary, is not separated from the objects, and even identifies with them.
		For the author, the explanation might reside in the almost oneiric condition that the spectator lives at the cinema: the film, partly dreamt, is forgotten because of the same mechanisms of repression that are active when we dream.
		When we analyse a film we are not confronted with the same text that we saw at the cinema, in the unalterable flow of the projection; but with a series of episodes, sequences, images, codes and figures, which we arbitrarily select, group and replay various times, sometimes in slow-motion.
	www.kinema.uwaterloo.ca /rasc022.htm (6498 words)

	Film Industry:About film - The Film Guide (Site not responding. Last check: 2007-10-11)
		Film is a term that encompasses motion pictures as individual projects, as well as the field in general.
		Films are produced by recording actual people and objects with cameras, or by creating them using animation techniques and/or special effects.
		Film is considered by many to be an important art form; films entertain, educate, enlighten and inspire audiences.
	filmguide.wikicities.com /wiki/Film (5097 words)

	Film Theory
		Since the 1950s, when auteur theory was first brought forward by the critics of the influential French film magazine Cahiers du cinéma, the term auteur has acquired the meaning of directors whose personal vision on a movie is strongly felt.
		This exclusion could hardly have been the original intention of the Cahiers writers, as they were the first to re-appraise - against established film critical currents - the works of "genre directors" such as John Ford, Alfred Hitchcock and Roger Corman.
		Film critics should be distinguished from film reviewers.
	www.jahsonic.com /FilmTheory.html (6567 words)

	Film-Philosophy: Online Writings
		(on Warren Buckland's The Cognitive Semiotics of Film)
		(on Kolker and Beicken's The Films of Wim Wenders)
		(on Maureen Turim's The Films of Oshima Nagisa)
	www.film-philosophy.com /portal/writings (2687 words)

	Articles - Film theory (Site not responding. Last check: 2007-10-11)
		Classical film theory took shape during the era of silent film.
		In the 1960s film theory took up residence in academe, importing concepts from established disciplines like psychoanalysis, literary studies and linguistics.
		During the 1990s the digital revolution in image technologies has impacted on film theory in various ways.
	lastring.com /articles/Film_theory?mySession=b02db41e9ae421bcd69440a... (441 words)

	Centre for Film Studies: Staff
		His main interests are in film theory (especially psychoanalytical theory); representations of gender politics and masculinity in cinema; and cross-currents between European and North American independent cinema.
		His films, such as Kafi's Story (1989) and Nuba Conversations (1999), have won a number of international awards.
		He most recent film, Benjamin and his Brother: the Lost Boys (2002), dealing with the migration of young Sudanese men between Kenya and the United States, is now being screened throughout Europe and the Americas.
	www.essex.ac.uk /filmstudies/people (335 words)

	Springer, Electronic Eros, University of Texas Press
		In this pathfinding study, Claudia Springer explores the techno-erotic imagery in recent films, cyberpunk fiction, comic books, television, software, and writing on virtual reality and artificial intelligence to reveal how these futuristic images actually encode current debates concerning gender roles and sexuality.
		Drawing on psychoanalytical and film theory, as well as the history of technology, Springer offers the first sustained analysis of eroticism and gender in such films as
		Her analysis demonstrates that while new electronic technologies have inspired changes in some pop culture texts, others stubbornly recycle conventions from the past, refusing to come to terms with the new postmodern social order.
	www.utexas.edu /utpress/books/sprele.html (213 words)

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