Relevant bibliographies by topics / Film psychoanalysis

Academic literature on the topic 'Film psychoanalysis'

Author: Grafiati
Published: 4 June 2021
Last updated: 19 February 2022

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Journal articles on the topic "Film psychoanalysis"

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Quigley, Paula. "Undoing the Image: Film Theory and Psychoanalysis." Film-Philosophy 15, no. 1 (February 2011): 13–32. http://dx.doi.org/10.3366/film.2011.0002.

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Turvey, Malcolm. "Introduction: A Return to Classical Film Theory?" October 148 (May 2014): 3–4. http://dx.doi.org/10.1162/octo_e_00180.

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When cinema studies was institutionalized in the Anglo-American academy starting in the late 1960s, film scholars for the most part turned away from preexisting traditions of film theorizing in favor of new theories then becoming fashionable in the humanities, principally semiotics and psychoanalysis. Earlier, so-called “classical” film theories—by which I mean, very broadly, film theories produced before the advent of psychoanalytic-semiotic film theorizing in the late ′60s—were either ignored or rejected as naive and outmoded. Due to the influence of the Left on the first generation of film academics, some were even dismissed as “idealist” or in other ways politically compromised. There were, of course, some exceptions. The work of pre-WWII left-wing thinkers and filmmakers such as Benjamin, Kracauer, the Russian Formalists, Bakhtin, Vertov, and Eisenstein continued to be translated and debated, and, due principally to the efforts of Dudley Andrew, André Bazin's film theory remained central to the discipline, if only, for many, as something to be overcome rather than built upon. Translations of texts by Jean Epstein appeared in October and elsewhere in the late 1970s and early 1980s, and Richard Abel's two-volume anthology, French Film Theory and Criticism 1907–1939 (1988), generated interest in French film theory before Bazin. But on the whole, classical film theory was rejected as a foundation for contemporary film theorizing, even by film theorists like Noël Carroll with no allegiance to semiotics and psychoanalysis.
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Blauth, Angela Cruz. "O fenômeno da autocracia dentro do processo grupal." Barbarói, no. 46 (March 9, 2016): 67. http://dx.doi.org/10.17058/barbaroi.v0i46.5123.

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RESUMO Buscando levantar uma reflexão acerca da autocracia operando em sistemas grupais, foi realizada uma revisão teórica a fim de esclarecer o tema, integrada juntamente à analise do filme A Onda. A experiência autocrata retratada no filme entre professor e alunos, mostra-se compatível às teorias grupais psicanalíticas, que buscam explicar como certos tipos de grupo se formam, qual a característica de seus líderes, e quais as motivações inconscientes que delineiam o funcionamento deste grupo. O presente trabalho revisitou o governo Hitler, sendo este um dos principais modelos de autocracia totalitária da história, além de ter sido tomado como base para a constituição de grupo no filme. A teoria social-histórica e a psicanálise se integram neste trabalho em uma mesma perspectiva. Palavras Chave: Grupos, psicanálise, A Onda, Hitler, autocracia, totalitarismo. ABSTRACT Seeking to raise a debate about autocracy in group operating systems, a literature review was performed to clarify the issue, along with integrated analysis of the film The Wave. The autocrat experience portrayed in the film between teacher and students seems compatible to psychoanalytic group theories that seek to explain how certain types of groups are formed, leader’s characteristic, and which unconscious motivations operated in this kind of group. This article revisited the Hitler government, for being one of the main models of totalitarian autocracy of history, and has been taken as the basis for the formation of the group in the film. The social-historical theory and psychoanalysis integrate this work in the same perspective. Keywords: Groups, psychoanalysis, The Wave, Hitler, autocracy, totalitarism.
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Landesman, Ohad. "Agnieszka Piotrowska (2014) Psychoanalysis and Ethics in Documentary Film." Film-Philosophy 20, no. 2-3 (October 2016): 380–83. http://dx.doi.org/10.3366/film.2016.0022.

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Parker, Ben. "The Western Film and Psychoanalysis." Film Quarterly 68, no. 2 (2014): 22–30. http://dx.doi.org/10.1525/fq.2014.68.2.22.

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Cooper, Anna. "Representative Men: Moral Perfectionism, Masculinity and Psychoanalysis inGood Will Hunting." Film-Philosophy 19, no. 1 (December 2015): 270–88. http://dx.doi.org/10.3366/film.2015.0015.

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Marcus, Laura. "Dreaming and Cinematographic Consciousness." Psychoanalysis and History 3, no. 1 (January 2001): 51–68. http://dx.doi.org/10.3366/pah.2001.3.1.51.

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This paper examines the historical and conceptual relationship between film and psychoanalysis, and, more particularly, film and dream. The advent of cinema, to which Freud was apparently indifferent, in fact produced or focused ambiguities and complexities at the heart of psychoanalytic thought, and dream-theories in particular: the relationship between images and representations (cinematic and psychical) as moving and/or still; visual and/or verbal. The essay closes with an exploration of the interrelationship between film and the borderline between sleeping and waking as a way of understanding the forms of attention and distraction which characterize modernity and its projections, using examples from literary texts, including the writings of the poet H.D.
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Bayley, Nicholas. "Psychoanalysis and ethics in documentary film." European Journal of Psychotherapy & Counselling 16, no. 3 (June 23, 2014): 288–90. http://dx.doi.org/10.1080/13642537.2014.929261.

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Beezer, Anne. "Femmes fatales: feminism, film theory, psychoanalysis." Women's History Review 2, no. 2 (June 1, 1993): 279–91. http://dx.doi.org/10.1080/09612029300200054.

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Loewy, Monika. "Psychoanalysis and Ethics in Documentary Film." International Journal of Psychoanalysis 97, no. 1 (February 2016): 225–28. http://dx.doi.org/10.1111/1745-8315.12300.

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Dissertations / Theses on the topic "Film psychoanalysis"

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Piotrowska, Agnieszka. "Psychoanalysis and ethics in documentary film." Thesis, Birkbeck (University of London), 2012. http://bbktheses.da.ulcc.ac.uk/46/.

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Psychoanalysis has been used extensively in film studies from the late 1960s and 1970s onwards. Inspired by Jacques Lacan, the work of Metz and Baudry in France and Mulvey and McCabe in the United Kingdom laid the foundations for film theory that explored the relationship between cinematic systems such as the apparatus and the screen on the one hand and the spectator on the other. The objects of these examinations were exclusively fictional texts. I use psychoanalysis differently through an interrogation of a largely untheorised embodied relationship between the documentary filmmaker and the subject of her or his film from a psychoanalytical perspective. There are many types of documentary film. I focus in this work on films in which a testimony, sometimes dealing with trauma, or an autobiographical account of the other, is gathered by the filmmaker. To this end I work with a number of documentary texts, including my own practice. I look at the potential tensions that these encounters might create between the need to gain as full a disclosure as possible, often fuelled by the filmmaker’s unconscious desire (which may or may not coincide with the consciously stated aim), and the ethical responsibility for the subject of the film. I suggest that a variety of unconscious mechanisms known from clinical psychoanalytical practice might be operating in the process of documentary filmmaking. These unconscious ‘hidden’ factors, notably transference, have a major influence on the decisions made in the creation of the final texts and therefore also have an impact on the future audiences of these films, which is why it is important to bring them to light. The thesis deals also with ethics of the documentary encounter. Apart from mainly Lacanian psychoanalytical thought, I draw on post-Second World War philosophy dealing with the relationship of the ‘I’ to the Other, led by Emmanuel Lévinas, but including Althusser, Badiou, Butler, Derrida and others.
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Sutton, P. G. "Nachtraglichkeit in psychoanalysis and film : a paradigm for spectatorship." Thesis, University of Bradford, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.533260.

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Polihronis, Andreas. "Reclaiming the popular : perception and reception of Hollywood film." Thesis, University of Kent, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.310236.

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Coppel, Eva Parrondo. "Mapping textual surfaces : psychoanalytic theory, subjectivity, and 1940s Hollywood cinema." Thesis, University of Glasgow, 2001. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.341714.

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Hartson, Mary T. "Masculinity in Spanish film from prohibition to commanded enjoyment /." Diss., Connect to online resource - MSU authorized users, 2008.

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Margolis, Harriet Elaine. "The cinema ideal an introduction to psychoanalytic studies of the film spectator /." New York : Garland Pub, 1988. http://books.google.com/books?id=HYJZAAAAMAAJ.

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au, kelli fuery@arts monash edu, and Kelli Louise Fuery. "Theorising the Gift through Visual Culture." Murdoch University, 2005. http://wwwlib.murdoch.edu.au/adt/browse/view/adt-MU20050810.131444.

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This thesis discusses the gift in terms of presence and interpretation using varied examples of image that form a visual culture. It contextualises the term "giftness" by analysing its use and our socio-cultural understanding of its function as it relates to the gift process. The hermeneutic processes attached to both the gift, and gifting, are multifarious and require examination of moments of instability present in the act of interpretation and meaning. The gift relationship is juxtaposed against the relationship between image and reader/observer to highlight the abstract quality of the gift and its inherent instability that exists within gift interpretation in general. The fundamental structure and unity of the gift, as is based upon relations between subjects, helps to identify and analyse systems of power and subjectivity developed in terms of investment in order to emphasise the complexities that arise through inter-subjective relations, particularly gift exchange, and those between subject and image. Certain theoretical models help to exemplify and illuminate this thesis, predominantly post-structuralist and psychoanalytic theories. The gift’s condition of instability is further examined in terms of discursive formation and function, looking at how the gift is enunciated so that one can recognise a gift and giving, and acknowledge its problematic status. The relationship between subject and image is investigated to see if we are able to read this investment as a gift relationship within the context of giftness, that is when giftness operates as an instable and challenging element to discursive exchange in visual mediums such as film, painting, television, art and photography. An examination of the gift aporia in this thesis is directed towards a subject’s investment in the image. What transpires between subject and image is akin to what circulates between giver and receiver, on the basis of investment. On this basis, the present configuration of giftness is utilised in terms of the image.
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Williams, Daniel. "The role of imagination in Bergman, Klein and Sartre." Thesis, Brunel University, 2013. http://bura.brunel.ac.uk/handle/2438/7448.

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This thesis provides an inter-disciplinary study of selected works by Ingmar Bergman. I explore how key concepts from Melanie Klein and Jean-Paul Sartre apply to the focus on characters in a state of heightened imagination; and the value placed on imagination in the construction of these films. This involves recognition of the way an active response from the viewer is encouraged. Klein, Sartre and Bergman also attend to contextual factors that challenge any notion of subjectivity as sovereign and the power of imagination is frequently placed in a social context. All three figures develop their ideas within specialised fields drawing on the influence of others. Chapter 2 shows how Klein’s ideas relate to the influence of Freud before exploring how her work can be applied to Bergman’s films through the example of Wild Strawberries. Chapter 3 concentrates on Sartre’s early work, The Imaginary and considers how this is significant in relation to some of Sartre’s better-known philosophical ideas developed during and after the Second World War. These ideas will lead to an exploration of The Seventh Seal. Chapters 4, 5, and 6 focus on three films from distinct parts of Bergman’s career: Summer with Monika, The Virgin Spring and Hour of the Wolf. In Chapter 4 this will be preceded by a brief over-view of three more films from the early part of Bergman’s career. These chapters explore how Kleinian and Sartrean ideas can be incorporated in close analysis, and alongside selected critical responses to the films. The analysis integrates key points from Klein and Sartre in a methodology specific to film studies. This will include analysis of cinematic elements such as camera work and lighting, and recognition of narrative structure and character development
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Mohsenzadeh, Yassaman. "A minor apocalypse : theorising the pregnant body." Thesis, University of Sussex, 1998. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.244352.

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Smith, Kira. "Inflicted Viewing: Examining Moral Masochism, Empathy, and the Frustration of Trauma Cinema." Chapman University Digital Commons, 2019. https://digitalcommons.chapman.edu/film_studies_theses/6.

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The contemporary turn of psychoanalytic film analysis has opened a new mode of understanding cinematic language. However, rejecting classical psychoanalysis would be premature. This thesis will place the two in conjunction, specifically through Sigmund Freud’s conceptualization of moral masochism and Wilfred Bion’s theory of thinking. Through four films: Una, The Tale, The Tribe, and Son of Saul I explore the affective nature of films that depict trauma and why one would gravitate towards such upsetting material. The spectator who seeks to be frustrated is not looking to harm oneself but to process this frustration in order to expand their emotional experience.
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Books on the topic "Film psychoanalysis"

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The monstrous-feminine: Film, feminism, psychoanalysis. London: Routledge, 1993.

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Freud's drive: Psychoanalysis, literature and film. Houndmills, Basingstoke, Hampshire: Palgrave Macmillan, 2008.

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Doane, Mary Ann. Femmes fatales: Feminism, film theory, psychoanalysis. New York: Routledge, 1999.

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Femmes fatales: Feminism, film theory, psychoanalysis. New York: Routledge, 1991.

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Creed, Barbara. The monstrous-feminine: Film, feminism, psychoanalysis. London: Routledge, 1993.

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Verstraten, Peter. Dutch Post-war Fiction Film through a Lens of Psychoanalysis. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463725330.

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Dutch Post-war Fiction Film through a Lens of Psychoanalysis is a sequel to Humour and Irony in Dutch Post-war Fiction Film (AUP, 2016), but the two studies can be read separately. Because of the sheer variety of Fons Rademakers’ oeuvre, which spans ‘art’ cinema and cult, genre film and historical epics, each chapter will start with one of his titles to introduce a key concept from psychoanalysis. It is an oft-voiced claim that Dutch cinema strongly adheres to realism, but this idea is put into perspective by using psychoanalytic theories on desire and fantasy. In the vein of cinephilia, this study brings together canonical titles (Als twee druppels water; Soldaat van Oranje) and little gems (Monsieur Hawarden; Kracht). It juxtaposes among others Gluckauf and De vliegende Hollander (on father figures); Flanagan and Spoorloos (on rabbles and heroes); De aanslag and Leedvermaak (on historical traumas); and Antonia and Bluebird (on aphanisis).
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The ends of mourning: Psychoanalysis, literature, film. Stanford, Calif: Stanford University Press, 2003.

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1974-, Schneider Steven Jay, ed. Horror film and psychoanalysis: Freud's worst nightmare. New York: Cambridge University Press, 2004.

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Trosman, Harry. Contemporary psychoanalysis and masterworks of art and film. New York: New York University Press, 1996.

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Psychoanalysis in French and Francophone literature and film. Amsterdam: Rodopi, 2011.

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Book chapters on the topic "Film psychoanalysis"

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Etherington-Wright, Christine, and Ruth Doughty. "Psychoanalysis." In Understanding Film Theory, 132–50. London: Macmillan Education UK, 2011. http://dx.doi.org/10.1007/978-0-230-34392-4_9.

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Doughty, Ruth, and Christine Etherington-Wright. "Psychoanalysis." In Understanding Film Theory, 156–72. London: Macmillan Education UK, 2017. http://dx.doi.org/10.1057/978-1-137-58796-1_9.

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Geal, Robert. "Realist film as cogito-centric film." In Ecological Film Theory and Psychoanalysis, 85–112. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-3.

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Dumas, Chris. "Horror and Psychoanalysis." In A Companion to the Horror Film, 21–37. Hoboken, NJ, USA: John Wiley & Sons, Inc, 2014. http://dx.doi.org/10.1002/9781118883648.ch2.

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Pappas, Nickolas. "Psychoanalysis and the Philosophy of Film." In The Palgrave Handbook of the Philosophy of Film and Motion Pictures, 923–45. Cham: Springer International Publishing, 2019. http://dx.doi.org/10.1007/978-3-030-19601-1_39.

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Geal, Robert. "Surviving environmental apocalypse in film ‘lifeboats’." In Ecological Film Theory and Psychoanalysis, 154–86. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-5.

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Geal, Robert. "Surviving environmental disasters in film ‘lifeboats’." In Ecological Film Theory and Psychoanalysis, 113–53. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-4.

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Geal, Robert. "The possibilities of non-Cartesian film." In Ecological Film Theory and Psychoanalysis, 204–33. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-7.

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Geal, Robert. "Conclusion." In Ecological Film Theory and Psychoanalysis, 234–45. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-102.

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Geal, Robert. "Introduction." In Ecological Film Theory and Psychoanalysis, 1–3. London: Routledge, 2021. http://dx.doi.org/10.4324/9780367373429-101.

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