Screen and Script: cross-media practices: Recent submissions
Now showing items 21-40 of 56
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'Zero Dark Thirty' – ‘war autism’ or a Lacanian ethical act?The paper discusses Kathryn Bigelow's Zero Dark Thirty (2012) through the lens of Lacanian ethics as described in Seminar VII. I argue that Maya's single-minded determination is akin to that of Sophocles' Antigone as presented by Lacan. In particular in her decision to see through her commitment to a cause ‘beyond the limit’ as Lacan would put it, she echoes Antigone's ‘inflexibility’ and even her ‘monstrous’ unfeminine and ‘raw’ stubbornness to her mission. This stance, however, is different from a lack of empathy suggested by some critics and scholars. Instead, it constitutes an ethical act within the Lacanian paradigm. I argue that Maya's gender and her feminine beauty defiant in the world of patriarchal procedures also resonates with the position of Antigone. I claim further that psychoanalysis in its emphasis on the unknowingness of subjects and situations has still a lot to offer to film studies, beyond its post-1968 structuralist readings.
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Jungian screen studies: ‘Everything is awesome’…?Jungian film theory has reached a point where it has started to coalesce into a field. It is perhaps timely to take stock of what constitutes that field, and the extent to which a Jungian orientation to film and media is differentiated from Freudian and Lacanian approaches as well as those derived from traditional phenomenology and Deleuze.
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Somatic cinema: the relationship between body and screen – a Jungian perspectiveFilms can hold personal psychological meanings that are often at odds with their narratives. Examining the intersections between mental health and the cinema, Somatic Cinema represents the cutting edge of film theory, evaluating the significance of this phenomenon both in therapy and in the everyday world.
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The happiness illusion: how the media sold us a fairytaleThe Happiness Illusion explores how the metaphorical insights of fairy-tales have been literalised and turned into commodities. In so doing, their ability to educate and entertain has largely been lost. Instead advertising and television sell us products that offer to magically transform the way we look, how we age, where we live –both in the city and the countryside, the possibility of new jobs, and so forth. All of these are supposed to make us happy. But despite the allure of ‘retail therapy’ modern magic has lost its spell.
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Frames of mind: a post-Jungian look at film, television and technologyFrames of Mind provides a fresh and stimulating introduction to the world of Post-Jungian film and television studies. To orientate the reader the book starts with an overview of analytical psychology and how it has been used to analyze films. From that starting point it broadens out to include topics such as: why we have genuine emotional responses to films which we know to be unreal; how and why we watch television; the unconscious motifs of advertising; and the psychological role that technology plays in contemporary society.
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Jung and film II: the return : further post-Jungian takes on the moving imageSince Jung and Film was first published in 2001, Jungian writing on the moving image in film and television has accelerated. Jung and Film II: The Return provides new contributions from authors across the globe willing to tackle the broader issues of film production and consumption, the audience and the place of film culture in our lives.
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La Niña santa (The Holy Girl)Annotation on film 'La Niña santa' by Lucrecia Martel, 2004
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The American FriendAnnotations on film Der Amerikanische Freund (The American Friend, 1977) by Wim Wenders
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Nightmare in the sun: Matteo Garrone's GomorrahThis shorthand evaluation of the film Gomorrah by Matteo Garrone, 2008
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House: the wounded healer on television : Jungian and post-Jungian reflectionsHouse: The Wounded Healer on Television employs a Jungian perspective to examine the psychological construction of the series and its namesake, Dr Gregory House. The book also investigates the extent to which the continued popularity of House MD has to do with its representation of deeply embedded cultural concerns