Search Results for paranoia

...Amelia Jones Copyright © 1991 by The Johns Hopkins University Press 1991 Presumed Innocent (1990) “She Was Bad News”: Male Paranoia and the Contemporary New Woman Amelia Jones “She was bad news . . .” In Presumed Innocent (1990), this phrase seems intended to vindicate...

...Sabrina Barton Copyright © 1991 by The Johns Hopkins University Press 1991 “Crisscross”: Paranoia and Projection in Strangers on a Train Sabrina Barton Isn’t it a fascinating design? You could study it forever...

... an article in Discourse on the film Suture and its treatment of race. 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 194 06-Burns.sh 194-225=32pg 4/18/01 4:03 PM Page 195 Erasure: Alienation, Paranoia, and the Loss of Memory in The X-Files...

... in The Manchurian Candidate (dir. John Frankenheimer, US, 1962) Of Red Queens and Garden Clubs: The Manchurian Candidate, Cold War Paranoia, and the Historicity of the Homosexual Kevin Ohi In Schreber’s system, the two principal elements of his delusion (his transformation into a woman and his...

... camera movement. Magnification of ordinary percepts, or a general and unpleasant accenting of objects in the visual field, is a common complaint in the phenomenology of mental illness, for example, in hysteria, obsession, phobia, and paranoia. An illness removes something from its ordinary context...

... media technologies. Technophilic television programs like 24 , which create pleasure out of paranoia and dramas out of identification, employ digital special effects sequences like FRSs to demonstrate the power of both cinema and science to reveal hidden identities. These identities are often racialized...

...,” “The Truth is Out There”-trap us between what Norman Mailer, writing about Watergate twenty years ago, termed “the opposite theaters of our cynicism and paranoia,” they also ironically undermine our faith in either paranoia or cynicism as completely adequate responses to the dilemma of having...

... as a suspenseful connection to anxiety, hysteria, and paranoia—it is “funny” only in the peculiarly exces- sive investments made in it. The prologue to the film version—a printed text that crawls up the screen over a shot of switchboard operators—speaks best to how the phone slips from a signifier of comfort...

...Richard Allen Dana Polan, Power and Paranoia: History, Narrative and the American Cinema, 1940–1950 (New York: Columbia University Press, 1986) Copyright © 1988 by The Johns Hopkins University Press 1988 Brushing Classical Hollywood Narrative Against the Grain of History...

... and knowing. Drawing on Eve Kosofsky Sedgwick’s critique of paranoia in Touching Feeling, my discussion of the first site of opacity raises questions about the limits of paranoid thinking, particularly its faith in visibility and exposure, as a response to our contemporary surveillance situa- tion.7...

... . “On the Part Played by Homosexuality in the Pathogenesis of Paranoia.” Sex in Psychoanalysis . New York: Basic Books, 1950 . Greenberg , Joel “Writing for the Movies: Barré Lyndon.” Focus on Film , 21 (Summer 1975 ): 47 —56. Greene , Graham The Pleasure-Dome . Oxford: Oxford UP, 1980...

... and anxieties- to estab- lish its heterosexuality and its coherence with American post-World War I1 national identity-that shape the forms and norms of fifties films. Like Cohan’s essay, Sabrina Barton’s ‘‘ ‘Criss-Cross’: Paranoia and Projection in Hitchcock’s Strangers on a Train” shows how repre...

... exclude the female spectator from the analysis. However, Freud does propose a number of scenarios which purport to describe female sub• jectivity.Doane identifiesthree: "scenarios focusingon masochism ("A Child is Being Beaten paranoia ("A Case of Paranoia Running Counter to the Psychoanalytic Theory...

..., Ann L‘Imparfait de I’Objectif: The Imperfect of the Object Glass. No. 24; pp. 65-87. Barton, Sabrina “Criss-Cross”: Paranoia and Projection in Strangers on a Train No. 25- 26; pp. 75-100. Bellour, Raymond The Film Stilled. No. 24; pp. 99-123. “The Letter Goes...

... is author of Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950 (Columbia University Press, 198.5), and is beginning research on a book tentatively entitled, Professors: History and Anthropology of a Sub- culture. 168 Heide Schlupmann has taught film at the Universities...

.... Although Marco is ini- tially emasculated by becoming too disabled to maintain his role in the military (relatively speaking), his masculinity is protected inso- far as he exhibits manly symptoms such as nightmares, flashbacks, paranoia, and spontaneous fits of violence. Shaw’s symptoms...

...—whether the one in the film or the one viewing it—from accusations of paranoia, of delusion, of mere wishful thinking? How, moreover, to rescue Clue itself, which in this reading has become structured not just by queerness but by the panicked, phobic response to it? The answers to these questions lie...

...) and Videofrom Tokyo to Fukui and Kyoto and New Video:]apan. She is currently working on contemporary Japanese art and video. Dana Polan teaches English and Film at the University of Pittsburgh. He is the author of Power and Paranoia: History, Narrative and the American Cinema, 1940-1 950 (Columbia...

...: Ivory Perry and the Culture 22 of Opposition will be published next year. Dana Polan is Associate Professor of English and Film at the University of Pittsburgh. He is the author of Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950 and translator of Kafka by Gilles Deleuze...

... is the author of Power and Paranoia: History, Narrative, and the American Cinema, 1940-1950 and translator of Kafka by Gilles Deleuze and Felix Guattari. Andrew Ross teaches English at Princeton. He is the author of The Failure of Modernism, editor of the forthcoming Universal Abandon? The Politics...