Search Results for unconscious

... Invisible (Intellect, 2012). © 2012 by Camera Obscura 2012 Figure . Bad Father. Invaders from Mars (dir. William Cameron Menzies, US, On Film Studies and the Unconscious Chris Dumas I always had the impression, when I was very small, that my father was two people, one good...

...Lea Jacobs Fredric Jameson. The Political Unconscious: Narrative as a Socially Symbolic Act (Ithaca: Cornell University Press, 1981) © 1983 by Camera Obscura 1983 Book Reviews Nina and the Book (Nosferatu, F.W. Murnau, 1922) The Political...

... we read the emergence of the “horror city” as a representation of the political unconscious of this historical conjuncture. Many films refer back to older mythologies of imperial and racial conquest, but also by doing so represent the symbol of modernity—the city—as travel back to a traumatic past...

..., and so the Mizrahi woman is destined to repeat the trauma over and over again. The Mizrahi mother's trauma is also transferred to and reproduced in her daughter. At first, the daughter does not acknowledge the socially structured nature of her mother's trauma and involuntarily and unconsciously repeats...

... completely unaware of: be- cause he who writes (= “I”) derives his existence solely from such limitations; and also because the question itself, as far as the cinema is concerned, has never really been set out in these terms (at the point where,a semiotics, an unconscious and a history converge...

... and therefore of cinematic representation : on the otherhand, the camera obscura is used as a metaphor for the function- ing ofideology by Marx and for the process of the unconscious by Freud. Yet the camera obscura is neither an apparatus nor a metaphor which is outside of ideology; both in its mode...

... is overflowing, transgressive, multi- valent, outside of reason and syntax (both always male-defined in 16 Irigaray’s argument), where the subject is no longer “master of the signifier.” Woman, then, and woman’s discourse are by definition radically other, on the side of the unconscious...

... it some- thing else like “my latest article’’ or, less formally, 66 my thing on metaphor/metonymy.” In retrospect he sees that the name “jack- hammer” arose not from mere contiguity (physical and temporal proximity of the hubbub) but from an unconscious primary associa...

.... At the same time, though, the unconscious-an indispensable term in theories of spectatorship -presents a major challenge to both Fou- cauldian and Gramscian problematics. In attempting to marry female audiences with feminine spectatorial positions, we should certainly...

... is seen to ask for a number of identifications, instead of the monolithic male one earlier theorized. The work still assumes, further, that the apparatus of classical texts is modelled on that of the FreudianlLacanian unconscious; that the desire for cinema is a desire for the lost object, which...

... which he could see distinctly?" But the philosopher's cave could certainly not be superimposed unto that other scene, the scene of the unconscious! That remains to be seen. For we are dealing here with an apparatus, with a metaphorical relationship between places or a rela- tionship between...

... the strategies and effects of dominant classical cinema, i.e., an identification with the characters and diegesis capable of manipulating the spectator in wayswhich leave the spectator unconscious of her or his own experiences in watching the film. Christian Metz offers the hypothesis that the cinematic...

..., are overwhelminglyconcerned with the “image,’ ’ and more precisely with the filmic image and the model of the dream on which Surrealist film aesthetics depended. Williams sees in Bunuel’s films (the first two in particular) a theoretical, metacritical discourse on the structure and processes of the unconscious...

... from Laplanche and Pontalis -out of the same unconsciously structuring scenario or action.29 However, the moral masochist remains oblivious to the passion for self-destruction that burns ferociously within; Freud 38 observes that whereas the sadism of the super-ego “becomes...

.... And for the time being, this fantasy will remain her private property within the logc of the text, whch is to say that tucked away in the safety of her glance, it will remain in the “unconscious” of the film system. Thus, the conditions under which this desire, named as the Pirate fantasy...

... specific unconscious material.” It is perhaps in this “unconscious” that India Song directly rejoins the classical model as it is presented by Kuntzel and Rodowick. All three rely on structures of the fantasy within a discussion of the configura- tions of vision and desire in the film...

... within and beyond figuration. Yet it throws these formal devices outside of the restricted view of formalism, for it places them in the realm of desire and the unconscious. LefgzlraL is described by Lyotard as I’znconsczent renverse (the unconscious overturned), thus highlighting...

... in a sense cir- cumscribed by history and politics, cannot be adequately articulated and organized except in terms of the unconscious processes and fantasy structures discovered by psychoanalysis. This, at any rate, is what I shall attempt to show in the remainder of this essay. The Mother...

... her signifiers successfully. The future: In order to innovate, the subject-eventually woman-must be able to gain access to their (sic)entire libidinal, archaic mechanism (both unconscious and egoistic) and be able to invest it within a symbolic articulation. If Mastery, along...

... of feminist film theory itself. Not only is spectatorship a way of thinking about the cinema in psychoanalytic terms, but its grounding in the notion of enunciation provides a framework for all theoretical dis- course about film, for it suggests that there are unconscious processes...