The Symbolic, the Sublime, and Slavoj Zizek's Theory of Film

Flisfeder, Matthew

doi:10.1057/9781137110749

Cited by 26 publications

(11 citation statements)

References 2 publications

(4 reference statements)

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“…Людинаекран: візуальна антропологія (пост)сучасності Зауважимо також, що С. Жижек -цілком у дусі багатьох постструктуралістів -відмовляється у своїх творах від традиційної (герменевтичної) інтерпретації екранних наративів як мистецьких «смислоємних форм» на користь «проведення психоаналітичної інтерпретації ідеології через кіно», формуючи особливу «кінотеорію ідеології» [Жижек, 2008;Flisfeder, 2012, p. 95]. Загалом же словенський філософ відзначається повсюдним використанням у своїх роботах концепцій і категорій із царини психоаналізу (здебільшого -з теоретичних надбань З. Фройда та Ж. Лакана), але сьогоденні інтерпретатори схильні наполягати на тому, що його основна мета полягає саме у критиці ідеології, а не в розвитку психоаналітичної традиції як такої [Flisfeder, 2012].…”

Section: екран як «злий демон образів» (пост)сучасностіunclassified

A Person and a Screen: Visual Anthropology of (Post)Modernity

Chmil¹

2020

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The monograph represents the extremely topical issue of screen research as a specific phenomenon of (post)modern culture, which functions in a dual way: it properly reflects human life while forming new ways of human thinking stipulated by the interaction of screen discourse and subject. It shows that the general space of screen display of modernity most accurately reflects the existing socio-cultural reality, which levels the usual culturological differentiation of types of culture into high and mass, and the totality of being-with-screen makes hegemony of any social group impossible to happen, because each of the modern subjects has the opportunity to produce own screen knowledge without restrictions and to snatch one’s own subject(-ivity)/similarity from the space of typical identification patterns to making oneself a free person. The publication is intended for specialists in the field of cultural studies, philosophy of culture, art history, researchers of academic institutions and creative higher educational institutions.

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Section: екран як «злий демон образів» (пост)сучасностіunclassified

A Person and a Screen: Visual Anthropology of (Post)Modernity

Chmil¹

2020

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“…The true world can also be seen to be rejected in hysteria when "the subject refuses the symbolic mandate conferred on it in the 'Symbolic universe.' it begins to question the symbolic authority of the Master Signifier" ( [38], p. 118). Finally this also explains why Cixous and Clement say "Hysteria is necessarily an element that disturbs arrangements; wherever it is, it shakes up all those who want to install themselves, who want to install something that is going to work, to repeat.…”

Section: True and Apparent Worldsmentioning

confidence: 99%

Method in the Madness: Hysteria and the Will to Power

Gildersleeve¹

2016

Social Sciences

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Abstract:At the very start of a chapter on hysteria in her book From Mastery to Analysis: Theories of Gender in Psychoanalytic Feminism, Patricia Elliot cites Nietzsche's "truths are illusions of which one has forgotten that they are illusions". This paper follows this connection between hysteria and the work of Nietzsche. This paper will highlight how a Lacanian interpretation of hysteria can elucidate Heidegger's reading of Nietzsche's Will to Power and how this interpretation of the Will to Power can better explain the value and importance of hysteria for psychoanalysis and philosophy. I will show that the hysteric's discourse has a "higher value" than the master's discourse because it meets Nietzsche's definition of art, which aims at life's enhancement rather than the master's knowledge or truth which aims at the preservation of life. My work will explain how the hysteric's discourse can transform the master's discourse into the analyst's discourse through the Will to Power. This is important, as this is the ultimate aim of psychoanalysis where "At the end of analysis the subject passes to the position of analyst". This is the ultimate aim of psychoanalysis because "For Lacan, the Discourse of the Analyst is revolutionary because it articulates the truth of the (unconscious) subject". Fundamentally, the objective of this article is to demonstrate that "hysteria is to be understood not as an 'abnormal' condition but as one possible manifestation of the subject's uncanny relationship to itself".

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“…Mulvey introduced the concept of scopophilia and the phallic gaze as constitutive of the male subject position, organized around disavowal of the -lack‖ at the center of the phallus as a fantasy object. Mulvey's work gave rise to a series of critiques in the 1980s, both as the theory seemed to reproduce a dualistic model of sex differences and as it foreclosed on possibilities for pleasurable forms of female spectatorship (Flisfeder, 2012;Manlove 2007).…”

Section: Ideology and Virtual Reality Fetishismmentioning

confidence: 99%

Behind the curtain: Fetishism and the production of virtual reality treatment for PTSD

Haaken

Stadick

2016

Psychoanal Cult Soc

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Virtual Iraq/Afghanistan, a virtual reality (VR) exposure therapy designed for the treatment of combat-related PTSD, has generated wide public interest in the wake of growing concerns over mental health problems among service members. Enlisting concepts from the fields of cultural studies and psychoanalytic film criticism, the paper interprets the VR therapy program as a form of technology fetishism within the expanding apparatus of military mental health operations.Even as the program seeks to expose the -invisible wounds of war,‖ the stories produced through this use of visual culture conform closely to hegemonic military accounts of the psychological effects of combat.

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The Symbolic, the Sublime, and Slavoj Zizek's Theory of Film

Cited by 26 publications

References 2 publications

A Person and a Screen: Visual Anthropology of (Post)Modernity

A Person and a Screen: Visual Anthropology of (Post)Modernity

Method in the Madness: Hysteria and the Will to Power

Behind the curtain: Fetishism and the production of virtual reality treatment for PTSD

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