Jacques Lacan

INTRODUCTION Psychoanalytic film theory, which is derived from Freudian and Lacanian psychoanalysis, appears in the discussion of cinema early in the 1970s. As the conjunction of psychoanalysis and film theory, scholars use this theory for textual analysis and different elements like the monstrous-feminine, mirror stage identification, and the Oedipus complex are concluded and developed. To reexamine the mother-child relationship, I will argue that these key elements of psychoanalytic film theory

In Laura Mulvey’s essay Visual Pleasure and Narrative Cinema, she discusses the psychoanalysis of scopophilic and voyeuristic tendencies. Scopophilia is defined as the pleasure in looking and being looked at, which, in the case of this essay can be broken that down into the pleasure of looking as the active dominant male, and the pleasure in being looked at as the passive female. I plan to analyze Mulvey’s ideas of patriarchy in film, specifically the “male gaze” and how these ideas are portrayed

Janet Adelman's Hamlet   Janet Alderman in her essay "'Man and Wife Is One Flesh':  Hamlet and the Confrontation with the Maternal Body" embraces the psychoanalytic tradition of Freud and Lacan in order to reveal the quadruple-angled relationship of the Hamlet monarchy.  Focusing primarily on the relationship between Gertrude and her son, Hamlet, Alderman attempts to recast the drama as a charged portrait of Oedipal disillusionment and Lacanian sexual-abnegation.  Appropriately, sexuality

Ted Talks Name: Sherry Turkle: Connected, but Alone? 1. In her introduction, Sherry Turkle says, “I embody the central paradox…” What is the paradox she is referring to? She loves getting texts, and at the same time she believes many people can get a problem by texting. 2. The speaker describes a change in her thinking from the last time she spoke at TED. At first, what did she expect would be the result of online communication? She expected that knowledge learnt from virtual

Perspective is critical if one is to gain an extensive and detailed understanding of any form of literature, whether it be their own, a characters, or the authors. In A Doll’s House symbolic language and comparison are used to illustrate the protagonist’s perspective in correlation to their situation. This results in Nora’s point of view throughout the play being expressed in a more elaborate manner in regard to the positive and negative aspects of her life. Her absence of individual thought, the

Pozdnyshev wife’s life altered after bearing children—beginning to develop independent hobbies, such as playing the piano, which sparks Pozdnyshev’s jealousy. Before taking up her hobbies, she brings a notion to her husband that in the world, the only “thing worthy of attention [is] love” (Tolstoy 42). She feels that she lacks love in her marriage, which results her “to devote herself passionately to the piano, which had formerly stood forgotten in the corner” (Tolstoy 42) to make up for lost love

According to Lacan (271-283), Freud promotes an ideological comprehension of pedagogy where notions such as transference can be applied logically to learning and teaching. Transference in teaching can happen in any number of ways, either the student transfers feelings to the subjects of the text or they transfer feelings to the teacher. The student places their trust in the teacher and endows the teacher with the prestige and power of the subject of knowledge. When the teacher is the subject of transference

Scopophilia is defined as the pleasure in looking. There are three kinds of looking in film: characters looking at other characters, cameras looking at the characters, and finally, the audience looking that the screen through the camera. The only way to change how women are viewed in cinema is to disrupt the looking. Through the narrative and technical structure in Stepford Wives (1975), the traditional male gaze is questioned while at the same time the main character, Joanna, is given her own gaze

“For those wracked by melancholia, writing about it would have meaning only if writing sprang out of that very melancholia.” Julia Kristeva’s Black Sun: Depression and Melancholia explores the melancholic subject within Freud's psychoanalytical framework. It is a well-observed symptom of depression that language dies and that the ultimate result of life-threatening depression is total silence. The melancholic subject’s problem is simply an inability to speak in a meaningful way. Kristeva argues

As aforementioned, Freudian theory links desire to eroticism, and from the outset, this eroticism is evident in the earliest stages of our childhood, but where is this sexual-fixation derived from? According to the father of psychoanalysis himself, this desire is derived from our parents as the object of said fixation. Wherein, the child desires to satisfy their sexual desires by replacing the opposite-sex parent. “As a rule a father prefers his daughter and a mother her son; the child reacts to