Slavoj Žižek

Desire and death Desire is the necessary condition for self-consciousness; we long to know, to be recognized or simply long to own commodities. Desire is necessary to our being; as we pursue knowledge we continue to grow and therefore become increasingly conscious of ourselves. Equally, death is the necessary condition for the evolution of a being and a natural occurrence of progress; without death man cannot progress as he remains static. The relation between death and desire reflects the connection

PART ONE A When reflecting on my experiences and knowledge of popular culture, I arrived with a number of remarkable questions and concerns: Why do I care so much about the lives of celebrities? (Why do I ‘Keep Up With the Kardashians’?) Do I want to be like the celebrities I glorify? Is my desired profession for working in the film industry driven by popular culture eminence? How influential or ‘brainwashing’ has popular culture been a factor in my lifestyle? Is it a good or bad influence?

Obviously "love" is not a measurable thing; you can't test our blood for love levels, you can’t test whether or not we feel love and how we feel it. You can’t time love – it can come completely inconvenient and shatter your whole world. It can take all from a moment to a few hours or days or weeks to months to fall in love. Love is an uncertain size and we can never really know how, when and who we will fall in love with. Or can we? Can we decide whom we want to fall for and when? In Mandy Len Catron’s

Frankenstein as a Modern Cyborg?      The creature ("demon") created by Victor Frankenstein in Mary Shelley's Frankenstein, or, The Modern Prometheus occupies a space that is neither quite masculine nor quite feminine, although he is clearly both created as a male and desires to be in the masculine role. Judith Halberstam describes this in-between-ness as being one of the primary characteristics of the Gothic monster--being in a space that's not easily classified or categorized, and therefore

Zizek Slavoj ‘’ The Matrix or Malebranche in Hollywood’’ Philosophy Today 43(1999) 11- 26 Proquest Web 17 sept 2014 The idea of The Matrix was to portray an artificial hero by bringing his character into a virtual reality. The reality tends to undermine what’s real from what’s fake. The whole existence of the Matrix was from a make believe place that claimed he had super powers. The way that the Matrix lived could be compared to our present society today. For example, the way we operate in cyber

“Would you wear a shoe on your head?” (Joon-Ho) This is the question proposed by the character Mason early in director Bong Joon-Ho’s 2011 film Snowpiercer, a film about the improvised survivors among the remnants of humanity and their attempt to take down the captain, aboard the ark like train they all inhabit that travels the frozen world left after mans failed attempt to stop global warming. At face value the film might seem like nothing more than an entertaining Si-Fi action movie with a bad

The dominance of capitalist countries has facilitated the conformity of global civilization and cultural environments resulting in an increase of consumer cultures (Sarmela, 1977; Chaney, 2004). As capitalism experiences a natural and unavoidable expansion, consumers engage with consumer culture creating invisible products such as social status, identity, cultures, and ethical relationships (Sternberg, 2017). There are two sides to consumer culture that are the values held by society; those who conform

Anime is a pervasive medium in Japanese culture. The mainstream popularity of anime extends its demographic from children to adults. These stories can powerful and heartfelt, but at the same time portray the negative and harmful stereotypes. Japanese culture is predominantly patriarchal and these values are reflected in many anime shows through the portrayal of women and girls. In this paper I shall explore how anime uses the breast as a tool to sexualize and objectify women and girls. First, I shall

Topic: The Language of Desire: A Lacanian Analysis of Poe’s Raven Thesis: An analysis of the figurative language in Poe’s “The Raven” reveals the relationship between the narrator’s underlying desire for Lenore and its manifestation in his subsequent interactions with the raven. Annotated Bibliography Bailly, Lionel. Lacan: A Beginner's Guide. Nook file, Oneworld Publications, 2009. This is a book written by Lionel Bailly, a Psychoanalyst, and Child and Adolescent Psychiatrist who teaches on the

necessities. The self-reflexive theorizing that allows us to become aware of certain structural constraints also ends up echoing and amplifying those constraints, reproducing them on a larger scale. (Shaviro 11-12) When Žižek rejoices, “inconsistencies are the film’s moment of truth” (Žižek 12), the recognition of an ‘inconsistency’ in the film is the simultaneous codification of consistent principles where what was present before can be forgotten[1]. The wholism of such maneuvers follows theatrical trailers