All the while the horror film, … The main figures of this first wave were Christian Metz, Jean-Louis Baudry, and Laura Mulvey. Bordwell, D. and N. Carroll (eds.). “From the Monstrous Mother to the ‘Third Sex’: Female Abjection in the Films of Dario Argento.” Necronomicon: The Journal of Horror and Erotic Cinema, Book Two. “Philosophical Problems Concerning the Concept of Pleasure in Psychoanalytic Theories of (the Horror) Film.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. But of course there is no such neutral space outside, much less “above,” the fray from which to conduct an investigation of this sort. “Screen Theory.” Approaches to popular film. horror film, woman is conceptualized only as victim. Freudian’s Theory of Psychoanalysis Sigmund Freud’s approach of psychoanalytic theory starts by understanding the human psyche that strives to fulfill the needs and desires or … The Monstrous-Feminine: Film, Feminism, Psychoanalysis. Theorizing the Moving Image. What all of the essays exhibit is something a great deal more practical than meta-theorization, also a great deal more valuable; namely, self-conscious theorizing. Williams, L. (1999). Not essays which simply (or not so simply, as the case may be) make creative use of one or more Freudian, Rankian, Jungian, Kleinian, Jonesian, or Lacanian principles in an effort to shed light on an aspect of the horror film. “Prospects for Film Theory: A Personal Assessment.” Post-Theory: Reconstructing Film Studies. Eschewing the bogus idea of “pure” meta-theoretical inquiry conducted by people with no first-order attachment to their arguments and conclusions, Freud’s Worst Nightmares responds to the need for critical dialogue amongst psychoanalytic horror film scholars and those of other theoretical and disciplinary stripes. The full text of this article hosted at iucr.org is unavailable due to technical difficulties. New York, Routledge. (Memento vom 28. In reference to horror film, psychoanalysis is as close to essential as any conceptual model can get. (ed.). “A Fun Night Out: Horror and Other Pleasures of the Cinema.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. (1990). Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Clover, meanwhile, argues for a primarily masochistic and empathetic, rather than sadistic-voyeuristic, identification on the part of both male and female spectators with the originally suffering but ultimately empowered “Final Girl” of the slasher movie. (1998). “Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland” (1992). After all, it is just those affinities which could presumably be cited as evidence in defense of whichever psychoanalytic theory of the horror film brings them to bear in the first place. In: Persönlichkeit und neurotische Entwicklung. Conte will have to solve the mystery through psychoanalysis if he wishes to save his wife. For more information, contact William Rothman or Steven Jay Schneider. (1). This is because, in general, such objections would be fatal to psychoanalysis if proven correct. Review of the hardback: 'This superb collection offers its readers a roller-coaster ride through contemporary film theory and the question of horror. In film theory psychoanalytic approaches became dominant during the 1970s and 1980s, at the heyday of the poststructuralist movement. Steven Jay Schneider: Psychoanalysis in/and/of the Horror Film. This chapter points out that horror films seem to be built on a set of recurring themes: parents and children, sex and blood, secrets from the past, loss, repetition, trauma, death. London, B.T. Sigmund Freud's model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the hidden, the murderous, the perverse. Psychoanalytic theories of film, and of horror film in particular, have been subject to attack from various quarters. Madison, University of Wisconsin Press: xiii-xvii. (ed.). And it effectively undermines the power of those prima facie affinities holding between psychoanalytic concepts and explanations on the one hand, and the manifest content of much horror cinema on the other. Sparks fly across the pages as the philosophical and epistemological premises of theories of horror are themselves subjected to analysis and evaluation as well as, in some cases, rejection. The same cannot be said of psychoanalytic film theory in general, which has certainly seen its fair share of internal controversy. Princeton, Princeton University Press. Also, according to Cynthia A. Freeland in "Feminist Frameworks for Horror Films," feminist studies of horror films have focused on psychodynamics where the chief interest is "on viewers' motives and interests in watching horror films". Psychoanalysis is the central issue for many contributors, with essays exploring not only its place in relation to the Gothic Imagination at the heart of horror but also its consequent role in both forming and analysing the horror film. “Her Body, Himself: Gender in the Slasher Film.” Representations 20: 187-228. Batsford, Ltd. Jancovich, M. (1995). And despite the often vitriolic criticisms of psychoanalysis coming from both inside and outside the all-too-thin walls of academic film studies, the horror genre has continued to see a steady stream of new psychoanalytic approaches, as well as new variations on existing ones. In Shame indeed it is not until Sissy and Brandon live side by side again as adults that they are forced to face the problems created by their unhealthy sexual behavior. Freud’s psychoanalytic theory is a perfect lens through which to evaluate horror films and the effects of them. Braudy, L. and M. Cohen (eds.). (7). “Feminism, Film Theory, and the Bachelor Machines.” The Future of An Illusion: Film, Feminism, and Psychoanalysis. “Introduction.” Post-Theory: Reconstructing Film Studies. Put another way, analyzing the film with psychoanalytic theory rationalizes the girls’ actions, which strengths Pauline and Juliet’s three-dimensional characterization. Founded in 1999, Senses of Cinema is one of the first online film journals of its kind and has set the standard for professional, high quality film-related content on the Internet. Sigmund Freud's model of normal human consciousness connects to horror cinema through his vision of abnormality: the origin and effects of the monstrous, the disgusting, the … One need only consider the objections of neo-Lacanians such as Joan Copjec (1995) and Slavoj Zizek (2001) to earlier claims concerning apparatus theory and the suture effect; Constance Penley’s (1989) critique of screen theory (5); Linda Williams on the problematic (because ambiguous) “terms of perversion used to describe the normal pleasures of film viewing” (1984/1999: 706); and the heated mid-’80s debate in Cinema Journal concerning Stella Dallas and the Mulvey-Metz model of female spectatorship. According to this paradigm, the threat of castration (absence and lack) posed by images of the female form in Hollywood cinema is contained through a sexualized objectification of that form, whether fetishistic-scopophilic (woman displayed as erotic spectacle, rendered unthreatening by the controlling male look) or sadistic-voyeuristic (woman investigated, demystified, and eventually controlled through punishment) in nature. April 2013 im Internet Archive) Holger Reichert: Film und Kino. The First wave occurred in the 1960s and 70s. Dispositional Alignment: People seem to enjoy the violence in horror movies when it is directed against those they believe are deserving of such treatment. (1993). Minneapolis, University of Minnesota Press. "The essays in Horror Film and Psychoanalysis: Freud's Worst Nightmare are exemplary philosophical and aesthetic discussions, their complex and subtle arguments are both challenging and thought-provoking." Psychoanalysis is the central issue for many contributors, with essays exploring not only its place in relation to the Gothic Imagination at the heart of horror but also its consequent role in both forming and analysing the horror film. Learn about our remote access options, Author of Un‐American Psycho: Brian De Palma and the Political Invisible. In recent years, psychoanalytic theory has been the subject of attacks from philosophers, cultural critics, and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. Manchester, Manchester University Press: 124-50. Psychoanalytic film theory is a school of academicm thought that evokes of the concepts of psychoanalysts Sigmund Freud and Jacques Lacan.The theory is closely tied to Critical theory, Marxist film theory, and Apparatus theory.The theory is separated into two waves. (ed.). Psychoanalysis is the central issue for many contributors, with essays exploring not only its place in relation to the Gothic Imagination at the heart of horror but also its consequent role in both forming and analysing the horror film. Cambridge, MA, MIT Press. What is equally interesting is the way the film portrays the role of the family in this process. Use the link below to share a full-text version of this article with your friends and colleagues. They took their primary inspiration from the … Mendik, X. “Why Horror? Related to this is the ‘snuggle theory’ – the idea that viewing horror films may be a rite of passage for young people, providing them with an opportunity to fulfil their traditional gender roles. Those who seek, or else just care enough, to defend a psychoanalytic approach to horror cinema inevitably have a pre-existing investment in applied psychoanalysis. Click here to make a donation. As originally conceived, Freud’s Worst Nightmares was to be a collection of “meta-theoretical” essays on psychoanalysis and the horror film. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. Such a claim can be considered “post-structural” in that it ultimately locates meaning not within individual films or the work of particular writers or directors, but in the signifying codes of horror cinema itself. Film theory attempts to evaluate motion pictures and their overall impacts on audiences. Men, Women, and Chain Saws: Gender in the Modern Horror Film. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. Turvey, M. (forthcoming). Three sophisticated horror movies are interpreted from the perspective of Homo ludens and the Theatrum mundi-metaphor, in which the boundaries between fiction and reality are called into question in creative ways.Adler, Alfred (1910c/2007): Der psychische Hermaphroditismus im Leben und in der Neurose. Enter your email address below and we will send you your username, If the address matches an existing account you will receive an email with instructions to retrieve your username, I have read and accept the Wiley Online Library Terms and Conditions of Use, https://doi.org/10.1002/9781118883648.ch2. Carroll, N. (1996a). Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. THE MYTH OF META-THEORY. “Review Article: Andrew Tudor, Monsters and Mad Scientists: A Cultural History of the Horror Movie.” Screen 31.2: 236-42. The focus of such examinations depends in the type of theory. Psychoanalytic film theory occurred in two distinct waves. Such a heterogeneity of conceptual and methodological backgrounds strongly suggests that what we have here is more than just a genre-specific case of cognitivist/historicist “Post-Theory” doing its thing. Unfortunately, the trend has been for psychoanalytic horror film theorists to downplay the tensions between their respective positions rather than attempt to resolve or revise them. London, Creation Books: 110-133. Braudy, L. and M. Cohen (eds.). Schneider, S. Austin, University of Texas Press: 15-34. Michelle Carey • Daniel Fairfax • Fiona Villella • César Albarrán-Torres. This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema … Miller, T. and R. Stam (eds.). As Malcolm Turvey details in his contribution to this volume, for instance, a survey of the various explanations offered up by psychoanalytic film theorists concerning the puzzling … This volume seeks to find the proper place of psychoanalytic thought in critical discussion of cinema in a series of essays that … Schneider, S. (Memento vom 25. In a typical horror film, the murderer/monster is a static character who dies, unchanged, in the film’s conclusion. In fact, the feminist-inflected psychoanalytic theories of horror proposed by Williams (1983/1996), Clover (1987; 1992), and Creed (1986; 1993) can all be understood as revisions, rather than outright rejections, of the original Mulveyan paradigm. Bordwell, D. and N. Carroll (eds.). The Peculiar Pleasures of a Popular Genre.” Cultural Studies 11.3: 443-63. This volume seeks to find the proper … London, BFI. What does PSYCHOANALYTIC FILM THEORY mean? (ed.). Clover, C. (1992). Psychoanalytic theory has been the subject of attacks from philosophers, cultural critics and scientists who have questioned the cogency of its reasoning as well as the soundness of its premises. However, the 1970s and 1980s saw the development of theory that took concepts developed by the French psychoanalyst and writer Jacques Lacan and applied them to the experience of watching a film. Despite the negative claim by its leading practitioners that what unites Post-Theoretical scholarship is simply a lack of reliance “upon the psychoanalytic framework that dominates film academia” (Bordwell and Carroll 1996: xvi), critics of psychoanalysis as applied to the horror genre may well diverge when it comes to questions concerning the in/dispensability of psychoanalytic film theory per se. Instead, it was envisaged that contributors to this book would take a step back to discuss-in some cases, to debate-the relative strengths and weaknesses of such psychoanalytic approaches. Levine, M. (forthcoming). Psychoanalysts have always held family life to be extremely important in the processes of socialization and maturation. Allen, R. (1999). Tudor, A. But the truth remains that a number of objections levied in recent years by critics positioning themselves well outside the circle of Freud and his followers constitute a far more serious threat to the psychoanalytically-inclined horror film theorist than any and all such internal variety and difference. “When the Woman Looks” (1983). Over the past thirty years, a plethora of publications have argued in favor of a specific psychoanalytic approach to some dimension or convention of cinematic horror. Rather, they are debates taking place within psychoanalytic film theory in general. Meanwhile, Stephen Neale and others argue that horror film monsters are predominantly defined as male, with women as their primary victims: “In this respect, it could well be maintained that it is women’s sexuality, that which renders them desirable-but also threatening-to men, which constitutes the real problem that the [sic] horror cinema exists to explore” (1980: 61). (2), Arguably, one example of this sort of unproductive pluralism centers on the post-structural psychoanalytic claim that at the heart of cinematic horror lies a patriarchal fear of female sexuality. The most common route of psychoanalytic inquiry into horror cinema is through considerations of the monster's gender and sexuality. More like preaching to the converted. Working off-campus? Horror. Over the past thirty years, a plethora of publications have argued in favor of a specific psychoanalytic approach to some dimension or convention of cinematic horror. Such films may force a more active participation on the part of the viewer in the process of meaning creation that occurs between film, filmmakers, and spectator. If you do not receive an email within 10 minutes, your email address may not be registered, Toward A Psychoanalytic Postmodern Horror Theory. psychoanalysis in theory and in particular films, such as Jacques Tourneur's Cat People (1942); and 4) charting new directions for theoretical studies of horror films, both psychoanalytic and psychophysiological. Creed, B. In accordance with this fear, it is held that the genre defines female sexuality “as monstrous, disturbing, and in need of repression” (Jancovich 1992: 10). Jancovich, M. (1992). Most psychoanalytic horror film theorists to date have not proven very open to revising their particular accounts as a result of critical engagement with the work of others operating even from within the psychoanalytic paradigm. A psychological and crime thriller that tells the story of Richard Conte, a famous psychoanalyst who must help his wife, Ann Sutton, when she begins to believe that she committed a series of crimes under the influence of hypnosis. Please check your email for instructions on resetting your password. Carroll, N. (1996b). It also responds to the need for internal debate amongst otherwise (at least potentially) sympathetic psychoanalytic theorists of the horror genre. It is hoped that the concerted efforts made by each of the contributors to question their methods and motives (past and present), anticipate and respond to objections (actual and possible), and situate their work (historically and across disciplinary lines) will help pave the way for future scholarship on the horror film-of whatever theoretical persuasion-which expresses a commitment to the notions of dialogue, progress, and conceptual openness. 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