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Record Nr. |
UNINA9910156183603321 |
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Autore |
Bianchi Pietro |
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Titolo |
Jacques Lacan and cinema : imaginary, gaze, formalisation / / by Pietro Bianchi |
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Pubbl/distr/stampa |
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Boca Raton, FL : , : Routledge, an imprint of Taylor and Francis, , [2018] |
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©2017 |
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ISBN |
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0-429-91530-6 |
0-429-90107-0 |
0-429-47630-2 |
1-78241-359-6 |
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Edizione |
[First edition.] |
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Descrizione fisica |
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1 online resource (209 pages) : illustrations |
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Disciplina |
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Soggetti |
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Psychoanalysis and motion pictures |
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Lingua di pubblicazione |
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Formato |
Materiale a stampa |
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Livello bibliografico |
Monografia |
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Nota di bibliografia |
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Includes bibliographical references and index. |
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Nota di contenuto |
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chapter One Between Imaginary and images / Pietro Bianchi -- chapter Two The cut of the structure / Pietro Bianchi -- chapter One Eisenstein and the structuralism of cinema / Pietro Bianchi -- chapter Three Lacan at the movies / Pietro Bianchi -- chapter Four A matter of gaze / Pietro Bianchi -- chapter Two Straub—Huillet and the presenting of object-gaze / Pietro Bianchi -- chapter Five Cinema: towards formalisation / Pietro Bianchi -- chapter Epilogue -- Eisenstein's gaze on Das Kapital / Pietro Bianchi. |
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Sommario/riassunto |
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Psychoanalysis has always been based on the eclipse of the visual and on the primacy of speech. The work of Jacques Lacan though, is strangely full of references to the visual field, from the intervention on the mirror stage in the Forties to the elaboration of the object-gaze in the Sixties. As a consequence, a long tradition of film studies used Lacanian psychoanalysis in order to explain the influence of the subject of the unconscious on the cinematographic experience. What is less known is how the late Lacanian reflection on the topic of analytic formalization opened up a further dimension of the visual that goes beyond the subjective experience of vision: not in the direction of a mystical ineffable but rather toward a subtractive mathematisation of |
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space, as in non-Euclidean geometries. In an exhaustive overview of the whole Lacanian theorization of the visual, counterpointed by a confrontation with several thinkers of cinema (Eisenstein, Straub-Huillet, Deleuze, Ranciere), the book will lead the reader toward the discovery of the most counterintuitive approaches of Lacanian psychoanalysis to the topic of vision. |
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