LEADER 03042oam 2200469I 450 001 9910156183603321 005 20230814232501.0 010 $a0-429-91530-6 010 $a0-429-90107-0 010 $a0-429-47630-2 010 $a1-78241-359-6 024 7 $a10.4324/9780429476303 035 $a(CKB)3710000000985366 035 $a(MiAaPQ)EBC4771366 035 $a(OCoLC)967587747 035 $a(EXLCZ)993710000000985366 100 $a20180706h20182017 uy 0 101 0 $aeng 135 $aurcnu|||||||| 181 $2rdacontent 182 $2rdamedia 183 $2rdacarrier 200 10$aJacques Lacan and cinema $eimaginary, gaze, formalisation /$fby Pietro Bianchi 205 $aFirst edition. 210 1$aBoca Raton, FL :$cRoutledge, an imprint of Taylor and Francis,$d[2018]. 210 4$dİ2017 215 $a1 online resource (209 pages) $cillustrations 311 $a0-367-10299-4 311 $a1-78220-172-6 320 $aIncludes bibliographical references and index. 327 $tchapter One Between Imaginary and images /$rPietro Bianchi -- $tchapter Two The cut of the structure /$rPietro Bianchi -- $tchapter One Eisenstein and the structuralism of cinema /$rPietro Bianchi -- $tchapter Three Lacan at the movies /$rPietro Bianchi -- $tchapter Four A matter of gaze /$rPietro Bianchi -- $tchapter Two Straub?Huillet and the presenting of object-gaze /$rPietro Bianchi -- $tchapter Five Cinema: towards formalisation /$rPietro Bianchi -- $tchapter Epilogue -- $tEisenstein's gaze on Das Kapital /$rPietro Bianchi. 330 3 $aPsychoanalysis 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 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. 606 $aPsychoanalysis and motion pictures 615 0$aPsychoanalysis and motion pictures. 676 $a150.2 700 $aBianchi$b Pietro$039665 801 0$bFlBoTFG 801 1$bFlBoTFG 906 $aBOOK 912 $a9910156183603321 996 $aJacques Lacan and cinema$92210856 997 $aUNINA