The Symbolic, the Sublime, and Slavoj Zizek's Theory of Film [electronic resource] /
Flisfeder, M.author.
Returning to questions about ideology and subjectivity, Flisfeder argues that Slavoj Žižek's theory of film aims to re-politicize film studies and film theory, bringing cinema into the fold of twenty-first century politics.
Description based upon print version of record.
COVER; The Symbolic, the Sublime, and Slavoj Žižek's Theory of Film; Contents; Illustrations; Acknowledgments; Introduction; Ideology: Between The Matrix and Inception; The Critique of Ideology; Toward a Žižekian Film Theory; Chapter 1: From Film Theory to Post-Theory; Žižek and Lacanian Film Theory; "First- Wave" Lacanian Film Theory; The Structuralist Impulse; Ideology and the Apparatus; Enter Lacan; The "Mirror Stage" and the Imaginary; The Symbolic Order and the Logic of the Signifier; "Suture"; The "Gaze"; Imaginary Signifier; The Subject-Position of the Spectator
Post-Theory in Film StudiesCognitivism, Middle-Level Research, and the Critique of Theory; Chapter 2: Sublime Objects of Cinema; The Universal Singular; Ideology: Between the Master- Signifier and the Objet petit a; Hitchcockian Objects; A Žižekian Historicity of Cinema; The Wrong Man as Exception; Cinema as Allegory: The Case of Hitchcock; Hitchcock: The Pervert; Why Is Psycho Really about Perversion?; Back to the Psychosis of Psycho; How Does the Gaze Function in Hitchcock?; The Lynchian Universe;  or, The Protrusion of the Real; The Feminine "Not-All"; Two Versions of Femme Fatale
Cynicism as IdeologyChapter 3: Class Struggle in Film Studies; A Case of Displacement; The Missing Term between Theory and Post-Theory; On Class Struggle in Theory; Discursive Formulations in the University; Dialectical (Re)Mediations; David Bordwell: Say Anything; Comprehensibility and the "End of Narrative"; The Hegemony of "Science" and Post-Theory; Interlude: The Pervert and the Analyst; Psychoanalysis: Between Cinema and Ideology; What Is So Perverse about Žižek's "Guide" to Cinema?; Chapter 4: Cinema, Ideology,  and Form; Ideology and Form; The Primordial Lie
Universality and Its Exception(s)Ethical Choices and Their Alternatives; Hysteria, Perversion, and Psychosis in the Cinema; Cinema as the Political Unconscious of Reality; The Artistic Sublime; The Political Vision of Feminine Enjoyment; The "Family Myth" in Hollywood Cinema; Chapter 5: Enjoyment in the Cinema; Which Subject of the Cinema?; The Dialectic of Appearance and Fantasy; Screened Beliefs; Psychoanalysis and the Self; Cogito and the Forced Choice of Being; Conditions of (Im)Possibility; The Symbolic Mandate; Parallax View; Symbolic Fictions; Prohibition and Desire in the Cinema
The Fetishism of the CinemaInterface and the Interpellation of the Subject through Desire; Conclusion: Theory as Realism Set in Drive; Notes; Bibliography; Index
Includes bibliographical references and index.
Returning to questions about ideology and subjectivity, Flisfeder argues that Slavoj Žižek's theory of film aims to re-politicize film studies and film theory, bringing cinema into the fold of twenty-first century politics.
Žižek, Slavoj.
Motion pictures-History.
Motion pictures and television.
Film History.
Screen Studies.