Freud’s influence in the twentieth century film is undeniable, as we see psychoanalysts replacin… It also responds to the need for internal debate amongst otherwise (at least potentially) sympathetic psychoanalytic theorists of the horror genre. 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. 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. 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. London, BFI. 10. Also because it casts itself in political terms, purporting to identify and analyze the ideological effects of a specific visual-narrative structure. Hg. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. Author retrieves from his unconscious the memories of his childhood when he used to listen stories of witches. (Memento vom 25. Horror Film and Psychoanalysis. Clearly, the pluralism Turvey has in mind here is not of the productive or “methodologically robust” type advocated by Noël Carroll. Schneider, S. Schneider, S. “Why Horror? But of course there is no such neutral space outside, much less “above,” the fray from which to conduct an investigation of this sort. Read My Desire: Lacan Against the Historicists. As Richard Allen has observed, both Williams and Creed contest aspects of Mulvey’s position by identifying “scenarios of female empowerment in the horror film in which the threat of castration [i]s not contained, but acted out in the narrative” (1999: 140). This is an excerpt from the Introduction to Freud’s Worst Nightmares, expected to be published by Cambridge University Press as part of their “Studies in Film” Series. This has meant that those externally-motivated criticisms which cut across various psychoanalytic theories of the horror film-as many, if not most of them are wont to do-are typically ignored, their implications unacknowledged, precisely because their very scope encourages a passing of the dialectical buck. (1995). “Feminism, Film Theory, and the Bachelor Machines.” The Future of An Illusion: Film, Feminism, and Psychoanalysis. Jancovich, M. (1992). horror film, woman is conceptualized only as victim. 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. Tudor, A. 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. 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. The human mind is a cipher that not even the historic psychoanalytical theory has been able to decode. Beginning in the early 1980s feminist film theory began to look at film through a more intersectional lens. Psychoanalysts have always held family life to be extremely important in the processes of socialization and maturation. If you are an Australian resident, any donations over $2 are tax deductible. 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 reference to horror film, psychoanalysis is as close to essential as any conceptual model can get. In order to remain intelligible, I have employed the strategy of trying to reconstruct the arguments of psychoanalytic theorists in my own words. To refuse to hear such critics out, to not treat their more powerful objections with all-due seriousness, and to eschew making any effort at responding in turn is more than just irresponsible scholarship. “Visual Pleasure and Narrative Cinema” (1974). Levine, M. (forthcoming). These two theories put forth the development in the film theories like feminist film theory. In this dense anthology, for every standard criticism of psychoanalysis there is an equally compelling argument for its use in analyzing Working off-campus? 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. Application of psychoanalytic theory on Witches and Other Night Fears. London, B.T. Madison, University of Wisconsin Press: 37-70. Men, Women, and Chain Saws: Gender in the Modern Horror Film. Mulvey, L. (1999). Manchester, Manchester University Press: 124-50. 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. “A Fun Night Out: Horror and Other Pleasures of the Cinema.” Freud’s Worst Nightmares: Psychoanalysis and the Horror Film. Hills, M. (forthcoming). The same cannot be said of psychoanalytic film theory in general, which has certainly seen its fair share of internal controversy. For more information, contact William Rothman or Steven Jay Schneider. Nevertheless, when used to shed light on horror cinema, psychoanalysis in its various forms has proven to be a fruitful and provocative interpretative tool. New York, Routledge. Theorizing the Moving Image. The main figures of this first wave were Christian Metz, Jean-Louis Baudry, and Laura Mulvey. (1986). As originally conceived, Freud’s Worst Nightmares was to be a collection of “meta-theoretical” essays on psychoanalysis and the horror film. (1993). The character of Norman Bates became a revolutionary breakthrough in cinema and entertainment as Freud’s psychoanalytic theory gained prominence in a major motion picture. Oxford, Blackwell: 123-45. These efforts have typically taken the form of either interpretive analysis (of a particular film, subgenre, or the genre as a whole) or depth-psychological explanation (of the symbolic/mythic import of horror film monsters; of the horror affect and how it is generated; of the possibly perverse pleasures viewers obtain from being frightened by visible fictions). “Cognitivism, Contemporary Film Theory and Method: A Response to Warren Buckland” (1992). (ed.). 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. More like preaching to the converted. In: Persönlichkeit und neurotische Entwicklung. Poststructuralism looked beyond the constraints of the text and put into question the notions outside the text, notably those of subjectivity and culture. Included among these critics are analytic philosophers, film aestheticians, sociologists and cultural theorists, cognitive and feminist film theorists, and empirical psychologists. London, Creation Books: 110-133. What is equally interesting is the way the film portrays the role of the family in this process. Miller, T. and R. Stam (eds.). Turvey, M. (forthcoming). In my own words in my own words film portrays the role of the genre. 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