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This text offers a radical approach to the issue of what happens when we watch films. By exploring cinema's relationship to meaning and proposing new ways to read cinema through pscyhoanalysis, this book develops the idea that the spectator engages in what has previously been described as an act of madness. By considering some of the key concepts from Freud and Lacan, as well as ideas from Derrida and Foucault, we are shown the common features that cinema and madness share. The film spectator is shown as the psychotic, neurotic and hysteric, as the book examines the ways in which the foundations of culture and meaning are challenged when we become the spectator of a film.
About the Author
PATRICK FUERY is Director of Research in the Division of Humanities, Curtin University, Australia. He has published a number of books in the fields of film studies and critical theory.
This text offers a radical approach to the issue of what happens when we watch films. By exploring cinema's relationship to meaning and proposing new ways to read cinema through pscyhoanalysis, this book develops the idea that the spectator engages in what has previously been described as an act of madness. By considering some of the key concepts from Freud and Lacan, as well as ideas from Derrida and Foucault, we are shown the common features that cinema and madness share. The film spectator is shown as the psychotic, neurotic and hysteric, as the book examines the ways in which the foundations of culture and meaning are challenged when we become the spectator of a film.
About the Author
PATRICK FUERY is Director of Research in the Division of Humanities, Curtin University, Australia. He has published a number of books in the fields of film studies and critical theory.
Inside This Book
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There are many ways to approach a topic as cinema and madness, but the concerns here can reduced to two-the operation of meaning and the construction of the spectator. Read the first page
Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
There are many ways to approach a topic as cinema and madness, but the concerns here can reduced to two-the operation of meaning and the construction of the spectator. Read the first page
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Front Cover | Copyright | Table of Contents | Excerpt | Index | Back Cover
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