Psicanálise Passo-a-Passo

A Interpretação – Laéria Fontenele Arte e Psicanálise – Tania Rivera Para que Serve a Psicanálise? – Denise Maurano Freud e a Filosofia – Joel Birman  A Teoria do Amor na Psicanálise – Nádia Ferreira  A Transferência – Denise Maurano Sonhos – Ana Costa Psicanálise com Crianças – Terezinha Costa A Paixão – Marcus AndréContinuar lendo “Psicanálise Passo-a-Passo”

Jacques Lacan – O Seminário

O Seminário, livro 1: Os Escritos Técnicos de Freud O Seminário, livro 2: O Eu na teoria de Freud e na técnica da psicanálise O Seminário, livro 3: As Psicoses O Seminário, livro 4: A Relação de Objeto O Seminário, livro 5: As Formações do Inconsciente O Seminário, livro 6: O Desejo e sua InterpretaçãoContinuar lendo “Jacques Lacan – O Seminário”

24 Frames: Sebastiane (Derek Jarman/Paul Humfress, 1976)

Ou feliz dia de São Sebastião. Losing his religion: Saint Sebastian as contemporary gay martyr ‘My dear, I’ve done some pieces which will delight you… They’re a new departure, newish anyway, and rather religious and full of feeling. One’s a kind of sacra coversazione between Saint Sebastian and John the Baptist. The young man whoContinuar lendo “24 Frames: Sebastiane (Derek Jarman/Paul Humfress, 1976)”

Peeping Tom: 50th Anniversary Blu-Ray

An instructive example of the use of Lacanian theory to examine film is provided by Parveen Adams in her essay on Michael Powell’s Peeping Tom, which tells the story of a young man, Mark Lewis, who films women as he kills them. The film raises questions about the pleasure of the spectator, since the spectator is placed in a position similar to that of Mark Lewis, who Adams argues is a pervert. Such a comparison between the pleasure of the spectator and the enjoyment of the pervert is certainly not new to film theory; it has even become somewhat of a cliche. However, it is precisely this comparison that Adams objects to, on the grounds that it ‘fails to distinguish between a pleasure and the question of jouissance. Adams argues that while Mark Lewis is (almost) entirely caught up within the perverse circuit of jouissance, the spectator is gradually separated from this scenario by a number of crucial shots in the film which disrupt his/her identitication with the protagonist. The jouissance of the perverse Mark Lewis leads him eventually to his death; the framing of certain key images in the film puts the spectator in quite a different position, a position from which a safe pleasure may be derived.

Key Concepts of Lacanian Psychoanalysis

24 frames: Sapatos Vermelhos (Bunhongsin, Yong-gyun Kim, 2005)

Remarking upon the oddly ambiguous familiarity of “the red shoes” in the film, the heroine’s boyfriend is quite accurate in reminding the informed movie fans that the red shoes in the 1948 British fantasy by Michael Powell and Emeric Pressburger served female desire, but nevertheless were used to both transpose and conceal the male desire to control the female body. In the Korean take-off, the fatal lure becomes the object of excessive female greed and reconfigures the ways through which desire reconfigures the ways through which desire is renegotiated in cinematic representations. This chapter examines how the fetishistic system of signification regenerates horror and desire in The Red Shoes and other recent Korean horror films that recycle the motif of female greed.